essay on indian dance forms

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Essay on “Dances of India” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Dances of India

Essay No.01

Dance is a series of movements and steps that match the speed and rhythm of music. It is an artistic accompanied by gestures and expressions which explain the theme contained in the music. One can dance alone or with a partner or in a group. Rhythm and movements are basic to dance.

India has rich cultural tradition. Dance is a part of our rich cultural heritage. It is as varied as the land itself. it has an underlying unity which binds the people of the country to gather. The dances of India are an expression of an ancient civilization.

Dance in India has an unbroken tradition of over 2000 years. Its themes are derived from mythology legends and classical literature. There are two main forms of dances in India. These are folk dance and classical dance. They are not simply them movement of legs and arms but of the whole body.

Most of the classical dances were first conceived and nurtured in the temples. They attained their full stature there. Classical dance forms are based on ancient dance discipline. They have rigid rules of presentation.

Indian classical dances follow the principles and rules laid down by Bharat  Muni n his Natyashastra many ages ago. There are 180 styles of Indian temples. Music dance and drama have been an integral part of Indian religious and secular life.

Of the classical dances of India five are famous all over the world. These are Bharat Natyam, Kathakali , Manipuri, Kathak and Moiniattam of Kerala. The concept of rasa holds the central place in dance. While dancing rasa is conveyed through bhava and abhinaya.

Bharat Natyam has derived its roots from Tamil Nandu. It has developed into an all India form. This dance is associated with lord shiva. Kathakali is a dance form of Kerala. The theme for the dance is drawn either from the Ramayana the Mahabharata the Puranas or the Vedas. Manipuri is a delicate lyrical style of dance of Manipur. It is based on the romance of the divine Krishna and Radha. Kathak is a major classical dance form of North India. This forks dance is revitalized as a result of Mughal influence on Indian culture. Orissa a dance form of Orissa was once practiced as a temple dances. Only dedanses could perform this dance in front of lord jagannath. Today It has developed into an all Indian form.

Folk dance is a traditional dance of the common people of a region. Indian folk dances have relatively greater free play expression of feelings emotions and sentiments than classical forms. The theme is connected with the performer life daily activities and the environment. The theme is also derived from nature in its various moods and seasons. Folk dances imbibe new influence and at the same maintain tradition and continuity.

The classical dances of India are usually spiritual in content whereas the main force behind the folk  dances of India is the celebratory mood. Dances are a form of coherent expression of human feelings .these dances are not only the exclusive art of a particular community but an asset to India cultural heritage.

Both classical and folk dances owe their present popularity to institutions like sangeet natak academy and other training institutes and cultural organizations. Sangeet natak akademi gives financial assistance o f culture institutions. It also aware fellowships to scholars performers a teachers. This is to promotes advanced study an training in different forms of dances and music.

Some western dance forms are also in vogue in India. The young generation has their bent of mind towards these forms. For young people dance is only a bodily expression of joy and happiness. Weston dance forms are very popular in many late night clubs dance bars and pubs which have been opened in cities. However such dance forms cannot claim to be a part of Indian art or culture.

Dance is a highly developed art which needs immense Discipline and years of training. Many people have adopted various forms of dance as their profession and have earned great fame in their chosen field. many dance troupes exhibit this skill in India and abroad and win laurels. We should consider dance as an art and a part of our cultural heritage.

Essay No. 02

Indian Dances

When man’s soul urges and inner drives are expressed in rhythmic body movements, it is called dance. Man is destined to dance his way to higher and still higher levels of consciousness and evolution. The aesthetic foundations of Indian dances are laid on the rock foundations of spiritual sadhana. Lord Shiva, the Natraj, is said to be originator of dance. He is also the Supreme Dancer. His cosmic dance is very famous. His Tandava reflects his violent nature as a stern judge and upholder of justice and righteousness. He dances, both in sorrow and joy, as the god of rhythm and movement. He performs his Cosmic Tandava dance at the termination of the age.

Indian dances are famous all over the world. They have changed little through all these centuries and the dancers perform their dance recitals according to the traditional precepts enshrined in Bharata’s Natyashasta a There are said to be 180 styles of dancing, and 101 of these are described in the Natyashastra. Many of these dance styles can be seen depicted on the walls and pillars of some of the famous Indian Temples. Music, dance and drama have been an integral part of Indian religion and secular life. Indian dances are not simply a things of legs and limbs but of the whole body and soul. They are highly developed and stylised and so have changed little in technique. They strictly adhere to the principles and rules laid down by Bharat Muni’ s Natyashastra, they along with variegated folk forms, present a panoramic and spectacular view of splendid and continuous dance tradition in India. Their history, sprawling from the pre-historic antiquity down to our own days, makes a fascinating reading. Indian dances, a proud and magnificent heritage of India, are a phenomenon to be enjoyed, seen and to be participated.

Of the classical Indian dances the five are very famous. They are Bharata Natyam, Kathakali, Kathak, Manipuri and Odissi. In the subtle Bharata Natyam, popular in the south India, feeling (bhava), raga (melody) and rhythm (tala) play the most vital role. It is the oldest dance style and is associated with Lord Shiva. It is a solo dance and most complicated to be understood fully by a lay man. Preserved in its prestine glory and unalloyed purity in Tamil Nadu, it enjoys today a very wide currency and popularity. For centuries in medieval India it was performed by Devadasis or handmaids of gods in the exquisite temples of South India.

Bharat Natyarn’s three components—movement, music and mime contribute equally in its performance. Basically it is a solo lasya, that is, tender and erotic dance, generally per-formed by a danseuse and occasionally by a danseur. No doubt it is based on the theme of love, but it is invariably devotional in essence and never sensual. During its performance it evolves like a bud into a blossom gradually through many stages. The final stage is very fine example of pure and abstract dance full of fascinating movements and rhythms accompanied and governed by the scintillating music. It presents a complex pattern of pure dance. The dancer conjures up intricate images of dance and footwork with statusque poses. It concludes with the chanting of a Sloka. In short, no other dance form can surpass Bharata Natyam and a few can equal it in its delicacy, grace, consummation and richness.

Kathakali is fundamentally of epic dimensions. Its universal appeal and popularity is an established fact. Its epic dimensions finally merge into cosmic ones, It is performed in an open air in a temple compound or a village courtyard. The only lighting used is a tall and massive brass lamp fed with coconut oil and set in front of the actors at the centre of the stage. It is accompanied by continuous thundering of the drums. It begins with the invocation of gods and lowering of a curtain held by two men. The themes of the dance are generally from the Ramayana, the Mahabharata, the Puranas or the Vedas. This dance-play continue all through the night. The facial vocabulary plays a very significant role in the portrayal of the subtlest passions with such perfection as transport the spectators to the magic world of myths, legends and fairies. Traditionally, young boys perform female roles. Kathakali costumes are traditional, gorgeous, spectacular, varied, ostentatious, and ornamental.

Kathak is a major classical dance form of North India dance both by men and women. It is well known for its spontaneity, freedom from uniformity and a lot of room for innovations and improvisations. It enjoys a fair amount of individuality and autonomy. A kathak dancer can change his or her sequence of stages to suit individual style and aptitude. Kathak makes a great use of a number of Hindustani musical compositions like Dhrupad, Hori, Dhama, Pad, Bhajan, Thumari, Ghazal, Dadra, etc. It also begins with invocation to gods. There is a rich variety in its repertoire as far as expression of feelings and passions is concerned. In an expressional dance the performer combines mime with music and dance and interprets the song to the accompaniment of soft music of the sarangi or a sitar. The song either in Braj, Hindi or Hindustani may be sacred, secular, devotional or erotic.

Manipur, bordering Burma, is a picturesque Indian state. Its famous dance form is called Manipuri. Rasa-dance which is full of devotional favour, and is performed to the singing of songs and kirtans and to the accompaniment of such musical instruments as khol or mridange (drum), manjira (cymbals) and a bamboo flute. Its liquid beauty, lyrical quality, re-strained but rhythmic swaying, swinging and spinning, coupled with soft vocal and instrumental devotional music, defies description. The text or songs accompanying Manipuri dance are from great saint, lyricists like Jayadeva, Vidyapati, Chandidas or the Bhagavatapuran. The costume of the Manipur dancers is always rich, ornamented and extremely captivating. Odissi, the dance form of Orissa, is the highly inspired, impassioned, ecstatic and sensuous. In medieval times this dance was performed by the Devadasis called Maharis in the temples. Rooted deeply in traditions and rituals, the dance is very old though its name is new. It commences with invocation to gods to the accompaniment of rhythmic vocal syllables blended into drum beats. The chant of the musician, the beat of the drum and the lilting and measured feet movements of the danseuse are so harmonized and produce a fine balance between the danseuse and the dancer, and the spectators are ushered into a fascinating world of mime, music and motifs reflecting sculpture stances. It represents a fine synthesis of Lasya and Tandava styles of Indian classical dances. It is an idiom which transcends all the limits of communication leading to rich aesthetic and spiritual experience.

