NCERT Textbook: Dance, You and Creativity | Arts (kriti) Class 7 - New NCERT PDF Download

 Page 1


12
DANCE, YOU  
AND CREATIVITY
Movements of Hips in Dance
After exploring the movement of upper torso, lower torso, arms and 
legs you will now see the movement of the hips and the kati — another 
body part mentioned in the Natyasastra.
Hip movements in Indian dance tradition play 
a vital role in expressing the rhythm and emotion 
of the song. While their specific use and style can 
vary across different classical and folk dance forms, 
they are characterised by grace, precision and fluidity.
Below are the hip movements intricately woven into 
Indian dance traditions. 
Twisting of the hip 
Garbha uses the movement of 
twisting in its style of turning.
Side to side 
In many folk dances of our country, 
you can observe side-to-side hip 
movements, for example, the 
Kalbelia.
Back and front 
A few Indian dance traditions feature 
back-and-forth hip movements. You 
can observe such movements in 
dances like the Bihu and Chhau.
Page 2


12
DANCE, YOU  
AND CREATIVITY
Movements of Hips in Dance
After exploring the movement of upper torso, lower torso, arms and 
legs you will now see the movement of the hips and the kati — another 
body part mentioned in the Natyasastra.
Hip movements in Indian dance tradition play 
a vital role in expressing the rhythm and emotion 
of the song. While their specific use and style can 
vary across different classical and folk dance forms, 
they are characterised by grace, precision and fluidity.
Below are the hip movements intricately woven into 
Indian dance traditions. 
Twisting of the hip 
Garbha uses the movement of 
twisting in its style of turning.
Side to side 
In many folk dances of our country, 
you can observe side-to-side hip 
movements, for example, the 
Kalbelia.
Back and front 
A few Indian dance traditions feature 
back-and-forth hip movements. You 
can observe such movements in 
dances like the Bihu and Chhau.
134  | KRITI
ACTIVITY 12.1: DANCE WITH HIP MOVEMENTS
Now, observe such hip movements in different Indian 
dances and try to replicate them. Create your own dance 
with characters and animals, and add appropriate hip 
movements for it.  
Note to the Teacher: Coordinate an activity 
of watching some dance forms and divide 
the students into groups to try the various 
ways in which hip can move. Movements in  
QR code in the beginning of the chapter.
Circular 
How do you rotate a hula hoop? Have you 
observed hip rotation while using one? For 
instance, can a snake dance have circular hip 
movements? 
Sapera Dance of Rajasthan
 Hula Hoop
Students practicing dance using hip movements
Page 3


12
DANCE, YOU  
AND CREATIVITY
Movements of Hips in Dance
After exploring the movement of upper torso, lower torso, arms and 
legs you will now see the movement of the hips and the kati — another 
body part mentioned in the Natyasastra.
Hip movements in Indian dance tradition play 
a vital role in expressing the rhythm and emotion 
of the song. While their specific use and style can 
vary across different classical and folk dance forms, 
they are characterised by grace, precision and fluidity.
Below are the hip movements intricately woven into 
Indian dance traditions. 
Twisting of the hip 
Garbha uses the movement of 
twisting in its style of turning.
Side to side 
In many folk dances of our country, 
you can observe side-to-side hip 
movements, for example, the 
Kalbelia.
Back and front 
A few Indian dance traditions feature 
back-and-forth hip movements. You 
can observe such movements in 
dances like the Bihu and Chhau.
134  | KRITI
ACTIVITY 12.1: DANCE WITH HIP MOVEMENTS
Now, observe such hip movements in different Indian 
dances and try to replicate them. Create your own dance 
with characters and animals, and add appropriate hip 
movements for it.  
Note to the Teacher: Coordinate an activity 
of watching some dance forms and divide 
the students into groups to try the various 
ways in which hip can move. Movements in  
QR code in the beginning of the chapter.
Circular 
How do you rotate a hula hoop? Have you 
observed hip rotation while using one? For 
instance, can a snake dance have circular hip 
movements? 
Sapera Dance of Rajasthan
 Hula Hoop
Students practicing dance using hip movements
135  |  DANCE, YOU AND CREATIVITY
N. Sreekanth 
Natarajan
Vedantam 
Satyanarayana Sarma
Traditions and Transformations  
Beyond Boundaries
In Kriti, Grade 6, we discussed 
many dance traditions and the 
role of male and female dancers. 
