Indian Dance Forms: Classical and Folk

The theoretical foundation of Indian dance is the Natya Shastra by Bharata Muni (compiled between 200 BCE and 2nd century AD), which describes dance as the 'complete art' encompassing music, sculpture, poetry, and drama. According to this text, Lord Brahma created a fifth Veda — the Natya Veda — by combining elements from all four Vedas:

• Pathya (words) → Rig Veda
• Abhinaya (gestures) → Yajur Veda
• Geet (music) → Sam Veda
• Rasa (emotions) → Atharva Veda

Earlier evidence of dance includes engravings at Bhimbetka and the Bronze Dancing Girl of the Harappan civilisation.

Abhinaya Darpan by Nandikeshwara is another key treatise that breaks an act into three elements.

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Two Aspects of Dance (Natya Shastra)

Three Elements of Dance (Abhinaya Darpan)

• Nritta: Pure rhythmic dance steps — devoid of expression or mood
• Nritya: Sentiments and emotions expressed through dance, including mudras
• Natya: Dramatic representation — the story elaborated through dance

Nine Rasas (Navarasas)

Shringaara (love), Roudra (anger), Bibhatsa (disgust), Veera (heroism), Shaant (peace), Haasya (laughter/comedy), Karuna (tragedy), Bhayanak (horror), Adbhuta (wonder)

Mudras

Combination of hand gestures and body postures. There are 108 fundamental mudras. Expressions of the nine rasas are conveyed through mudras.

Guru-Shisya Parampara

Knowledge of dance traditions (sampradayas) is passed from guru to disciple. This forms the core of Indian classical art.

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Sangeet Natak Akademi recognises 8 classical dance forms. The Ministry of Culture recognises 9, including Chhau.

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1. Bharatnatyam

Region: Tamil Nadu | Element: Fire

• Oldest classical dance form; name derived from Bharata Muni + natyam (Tamil: dance); or from Bhava + Raga + Taal
• Origin: Sadir — solo performance of temple dancers (devadasis); also called Dashiattam
• Revival: E. Krishna Iyer (freedom fighter); global recognition: Rukmini Devi Arundale
• Described as the 'fire dance' — movements resemble a dancing flame
• Equal emphasis on both Tandava and Lasya; major emphasis on mudras
• Key mudra: Kataka Mukha Hasta (three fingers joined to symbolise 'Om')
• Posture: Knees mostly bent, weight equally distributed; Ekcharya lasyam style (one dancer plays many roles)
• The Tanjore Quartet (four Thanjavur teachers) defined Bharatnatyam elements: Chiniah, Ponniah, Vadivelu, Shivanandam

Elements of a Bharatnatyam Recital (in sequence):

Famous Proponents: Yamini Krishnamurthy, Lakshmi Viswanathan, Padma Subramaniam, Mrinalini Sarabhai, Mallika Sarabhai

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2. Kuchipudi

Region: Andhra Pradesh | Element: Earth

• Name from Andhra village Kusselavapuri/Kuchelapuram; originally performed by Kusselavas (groups of actors village-to-village)
• 17th century: Systematised by Siddhendra Yogi, who authored 'Bhama Kalapam'
• With Vaishnavism: became monopoly of male Brahmins; dancers known as Bhagavathalus; themes from Bhagavat Purana
• Patronage: Vijayanagar and Golconda rulers
• Revival: Balasaraswati and Ragini Devi; Lakshminarayan Shastry introduced solo recitals and female participation
• Dance involves all three components: Nritta, Nritya, Natya
• Each character introduces itself through 'daaru' — a small composition of dance and song
• Predominance of Shringaara ras; secular theme despite Bhagavat Purana stories
• The dancer may also sing during the performance (dance-drama)
• Accompanied by Carnatic music; Violin and Mridangam are principal instruments; language: Telugu

Structural Elements:

• Sollakath/Patakshara: Nritta part (body movement)
• Kavutvams: Nritya part with acrobatics

Famous Solo Elements:

• Manduk Shabdam: Story of a frog
• Tarangam: Dancer's feet on edges of a brass plate, balancing a pot of water/diyas on head
• Jala Chitra Nrityam: Dancer draws pictures with toes while dancing

Famous Proponents: Radha Reddy & Raja Reddy, Yamini Krishnamurthy, Indrani Rehman

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3. Kathakali

Region: Kerala | Element: Sky/Ether

• Name: Katha (story) + Kali (drama/performance)
• Precursors: Ramanattam and Krishnattam (temple dance-dramas of Kerala, patronised by feudal lords)
• Related to Koodiyattam (Sanskrit drama tradition) and martial arts traditions
• Revival in 1930s by Malayali poet V. N. Menon under patronage of Mukunda Raja
• Essentially all-male troupe performance
• Themes: eternal conflict between good and evil; epics and Puranas; called 'ballad of the east'
• Language of songs: Manipravalam (mix of Malayalam + Sanskrit)
• Performed in open-air theatres; backdrop: lush green trees of Kerala; lighting via brass lamp
• Beginning/end marked by drums, chhenda and maddala at dawn
• Symbolises element of sky/ether