Indian folk and tribal dances are fine examples of creative creations. They lack stylisation, refinement and artificiality. Folk and tribal dance forms cover various styles and forms originated, developed and maintained by the villagers, farmers, peasants, fishermen, and shepherds, nomads and tribals. These are out and out for pleasure and enjoyment. They are characterized most by their spontaneity, collective impulse and participation, simplicity, freshness and lack of restraint. Their richness, multiplicity diversity and variety is a thing of great wonder and no less admiration. They are at once thoroughly social, religious, ceremonial, seasonal, martial and ritual, always inspired by mythology, legends, religion and primitive instincts.

Essay No. 03

Man’s spiritual urge and inner drive manifested in rhythmic body movement constitute an art form called dance. Thus, rhythm and movements are basic to dance, creation and existence. Men, birds, beasts, plants, and the earth, all are engaged in a ceaseless cosmic dance-recital. Rhythm and movement is life, and its cessation stagnation, decay and death. Dance symbolizes both evolution and involution. Recent researches have revealed that distant galaxies are dancing away from us at an immense speed, some of them at the rate of about 144,000 km per second. Man is destined to dance his way to higher levels of consciousness and evolution till he achieves fullness, fulfillment and perfection.

It is in this background that Indian dances can be best appreciated and understood. The aesthetic foundations of the Indian dances and other art-forms are laid on the rocks of spiritual sadhana and rigorous mental and physical discipline leading to liberation, however, fleeting and momentary in the beginning. In essence, Indian dances are deeply religious in their origin. They do not simply involve legs and limbs, but the whole body and soul.

Indian classical dances are highly developed and stylised and have changed little in their technique, and yet they are innovative. By and large, they strictly adhere to the principles and rules laid down by Bharat Muni in his Natyashastra many ages ago. They, along with no less fascinating and variegated folk-forms, present a panoramic and spectacular view of splendid and continuous dance tradition of the country. Their history, spanning from the prehistoric times to the present, makes a fascinating study and reading. Indian dances, particularly the classical dances, are famous all over the world. There are said to be 180 styles of Indian dancing, and 101 of these are described in the Natyashastra. Most of these dance-styles can be seen depicted on the walls and pillars of some of the famous Indian temples. Music; dance and drama have been integral parts of Indian religion and life.

Of the classical dances, the five very famous ones are:

(i) Bharat Natyam

(ii) Kathakali

(iii) Manipuri

(iv) Kathak

Bharat Natyam is popular in south India. Feeling, raga and rhythm play a most crucial role in this dance form. It is the oldest dance-form and is associated with Lord Shiva. It is a solo dance, and most complicated and subtle to be understood and appreciated by a layman. Preserved in its pristine glory and unalloyed purity in Tamil Nadu, it enjoys very wide currency and popularity in India. For centuries in medieval India, it was performed by Devadasis or handmaids of gods in the exquisite temples of south India. The Devadasis were then held in high esteem as repositories of culture and performing arts.

Bharat Natyam’s three components—movement, mime and music—contribute equally in performance and recital. It is also a tender and erotic dance, generally performed by a female dancer and sometimes by a male dancer as well. No doubt it is based on the theme of love, romance and heroism but it is invariably devotional in essence and never sensual. It is equally and evenly divided into nritta (abstract dance) and nritya (expressive dance). It is presented in such a way that it upholds itself in a sequence of stages like a bud bursting into a blossom of unmatched beauty, colour, fascination and splendor. The artist performing Bharat Natyam wears a costume which is both traditional as well as functional. A wide variety of beautiful ornaments are also used.

Kathakali, the traditional story-play of kaleidoscopic Kerala, was evolved and nurtured in temples, just like Bharat Natyam. It is also known as Attakatha (dance-play) and is fundamentally of epic dimensions. Its journey from temples to courts and then to streets, courtyards and public places in Kerala tell its ever-increasing universal appeal and popularity. Kathakali is performed in open air, on a square stage with a tall and massive brass lamp, fed with coconut oil, set in front of the dancers at the centre of the stage. This is the only lighting used. The continuous thundering of the drum called chenda heralds the performance of the Kathakali dance-drama. The theme to be enacted and danced may either be from the Ramayana, the Mahabharata, the Puranas, or the Vedas. It continues all through the night, to the accompaniment of singing, drumming and playing on the large bronze cymbals. Traditionally, young boys perform female roles, but now girls and women also perform female roles. The prospective Kathakali dancers are caught young and initiated ritually in the art at the tender age of 10-12 and made to undergo a rigorous and intensive training and discipline under a skilled guru or master. The costumes are traditional, gorgeous, spectacular, varied, ostentatious, ornamental and yet functional. Eyes play an exceptional role in this style of dance.

Manipuri dances are based on the romance of divine Krishna and Radha. It was Maharaja Jai Singh, also known as Bhagy Chandra, who helped to develop and patronise this dance form. His daughter Princess Bimba-manjari was a dancer par excellence of. this style. It was subsequently formalised, codified and stylised on classical lines by great gurus of the art. The Rasa-dances are always related to Krishna legends and the movements of the neck, the breasts and hips are not allowed in this dance as they are considered vulgar and below the dignity and grandeur of these devotional forms of dance. The text of the accompanying songs is always from great saint-poets like Jayadeva, Vidyapati, Chandidas or from the Bhaguat Purana. The costume is always rich, ornamental and captivating. Rich in emotional content and sentiment of love, Manipuri dances require arduous training and discipline of the artist from a very tender age under the guidance of expert gurus. Truly classical, devotional and religious in spirit, these are performed to the singing of songs and kirtans and to the accompaniment of khol, niridanga, manjira and bamboo flutes. Their liquid beauty, lyrical quality, restrained and rhythmic swaying, swinging and spinning, with hands close to the body, coupled with soft music, lend the performance a uniqueness and divinity which defy description.

Kathak, a major classical dance form of north India, is performed both by men and women. It is well-known for its spontaneity, freedom from uniformity, and has a lot of room for innovation and improvisation. It enjoys a fair amount of individuality and autonomy. A kathak dancer can change his or her sequence of stages to suit individual style and aptitude. Kathak makes a great use of a number of Hindustani musical compositions like Dhrupad, Hori, Dhamal, Pad, Bhajan, Thumri, Ghazal, and Dadra, etc. It may also begin with an invocation of gods. There is a rich variety in repertoire as far as expression of feelings and passions are concerned. In an expressional dance, the artist combines mime with music and dance and interprets the song to the accompaniment of soft music of the sarangi or a sitar. The songs, either in Hindi, Braj or Hindustani, may be sacred, secular, devotional or erotic.

Odissi, the classical dance form of Orissa is highly inspired, impassioned, ecstatic and sensuous. In medieval days, this dance was performed by the Devadasis, called Maharis, in the temples. Rooted deeply in traditions and rituals, the dance is very old though its name is new. It commences with an invocation of gods to the accompaniment of rhythmic vocal syllables blended into drum-beats. The chant of the musician, the beat of the drum and the lilting and measured foot movements of the danseuse are so harmonised as to produce a delicate balance between the danseuse and the dance. The audience is ushered into a fascinating world of mime, music and motifs, reflecting sculpture stances. It represents a fine synthesis of Lasya and Tandaua styles of Indian classical dances. It has an idiom that transcends all the limits of communication, leading to a rich, aesthetic and spiritual experience.

Indian folk dances have relatively far greater free play, expression of feelings, emotions and sentiments than classical forms. The folk people are born dancers. Their gait, movements and various activities, especially those of women, betray their rhythmic tempo and sculpturesque poses and postures. Folk dance-forms are intimately connected with the performer’s life, daily activities, environment and other physical surroundings and nature in its various moods and season. Indian folk dances are ever fresh, fragrant and imbued with a wonderful capacity to renew and to imbibe new influences and yet to maintain tradition and continuity. Indian folk dances are part and parcel of the country’s rich cultural heritage and immense artistic wealth. Their staggering variety and richness inspires wonder and admiration. They are at once thoroughly religious, social, ceremonial, seasonal, material, ritual, romantic and erotic and always inspired by mythology, legends. scriptures, folk tales and, above all, by the most primitive instinct to express pain and pleasure through linear and statuesque stances and rhythmic movements.

