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The Strength of “Oneness” in Indian Classical Dance

One kind of storytelling is seen in the Kathak dance, type of Indian classical dance. 
Experts claim that Kathak provides story of gender-neutral “oneness” that is influenced by Hindu philosophical ideas. 
Kathak’ is derived from the root term kathaclosely but not
 precisely meaning narrative, 
not in the colloquial sense, but rather recital of legendary stories with 
the primary goal of teaching the people,”.
The dancer’s quick, semicircular, clockwise and counterclockwise movement denotes a character change.

Experts tells how Kathak was solitary dance performed by male performers 
till the start of the twentieth century. 
single dancer assumes the roles of several characters to deliver stories based 
on Hindu philosophy that feature tales of 
virtue versus evil in the Northern Indian classical dance. 
Every time new episode of the dance is beginning, the dancer changes roles
 with quick, semicircular, clockwise and
 anti-clockwise movement. 
Strong motions, such as an arched spine, broad shoulders, and wide strides, 
depict the man’s haughtiness for figure
 like the villainous prince Duryodhana. 
The motions for the honourable Yudhishthira are assured and under control, 
giving the story’s protagonist polished air.
The instructor (or guru) and pupil must work closely together during this transcendent type of dance’s instruction.
The perfect dancer, according to my own gurus, must be so adept at abhinaya that, as the story develops in front
of the audience, the dancer’s physical body should vanish and be replaced by the
character being represented, according to Trained Artists. The term “abhinaya” in this context alludes to the
dancer’s aesthetics and fluidity, which let viewers to discern how
figures like Duryodhana and Yudhishthira are portrayed.
One must train to perform both male and female roles or styles of dance with equal dexterity
 because in classical Indian dance, the ideal dance student is expected to render herself
 devoid of aham (egotism) and to become selfless devotee of the dance. According to observers,
 American dance training included strict male and female roles in contrast to what they
 are used to in her Indian training. 
Some dance styles, such as kathakali, which is mainly performed by male dancers, and the 
mohini attam, which is primarily performed by women, are connected with specific genders. 
According to experts, the Ardhanarishwara“festival of the half-man, half-woman god,” which calls for dancers to switch between masculine and feminine styles, is the
 pinnacle of traditional training.
The nrittya, or “pure dance,” which lacks a story, tries to show a masculine movement style that is
“warrior-like,” together with a female movement style that is “kind and tender.” Both male and female Kathak
artists strive to focus on
their characters rather than just themselves as performers. The masculine and female styles
are blended together as they dance the tale.
Dancers must totally commit to the performance and skill during the learning process and classical training
in order to properly attain this component when it is time to perform. Indian classical dance places a strong
emphasis on maintaining emotional equilibrium while completely embodying the characters in a state of “oneness.”
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