Classical Dances of India

Background :

• According to the story in Bharata’s Natya Shastra, Lord Brahma created a fifth Veda called Natya Veda at the request of the Gods, combining aspects of the four Vedas.
• • Pathya (words) from Rig Veda
  • Abhinaya (gestures) from Yajur Veda
  • Geet (music) from Sam Veda
  • Rasa (emotions) from Atharva Veda

• Natya is an amalgamation of dance, drama, and music.
• The divine importance of dance in Indian cultural tradition is highlighted by:
  • Shiva’s tandava dance, symbolizing the cycle of creation, preservation, and destruction.
  • The feminine response of Parvati.
• Indian mythology contains numerous examples of dance forms and expressions.
• Community dancing engravings at Bhimbetka and the Bronze dancing girl sculpture from the Harappan Civilization underscore the social significance of dance.
• The first formal mention of dance is found in Bharata’s Natyashastra, a comprehensive and vivid treatise on Indian classical dance.
• Natyashastra was likely compiled between 200 BC and 200 AD.
• The text details:
  • Techniques
  • Postures
  • Emotions
  • Ornaments
  • Stage
  • Audience
• Bharata Muni describes dance as the ‘complete art,’ encompassing all other art forms such as music, sculpture, poetry, and drama.

Aspects of Dance

• According to Natya Shastra, there are two basic aspects of Indian classical dance:
  • Lasya: Denotes grace, bhava, rasa, and abhinaya; symbolic of the feminine features of dance.
  • Tandava: Symbolic of the male aspects of dance, emphasizing rhythm and movement.
• As per Abhinaya Darpan (5th–4th century BC), Nandikeshwara’s famous treatise on dance, an act is broken into three basic elements:
  • Nritta: Refers to basic dance steps performed rhythmically but devoid of any expression or mood.
  • Natya: Means dramatic representations and refers to the story elaborated through the dance recital.
  • Nritya: Refers to the sentiment and emotions evoked through dance, including mime and different methods of expression like mudras.
• Nandikeshwara further elaborates the Nayaka-Nayika Bhav, where:
• The eternal deity is seen as the hero (Nayaka).
• The devotee performing the dance is the heroine (Nayika).
• There are nine rasas or emotions expressed through the dance : 

1. Shringara for love
2. Roudra for anger
3. Bibhatsa for disgust
4. Veera for heroism
5. Shaant for peace and tranquillity
6. Haasya for laughter and comedy
7. Karuna for tragedy
8. Bhayanak for horror
9. Adbhuta for wonder

These moods and expressions are emoted through the use of mudras – a combination of hand gestures and body postures. There are 108 fundamental mudras, a combination of which is used to depict a particular emotion.

Indian Classical Dance Forms 

• Distinct styles of dance have evolved in different regions of India, each with specific nuances.
• All these dance forms are governed by the basic rules and guidelines laid down in the Natya Shastra.
  • The principal rule is that true transfer of knowledge can only come through a guru.
• The guru imparts knowledge of different traditions (sampradayas) to the disciple.
• This ‘guru-shishya parampara’ forms the core of Indian classical art forms.
• According to Sangeet Natak Akademi, there are eight classical dance forms in India:

1. Bharatnatyam
2. Kuchipudi
3. Kathakali
4. Mohiniattam
5. Odissi
6. Manipuri
7. Kathak
8. Sattriya

Bharatnatyam

• Bharatnatyam is the oldest among all classical dance forms.
  • The name derives from Bharata Muni and ‘natyam’ which means dance in Tamil.
  • Other scholars ascribe the name ‘Bharata’ to ‘Bhava’, ‘Raga’, and ‘Taal’.
• The origins of Bharatnatyam can be traced back to ‘Sadir’, the solo dance performance of temple dancers (devadasis) in Tamil Nadu.
  • It was also referred to as ‘Dashiattam’.
• With the decline of the Devadasi system, the art nearly became extinct.
• Efforts by E. Krishna Iyer, a prominent freedom fighter, revived Bharatnatyam.
• Originally performed by solo female dancers, it has become increasingly popular among male and group artists as well.
• Rukmini Devi Arundale, another famous proponent, is remembered for giving global recognition to Bharatnatyam.