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Classical Dances of India: Everything you need to know about

Last updated on November 9, 2023 by ClearIAS Team

Table of Contents

Origin of classical dances

Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text – ‘Natya Shastra’ . The first compilation of Natya Shastra is dated between 200BCE and 200CE.

As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular dance all over the world.

Rasanubhuti: The 8 Rasas

The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas . They are as following:

• Shringar: Love
• Hasya: Humorous
• Karuna: Sorrow
• Raudra: Anger
• Veer: Heroism
• Bhayanak: Fear
• Bibhats: Disgust
• Adbhoot: Wonder

Note: Later  Abhinav Gupta added a ninth one to it, Shanta: Peace.

What are classical dances?

Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc).

There are Nine Classical Dances as recognized by Ministry of Culture, Government of India . Let’s have a look at these classical dances – one by one.

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Bharatnatyam

A dance that encompasses Bhav, Rag, Ras and Taal is ‘Bharatanatyam’. Also called as ‘Sadir’ , it was conventionally performed by Devadasis (girls offered to God in the temple) in Hindu Temples of South India. Thus, also known as ‘Dasiattam’ . Developed in the Tanjore and other regions of South India prominently Tamil Nadu, this could possibly be the Oldest Classical Dance form of India (around 2000 years old). It follows the convention of Natya Shastra in true spirit. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movements.

The word meaning of  Bharatnatyam

• Bha: Bhava which means emotions
• Ra: Rag meaning musical notes.
• Ta: Taal meaning the Rhythm.
• Natyam: The Sanskrit word for Drama .

The evidence of Bharatanatyam

• Silappatikaram (where its existence was mentioned in this ancient Tamil epic).
• Brihaddeshwara temple was a major center for Bharatnatyam since 1000CE.
• The Gopurams of Chidambaram display the poses of Bharatnatyam, chaaris, and Karanas that are carved in the stones.

The makeup used for Bharatanatyam

• Immense and charismatic makeup (hair as a single bun is tied just before the plaits).
• The eye-catching costume (bright colored Sari- today the costume comes in 7 pieces that are worn simply, for men – dhoti).
• Glowing ornaments.

The repertoire of Bharatanatyam

• Alarippu – Invocation
• Jatiswaram – Nritta part
• Shabdam – Short compositions with word
• Varnam – a story, that includes both Nritta and Nritya
• Padam – Religious prayer, Bhajan, Keertanam.
• Thillana – Origin in the Tarana of Hindustani Music
• Ends with Mangalam.

The music and instruments used for the Bharatanatyam

• Carnatic Style, Vocalists Called – Nattuvanar (normally Guru).
• Verses are usually in Tamil, Telugu, Kannada, Sanskrit.
• Mridangam, Nadaswaram, Nattuvangam, Flute, Violin veena etc.

The revival of Bharatanatyam from ancient to modern day platform

• Rukmini Devi Arundale created a Renaissance. Before her, this art was almost dead. She raised this art form to a Puritan form.
• Also, T.Balasaraswati ‘s efforts helped to uplift this art form to the form known today.
• Rukmini Devi founded the Kalakshetra in Adyar and thus gave a new hope to the promotion of this Dance form.
• The famous Bharatanatyam dancers are Yamini Krishnamurthy, Meenakshi Sundaram Pillai, Saroja Vaidyanathan, Janaki Rangarajan Etc.

The graceful dance of North India origin ‘ Kathaa’ ‘Kahe’ so ‘Kathak’ ‘Kahave’ , the one who tells stories is Kathakaar or Kathak .  Also known as ‘Natwari Nrutya’.  Kathak is one of the most charming dance forms of India. The themes of Kathak revolve around Stories of Ramayan, Mahabharat, and Krishna.  Apart from this,  Kathak encompasses presentations on manifold subjects.  Raslila of Braj is quite akin to Kathak.  A Solo Dance form but group compositions on themes with perfect synchronization steals the heart.

The specialties of Kathak

• Kathak is world famous for its spectacular footwork, amazing spins, Nazakat and Padhant (Chanting of bols, toda, tukdas by dancer himself and then performing). This is the distinctive feature of Kathak.
• It creates a nexus between the dancer and audience.
• The body movements are quite straight as compared to Bend movements of South Indian Dances.
• The heavy ghunghroos are worn by the Dancers – 100/200/250 on one leg.
• There is a wide variety of sounds are hidden in these ghunghroos like running train, heavy rains, Sound of Horse riding,( Ghode ki chaal) and much more. This adds more beauty to the performance.

The four main Gharanas, or schools of kathak dance    

• These are the Jaipur, Lucknow, Raigarh and the Benares gharanas.
• These schools are named according to the geographical area in which they developed.
• Each has a slight difference in interpretation and repertoire and can be recognized from their presentations.

The Sequence of Kathak dance    

• Starts with Vandana ( Worshipping God).
• Aamad (sequence of That Aamad Uthaan may be different in different gharanas).
• Toda Tukdas.
• Gatbhaav (Story)
• Ladi-Tatkaar(Footwork)
• End with a Bhajan, Thumri, Tarana or Ashtapadi, Kajri, Chaiti, Chaturang etc.

The costume, makeup, and ornaments used for Kathak

• Traditionally, Sari, Ghagra-Choli, Chudidar Frock – Jacket, Dupatta for women and men can wear Chudidar Kurta and Dupatta tied at the waist.
• This dance-drama may have costumes as per the character.
• Makeup is not much heavy but is quite sharp and Fine to reflect the expressions. A bun or long plaits with garland looks beautiful.
• Mostly white—yellow pearl ornaments are used.

The music and instruments used for Kathak dance form

• Hindustani Music: Lyrics may be in Hindi, Brij, Sanskrit or any other regional language.
• Instruments like Pakhawaj, Tabla, Sarangi, Sitar, Harmonium, Flute, Sarod, etc. are used.

The revival of Kathak dance forms

• The value of this dance form diminished during the Moghul period but still, there were certain good technical changes like inclusion of Thumri in Kathak.
• The period of Nawab Wajidali Shah was a golden age for Kathak. He himself was a great artist and extensively promoted Kathak.
• The King of Raigarh Raja Chakradhar  Singh who himself was a Kathak dancer gave birth to Raigarh Gharana of Kathak—greatest contribution to Kathak.
• Achhan Maharaj, Shambhu Maharaj, Gopi Krishna, Pandit Birju Maharaj, Pandit Rajendra Ganagani ji, Sitara Devi, Rohini Bhate, Maya Rao, Mandvi Singh, Shama Bhate, Shovana Narayana and many more artists gave their priceless contribution in Kathak .
• Kathak Kendra Delhi, a constituent Body of Sangeet Natak Akademi and many other governments and private institutes all over the world strive hard continuously for the training and promotion of Kathak.

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The long-established dance form in the serene surroundings of Shri Jagannath Temple in Odisha is famous as ‘Odissi’ . It has its mention in the oldest Sanskrit Text – Natya Shastra as Audramagdhi . In ancient days this dance form filled with Bhakti ras was a part of worship to God at Jagannath temples . Thus we find many sculptures in dance position inside the temple.

It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears like waves of the ocean. Odissi is famous for its presentations on poet Jayadev’s fabulous work.

Two styles of traditional Odissi

• Maharis (Devadasis or Temple Girls).
• Gotipua ( Performed by Boys).

The sequence

• Managalacharan (Worshipping Lord Jagannath or other gods, goddesses).
• This will be followed by Pushpanjali (Offering of flowers) and salutation to mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas.
• The next comes the Batu Nrutya—Fast dance pure dance which we call it as Nritta which is then followed by Nritya which include, Abhinay- Expressions on some devotional poems or songs.
• The verses may be in Sanskrit or Odia language. Ashtapadis—Dashavtar, Ardhanari etc. Are quite famous.
• Then comes the Dance Drama in sequence. The themes generally relate to the Hindu gods and goddesses. Modern day expressive theme presentations go beyond the horizon.

The costumes used for the Odissi dance forms

• It is made up of traditional material (Dhoti for men- Sari for women) from Odisha. Today fully stitched costume is available.
• A crown is worn by female dancers which are prepared in Jagannathpuri.
• White colored flowers are adorned on the bun.
• Like every other dance form, jewelry remains the same but is of silver colored. Ghunghroos too form part of this dance.                                                               

The music and instruments used

• The South Indian, as well as North Indian Music, is employed for the dance.
•  The Pakhavaj, Tabla, Swarmandal, Harmonium, Sitar, Flute, Violin, and Cymbals.

