Classical Dance forms in India – UPSC Notes – Art & Culture

Classical Dance in India is substantiated by a rich tapestry of excavations, inscriptions, chronicles, genealogies of kings and artists, as well as literary sources, sculptures, and paintings spanning various epochs. The evolution of contemporary classical dance forms can be traced back to the 12th to 19th centuries when musical plays or sangeet-nataka were prevalent.

Indian classical dances revolve around two fundamental elements: Tandava, encompassing movement and rhythm, and Lasya, embodying grace, bhava (emotion), and rasa (aesthetic essence). These dances consist of three essential components:

1. Natya, representing the dramatic aspect of the dance, involving the imitation of characters.
2. Nritta, featuring the basic form of dance movements.
3. Nritya, the expressional component, characterized by mudras or gestures.

The intricate dance forms are further enriched by the incorporation of nine rasas: Love, Heroism, Pathos, Humour, Anger, Fear, Disgust, Wonder, and Peace. Bharat Muni’s Natya Shastra stands as a preeminent source, guiding Indian aestheticians in establishing the defining characteristics of these dances.

Classical Dances of India

Bharatnatyam (Tamil Nadu)

• The Abhinaya Darpana by Nandikesvara serves as a primary textual source for studying the technique and grammar of body movement in Bharatnatyam Dance.
• This traditional dance form is recognized for being ekaharya, where a single dancer seamlessly embodies multiple roles within a single performance.
• The dance itself involves fluid transitional movements of the leg, hip, and arm, employing expressive eye movements and hand gestures to convey a spectrum of emotions.
• An accompanying orchestra enriches the performance, featuring a vocalist, a mridangam player, a violinist or veena player, a flautist, and a cymbal player.
• The individual responsible for guiding the dance recitation is known as the Nattuvanar.
• In its customary structure, the dance is typically divided into seven main segments – Alarippu, Jatiswaran, Shabda, Varna, Pada, Thillana, and Sloka.

The iconic Bharatnatyam poses find representation on the gopurams of the Chidambaram temple (Tamil Nadu). The notable contributions of E. Krishna Iyer and Rukmini Devi Arundale have played a pivotal role in the resurgence of this dance form, restoring its lost popularity and securing its significant position in the cultural landscape.

Kathak (North India)

• The term Kathak finds its roots in the word Katha, signifying a story.
• Initially, a temple or village performance, Kathak involved dancers narrating tales from ancient scriptures.
• The dance form started taking shape as a distinct mode in the fifteenth and sixteenth centuries, notably influenced by the bhakti movement.
• In its early stages, Kathak depicted the legends of Radha-Krishna in folk plays known as rasa lila, blending folk dance with the fundamental gestures of Kathak storytellers.
• During the Mughal era, particularly under the emperors and their nobles, Kathak transitioned to court performances, where it acquired its present features and developed a distinctive style.
• The patronage of Wajid Ali Shah, the last Nawab of Awadh, played a crucial role in elevating Kathak to a major art form.
• Typically presented as a solo performance, Kathak dancers often intersperse their movements with recitations of verses, seamlessly executing them through choreography.
• The dance form places a strong emphasis on intricate footwork, with dancers skillfully controlling movements performed with straight legs, complemented by the melodic sounds of ankle bells.
• Notably, Kathak stands as the only form of classical dance intricately connected to Hindustani or North Indian music.
• The revival of the classical style is attributed to Lady Leela Sokhey (Menaka), and prominent Kathak dancers include the legendary Birju Maharaj and Sitara Devi.

Kathakali (Kerala)

• Chakiarkoothu, Koodiyattam, Krishnattam, and Ramanattam stand as ritual performing arts in Kerala, exerting a direct influence on the form and technique of Kathakali.
• This art form seamlessly blends dance, music, and acting to dramatize stories, primarily adapted from Indian epics.
• Distinguished by its elaborate make-up and stunning costumes, including intricate masks, expansive skirts, and grand head-dresses, Kathakali is a visual spectacle.
• The performers, embodying roles like kings, gods, and demons, don specific make-up and costumes, while vocalists narrate the legends and percussionists play musical instruments.
• The use of different facial colors holds significance, indicating various mental states and characters.
• For instance, green signifies nobility, black represents wickedness, and red patches combine elements of royalty and evil. Hand gestures, facial expressions, and eye movements play a crucial role in conveying emotions and character nuances.
• The weight distribution on the outer edges of slightly bent and curved feet adds a distinct posture to Kathakali.
• Noteworthy artists in this captivating dance form include Ramankutty Nair and Kalamandalam Gopi.

Kuchipudi (Andhra Pradesh)

• Kuchipudi derives its name from a village in the Krishna district of Andhra Pradesh with a rich tradition of dance-drama.
• Originally known under the generic name of Yakshagaana, it took on the distinctive form of Kuchipudi in the 17th century, thanks to the visionary Siddhendra Yogi.
• He, guided by his guru Teerthanaaraayana Yogi, conceived the Kuchipudi style of Yakshagaana and composed the Sanskrit kaavya, Krishna-Leelatarangini.
• This captivating art form is presented both as a group performance, known as dance drama, and as solo items.
• The visual appeal is heightened by the significant role played by costumes, ornaments, and jewelry.
• Among the solo items, notable performances include Manduka Shabdam (depicting the story of a frog maiden), Balgopala Taranga (dance on the edges of a brass plate with a pitcher full of water on the head), and Tala Chitra Nritya (drawing pictures with dancing toes).
• Prominent figures in the realm of Kuchipudi include the renowned dancers Yamini Krishnamurthy and Raja Reddy.

