The Golden Glory -- a film on Gaudiya Nritya скачать в хорошем качестве

The Golden Glory -- a film on Gaudiya Nritya

Curt Sachs in his observation on the scrip tic insights of classical dance states that “dance is the mother of arts. Music and poetry exists in time: Painting and architecture in space. But the dance lives at once in time and space”. Various dancers and scholars have acted as the eminent forbearers of the legacy of Gaudiya Nritya vitalizing time and space as the essential elements in the arts formation. Bengal forms an intrinsic part of India, the hub of diverse cultural and art forms and yet, it has been successful in conforming to its regional stylistic exclusiveness while going hand in hand with the epitomous whole. Bengal presents itself to its spectators with a soaring range of beauteous diversity oozing through its veins. All types of art , music, instrument that has its roots seated into the soil of this wonderous land possesses an air of profundity sobriety along with a soothing touch of grace and charm thus making the circular movements of Gaudiya Nritya simultaneously upright, spirited as well as exuding the sweet feminine charm that feels our heart with ecstasy. The articulate dance forms described in the medieval Bengali literature follows the scriptural traditions of the bygone era. Following the Turkish invasions the subtle art of dance was used to cater to the obnoxious tastes of the post war victors by making it lustful and amorous. Later Shree Chaitanya unshackled this art from the clutches of the depraved lowly practices and accorded to it its rightful position throughout the country. We get a vivid description of the various dance costumes and ornaments as used by the dancers like anklets, flowery hairdos, touch of vermilion on the forehead, silk sarees, gold jewelleries etc. We acquire a particularly beautiful description of Behula’s dressing ritual from Narayanadeva’s Manasamangal kabya. The arduous conjoining of the three virtues formed the base of gaudiya nritya distinctly dividing it into two forms, the masculine form of Tandav and the feminine form. The dance forms blended with a touch of theatrical essence is the style of performing the dance dramas. Through various limb movements, gestures and facial expressions the dramatic angle is achieved. Gaudiya nritya could be seen as a legacy being carried forward through time immemorial as a cultural heritage of the state of Bengal. There are numerous practitioners and examiners who have worked hard to reinstate the dance form to its former glory and have doggedly tried to elevate the old ethnic dance style and all that can be said is the present generation is driven towards uplifting this aesthetic dance style and showcase it on the world stage in its rightful position.