The revival of Odissi dance forms

• Kelucharan Mahapatra, Gangadhar Pradhan, Pankaj Charan Das etc.revived this dance form in the late forties and early fifties.
• Sanjukta Panigrahi, Sonal Mansingh, Kumkum Mohanty, Anita Babu, Sujata Mohapatra etc. contributed to the upliftment and popularization of Odissi.
• Recently, the Odissi has now been included in the syllabus of IIT Bhubaneshwar’s B.Tech syllabus since 2015. It became the first national technical institute to introduce any Indian Classical Dance form in their syllabus.  

The Kuchipudi was originated from the place named ‘Kuchipudi’ in Krishna district of Andhra Pradesh around 3 rd century BCE, Kuchipudi Dance form is a long-established dance-drama style.

Tirtha Narayana Yati and his disciple Siddhendra Yogi organized and founded the modern version of Kuchipudi which we see today. Kuchipudi gradually developed as a solo dance form and today we can see both male and female performing it. Kuchipudi are themes related to Vaishnavism, Lord Krishna, Rukmini, Satyabhama and other myths. Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as well.

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Kuchipudi vs Bharatanatyam

• Bharatnatyam costume has three fans of dissimilar lengths. While Kuchipudi dress has only one frill/fan lengthier than the lengthiest fan in the former.
• In Bharatnatyam, there is no side Pallu but in Kuchipudi separate pallu is stitched seen on the left side.
• Two buns are used in Kuchipudi while only one in Bharatnatyam.

The repertoire of Kuchipudi

• The repertoire of Kuchipudi is similar to that of Bharatanatyam:
• Kuchipudi has a specialty called- ‘ Tarangam ’ in which the dancer performs on the top of the brass plates.
• And sometimes balances some pot on the head. This makes the dance form extremely unique.

The costume and makeup of  Kuchipudi

• The makeup is similar to that of Bharatnatnatyam.
•  A dancer in a female role would wear a  Sari  with light makeup. Today the stitched costume is available.
• The traditional Kuchipudi was performed by all males and their attire was quite simple ‘Angivastra’ also known as Bagalbandi and a  dhoti .

The music and instruments used for the Kuchipudi dance

• Based on Carnatic music the language is usually Telugu.
• Mridangam, cymbals, veena, flute and Tambura.

The famous dancers in Kuchipudi

• Raja-Radha Reddy.
• Yamini Reddy.
• Vaijayanti Kashi.
• Uma Rama Rao etc.

Dazzling classical dance of Kerala is Kathakali. ‘Katha’= Story or tale, ‘Kali’= Performance and Art.   Its roots are in ancient ‘Kutiyattam’ (Classical Sanskrit Dance Drama) and ‘Krishnattam’ (Dance-Drama depicting Stories of Hindu God Krishna). Movements in Kathakali are influenced by ancient martial arts and athletic tradition. It is basically a Dance-Drama.  Kathakali was traditionally a male-dominated dance and now females are too welcomed in this dance form. Kathakali is also famous for its huge elaborate costumes, amazing make-up style, face masks, and ornaments.

Unlike other Classical Dances, Kathakali art form developed in the courts and theaters of Hindu principalities. The traditional performances were used to be as long from Dusk to dawn. Modern day presentations are short as per the time limit of the program. The Kerala Kalamandalam is the main center for Kathakali Artists. Kathakali has similarities with other dance forms like that of the Japanese ‘ Noh’ and ‘Kabuki’ dance forms have similarities with Kathakali.

The main themes used in Kathakali

• Mythological themes include Ramayan, Mahabharat, Bhagvat Purana, etc.
• Also modern day Kathakali dancers present stories and plays of Shakespeare.

The makeup for Kathakali

• According to the role of the dancer, his face is colored/painted.
• The colors are made in rice paste with vegetable colors and applied on the face.
• The Green for Noble characters.
• Tati (Red) for evil like Ravana.
• Kari (black) for hunters and monsters.
• Yellow for women etc.

The famous artists of Kathakali

• Kalamandalam Krishna Prasad.
• Kalamandalam Kesavan Namboodiri.
• Kalamandalam Gopi etc.

Mohiniattam

Another graceful Classical Dance of Kerala, Mohiniattam is Lasya inspired dance with soft, calm and gentle movements. Characterized as  Feminine, usually done by women. The word  ‘Mohini’ is related to the charming women avatar of Lord Vishnu – to end the evil powers. Mohiniattam also connotes, beautiful dancing women. The graceful and most beautiful, Mohiniattam is mesmerizing. The text ‘Hastha Lakshanadeepika’ is followed (for hand gestures and facial expressions) that has an elaborate description of mudras.

The costumes for Mohiniyatam

• Mohiniyattam has a unique White/Off-White Costume.
• the prominent one-sided hairstyle (bun) also called as ‘Kuduma’.
• Adorable ornaments make it unique.

The sequence of Mohiniyattam

• Invocation.
• Jatiswaram.

The revival of Mohiniyattam

• In 1930, Nationalist Malayalam poet Vallathol Narayan Menon helped to repeal the ban on temple dancing in Kerala as well as established the Kerala Kalmandalam dance school and gave encouragement for its training and practice.
• Mukundraj, Krishna Panicker, Thankamony as well as Guru and Dancer Kalamandalam Kalyanikutty Amma gave their heroic contribution in reviving the traditional art form.

The Manipuri dance form named after its region of origin, ‘Manipur’ is also known as ‘Jogai’ . It was traditionally performed as a dance – drama on devotional songs, Manipuri showcases the love between Radha- Krishna through Raaslila. Manipuri is a combination of two culture- Indian and South-East Asian. The Manipuri dance form is categorized as Tandav or Lasya.

The beautifully soft and graceful dance form, Manipuri has significant movements of hands and upper body. A curvy body structure with a pleasant smile, decorative, shiny costumes, and ornaments, Manipuri is indeed a mesmerizing dance form. Another uniqueness of this dance form is that, while Ghunghroos (Bells)  glorify the classical dances of India, they are not worn in Manipuri.

The themes used in Manipuri dance forms

• Mostly influenced by Hindu Vaishnavism themes.
• It also includes themes related to Shaivism and Shaktism and regional deities.
• Tandav Manipuri depicts themes of Shiv, Shakti or Krishna as warrior.
•  Lasya theme includes Love inspired stories of Radha-Krishna.

The Manipuri Raslila: Three styles

• Tal Rasak:  It is accompanied by clapping.
• Danda Rasak: The synchronous beat of two sticks where dancers position creates geometric patterns.
• Mandal Rasak: The Gopis make a circle while Krishna attains the center.

Different types of Manipuri Dance Styles

• Nata-Sankirtan.
• Pung Cholam.
• Dhola Cholam.
• Kartal Cholam.
• Thang ta ( a Martial art of Manipuri) etc.

The Music and instruments used in Manipuri dance

• The expressions used in Manipuri are from the poetry of  Jayadev, Vidyapti, Chandidas, Govindadas and Gyandas that may be in Sanskrit, Maithili, Brij or any other language.
• Pung ( A barrel Drum ) and small kartals (Cymbals) are employed in dance as well and not restricted to accompaniment alone.
• Other instruments include Sembong, Harmonium, Pena (String Instrument), Flute(Wind Instrument), Esraj and Shankh (conch).

The costumes of Manipuri dance

• The female dancers wear decorative barrel-shaped drum like long stiff skirt till bottom with decorative embellishments. Dark colored velvet blouse covers the upper part of the body and a traditional veil is worn over hair that falls gracefully over the face.
• The male dancers adorn themselves with dhoti kurta white turban, a folded shawl over the left shoulder and the drum strap over the right shoulder.
• The costume for the character of Lord Krishna is Yellow dhoti, dark velvet jacket, and crown of peacock feathers.

The revival and recent developments of Manipuri dance

• There are several private institutes as well as few Government aided centers that provide training in Manipuri Dance.
• The prominent among them is, Jawaharlal Nehru Manipuri Dance Academy, Imphal which is the constituent body of Sangeet Natak Akademi, Delhi.

Manipuri dancers

• Guru Bipin Sinha.
• Nirmala Mehta.
• Savita Mehta.
• Yumlembam Gambhini Devi.
• Darshana Jhaveri and many others.

Sattriya is the traditional dance –drama of Assam. Sattriya was recognized in 2000 as Classical Dance by Sangeet Natak Akademi. It is influenced by Vaishnavism and the modern form of Sattriya is attributed to the 15 th century Bhakti Movement Scholar and Saint Srimanta Sankaradev . Since 15 th Century, Sattriya grew as a part of Vaishnav Bhakti Movemen t in Hindu Monasteries called ‘Sattra’ . Sattras are the dance community halls (namghar) of monastery temples. Today it is popular worldwide.