Mohiniyattam (Kerala)

• Mohiniyattam, the dance of Mohini, an incarnation of Lord Vishnu, stands as the classical solo dance form of Kerala.
• References to Mohiniyattam can be traced back to the texts Vyavaharamala written in 1709 by Mazhamagalam Narayanan Namputiri and later in Ghoshayatra by poet Kunjan Nambiar.
• The dance form took its present-day classical format under the patronage of the Travancore Kings, particularly Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal in the 18th-19th century.
• Typically performed as a solo by female dancers, Mohiniyattam is characterized by circular movements, delicate footsteps, and subtle expressions.
• Its movements draw inspiration from Nangiar Koothu and female folk dances like Kaikottikali and the Tiruvatirakali.
• While encompassing elements of Bharatanatyam (grace and elegance) and Kathakali (vigour), Mohiniyattam is distinguished by its more erotic, lyrical, and delicate nature.
• Performers adorn realistic make-up and simple dressing, often in the traditional Kasavu saree of Kerala.
• The lyrics of Mohiniyattam are typically in Manipravala, a medieval South Indian language combining Tamil-Malayalam, and Sanskrit.
• Notable artists in this mesmerizing dance form include Sunanda Nair and Pallavi Krishnan.

Odissi (Odisha)

• Odissi, originating from Odisha, primarily revolves around the lores of incarnations of Lord Vishnu and verses from Jayadeva’s Gita Govinda.
• This classical dance form is recognized for its soft movements, accompanied by soothing lyrics, bearing similarity to Bharatanatyam in terms of mudras (hand gestures) and expressions.
• Termed as a ‘mobile sculpture,’ Odissi incorporates two major postures – Tribhanga (deflection at the neck, torso, and knees) and Chowk (a position imitating a square).
• The dance form is known for its intricate footwork and elaborate use of hand gestures.
• Eminent performers in the realm of Odissi include the distinguished artists Sonal Mansingh and Kelucharan Mohapatra.
• Their contributions have significantly enriched and popularized this enchanting classical dance form.

Sattriya (Assam)

• The Sattriya dance form, introduced in the 15th century A.D by the Vaishnava saint and reformer of Assam, Sankaradeva, served as a medium for propagating the Vaishnava faith.
• Over time, it evolved into a distinctive and revered style of dance, gaining its name from its religious character and association with the Sattras (Vaishnava maths or monasteries).
• Governed by strictly laid-down principles concerning hastamudras (hand gestures), footwork, aharyas (costumes), music, and more, the Sattriya dance tradition has two distinct streams.
• Firstly, the Bhaona-related repertoire, ranging from the Gayan-Bhayanar Nach to the Kharmanar Nach. Secondly, independent dance numbers like Chali, Rajagharia Chali, Jhumura, Nadu Bhangi, etc.
• Among these, Chali stands out for its gracefulness and elegance, while Jhumura is characterized by vigor and majestic beauty.
• The Sattriya tradition, deeply rooted in religious and cultural contexts, reflects a unique blend of devotion and artistic expression.

Manipuri (Manipur)

• The origin of Manipuri dance can be traced back to ancient times, extending beyond recorded history.
• In Manipur, dance is intrinsically tied to rituals and traditional festivals, with legendary references to the dances of Shiva, Parvati, and other deities associated with the creation of the universe.
• Lai Haraoba, the earliest form of Manipuri dance, serves as the foundation for all stylized dances in Manipur.
• Meaning “the merrymaking of the gods,” it is performed as a ceremonial offering of song and dance.
• The central performers are the maibas and maibis (priests and priestesses) who re-enact the theme of the creation of the world.
• The popular Rasleela dances of Manipur have their origins in the reign of the 18th-century King Bhagyachandra.
• Manipuri dance boasts a diverse repertoire, with the most popular forms being Ras, Sankirtana, and Thang-Ta.
• During the dance, the Kirtan form of congregational singing, known as Sankirtana in Manipur, accompanies the performance.
• Male dancers play the Pung and Kartal while dancing.
• Notably, dancers refrain from wearing ankle bells to preserve the delicacy of their body movements, avoiding interference with the rhythmic display. Manipuri dance, thus, is a celebration of tradition, mythology, and intricate artistry.

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FAQs on Classical Dance forms in India

1. What are the 7 classical dance forms of India?

• Bharatanatyam (Tamil Nadu – Southern India)
• Manipuri Dance (Manipur – North-eastern India)
• Kathak (Northern India)
• Odissi Dance (Orissa – Eastern India)
• Kathakali
• Mohiniattam
• Kuchipudi (Southern India)
• Sattriya Dance

2. Is there 8 or 9 classical dances in India?

• There are 8 classical dance forms according to some sources. However, the Cultural Ministry of India has included Chhau, making a total of 9 classical dance forms.

3. How many classical dance forms exist in India?

• The number of classical dance styles in India ranges from eight to twelve or more, depending on the source and scholar. The Sangeet Natak Academy and India’s Ministry of Culture recognize eight main classical dance forms.

4. What is the dance of 29 states of India?

• Each state in India has unique dance traditions. Some examples include:
  • Andhra Pradesh – Kuchipudi
  • Uttar Pradesh – Kathak
  • Assam – Sattriya
  • Rajasthan – Ghoomar
  • Assam – Bihu
  • Jammu and Kashmir – Rouf
  • Bihar – Bidesia
  • Gujarat – Garba

5. What are the 8 main classical dances?

• Bharatanatyam, Mohiniyattam, Odissi, Sattriya, Kathakali, Kathak, Manipuri, Kuchipudi.

6. What are the 10 traditional dances in India?

• Odissi Dance, Kathak Dance, Bharatanatyam, Kathakali, Kuchipudi, Manipuri Dance, Mohiniattam, Yakshagana.

These FAQs cover various aspects of classical and traditional dances in India, providing information on the number of dance forms, their diversity across states, and the recognized classical dance forms.