In the early 19th century, four dance teachers of Thanjavur defined the elements of a Bharatanatyam recital:

• • Alarippu: An invocatory piece with basic dance postures and rhythmic syllables, meant to seek the blessings of God.
  • Jatiswaram: The Nritta component, devoid of expressions, including different poses and movements.
  • Shabdam: The dramatic element with expressed words, including abhinaya in the song, generally praising the glory of God.
  • Varnam: The Nritya component, a combination of dance and emotions, the most important part of the performance, synchronized with tala and raag to express the story.
  • Padam: Mastery over the abhinaya (expression) of the spiritual message, with light music and emotional dance.
  • Jawali: Short love-lyrics performed at a faster tempo.
  • Thillana: The concluding stage, comprising pure dance (Nritta) with exuberant movement and intricate rhythmic variations.
• The four Thanjavur teachers, known as the ‘Tanjore quartet’, are Chinnaiah, Ponniah, Vadivelu, and Shivanandam.
  • Under them, Bharatnatyam also came to be known as Tanjore Natyam.
• Bharatnatyam is often referred to as the ‘fire dance’ due to its resemblance to a dancing flame.
• Equal emphasis is given to both Tandava and Lasya aspects of dance, with major emphasis on ‘mudras’.
• One of the principal mudras is ‘Katakamukha Hasta’, where three fingers are joined to symbolize ‘Om’.
• In a Bharatanatyam recital, the knees are mostly bent, and the weight is equally distributed across both feet.
• Characterized by the ‘Ekcharya lasyam’ style, in which one dancer plays many different roles.

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

Kuchipudi

• Originally performed by a group of actors called Kusselavas, who traveled from village to village.
• Kuchipudi derives its name from the village of Kusselavapuri or Kuchelapuram in Andhra Pradesh.
• In the 17th century, Siddhendra Yogi formalized and systematized the tradition:
  • He authored ‘Bhama Kalapam’ and many other plays.
• With the advent of Vaishnavism, Kuchipudi became a monopoly of male Brahmins and was performed at temples.
  • Stories of Bhagavat Purana became central themes of the recitals.
  • The dancers came to be known as Bhagavathalus.
• The dance form gained prominence under the patronage of the Vijayanagara and Golconda rulers.
• It remained confined to villages and obscure until the 20th century.
• Balasaraswati and Ragini Devi revived the dance form in the 20th century.
• Lakshminarayan Sastri introduced new practices such as solo recitals and female participation in the early 20th century.

Some of the features of Kuchipudi dance are:

• Kuchipudi involves difficult foot movements and is generally a team performance.
• Most Kuchipudi recitals are based on stories from the Bhagavata Purana but have a secular theme with a predominance of Shringara rasa.
• Each principal character introduces itself on stage with a “daaru,” a small composition of dance and song, choreographed for character revelation.
• The dance involves all three components of classical dances: Nritta, Natya, and Nritya.
  • It is similar to Bharatnatyam but has its own distinct features.

The performance includes:

• • Sollakath or Patakshara: The Nritta part, involving body movements.
  • Kavutvams: The Nritya part, involving extensive acrobatics, which may also be performed as Nritta.
• Kuchipudi dance style is a manifestation of the earthly elements in the human body.
• In a Kuchipudi recital, the dancer may also take on the role of a singer, making it a dance-drama performance.
• Both Lasya and Tandava elements are important in Kuchipudi.

Apart from group performances, there are popular solo elements in Kuchipudi:

1. Manduk Shabdam: Tells the story of a frog.
2. Tarangam: The dancer performs on the edges of a brass plate while balancing a pot of water on the head or a set of diyas.
3. Jala Chitra Nrityam: The dancer draws pictures on the floor with toes while dancing.

• A Kuchipudi recital is generally accompanied by Carnatic music, with Violin and Mridangam being the principal instruments.
• The recital is in the Telugu language.

Famous proponents include Radha Reddy and Raja Reddy, Yamini Krishnamurthy, and Indrani Rahman.