The themes and styles used in Sattriya

• The themes performed are mostly on Radha-Krishna and other myths.
• Dramas written by Sankardev are typically presented.
• Sattriya performance integrated two styles: One Masculine (Paurashik Bhangi — energetic and with jumps) and Feminine (Stri Bhangi—Lasya or delicate).
• Both male and female perform this beautiful, expressive dance openly on the modern platform.    

The costumes used for Sattriya

• Male—Dhoti, chadar, paguri (turban).
• Female—Ghuri, chadar, Kanchi (waist cloth) made up of materials manufactured in Assam.
• The play and Character specific costumes are also seen in Sattriya.
• Masks are used for special characters (like demons) sometimes.
• Traditional Assamese jewelry is employed.

The music and instruments used for Sattriya

• Borgeet of Sankardev and Madhavdev.
• Khol (two faced asymmetrical drum).
• Cymbals- Manjira Bhortal.
• Flute, Violin, Harmonium etc.

The revival of Sattriya dance

• Conventionally, it was only performed by ‘Bhokots’/ ‘ Monks’ as a part of their daily rituals not before the idol but before the copy of Bhagvat Purana placed in the eastern corner of dance community hall (namghar).
• After the second half of the 20 th century, this dance form moved from the den of Assam’s Monasteries to the modern day stage.
• Sattriya received patronage outside Assam and Outside India too.
• Sattriya Kendra Guwahati is a constituent body of Sangeet Natak Akademi established for preserving, promoting and providing training to young aspirants of Sattriya.
• Today Sattriya performances are a part of Major Dance Festivals in India and Abroad.

The famous Artists of Sattriya

• Guru Indira P.P Bora.
• Late Pradip Chaliha.
• Jatin Goswami.
• Anita Sarma etc.

Chhau Dance

The Chhau is a blend of folk, tribal and martial arts. ‘Chhau’ – is derived from the Sanskrit word ‘Chaaya’, meaning Shadow, image or mask. Also, Chhau is defined by Sitakanta Mahapatra to be derived from Chhauni ( Military Camp) in Odia language. Traditionally performed by Males – Male troupes.

The Chhau has three different types originating from three different regions. Every type has its own unique feature, pattern, and style of performing and ornamentation as well.

Types of Chhau Dances

The themes in chhau.

• Vaishnavism.

The costumes used in Chhau

• Bright colored costumes.
• Huge ornamental headgears.
• Masks depend upon the role you play in the story.

The music and instruments used for Chhau

• The music is based on folk melodies.
• Mohuri, Shehnai, Dhol, Dhumsa, Kharka or Chadchadi are few instruments employed to create the music.

The revival, recognition and recent developments of Chhau

• In 2010, Chhau was listed in the UNESCO’S Representative List of the Intangible Cultural Heritage of Humanity.
• The Government has established Government Chhau Centre in Seraikella in 1960 and Myurbhanj Chhau Nritya Pratishthan at Baripada in 1962.
• The Sangeet Natak Akademi established a National Centre for Chhau Dance at Baripada, Odisha.

Efforts from the government of India to revive Indian Classical Dances

• The government of India puts continuous efforts in preserving, promoting the Indian classical dances in India and abroad as well.
• The establishment of Sangeet Natak Akademi , Delhi and its allied centers and constituent bodies boosted the development of these classical dances.
• The grand Classical dance festivals like Khajuraho, Konark, Dhauli Kalinga, Kalidas, Mukteshwar, Soorya, Ellora, Nishagandhi etc., displays the beautiful representation of Indian Classical Dances.
• The classical dances flourished and developed further with the establishment of Music and Dance Universities like Indira Kala Sangeet Vishwavidyalaya , Khairagarh, Raja Mansingh Tomar University, Gwalior etc.  and the various Institutions like Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Prayag Sangeet Samiti. They not only added to the development of it but also helped the classical dance forms to reach till common people.

Related articles: 

• Indian musical instruments
• Folk dances of India
• Classical music
• Folk music of India

Article by: Ruhi Masodkar. The author is a Kathak dancer from Nagpur.

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Reader Interactions

March 6, 2017 at 11:26 pm

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what are the key points to remember mostly???????

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June 9, 2017 at 1:04 pm

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June 29, 2017 at 1:30 pm

Is chhau dance a classical dance?? It is not yet recognized by sangeet natya academy as classical i think…

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This is really helpfull for me….thx alot team☺

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October 20, 2017 at 8:07 pm

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November 4, 2017 at 12:47 pm

Namaskaram,

I would like to give one suggestion in kuchipudi category. Apart from the names given in masters section–mention of names such as –Padmabhushan Dr.Vempati China Satyam, Padmasri Dr.Vedantam Satyanarayana Sharma, Padmasri Dr. Shobhanaidu should find their place as their contribution is also undefinable and inexplicable.

November 28, 2017 at 7:22 am

there r only eigth classiCal dance

January 27, 2018 at 9:59 am

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February 15, 2018 at 4:38 pm

the ornaments that Kuchipudi dancers wear are made of a special light weight wood called “Boorugu”

February 22, 2018 at 3:23 pm

Study material is very useful.please send all free materials

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May 29, 2018 at 4:26 pm

May 29, 2018 at 4:25 pm

how we can download these on line notes??

June 1, 2018 at 6:34 pm

It’s was a great crux info for revision or to study any part which is being left out…… Boon for revision

July 9, 2018 at 6:35 pm

there are still 8 classical dances and you have mentioned 9. Chhau is a folk dance please correct.

July 9, 2018 at 6:36 pm

though very usefull

July 11, 2018 at 9:59 pm

give more notes for study

August 24, 2018 at 11:42 pm

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August 18, 2020 at 8:51 am

Very informative article unless they do updated after examination.

April 9, 2021 at 7:30 pm

Diversity in classical Indian dance forms https://thecreativepost.co.in/classical-indian-dance-forms/

September 1, 2021 at 11:17 am

Wonderful Post. Very useful information.

September 5, 2021 at 2:03 pm

Hi, very informative. I like reading such articles. Just a small doubt, you have mentioned that probably Bharatnatyam is the oldest classical dance but in your article description Odissa was shown by the search engine. Could you put your thoughts on “which form is the oldest classical dance form?”

March 18, 2023 at 3:43 pm

It was vary informative. But, I was wishing more😐

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• An Introduction To Indias Classical...

An Introduction to India’s Classical Dance Forms

India’s classical performing art germinated from theory. Ancient texts of Natya Shastra consist of 6,000 poems in 36 chapters describing the foundations of music, dance, and literature. The art encyclopedia, written by Bharata Muni, gives details of specific limb movement and facial expressions that dance must incorporate. Here’s a look at the ancient classical dance forms in India.

Bharatnatyam.

Natya Shastra emphasizes that performing arts is not meant for entertainment only. Bharatnatyam originated in the Southern state of Tamil Nadu. The dance is a physical expression of mythical stories and is accompanied by classical music. Bharatnatyam has difficult footwork and dancers need to keep their upper torsos fixed during most of the performance.

Mohiniyattam

Mohiniyattam originated in the Southern state of Kerala in India. The name comes from a mythical character Mohini—an enchantress—who is an incarnation of Lord Vishnu. The dance form was given the contemporary form in the 18th century. Mohiniyattam was infamous for being a dance form of the devadasis (temple slaves).

Originally Kuchipudi was only performed by men. Even the female characters in the dance drama would be staged by a man. The dance form originated in Andhra Pradesh and tells mythological tales like other classical dance forms in India. Kuchipudi is usually accompanied by musical instruments like the flute, v eena, and m ridangam .

Manipuri originated in the North Eastern part of India. It is characterized by graceful, swaying movements, and because of the unique costume, it almost looks like dolls performing on stage. Manipuri is performed at festivals and occasions in North East India. It is typically a group performance.

Another dance that originated in Kerala, Kathakali is a difficult dance form . The performance is usually done in a theatre play style and it is one of the most complicated forms of dance in India. The contemporary style of Kathakali originated in the 17th century. It takes three to four hours for artists to get ready for every performance.

Kathak originated in North India and the dance form was cultivated in Varanasi, Lucknow, and Jaipur. Kathak is distinguished by the tapping footwork that is emphasized because of the ghungroo (an accessory of small bells stitched to an ankle belt) that the dancer has on her ankle. Eyebrows are quite significant to emote in Kathak.

Sattriya originated in Assam, North East of India. Like many other classical dance forms, Sattriya is also a tale recitation using performance art. Scholar Srimanta Sankardev is said to have systemized Sattirya into a performing art form.