Kathakali Costume Colour Code (Critical for MCQs):

• Emotion conveyed through movements of eye and eyebrows (Navarasas)
• Minimal props; very elaborate facial make-up and headgear

Famous Proponents: Guru Kunchu Kurup, Gopi Nath, Kottakal Sivaraman, Rita Ganguly

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4. Mohiniattam

Region: Kerala | Element: Air

• Name: Mohini (beautiful woman/enchantress) + attam (dance) → 'Dance of an Enchantress'
• Essentially a solo dance by women; developed by Vadivelu in 19th century
• Patronage: Swathi Thirunal (Travancore ruler, 19th century)
• Revival: V. N. Menon and Kalyani Amma
• Narrates story of the feminine dance of Vishnu
• Combines grace/elegance of Bharatnatyam with vigour of Kathakali
• Lasya aspect is dominant; footwork is gentle (no thumping)
• Costume: white and off-white with gold brocade; no elaborate make-up; Ghungroo on ankles
• 'Atavakul or Atavus': collection of 40 basic dance movements
• Instruments: cymbals, veena, drums, flute

Famous Proponents: Sunanda Nair, Kalamandalam Kshemavathy, Madhuri Amma, Jayaprabha Menon

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5. Odissi

Region: Odisha | Element: Water

• Earliest examples: Udayagiri-Khandagiri caves; derives from 'Odra nritya' mentioned in Natya Shastra
• Originally practised by maharis; patronised by Jain king Kheravela
• With Vaishnavism: Mahari system became defunct; young boys dressed as females — called 'Gotipuas'; royal court variant: 'Nartala'
• International acclaim in mid-20th century: Charles Fabri and Indrani Rehman
• Known as 'mobile sculpture' — dancers create intricate geometrical shapes with the body
• Key postures: Tribhanga (three-bended body form) and Chowk (hands spread out — depicts masculinity)
• Lower body largely static; torso moves; hand gestures convey Nritya expressions
• Accompanied by Hindustani classical music; instruments: Manjira (cymbals), Pakhawaj (drums), Sitar, Flute
• Lyrics from Gita Govinda (by Jayadeva) are used
• Dancer wears elaborate hair-style, silver jewellery, long necklace

Elements of an Odissi Recital:

Famous Proponents: Guru Pankaj Charan Das, Guru Kelu Charan Mohapatra, Sonal Mansingh, Sharon Lowen (USA), Myrla Barvie (Argentina)

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6. Manipuri

Region: Manipur

• Mythological origin: celestial dance of Shiva and Parvati in Manipur valleys with Gandharvas
• Originated from festival of Lai Haraoba; gained prominence with Vaishnavism in 15th century; Krishna became the central theme
• Generally performed by females
• Revival: Raja Bhag Chandra (18th century); Rabindranath Tagore introduced it at Santiniketan
• Unique emphasis on devotion, not sensuality
• Faces covered with thin veil; facial expression is of lesser importance
• Both Tandava and Lasya, but Lasya is dominant
• Key posture: Naga Bandha mudra — body connected through curves in shape of '8'
• Ras Leela (Radha-Krishna) is a recurring theme
• Instruments: Pung (drum), Flute, Khartals (wood clapper), Dhols
• Compositions of Jayadeva and Chandidas used extensively
• Related traditions: Thang-Ta and Sankirtana

Famous Proponents: Jhaveri Sisters (Nayana, Suverna, Ranjana, Darshana), Guru Bipin Singha

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7. Kathak

Region: Uttar Pradesh

• Name from 'Kathika' — story-tellers who recited epic verses with gestures and music
• Origin: Ras Leela of Brajbhoomi
• During Mughal era: degenerated into court dance; influenced by Persian costumes and styles
• Revival: Lady Leela Sokhey (20th century)
• Based on Hindustani style of music; characterised by intricate footwork and pirouettes

Kathak Gharanas:

Elements of a Kathak Recital:

• Ananda: Introductory item

• Thaat: Soft and varied movements

• Todas and Tukdas: Small pieces of fast rhythm

• Jugalbandi: Competitive play between dancer and tabla player (main attraction)

• Padhant: Dancer recites complicated bols and demonstrates them

• Tarana: Pure rhythmic movements (similar to Thillana)

• Kramalaya: Concluding piece with fast footwork

• Gat Bhaav: Dance without any music or chanting; outlines mythological episodes

• Generally accompanied with dhrupad music; Taranas, thumris and ghazals introduced during Mughal period