In solo traditions, the solo 
dancer plays different roles and 
switches from one character 
to another. There was a strong 
tradition of female dancers all 
over India, who enacted stories 
and poetries, taking on various 
roles. Simultaneously, there 
were male dancers who sometimes performed in the 
garb of a woman. One such personality is the famous 
Kuchipudi dancer, Vedantam Satyanarayana Sarma, 
who performed in female costume.
In traditional dance-drama traditions male dancers 
often take on the role of women and their costume 
decides the portrayal of the character. Some dance 
traditions also use masks for portrayals like Chhau 
which we learnt about in Kriti, Grade 6.
We will learn about two more such performance 
traditions where men have traditionally been playing 
female characters. Though now both traditions are 
welcoming women into their traditional practises.
Bhagavata Mela Natakam from 
Melattur, Tamil Nadu
A dance-drama tradition of 
southern India. This form to 
originated in the village of 
Kuchipudi in Andhra Pradesh, 
the main protagonists were Tirtha 
Narayana Yati and Siddhendra 
Yogi. Some bhagavatars 
moved from Andhra after the 
decline of the Vijayanagara 
Empire to Melattur, Thanjavur 
patronised by the Nayaka kings and thus started the  
Melattur tradition. Famous Sanskrit scholars, Gopal 
Krishna Shastri and his son Venkatrama Shastri became 
disciples of saint Nar a yana Tirtha Y ati. Patrons, A ch yutappa 
Nayak and Sevappa Nayak gifted the village Mellatur to 
these Brahmans and it became a centre of fine arts. Early 
20th century CE, the most famous bhagavatar was Natesha 
Iyer, and after his death, the troupe was continued under 
G. Swaminathan. Other important persons were Balu 
Bhagavathar and T.V. Natesh Bhagavathar. E. Krishna 
Iyer was instrumental in reviving the tradition with the 
Madras Music Academy in 1950.
The main performance was Prahlada Charitam 
at the Varadaraja Perumal temple during Narasimha 
Jayanti in May or June. Conventionally male dancers 
play the role of women.
Page 4


12
DANCE, YOU  
AND CREATIVITY
Movements of Hips in Dance
After exploring the movement of upper torso, lower torso, arms and 
legs you will now see the movement of the hips and the kati — another 
body part mentioned in the Natyasastra.
Hip movements in Indian dance tradition play 
a vital role in expressing the rhythm and emotion 
of the song. While their specific use and style can 
vary across different classical and folk dance forms, 
they are characterised by grace, precision and fluidity.
Below are the hip movements intricately woven into 
Indian dance traditions. 
Twisting of the hip 
Garbha uses the movement of 
twisting in its style of turning.
Side to side 
In many folk dances of our country, 
you can observe side-to-side hip 
movements, for example, the 
Kalbelia.
Back and front 
A few Indian dance traditions feature 
back-and-forth hip movements. You 
can observe such movements in 
dances like the Bihu and Chhau.
134  | KRITI
ACTIVITY 12.1: DANCE WITH HIP MOVEMENTS
Now, observe such hip movements in different Indian 
dances and try to replicate them. Create your own dance 
with characters and animals, and add appropriate hip 
movements for it.  
Note to the Teacher: Coordinate an activity 
of watching some dance forms and divide 
the students into groups to try the various 
ways in which hip can move. Movements in  
QR code in the beginning of the chapter.
Circular 
How do you rotate a hula hoop? Have you 
observed hip rotation while using one? For 
instance, can a snake dance have circular hip 
movements? 
Sapera Dance of Rajasthan
 Hula Hoop
Students practicing dance using hip movements
135  |  DANCE, YOU AND CREATIVITY
N. Sreekanth 
Natarajan
Vedantam 
Satyanarayana Sarma
Traditions and Transformations  
Beyond Boundaries
In Kriti, Grade 6, we discussed 
many dance traditions and the 
role of male and female dancers. 
In solo traditions, the solo 
dancer plays different roles and 
switches from one character 
to another. There was a strong 
tradition of female dancers all 
over India, who enacted stories 
and poetries, taking on various 
roles. Simultaneously, there 
were male dancers who sometimes performed in the 
garb of a woman. One such personality is the famous 
Kuchipudi dancer, Vedantam Satyanarayana Sarma, 
who performed in female costume.
In traditional dance-drama traditions male dancers 
often take on the role of women and their costume 
decides the portrayal of the character. Some dance 
traditions also use masks for portrayals like Chhau 
which we learnt about in Kriti, Grade 6.
