Professional Documents
Culture Documents
By Sangeetha Priya1, Neelima Reddy2
Abstract
The art forms of dance and architecture share a special relationship, both
define three dimensional spaces. Dance defines space in time, the dancer’s describes a
three dimensional spaces around herself, through the different movements and
postures. Architectural space is continuously structured by the human activity that
takes place in it. Architecture defines space through its built form; the spatial structure
informs the movement of the human body through the spaces over time. Dance like
architecture is an exploration of spatial structure.‘dance sketches out a possible
structure of space within an infinite set of possibilities (Hillier, Bill:1996)’.
Indian is a land of many traditions; the art forms have several regional
variations, giving rise to diaspora of dance forms in the different regions of the
country. These dance forms are closely related to the regional culture and tradition
and are performed in specific theatre structures built as part of the temple complexes.
Traditional theatre structures are designed and developed through centuries, adapting
the architectural form to the specificities related to the dance forms. This discussion is
situated around the notion that dance informs the design of the spatial structure of
the built form, while the architecture by its forms, structure, ornamentation, etc.
embodies the dance form. Through empirical understanding and extensive illustrations
this discussion analyses the concept of architecture for dance through the study of
traditional dance forms and their respective theatre structures.
1 SangeethaPriya, Assistant Professor, School of Architecture, M.S.R.I.T, Bangalore
2 Neelima Reddy, Assistant Professor, School of Architecture, M.S.R.I.T, Bangalore
Introduction
The Bharathanatyam, Koodiyattam and Odissi are three important classical
dance forms from the south‐east, south‐west and eastern regions of the Indian sub‐
continent. The Koodiyattam was performed in the structure called the Koothambalam.
A typical example for this is the Koothambalam at the Vadakunathar temple, Thrissur.
The classical dance form of Odissi was performed in the pavillion called Nat‐mandap, a
typical example being the Nat‐mandap of the Sun temple at Konark. The
Bharathanatyam was performed in the dance pavilions called nrithya‐mandapa. A
typical example for this is the nrithya‐mandapa in the Vitthala temple complex at
Hampi.
Bharathanayam and the Nritya‐mandapa
Koodiyattam and the Koothambalam
Koodiyattam is a dance form traditionally performed in the state of Kerala,
south west of India. It is performed in the Koothambalamor the temple of dance
('koothu' meaning dance and 'ambalam' meaning temple), constructed within the
cloister of the Temple; more precisely within the temple compound. Koodiyattam
literally means "acting together". It is a narrative form of dance‐drama, where the
story is enacted through the facial expressions and hand movements of the dancers,
while the narration is through the song and music.
The performer wears costumes and make up to represent the different
characters and thus gives a live image of characters in the minds of the spectators.
Role playing in Koodiyattam includes stylized form of vocal recitation coupled with a
complete hand‐gesture language and highly evocative facial expressions.
Here the audience focus on the spaces described by the head and hand
movements, hence the stage and the built structure must highlight and frame these
movements. The Koothambalam structure is built precisely for this purpose.
A square platform with a separate pyramidal roof supported by pillars in the
center is the main dance pavilion which is constructed as s separate structure within
the large hall of Koothambalam. This roof within roof design, helps focus on the
dancers expressions, while being illuminated by the light from an oil lamp.
This dance‐drama is aimed at conveying religious and cultural messages to the
masses, hence the space for audience form an important part of the structure. The
form of the pavilion clearly indicates that the art of Koodiyattam is to address the huge
crowd of people along with its theatre. The floor of the hall is divided into two equal
halves and one part is for performance (including stage, instruments, green room etc.)
and other half for seating audience.
Odissi and the Nat‐mandap
Odissi is a dance style of the state of Orissa in eastern India. Like other Indian
classical dance forms, Odissi has two major facets: Nritta or non‐representational
dance, in which ornamental patterns are created using body movements in space and
time; and Abhinaya, or facial expressions are used to interpret a story or theme.
The movements of this dance form revolve around the 2 basic postures the
cowk and Tribhangi. The chowk is the basic stance representing a square. The square
form has supernatural connotations and is considered to be a sacred geometry. The
tribanhgi posture describes the shape of a helix, which is defined by the independent
movement of head, chest and pelvis.
This dance is performed in the Nat‐mandir is placed in front of the sun
temple. This is where the temple dancers used to perform dances in homage to the
Sun god.
The Odissi dance is offered to the sun god predominantly. Since the dance
form comprises more of expressions and the three moments. the facade of the
pavilion has a narrow opening
So that the expressions of the performer should not get effected by the climatic
conditions around.
So that the moment of the performer should be confined to the sight of the sun god.
The plinth heights of the nat mandir and the main shrine of the sun god is designed in
the same height so that the performer can face the god properly and the common
people are allowed only on the ground level to see the performance without
disturbing the performance.