Famous Proponents: Birju Maharaj, Lacchu Maharaj, Sitara Devi, Damayanti Joshi

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8. Sattriya

Region: Assam

• Introduced in modern form by Vaishnava saint Shankaradeva in 15th century AD in Assam
• Name from Vaishnava monasteries called 'Sattras'; inspired by the Bhakti Movement
• Amalgamation of dance forms prevalent in Assam: mainly Ojapali and Devdasi
• Focuses on devotional aspect; narrates mythological stories of Vishnu
• Includes Nritta, Nritya, and Natya
• Generally performed in group by male monks ('Bhokots') as part of daily rituals
• Instruments: Khol (drum), Cymbals (Manjira), Flute; songs composed by Shankaradeva called 'Borgeets'
• Combines both Lasya and Tandava elements; great emphasis on rhythmic syllables, footwork, hand gestures
• Costumes: Male — Dhoti, Paguri (turban); Female — Assamese jewellery, Ghuri and Chador (Pat silk)
• Two modern streams: Gayan-Bhayanar Nach and Kharmanar Nach
• Ankia Naat (a type of Sattriya): musical-drama; also called 'Bhaona'; written in Brajavali (Assamese-Maithili mix); stories of Lord Krishna

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• Spiritual continuity: Dance as devotion (bhakti) — from Devadasi system to Vaishnava traditions, dance has always served as a medium of worship and spiritual expression.
• Natya Shastra linkage: All 8 classical forms are ultimately governed by Natya Shastra, demonstrating the extraordinary durability of ancient Indian aesthetic theory across millennia and geographies.
• UNESCO recognition: Chhau (2010) and Kalbelia (2010) are on UNESCO's Representative List of Intangible Cultural Heritage of Humanity — linking regional folk traditions to global heritage preservation.
• Religion-Philosophy-Art linkage: The Nayaka-Nayika Bhav (devotee as Nayika, deity as Nayaka) integrates Bhakti philosophy directly into the dance vocabulary.
• Social reform and revival: Dance forms like Bharatnatyam and Kuchipudi were revived from near-extinction through efforts of social reformers — highlighting the role of individual agency in cultural preservation.
• Regional kingdoms as patrons: Vijayanagar (Kuchipudi), Travancore (Mohiniattam), Mughal court (Kathak) — dance history mirrors political history.
• Gender dynamics: Kathakali (all-male), Mohiniattam (female solo), Biraha (males playing female roles) — dance forms document gender dynamics across history.

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1. Mohiniattam is from Kerala, NOT Odisha — a frequently asked and mismatched pair.
2. Tarangam (feet on brass plate) is a feature of Kuchipudi, NOT Bharatnatyam (UPSC 2012 directly tested this).
3. Sattriya's devotional songs (Borgeets) were composed by Shankaradeva, NOT Tulsidas, Kabir, or Mirabai (UPSC 2014 statement-based trap).
4. Chhau is a folk dance recognised by the Ministry of Culture as classical (9th), but Sangeet Natak Akademi recognises only 8 classical forms — do NOT include Chhau in the list of 8.
5. Manipravalam (Kathakali song language) = Malayalam + Sanskrit; NOT Malayalam alone.
6. Odissi is accompanied by Hindustani classical music, NOT Carnatic (unlike Bharatnatyam and Kuchipudi).
7. Kathakali colours: Green = noble/divine; Red face completely = evil; Yellow = saints and women. Do NOT confuse red patches (royalty) with completely red face (evil).
8. Jugalbandi belongs to Kathak, NOT to Kuchipudi or any South Indian form.
9. 'Gotipuas' = young boys dressed as females to perform Odissi after Mahari system declined — NOT the same as Bhagavathalus (Kuchipudi performers).
10. Kalbelia is a Rajasthan folk dance of the Kalbelia community; Ghoomar is of the Bhil tribe — do NOT interchange communities.
11. Mayurbhanj Chhau dancers do NOT wear masks; the other two (Saraikella, Purulia) do.
12. Ras Leela is a recurring theme in — but Kathak's Ras Leela is from Brajbhoomi (UP), while Manipuri's is from Manipur's Vaishnava tradition.

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• Natya Shastra: 200 BCE–2nd century AD | 9 Rasas | 108 Mudras
• Sangeet Natak Akademi: 8 classical forms | Ministry of Culture: 9 (includes Chhau)
• Oldest classical form: Bharatnatyam | Originally called Sadir / Dashiattam
• Fire dance = Bharatnatyam | Mobile Sculpture = Odissi | Ballad of the East = Kathakali
• Tanjore Quartet: Chiniah, Ponniah, Vadivelu, Shivanandam
• Varnam = most important part of Bharatnatyam recital
• Daaru = character introduction in Kuchipudi
• Tribhanga = three-bended posture unique to Odissi
• Pung = drum of Manipuri dance
• Borgeets = Sattriya songs (composed by Shankaradeva)
• UNESCO ICH 2010: Chhau + Kalbelia
• Gita Govinda (Jayadeva) = used in Odissi
• Bhama Kalapam = authored by Siddhendra Yogi (Kuchipudi)