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How Modern India Reinvented Classical Dance

Despite considerable material progress, the world still views India as an ancient land steeped in spirituality, with a culture that stretches back to a hoary, unfathomable past. Indians, too, subscribe to this glorification of its timelessness and have been encouraged, especially in the last few years, to take an obsessive pride in this tryst with eternity. Thus, we can hardly be faulted in subscribing to very marketable propositions, like the one that claims our classical dance forms represent an unbroken tradition for several millennia and all of them go back to the venerable sage, Bharata Muni, who composed Natyashastra. No one, however, is sure when he lived or wrote this treatise on dance and theatre. Estimates range from 500 BC to 500 AD, which is a rather long stretch of time, though pragmatists often settle for a shorter time band, 200 BC to 200 AD. This is approximately when the Mahabharata and Ramayana were also composed. While linking current traditions with the oldest dates possible surely confers more awe and respect upon Indian classical dance, it will become increasingly clear that this may not be accurate. In this article, as we navigate through the dance traditions we celebrate today, we realise that what we see now is really not what was performed centuries ago.

Related Papers

Prabhu Vanama

A sweeping look at the magnificence of the Indian women through the forms, characteristics, challenges and changes occurred and are still occurring in traditional dance, forms the theoretical and pictorial substance of this study. At one level, it is a historical compendium of classical dance, an exploration of its’ moods and majesty, an ode to its sublime aesthetics and at another level, it is a stunning scholarly portrayal of a pluralistic society teeming with feminine cultural vitality.

Krisha Illescas

Rumya Putcha

Names set up a field of power.-Michel-Rolph Trouillot (Trouillot 1995, 115)

Purushottama Bilimoria

Ankita Kumari

Various tools are used in development communication to bring about a social change. The final agenda is to communicate the ideas to the people, while doing so in a manner which is easily comprehensible by them. Such tools can be of varied forms ranging from print, audio, video to something very close to the culture of people, such as traditional performing art forms. One of such performing art forms is the branch of Indian classical dance. These dance forms have emerged through the traditional folk and tribal forms from different regions of the country. The purpose of this study is to generate an understanding of how Indian classical dance forms are acting as a tool for creating awareness about social issues by reviewing the work that has been done in this area.

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Margaret E Walker

Although Euro-American musical revivals are usually connected to folk music, the postcolonial Indian revival privileged “classical” music and dance as objects of priceless national heritage. Yet, the revival in India was not a straightforward process of cultural recovery in the wake of occupation. Issues of authority, authenticity and appropriation are woven into the process of reclamation. Through a comparison of this period in Indian dance history with themes in current theories of revival, this article moves towards a model of “revival” as a global phenomenon seeking to broaden our understanding of cultural continuity and change.

Swaroopa Unni

Experiences of migration or diaspora has led to new predicaments for maintaining dance traditions (Ahmed, 2013; Brooks & Meglin, 2011). Current research is exploring how migrants learn to inhabit these new geo-political spaces. This paper will serve as a springboard for investigating how classical Indian dance forms such as Bharatanatyam plays a role in enhancing Indian identity in New Zealand. The study employs a combination of dance ethnography and autoethnography as methodologies for examining how this dance is being practiced in the South Pacific city of Dunedin.

Jawhar Sircar

In December 1935, the elite in Madras was all agog with the news of a young Brahman girl, getting ready to perform the dance of the low devadasis, the mistresses of the Lord, who had danced for centuries to please Him and his high caste followers. This was at the height of the controversy that Dr. Muttulakshmi Reddy, the daughter of a devadasi and a father she would never know, had raised as she campaigned vigorously for the abolition of this shameful system and the dance form as well. On the other hand, there were others like the Brahman, E Krishna Iyer who protested that the enquiste and ancient dance form had to be retrieved and preserved, while the controversial institution of the devadsis could be dumped. It was in the background of this war that the young Rukmini Devi went up on stage at the Adyar Theatre, before an amazed audience. She had shattered tradition and disrepute, but social leaders from her own community got up, straightened their angavastarams and just walked out, in sheer disgust. This was around the same time that an American, re-born as Ragini Devi, was voraciously consuming the skills of Kathakali and other forms in order to revive them, through re-packaging. Many others were also active in this decade that really began the determined 'salvaging and sanitising' of the arts from the moral depths to which they had sunk over centuries, in both temples and royal palaces. Care was, however, taken by the brahmanical classes to imbibe and retain the traditional esoteric skills that the devadasis and courtesans had jealously guarded for several generations, before society chose to forget them. Kathak, for instance, had to extricate itself through the Maharaj family from the opprobrium of being the sleazy nautch of the tawaifs that was notorius enough to enter the English dictionary quite early in a rather derogatory sense. Odishi, said to be oldest of the classical dances of India with pre-Christian era bas relief sculptures to prove its antiquity, had also fallen into disrepute with the mahari dancers at Puri and elsewhere being treated as objects of lust, despite centuries of skills and aesthetics.

Bindu Urugodawatte

This is SAARC Art Magazine on the theme of Dance. This magazine contains articles on Dance from Afghanistan, Bhutan, India, Pakistan and Sri Lanka.

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List of Dance Forms in India - Folk & Classical Dances of All States

India is known for its rich cultural heritage. Diversification is the identity of the country. Indian dance (classical dance of India) is one of the most revered identities of our culture.

In India, dance forms can be broadly classified into 2 categories – classical and folk dance forms.

List of Folk Dances in India Download PDF Here

These dance forms have been originated from different parts of India as per the local tradition.

This article will highlight the various Indian dance forms- classical and folk in brief. The dance forms of India are an important aspect of the art and culture syllabus for the IAS exam .

In the 2012 Civil Services IAS Prelims examination, UPSC asked a question about Kuchipudi and Bharatanatyam. In 2014, UPSC asked about the Sattriya dance. Let’s have a glance through the Previous Year UPSC questions on Classical Dances.

Dance Forms in India

The 2 major dance forms in India are classical and folk dance. The major difference between Classical and Folk dance is the origin.

Classical dance has a deep-rooted relationship with the Natya Shastra where the specific features of each of the Classical dance forms have been mentioned.

Folk dance, on the other hand, emerged from the local tradition of the respective state, ethnic or geographic regions.

Classical Dance in India

The classical dance form originated from the Natya Shastra. There are 8 classical dance forms in India as per the source and scholars.

The Cultural Ministry of India has included Chhau in the list of classical dances making a total of 9 classical dance forms.

The 8 basic technicalities that are expressed in the classical dance are given below:

• Shringar: Love
• Hasya: Humorous
• Karuna: Sorrow
• Raudra: Anger
• Veer: Heroism
• Bhayanak: Fear
• Bibhats: Disgust
• Adbhoot: Wonder

Indian Dances with States is an important static GK topic for the UPSC exam. For information on various  static GK topics  check the article linked here.

For more on Indian classical dances , click on the linked article.

The list of classical dances in India is given below ( classical dance of India with states) :

Questions based on these classical Indian dance forms are common in the UPSC exam for the prelims phase.

Classical Dances of India – What do you need to know?

Bharatanatyam is based on performance and aesthetic ideas outlined in classics such as Bharata’s Natyashastra. It offers a large collection of songs in Telugu, Tamil, and Sanskrit. The topics include a wide variety of human and heavenly love and are commonly classified as Shringara (romantic love) and Bhakti (devotion). Bharatanatyam music is part of the Carnatic system of music from southern India.

Kathak is the main dance of northern India, and it is still extensively practised in Uttar Pradesh, Rajasthan, Delhi, Madhya Pradesh, and even regions of western and eastern India. It is said to be related to the storytelling art of Kathakaras, or storytellers, who have for centuries taught the scriptures, the epics Ramayana and Mahabharata, and puranic literature to the general people.

Kuchipudi , one of India’s primary dance genres, originated in Andhra Pradesh, where it evolved significantly as a result of the Bhakti movement that began in the 7th century AD. Nritta, Nritya, and Natya’s Kuchipudi is a dance-drama. The Nritta is made up of teermanams and jatis, the Nritya is made up of Sabdams, and the Natya is made up of acting with Mudras for the songs.

Odissi dance originated in Orissa, India’s easternmost state, where it was first performed as part of temple duty by ‘maharis,’ or female temple employees. The traditional dance was reshaped as a theatre art in the mid-twentieth century, drawing on not just existing dance art but also representations of dance in Orissa’s mediaeval sculpture, painting, and literature. 

Kathakali , or ‘story play,’ emerged in the seventeenth century in Kerala, southern India, under the patronage of the prince of Karnataka, who created plays for performance based on the epic Ramayana in Malayalam, the local language. Most Kathakali plays, which have been passed down to us in a constant stream over three centuries, are based on stories from the Ramayana and Mahabharata.

