Manipuri dancers

The performance of this dance is technically very different from other Indian dances, and its movements are more lyrical and noisy. The dancer has smooth and continuous movements, the parts of his face are fixed and have no descriptive or symbolic state, and the dancer dances only with a smile on his face. The Manipuri dancer does not use bell-bands, and unlike other dances such as katak, in which the dancer’s footsteps are directly involved in performing the rhythms played, here the dancer – especially the dancing women – does not perform any auxiliary movements. کردن. As mentioned in the first article in this series, each of the classical dances is attributed to one of the pillars of existence and due to the elegance, calmness, beauty and slipperiness of Manipuri dance, it is associated with the element of water. they know.

Manipuri women dancers move smoothly and at the height of their subtlety, leaving the male dancers with movements that require vivacity or a bit of masculinity. Manipuri’s theatrical aspect is very important, and “the different parts have different names: the parts where only the male dancer or dancers are present on the stage are Tandava, and the parts that are only female or male and female are present. It is performed at the same time is called Lasya ”(Reginald: 124).

Manipuri music is based on Indian music, and is usually performed by dancers with a two-way dahl player called a pong, finger or larger cymbals, pena, string, and Manipuri meridians. Mridang) runs. In some scenes, the pong player, wearing only a pair of trousers, hangs his instrument around his neck and moves with the dancer. The important point in combining dance and rhythm is that the musician performs certain manipulative rhythms at a much faster rate than the dancer. This contradiction, which is very important semiotically, represents many themes. Some dancers consider this contradiction in speed to reflect the feminine and masculine nature of life, a sign of feminine beauty and masculine impatience. The dancers of the various parts of Manipuri dance are mostly women, and this, in contrast to male musicians and dancers, recreates another symbolic aspect of the quiet presence of women and dance, and the energetic presence of men in life.

One thought on “Manipuri dancers

  1. ماني پوري

    در يكي از دور ترين نقاط شمالي هند دره زيبا و تك افتاده وجود دارد كه به وسيله كوهها محصور شده است و در اين انزواي تقريبا كامل يكي از غني ترين رقصهاي سنتي هند بنام ماني پوري بدين آمده است . ماني پوري هنوز در معابد در مراسمهاي مذهبي اجرا مي شود و به طور تفكيك ناپذيري با زندگي مردم ماني پور آميخته شده است و فرمهاي آن بصورت سنتي باقي مانده اند .اين رقص اصيل گوشه اي از تمدن كمياب و قديمي ماني پور است كه كماكان موجود مي باشد . ماني پوري چند لايه دارد .دامنه آن از حركات ظريف و نرم زنانه تا حركات عضلاني و خشن مردانه گسترده است شكوه آن در هر چهره اش از نظر تكنيكي و ريتمي وضرباهنگ، تماشاي رسيتالهايش را به عنوان يك تجربه وجد آور و جذاب درآورده است .ماني پوري يك اسم عام است و شامل تمام رقصهاي اين سرزمين مي شود .در افسانه ها درد شيوا و همسرش پارواتي براي نور آسماني كه از خواهري بنام ماني در سر ماري به اسم آتيشيشا بوجود مي آمده در اين دره رقصيدند اين و علت نامگذاري اين رقص بنام ماني پوري بوده است


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