Kathakali

• In the temples of Kerala, two forms of dance-drama, Ramanattam and Krishnattam, evolved under the patronage of feudal lords, narrating episodes from the Ramayana and Mahabharata.
• These folk drama traditions later became the source of Kathakali.
  • The name Kathakali is derived from ‘Katha’ (story) and ‘Kali’ (drama).
• Kathakali is closely related to Koodiyattam (Sanskrit drama tradition) and ancient martial-arts performances.
• It is a wonderful combination of music, dance, and drama.
• With the breakdown of the feudal setup, Kathakali began declining as an art form.
• Kathakali was revived in the 1930s by the famous Malayali poet V. N. Menon under the patronage of Mukunda Raja.

Some of the features of Kathakali dance are:

• Kathakali is generally an all-male troupe performance.
• There is minimal use of props in the Kathakali recital.
• Very elaborate facial makeup and headgear are used for different characters.

Significance of Colors:

1. Green: Nobility, divinity, and virtue.
2. Red patches beside the nose: Royalty.
3. Black: Evil and wickedness.
4. Yellow: Saints and women.
5. Completely red-painted face: Evil.
6. White beard: Beings with higher consciousness and divinity.

Performance Elements:

• Involves both dance and drama, which cannot be clearly separated.
• Most recitals depict the eternal conflict between good and evil, drawing themes from epics and puranas.
• Known as the ‘ballad of the east’.

Language and Music:

• The language used for Kathakali songs is Manipravalam, a mixture of Malayalam and Sanskrit.
• Music is crucial for conveying the drama to viewers, with different compositions adding depth to the performance.

Gestures and Expressions:

• Gestures are central to the performance, with a focus on representing rasas through eye and eyebrow movements.
• Nine important facial expressions, called ‘Navarasas,’ are taught to convey different emotions.
• Extensive hand gestures are used, requiring strenuous training.

Performance Setting:

• Generally performed in open-air theatres covered with coarse mats or temple premises, with lush green trees of Kerala as a backdrop.
• A brass lamp is used for lighting.
• The arrival of dawn, accompanied by continuous drum sounds (chhenda and maddala), marks the beginning and end of a recital.

Symbolism:

• Kathakali symbolizes the element of sky or ether.

Famous Proponents:

• Guru Kunchu Kurup
• Gopi Nath
• Kottakal Sivaraman
• Rita Ganguly

Mohiniattam

Name and Origin:

• • Mohiniattam means ‘Dance of an Enchantress’ (‘Mohini’ meaning beautiful woman and ‘attam’ meaning dance).
  • It is essentially a solo dance performance by women.

Development and Prominence:

• • Further developed by Vadivelu in the 19th century.
  • Gained prominence under the rulers of Travancore in Kerala.
  • Notable patronage by Swathi Thirunal, the Travancore ruler in the 19th century.

Revival:

• Fell into obscurity before being revived by the famous Malayali poet V. N. Menon and Kalyani Amma.

Some of the features of Mohiniattam are:

• Dance Style:
  • Mohiniattam combines the grace and elegance of Bharatnatyam with the vigor of Kathakali.
  • Footwork is gentle, with a marked absence of thumping footsteps.
• Themes and Narrative:
  • Generally narrates stories related to the feminine dance of Vishnu.
• Nritta and Nritya:
  • Mohiniattam has its own Nritta (pure dance) and Nritya (expressive dance) aspects like other classical dances.
• Dominant Aspect:
  • The Lasya aspect (beauty and grace) is dominant in Mohiniyattam, making it mainly performed by female dancers.
• Accompaniments:
  • The dance is accompanied by music and songs.
• Costume and Attire:
  • Costume is of special importance, with white and off-white being principal colors and gold-colored brocade designs.
  • There is no elaborate facial makeup; instead, the dancer wears a leather strap with bells (Ghungroo) on her ankles.
• Symbolism:
  • Mohiniattam symbolizes the element of air in its performance.

• Basic Movements:
  • ‘Atavakul or Atavus’ comprises the collection of 40 basic dance movements.
• Musical Instruments:
  • Instruments used include cymbals, veena, drums, flute, etc.