We will learn about two more such performance 
traditions where men have traditionally been playing 
female characters. Though now both traditions are 
welcoming women into their traditional practises.
Bhagavata Mela Natakam from 
Melattur, Tamil Nadu
A dance-drama tradition of 
southern India. This form to 
originated in the village of 
Kuchipudi in Andhra Pradesh, 
the main protagonists were Tirtha 
Narayana Yati and Siddhendra 
Yogi. Some bhagavatars 
moved from Andhra after the 
decline of the Vijayanagara 
Empire to Melattur, Thanjavur 
patronised by the Nayaka kings and thus started the  
Melattur tradition. Famous Sanskrit scholars, Gopal 
Krishna Shastri and his son Venkatrama Shastri became 
disciples of saint Nar a yana Tirtha Y ati. Patrons, A ch yutappa 
Nayak and Sevappa Nayak gifted the village Mellatur to 
these Brahmans and it became a centre of fine arts. Early 
20th century CE, the most famous bhagavatar was Natesha 
Iyer, and after his death, the troupe was continued under 
G. Swaminathan. Other important persons were Balu 
Bhagavathar and T.V. Natesh Bhagavathar. E. Krishna 
Iyer was instrumental in reviving the tradition with the 
Madras Music Academy in 1950.
The main performance was Prahlada Charitam 
at the Varadaraja Perumal temple during Narasimha 
Jayanti in May or June. Conventionally male dancers 
play the role of women.
136  | KRITI
Ankiya Bhaona from Assam
Ankiya Nat is a dance-drama tradition from Assam 
which developed in the 15th century CE. Following 
the tradition of singing and dancing of  V aishnavism, 
namghars and sattaras were established where the 
monks who were all males performed stories of 
the Bhagavata purana through music and dance. A 
certain kind of presentation of ankiya nat is called 
bhaona which combines live instruments, singers, 
dance and elaborate costumes in production. 
Masks are important props in this nat tradition. 
The bhaona begins with a Sanskrit benediction 
and the songs are in Brajaboli. The most important 
namghar is the Kamalabari Sattara in Majuli, 
Assam.
ACTIVITY 12.2
My character determines costume and  
my movement: Going beyond boundaries
Decide on a character, for example, a lady’s 
movement or mask which can include  
side-to-side hip movements or a peacock 
costume, or mask which can include front 
and back hip movements. Earlier, you learnt 
mask-making in theatre. Can you recall that for 
making masks?
Now, choose your hip movement and/or a 
mask to portray a character of your choice.
Sita mask in Ankiya Bhaona Purulia Chhau
Page 5


12
DANCE, YOU  
AND CREATIVITY
Movements of Hips in Dance
After exploring the movement of upper torso, lower torso, arms and 
legs you will now see the movement of the hips and the kati — another 
body part mentioned in the Natyasastra.
Hip movements in Indian dance tradition play 
a vital role in expressing the rhythm and emotion 
of the song. While their specific use and style can 
vary across different classical and folk dance forms, 
they are characterised by grace, precision and fluidity.
Below are the hip movements intricately woven into 
Indian dance traditions. 
Twisting of the hip 
Garbha uses the movement of 
twisting in its style of turning.
Side to side 
In many folk dances of our country, 
you can observe side-to-side hip 
movements, for example, the 
Kalbelia.
Back and front 
A few Indian dance traditions feature 
back-and-forth hip movements. You 
can observe such movements in 
dances like the Bihu and Chhau.
134  | KRITI
ACTIVITY 12.1: DANCE WITH HIP MOVEMENTS
Now, observe such hip movements in different Indian 
dances and try to replicate them. Create your own dance 
with characters and animals, and add appropriate hip 
movements for it.  
Note to the Teacher: Coordinate an activity 
of watching some dance forms and divide 
the students into groups to try the various 
ways in which hip can move. Movements in  
QR code in the beginning of the chapter.
Circular 
How do you rotate a hula hoop? Have you 
observed hip rotation while using one? For 
instance, can a snake dance have circular hip 
movements? 
Sapera Dance of Rajasthan
 Hula Hoop
Students practicing dance using hip movements
135  |  DANCE, YOU AND CREATIVITY
N. Sreekanth 
Natarajan
Vedantam 
Satyanarayana Sarma
Traditions and Transformations  
Beyond Boundaries
In Kriti, Grade 6, we discussed 
many dance traditions and the 
role of male and female dancers. 
