IKS Series : Book-9
Indian Performing Arts in Ancient India
Chapter-1: Introduction to Bharata Muni's Natyashastra and Abhinaya Darpana
Overview: Introduces Bharata Muni's Natyashastra as the foundational text on drama, dance, music; covers Abhinaya Darpana's focus on expression techniques and their relevance to Indian performing arts.
Chapter-2: Description of Navarasa in Indian Aesthetics
Overview: Explains the nine rasas (Shringara, Hasya, Karuna, Raudra, Veera, Bhayanaka, Bibhatsa, Adbhuta, Shanta) from Natyashastra, their evocation through bhava, vibhava, anubhava for aesthetic experience.
Chapter-3: Bharatnatyam – The Classical Dance of Tamil Nadu
Overview: Details Bharatnatyam origins, temple tradition, key elements like adavus, abhinaya, nritta, nritya; its structure, costumes, and expression rooted in Natyashastra principles.
Chapter-4: Kathakali and Mohiniattam – Kerala’s Dramatic and Graceful Dances
Overview: Covers Kathakali's elaborate makeup, costumes, mudras, epic themes; Mohiniattam's lasya grace, feminine style, lyrical movements, and both rooted in Kerala traditions.
Chapter-5: Kuchipudi and Odissi – Andhra and Odisha Classical Dances
Overview: Explores Kuchipudi's dance-drama, tarangam, bhakti themes; Odissi's tribhanga posture, sculpturesque poses, temple origins, and expressive abhinaya from eastern traditions.
Chapter-6: Kathak and Manipuri – North and Northeast Classical Dances
Overview: Discusses Kathak's Mughal influence, footwork, spins, storytelling; Manipuri's Rasleela, gentle movements, Vaishnava themes, and cultural symbolism in performance.
Chapter-7: Sattriya – The Classical Dance of Assam
Overview: Introduces Sattriya's monastic origins in Vaishnava monasteries, Borgeet songs, hand gestures, devotional themes, and its recognition as eighth classical form.
Chapter-8: Influence of Gita Govinda, Ramayana, and Mahabharata on Dance and Paintings
Overview: Examines Jayadeva's Gita Govinda's impact on bhakti rasa in dance; epic narratives shaping themes in classical dances and regional paintings like Madhubani, Pattachitra, Pahari, Kangra.
Chapter-9: Classification of Indian Classical Music: Hindustani and Carnatic Traditions
Overview: Differentiates Hindustani (North Indian, improvisational) and Carnatic (South Indian, compositional) systems, their gharanas, historical development, and shared roots in ancient texts.
Chapter-10: Major Styles in Hindustani Classical Music: Dhrupada, Khayal, Tarana
Overview: Details Dhrupada's ancient, devotional style; Khayal's elaborate improvisation; Tarana's rhythmic syllables, fast tempo; their evolution and aesthetic principles.
Chapter-11: Major Forms in Carnatic Music: Varnam and Kriti
Overview: Covers Varnam's technical exercises in raga-tala; Kriti's devotional compositions by Trinity; their structure, lyrical depth, and role in concerts.
Chapter-12: Tala System and Laya in Indian Music
Overview: Explains tala cycles (like Teental, Adi), matras, sam, divisions; laya's tempo variations (vilambit, madhya, drut); their application across Hindustani and Carnatic.
Chapter-13: Folk, Tribal, and Modern Art Forms of India: An Overview
Overview: Introduces folk (community-based), tribal (indigenous rituals), modern (contemporary fusions) performances; socio-economic contexts of dance, music, storytelling, theatre traditions.
Chapter-14: Regional Theatrical Practices in India
Overview: Covers traditional forms like Koodiyattam, Yakshagana, Chhau, Jatra, Theyyam, Ankiya Nat, Pandavani, Bhand Jashn; their ritualistic, narrative, and regional features.
Chapter-15: Classification of Indian Puppetry Traditions and Influence of Panchatantra
Overview: Classifies string (Kathputli), shadow (Tholu Bommalata, Ravana Chhaya), glove puppets (Tolpavakoothu); Panchatantra stories' moral narratives shaping puppetry themes and performances.
Chapter-16: UNESCO Intangible Cultural Heritage: Indian Art Forms and Nomination Significance
Overview: Discusses ICH-listed elements like Kutiyattam, Chhau, Mudiyettu, Ramlila; Katapayadi system in mela-karta ragas; Carnatic evolution from Chaturdandi to modern concert format.
Professional Note
Authors may submit chapters other than those listed above, provided the proposed chapter aligns with the overall theme and objectives of the book.