Sattriya dance refers to the body of dance and danced theatre produced in Assam’s sattras or monasteries during the sixteenth century when the Vaishnava faith spread over the nation thanks to the saint and reformer Shankaradeva (1449-1586). It is a separate genre within classical Indian dance, with an advanced vocabulary of hand gestures (hasta), footwork (pada karma), movement and emotion (Nritta and Abhinaya), and a repertory based on Krishna devotion.

Manipuri dance emerged in Manipur in north-eastern India and is rooted in the Vaishnava beliefs of the Meiteis, or Manipur valley people. Manipur’s dance is divided into two sections: jagoi and cholom, which match the lasya and tandava parts mentioned in Sanskrit literature. These are distinct streams, and an artist can spend a lifetime honing any form within the spectrum.

Mohiniattam originated in Kerala in southern India and is named after the mythical enchantress Mohini. It is a dance of feminine grace and has grown out of performances connected with Kerala’s temples. Mohiniattam employs rhythms unique to Kerala: the rhythmic syllables utilised are those of the Maddalam, a drum used to accompany female characters in Kathakali theatre. The Edakka is the main percussion instrument in the performance.

Folk Dances in India

• Folk dances in India represent the culture and tradition of the community from where they originated.
• Folk dances are usually performed during the respective community’s celebration- childbirth, festivals, weddings, etc.

There are different types of folk dances in India.

The list of Folk Dances in India is given below:

Art and culture is an essential part of the IAS syllabus and every year, questions are asked from this section in both the prelims and mains exams.

Relevant Links

Multiple Choice Question

Q. Consider the following statements:

• The classical dance originates from Natya Shastra. The 2 basic aspects of Classical dance are Lasya and Tandava.
• Folk dance is associated with celebrating agricultural harvests or social gatherings like weddings, etc.
• Classical dances are performed by professional or highly trained dancers who have studied their form for many years. There are eight classical Dances in India.
• There are more than 30 folk dances in India. Some of the most popular folk dances are Ghoomer, Kacchi Gori Chari, Kalbelia; all of them originating from the state of Rajasthan.

Choose the correct answer from the options:

• None of the above statements is false
• None of the above statements is true
• Only statements 2 and 3 are true
• Only statements 3 and 1 are true

Frequently Asked Questions on Indian Dance Forms

Q 1. which is the oldest dance form in india, q 2. which is the recently added dance form in the classical dance list of india, q 3. what is karagattam, q 4. in how many categories indian dance forms are classified, q 5. which state dance is yakshagana, q 6. is kathak and kathakali the same form of dance, q 7. what is the difference between kathak and bharatanatyam, q 8. kuchipudi dance form belongs to which state, q 9. what is the dance of gujarat, q 10. what is the dance of maharashtra.

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What are major Dance forms of INDIA

Learn about the 8 Classical Dance Forms in India in the linked article.

Sir how many total classical dance are there in India currently 2020

Sangeet Natak Academy (India’s National Academy) recognizes only eight classical dances of India, however, the Ministry of Culture also considers Chhau Dance as a classical dance of India, making the total number of classical dances in India as nine.

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Indian Classical Dance Forms | Facts, Famous Dancers, Origins of Classical Dances of India

Out of many dance forms in India practiced across different regions, eight types of dance forms have been recognized as classical dance forms of India by Sangeet Natak Akademi. Below you will get to know about each Classical dance form in India. Their details are as follows-

List of Classical Dance and State

1. Bharatanatyam

• Bharatanatyam is the oldest dance form of India. It is called the mother of all other styles of classical dance in India.
• Rukmani Devi Arundale and Padma Subrahmanyam are famous Bharatanatyam dancers.
• Its origin is believed to be from Tamil Nadu, and it was earlier also known as Sadir Attam .
• This dance was nurtured by temples and kingdoms of South India since ancient times.
• It expresses South Indian religious themes and spiritual views, particularly Shaivism, Vaishnavism and Shaktism.
• It was banned by the colonial British government in 1910.
• The dress of a Bharatanatyam dancer is similar to the dress of a Tamil Hindu bride.
• Jathiswaram
• Shlokam or Mangalam

Bharatanatyam Dance form

• It is one of the eight forms of ancient classical dances of India. It originated from Uttar Pradesh.
• The origin of Kathak is traditionally believed by Kathakars or storytellers in ancient north India.
• Kathak dancers narrate the narrative through hand gestures, extensive footwork and most importantly, facial expressions.
• Kathak performances include Urdu ghazals and commonly use instruments brought during Muslim rule.
• Kathak dance form emphasizes the movement of rhythmic legs and Kathak artists wear ghungroos on the feet.
• The most common musical instrument in Kathak is the tabla. Other instruments like Sarangi, Harmonium and Manjira are also used.
• Jaipur Gharana, Banaras Gharana and Lucknow Gharana are famous schools of Kathak.
• Shambhu Maharaj, Lachhu Maharaj and Sundar Prasad were famous Kathak artists.

Kathak Dance form

3. Kuchipudi

• Kuchipudi is the most popular traditional dance form in South India and its origin is believed to be from Andhra Pradesh.
• Kuchipudi evolved as a Vaishnavism tradition and is most closely related to the Bhagavata Mela.
• Traditional Kuchipudi was performed by a male troupe.
• Typical musical instruments in Kuchipudi are Mridangam, Jhanj, Veena, Bansuri and Tambura .
• Mallika Sarabhai, V. Satyanarayana Sarma, Deepa Shashindran, Usha Srinivasan and Swapna Sundari are the masters of this dance.

Kuchipudi Dance Form

• This classical dance originated in Orissa and is traditionally performed in temples.
• Odissi dance expresses Vaishnava themes and other traditions related to the Hindu gods Shiva and Surya.
• Odissi dance is known for its style, independent postures of head, chest and hands, called bhanga. Odissi Tribhanga Asana is particularly famous.
• Odissi dance tradition declined during the Islamic rule and was suppressed under British rule.
• Modern Odyssey is performed by children and adults, singly or as a group.
• Sujatha Mohapatra and Madhavi Mudgal are the masters of this dance.

Odissi Dance Form

5. Kathakali

• Kathakali belongs to Kerala.
• In its fully developed form, Kathakali started around the 17 th century.
• It is a mixture of dance, music and acting.
• In Kathakali, male actors traditionally wear clothes of female dancers, use elaborately colored make-up, costumes and face masks.
• In Kathakali, stories of the Indian epics are depicted through drama.
• Kalamandalam, Krishnan Nair and Ramanakutty Nair were the masters of this dance.

Kathakali Dance Form

6. Sattriya

• Sattriya dance, one of the eight major classical Indian dance traditions, has its origins in Assam.
• It is a dance-drama performance art presented in the Krishna-centric Vaishnavism monasteries of Assam.
• Its origins are believed to be by Srimanta Sankardev. He was a scholar and saint of Bhakti movement of 15 th century.

Sattriya Dance Form

7. Manipuri

• Manipuri dance form is one of the major classical dance forms of India; its origins are believed to be from Manipur.
• The theme of Manipuri dance is based on Radha and Krishna's Rasleela.
• Manipuri dance is also known as Jagi.
• This dance is performed during Lai Haroba in Manipur during the worship of regional deities such as Umang Lai.

Manipuri Dance Form

8. Mohiniattam or Mohiniyattam

• Mohiniattam is another classical dance form of Kerala and is one of the eight Indian classical dances.
• The word Mohini of Mohiniyattam dance is derived from Mohini, a mythical incarnation of the Hindu god Vishnu, who helps the victory of good over evil by its feminine powers.
• Its dance song is in Manipravalam, a Malayalam-Sanskrit hybrid.
• Bharti Shivaji, Sunanda Nayyar and Mithil Devika are famous Mohiniattam dancers.

Mohiniattam Dance Form

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Free essay samples, research paper examples and academic writing tips for students

Indian Dance Essay

Introduction.

Historically, dance played an important role in the life of Indian people. It should be said that the earliest dance forms originate to the antiquity. At the same time, dance has never lost its significance to Indian people who were always interested in dance and who made this a real form of art. In fact, Indian culture is characterized by the richness and variety of forms of expression but, at the same time, despite certain variations the traditional Indian culture remains a solid and powerful tool that unites the whole nation.

It should be pointed out that there exist various styles of dance which may vary depending on the region or the origin. Basically, Indian dance is performed on different occasion but, nevertheless, it does not make Indian dance less expressive or significant. In actuality, it is possible to speak about dance in India as a part of cultural identity of Indian people and as a form of communication between Indians which has gradually evolved and transformed in the great art.