In solo traditions, the solo 
dancer plays different roles and 
switches from one character 
to another. There was a strong 
tradition of female dancers all 
over India, who enacted stories 
and poetries, taking on various 
roles. Simultaneously, there 
were male dancers who sometimes performed in the 
garb of a woman. One such personality is the famous 
Kuchipudi dancer, Vedantam Satyanarayana Sarma, 
who performed in female costume.
In traditional dance-drama traditions male dancers 
often take on the role of women and their costume 
decides the portrayal of the character. Some dance 
traditions also use masks for portrayals like Chhau 
which we learnt about in Kriti, Grade 6.
We will learn about two more such performance 
traditions where men have traditionally been playing 
female characters. Though now both traditions are 
welcoming women into their traditional practises.
Bhagavata Mela Natakam from 
Melattur, Tamil Nadu
A dance-drama tradition of 
southern India. This form to 
originated in the village of 
Kuchipudi in Andhra Pradesh, 
the main protagonists were Tirtha 
Narayana Yati and Siddhendra 
Yogi. Some bhagavatars 
moved from Andhra after the 
decline of the Vijayanagara 
Empire to Melattur, Thanjavur 
patronised by the Nayaka kings and thus started the  
Melattur tradition. Famous Sanskrit scholars, Gopal 
Krishna Shastri and his son Venkatrama Shastri became 
disciples of saint Nar a yana Tirtha Y ati. Patrons, A ch yutappa 
Nayak and Sevappa Nayak gifted the village Mellatur to 
these Brahmans and it became a centre of fine arts. Early 
20th century CE, the most famous bhagavatar was Natesha 
Iyer, and after his death, the troupe was continued under 
G. Swaminathan. Other important persons were Balu 
Bhagavathar and T.V. Natesh Bhagavathar. E. Krishna 
Iyer was instrumental in reviving the tradition with the 
Madras Music Academy in 1950.
The main performance was Prahlada Charitam 
at the Varadaraja Perumal temple during Narasimha 
Jayanti in May or June. Conventionally male dancers 
play the role of women.
136  | KRITI
Ankiya Bhaona from Assam
Ankiya Nat is a dance-drama tradition from Assam 
which developed in the 15th century CE. Following 
the tradition of singing and dancing of  V aishnavism, 
namghars and sattaras were established where the 
monks who were all males performed stories of 
the Bhagavata purana through music and dance. A 
certain kind of presentation of ankiya nat is called 
bhaona which combines live instruments, singers, 
dance and elaborate costumes in production. 
Masks are important props in this nat tradition. 
The bhaona begins with a Sanskrit benediction 
and the songs are in Brajaboli. The most important 
namghar is the Kamalabari Sattara in Majuli, 
Assam.
ACTIVITY 12.2
My character determines costume and  
my movement: Going beyond boundaries
Decide on a character, for example, a lady’s 
movement or mask which can include  
side-to-side hip movements or a peacock 
costume, or mask which can include front 
and back hip movements. Earlier, you learnt 
mask-making in theatre. Can you recall that for 
making masks?
Now, choose your hip movement and/or a 
mask to portray a character of your choice.
Sita mask in Ankiya Bhaona Purulia Chhau
137  |  DANCE, YOU AND CREATIVITY
During cultural reconstruction with the nationalist 
movement, there was a regeneration of classical dances 
and emergence of contemporary movement vocabulary.
Rabindranath Tagore
Rabindranath Tagore established 
one of the first fine arts universities, 
the Vishwabharati University 
in Shantiniketan in 1921. It was 
instrumental in developing a new 
dance vocabulary, drawing from our 
traditional dances that came to be 
known as Rabindra Nritya. He pioneered 
professional dance for women. 
Now, try to dance two lines of a dance in 
Rabindra Nritya. 
Uday Shankar
Uday Shankar was perhaps 
the pioneer of modern 
Indian dance. He began 
his dance career in 1920, 
dancing with Anna Pavlova 
with no formal training. He 
creatively amalgamated 
various dance traditions of 
India from classical, folk, 
traditional, and tribal to present a completely 
new dance style which has come to be known 
as the Uday Shankar 
Style. His dance film 
Kalpana made in 
1948 has remained 
unparalleled to date.
Watch  some  clips 
of Uday Shankar and 
film Kalpana from 
your QR Code, and try 
to dance few phrases  
of that.
Dance Traditions in Transition and Transformation
Rabindra Nritya
Uday Shankar and Amala 
Shankar in a Performance