Indian dancing

THE LANGUAGE OF GESTURES

paintings. The artist must be creative and use considerable imagination, but his creation must be based, however broadly, on the recognized styles; otherwise the note of authenticity would be lost and perhaps the mood of the dancer broken.

The décor must be effective, but not so spectacular and obtrusive that it overshadows the dancer. In the Ballets Russes of Diaghilev, as we shall later note, the sets of Bakst and Roerich often dwarfed the choreography, making it a handmaiden of the art of painting. The purpose of the background is to indicate the time and scene of the action, serving as an introduction to a spectacle rather than being itself the main spectacle.

Apart from painted backgrounds, props are often used in Indian dancing, as for instance the replica of a shrine for a Bharata Natyam number, or of the interior of Moghul courts for Kathak dances. Absolute simplicity of décor, however, can be very effective. A dark backdrop serves to bring into strong relief the figure and costume of the dancer. A row of musical instruments at the back is often employed, but it serves to break the simple line and should therefore be avoided.

In #riya musicians are a patt of both the audible and visual effects. As they have to be seen, it is best to arrange them on one side, neat the wings. Splitting up their numbers is not usually a good idea but, if it can be done without destroying harmony, they may be placed in two groups in the rear corners of the stage.

LIGHTING: Lighting did not play an important part in Indian dancing until recently. In ancient times the flare from torches sufficed, serving to heighten the weitd effect of the costumes and the elaborate make-up. Often a pradipa, ot lamp, was used to illuminate an improvized stage. The lamp consisted of a thick cotton thread or many strands of threads interwoven and dipped into a vessel filled with mustard oil. The lamp was then placed ona pilsuj, ot high stand. Candles, limelight, and gas succeeded the mustardoil lamp.

Modern stagecraft, of course, demands far better lighting. Our dancers, having appeared on the stages of the world, have learnt to