Famous Proponents:

• Sunanda Nair
• Kalamandalam Kshemavathy
• Madhuri Amma
• Jayaprabha Menon

Odissi

• Origin and Early Examples:
  • Odissi dance finds some of its earliest examples in the caves of Udayagiri-Khandagiri.
  • The dance form derives its name from ‘Odra nritya’ mentioned in the Natya Shastra.
• Early Practitioners and Patronage:
  • Initially practiced by the ‘maharis’ (temple dancers) and patronized by Jain King Kheravela.
• Changes with Vaishnavism:
  • With the advent of Vaishnavism, the Mahari system became defunct.
  • Young boys were then recruited and dressed as females to continue the art form, known as ‘Gotipuas’.
• Royal Court Practice:
  • Another variant, ‘Nartala’, continued to be practiced at royal courts during this period.
• In the mid-20th century, Odissi gained international acclaim due to the efforts of Charles Fabri and Indrani Rahman.

Some of the features of Odissi are:

• Similarities with Bharatnatyam:
  • Uses Mudras (hand gestures) and postures to express emotions.
• Distinctive Postures:
  • Tribhanga: The three-bended form of the body is innate to Odissi.
  • Chowk: Posture with hands spread out, depicting masculinity.
• Movement and Expression:
  • Lower body remains largely static; movement is focused on the torso.
  • Hand gestures play a crucial role in conveying expressions during Nritya (expressive dance) part.
• Artistic Representation:
  • Odissi is known for its gracefulness, sensuality, and beauty.
  • Dancers create intricate geometrical shapes and patterns with the body, earning it the name ‘mobile sculpture’.
• Elements of Odissi:
  • Mangalacharan: Beginning with an offering of a flower to mother earth.
  • Batu nritya: Includes Tribhanga and Chowk postures.
  • Pallavi: Involves facial expressions and representation of the song.
  • Tharijham: Pure dance segment before the conclusion.
  • Conclusion: Includes joyous movements in Moksha and Trikhanda majura, where the performer takes leave.

Accompaniments:

• Odissi is accompanied by Hindustani classical music.
• Instruments include Manjira (Cymbals), Pakhawaj (Drums), Sitar, Flute, etc.

Symbolism:

• Symbolizes the element of water in its performance.

Attire:

• Woman dancers wear an elaborate hairstyle, silver jewelry, long necklace, etc.

Famous proponents: Guru Pankaj Charan Das, Guru Kelu Charan Mohapatra, Sonal Mansingh, Sharon Lowen (USA), Anandini Dasi (Argentina).

Manipuri

• Mythological Origin:
  • Manipuri dance finds its mythological origin in the celestial dance of Shiva and Parvati in the valleys of Manipur, accompanied by local ‘Gandharvas’.
• Prominence with Vaishnavism:
  • Gained prominence with the advent of Vaishnavism in the 15th century.
  • Krishna became the central theme of this dance form.It is performed generally by females
• Revival Efforts:
  • Raja Bhag Chandra of Manipur in the 18th century attempted to revive Manipuri dance.
  • Rabindranath Tagore brought the dance form back into the limelight when he introduced it in Shantiniketan, West Bengal.

Some of the features of Manipuri dance are as follows:

• Emphasis on Devotion:
  • Manipuri dance emphasizes devotion rather than sensuality.
• Costume and Veiling:
  • Dancers wear unique long skirts.
  • Faces are covered with a thin veil; facial expression is less emphasized.
• Dance Style:
  • Incorporates both Tandava (vigorous) and Lasya (graceful), with emphasis on Lasya.
• Movement and Postures:
  • Gentle movements of hands and feet are important.
  • Focus on slow and gracious movements, knee positions are significant.
• Mudra:
  • Nagabandha Mudra: Important posture where the body is connected through curves resembling the shape of ‘8’.
• Themes:
  • Ras Leela: Recurring theme depicting the love story of Radha and Krishna.
• Musical Instruments:
  • Pung: Drum, intricately used in the recital.
  • Also accompanied by flute, Khartals (wood clappers), dhols, etc.
  • Compositions of Jayadeva and Chandidas are extensively used.
• Influences:
  • Thang-Ta and Sankirtana: Other Manipuri art forms that influence Manipuri dance.

