|If a woman dances to the accompaniment of songs and instruments in a male attire, it is called Pushpa - Gandhika.
(‘The story of lasya’ by Dr. Vibha Dadheech, Nartanam, Apr-July 2006)
|There are different types of Maharis according to their service (seva).
They are Nachuni, Gauni, Puharuni and Gudasini. Nachunis and Gaunis are
again classified into 2 categories – Bhitar and Bahara. The Bhitar
Mahari is privileged to perform in the innermost sanctum. The Nachunis
and Gaunis perform extensively inside and outside the sanctum in the
temple premises. The Patuara puharini or Patuari niyoga or the Patuari
sing and dance during patuara or procession. Gaudasini’s duties include
fanning the god with chamara and alata.
(‘Maharis: the temple dancers of Orissa’ by Aloka Kanungo, Nartanam, Apr-July 2006)
|Dance plays a major role at Prambanan, which is regularly used to stage
performances of Sendratari Ramayana, in its open air, purpose built
theatre. Sendratari Ramayana is a dance which was created in the early
1960s specifically for the Prambanan site, famous for its reliefs of the
Ramayana story, for tourist consumption. The innovative element of this
new dance genre was that the Javanese dialogue of Javanese court genres
involving dance and acting, such as Wayang Orang, had been eliminated,
the intention being that the story should be accessible to anyone,
through a ‘universally’ understood language of dance and music.
(‘Still in defense of dance as an archaeological issue’ by Alessandra Lopez y Royo)