Famous proponents: Jhaveri sisters- Nayana, Suverna, Ranjana and Darshana, Guru Bipin Singha, N Madhabi Devi, etc

Kathak

• Origin and Name:
  • Kathak traces its origins from the Ras Leela of Brajbhoomi, a region associated with Lord Krishna’s legends.
  • The name ‘Kathak‘ is derived from ‘Kathika‘, the story-tellers who recited verses from epics accompanied by gestures and music.
  • Kathak is the traditional dance form of Uttar Pradesh.
  • The classical style of Kathak was revived by Lady Leela Sokhey in the 20th century.

Some of the features of Kathak are:

• Development of Gharanas:
  • Lucknow Gharana: Reached its peak under Nawab Wajid Ali Shah, focusing on expression and grace.
  • Jaipur Gharana: Initiated by Bhanuji, emphasizes fluency, speed, and long rhythmic patterns.
  • Raigarh Gharana: Developed under Raja Chakradhar Singh, unique for its emphasis on percussion music.
  • Banaras Gharana: Developed under Janakiprasad, emphasizes floor work and symmetry.
• Characteristics of Kathak:
  • Characterized by intricate footwork and pirouettes.
• Elements of a Kathak Recital:
  • Ananda: Introductory item for the dancer’s entry.
  • Thaat: Soft and varied movements.

• • Todas and Tukdas: Small pieces of fast rhythm.
  • Jugalbandi: Competitive play between dancer and tabla player.
  • Padhant: Recitation of complicated bols (rhythmic syllables).
  • Tarana: Similar to thillana, pure rhythmic movements before the end.
  • Kramalaya: Concluding piece with intricate and fast footwork.
  • Gat bhaav: Dance without music or chanting, outlining mythological episodes.
• Musical Accompaniment:
  • Kathak is generally accompanied by dhrupad music.
  • Taranas, thumris, and ghazals were introduced during the Mughal period.

Famous Proponents:

• Birju Maharaj, Lacchu Maharaj, Sitara Devi, Damayanti Joshi, etc.

Sattriya

• Introduction by Sankaradeva:
  • Sattriya dance was introduced in its modern form by the Vaishnava Saint Sankaradeva in the 15th century AD in Assam.
• Derivation of Name:
  • The dance form derives its name from the Vaishnava monasteries known as ‘Sattras’, where it was primarily practiced.
• Ancient Roots:
  • Finds mention in the ancient text ‘Natya Shastra’ of sage Bharat Muni.
• Inspiration from Bhakti Movement:
  • Inspired by the Bhakti Movement, emphasizing devotion and spiritual themes.

Some of the features of Sattriya dance include:

• Amalgamation of Dance Forms:
  • Sattriya dance originated as an amalgamation of various dance forms prevalent in Assam, including Ojapali and Devdasi traditions.
• Devotional Focus:
  • Sattriya recitals focus on expressing devotion and narrating mythological stories of Vishnu.
• Inclusion of Dance Elements:
  • Includes Nritta (pure dance), Nritya (expressive dance), and Natya (dramatic aspects).
• Performance by Male Monks:
  • Generally performed in groups by male monks known as ‘Bhokots’ as part of daily rituals or festivals.
• Accompanying Instruments:
  • Major accompanying instruments include Khol (drum), Cymbals (Manjira), and Flute. Songs are composed as ‘Borgeets’ by Shankaradeva.
• Emphasis on Rhythm and Postures:
  • Great emphasis on rhythmic syllables, dance postures, and footwork, combining both Lasya (graceful) and Tandava (vigorous) elements.
• Rules of Hand Gestures and Footwork:
  • Strictly laid down rules govern hand gestures and footwork, playing a crucial role in Sattriya dance tradition.
• Costumes:
  • Male dancers wear Dhoti and ‘Paguri’ (turban), while females wear traditional Assamese jewellery, ‘Ghuri’, ‘Chador’ made of Pat silk, and waist cloth.

• Evolution into Modern Streams:
  • In modern times, Sattriya dance has evolved into two streams: Gayan-Bhayanar Nach and Kharmanar Nach.
• Ankia Naat and Bhaona:
  • Ankia Naat, a type of Sattriya, involves musical drama originally written in Assamese-Maithili mix language called Brajavali. Bhaona is another similar form based on stories of Lord Krishna.

Please Note: Till now, Sangeet Natak Akademi has recognised eight classical dance forms whereas the Ministry of Culture has recognised nine classical dance forms including Chhau.