It is important to underline that Indian dance is so important to Indians that they never abandon their historical traditions of dance. No wonder that even in the modern world, when Indians are dispersed throughout the world and when Indian communities may be found in absolutely different parts of the world living in different socio-cultural environment, Indian dance still distinguishes Indian people from other communities of the world.

History of Indian dance styles

Speaking about the history of Indian dance, it is necessary to point out that as any other form of art in India, dance was closely related to the religious beliefs of Indian people and actually is considered to be a kind of divine gift. It should be said that the origin of Indian dance styles may be traced back to the Natya Shastra of Bharat Muni about 400 BC. However, this was rather a theoretical representation of Indian dance which had being existed for a long time before their theoretical adaptation.

In actuality, it is possible to refer the origin of Indian dance styles to the epochs as old as 2000-1500 BC. The first development of dance styles is associated with the invasion of India by Aryans who founded a prosperous civilization in India and developed practically all forms of art, including dance. At the same time, any form of art in India was traditionally believed to be of a divine origin and dance was not an exception. the first elaborate and eloquent references to art of dancing are abound in the Rig Veda, containing sacred texts, which was compiled about 1500 BC (Samson 1987). In such a way, it is obvious that dance was one of the ancient forms of art in India.

In Indian tradition, it is believed that dance was created by Lord Brahma (the Creator) as the treatises on dance such as Natya Shastra and Abhinaya Darpana read. In fact, the Natya Shastra is the earliest Indian text in the history of performing arts which is believed to be created by Gods as a form of entertainment. It is worthy of note, the four traditional Veda, containing sacred texts, were not accessible to all castes and, thus certain categories of Indian population were deprived of opportunity to get acquainted with them, while the Natya Shastra was perceived as the fifth Veda accessible to absolutely all people. According to Indian legends, it was the gift of Gods and initially, the Natya Shastra and, thus dance, was supposed to be destined to Gods only, but later were presented to people.

Naturally, in the course of time, views on dance in India evolved as well as dance styles themselves .This is why nowadays it is possible to single out several classical dance forms, including Bharatnatyam, Kuchi[pudi, Mohini Attam, Kathak, Odissi and Manipuri. It is worthy of mention that dance styles in India may vary depending on the region so that different regions have their own unique dance styles, which, nonetheless, basically meet Indian tradition of dance and Indian philosophy of dance.

Purpose of Indian dance

Taking into consideration the significance of dance to Indian people, it seems to be quite natural that the dance serves to different purposes in Indian culture. Obviously, the dance is an ancient form of art and this is why, in the modern context, it is possible to view the dance as a means of preservation of the national culture and traditions. In other words, classical dance forms of India may be viewed as a cultural heritage of Indian people which underlines the uniqueness of Indian people and Indian culture contributing to the development of national and cultural identity of Indian people. To a significant extent, it is due to the dance Indian people living in different parts of the world feel that they belong to the same culture and they are representatives of one and the same nation.

At the same time, the dance in India also serves to more practical purposes. For instance, it is not a secret that Indian dances are very informative and actually the dance for Indians is more than dance or art, it is rather a form of communication since with the help of gestures, movements, dressing, etc. dancers can express their feelings, emotions, intentions, etc. This is why the communicative purpose of Indian dance is obvious.

Furthermore, it is necessary to remember about the traditional purpose of dance that can be traced throughout the history of its development, this is the performance. Unquestionably, traditionally picturesque, emotional and highly informative Indian dances always represented a great performance and served as a means of entertainment of large audience that may be compared to the modern concerts and, in this respect, Indian dances may be viewed as similar to performance art in any other country.

However, often the dance as a performance served to religious purposes which emphasized the divine origin of dance. In this respect, it is worthy of mention that the Shiva temple of Chidambaram was sculpted with 108 Karanas (units of dance in which gesture, step and attitude are coordinated in a harmonious rhythmic movement) on the inner walls of the four gateways leading to the temple (Bowers 1967). In suhc a way, it is obvious that Indian dance was extremely important to the local religion.

Naturally, despite its divine origin, Indian dance also served to human purposes and often it was a perfect way to get socialized or accepted by the community. In this respect, it should be said that the participation in dance was traditionally a symbol of the acceptance of an individual by the community since it was a symbolic unification of the individual with his social environment. Thus, the variety of purposes of Indian dance made it extremely important part of social life of Indian people and its significance is still relevant even nowadays.

Classification of Indian dance, decorations and participants

As Indian dance played an important social role, the fulfillment of its basic purposes implied the existence of a variety of dance forms and styles. Moreover, the huge territory inhabited by Indian people contributed dramatically to the regional diversification of dance forms and styles. This is why among the variety of Indian dance forms it is possible to single out eight classical dance form, which has already been mentioned above. But the more general classification helps structure Indian dance into three major groups.

First of all, these are religious dances which are performed inside the sanctum of the temple. According to the rituals these dance forms were classified as Agama Nartanam. This was a spiritual dance form. Secondly, it is possible to single out dances that fulfilled socio-political function and were performed in royal courts to the accompaniment of classical music and were traditionally called Carnatakam. Finally, it is possible to speak about dances which fulfilled a kind of universal or uniting the community function since the form of dance known as Darbari Aatam appealed more to the commoners and it educated them about their religion, their culture and social life. These dances were performed outside the temple precincts in the courtyard (Auntrose 2002).

However, in order to fully understand the diversity of Indian dance forms, its essence and ambiance, it is necessary to dwell upon the classical Indian dance forms. Primarily, it should be said that practically all Indian classical dances are spiritual. For instance, Kathakali, which literally means story-play, is an elaborate dance depicting the victory of truth over the falsehood. The particular feature of this form of dance is the use of elaborate make-up and colorful costumes which are used to emphasize that the characters are super-beings from another world, and their make-up is easily recognizable as godlike, heroic, or demonic. Another dance form is Mohimi Attam. The theme of this dance is love and devotion to God, who is usuall Vishnu or Krishna. The Mohini Attam dancer maintains realistic make-up and a simple costume. Usually, the dancer is attired in a beautiful white with gold borderKasavu saree of Kerala, with the distinctive white jasmine flowers around a French bun at the side of her head.

Bharata Natyam dance has been handed down through the centuries by dance teachers and the temple dancers. In the sacred environment of the temple these families developed and propagated their heritage. In such a way, this dance was basically performed by this limited group of people while the others were unable to perform this dance.

Kuchipudi, another classical dance, is actually the dance drama that still exists today and can be closely associated with the Sanskrit theatrical tradition. During this dance, the actors sing and dance, and the style is the blend of folk and classical. Probably this is why the technique has greater freedom and fluidity than other dance styles. Kuchipudi was always performed as an offering to the temples.

Odissi dance form is based on the popular devotion to Lord Krrishna and the verses of the Sanskrit play Geet Govinda are used to depict love and devotion to God. The Odissi dancers use their heads, bust and torso in soft flowing movements to express specific mood and emotions. The form is curvaceous, concentrating on the division of the body into three parts: head, bust and torso. This is a soft, lyrical, classical dance which depicts the ambiance of Orissa and the philosophy of its most popular deity. This dance may be considered regional and typical for the state of Orissa.

Kathak is a North Indian dance form which is inextricably bound with classical Hindustani music and the rhythmic nimbleness of the feet is accompanied by the table. Traditionally, the dance was taken to Muslim courts and, consequently, it became more entertaining and less religious in content. The emphasis is traditionally made on the pure dance aspects and less on expression and emotions. Finally, there is Manipuri, a dance style based on circular movements. Specialists (Nayagam 1970) estimate that in ancient texts it has been compared to the movement of planets around the sun.

Thus, taking into account all above mentioned, it is possible to conclude that Indian dance is an ancient form of art that has developed throughout the history of Indian culture and still represents a constituent part of Indian cultural heritage. In actuality, there exist a variety of dance forms and style but basically they preserved their religious origin and, as a rule, Indian dance forms are characterized as highly spiritual. At the same time, the purposes and functions of Indian dance forms also vary substantially, though such a diversity of purposes only underlines the uniqueness of Indian dance which may characterized as highly informative form of performance and art which may be used equally successful to communication, entertainment, socialization of individuals, etc. In such a way, Indian dance is the national symbol, the art that shapes national identity of Indian people.

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Home — Essay Samples — Life — Dance — The Revival of Classical Indian Dance Forms in the 1900s

The Revival of Classical Indian Dance Forms in The 1900s

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Published: Mar 1, 2019

Words: 433 | Page: 1 | 3 min read

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November 21, 2023

Cultural preservation and gi: a close look at indian dance forms.

This article has been written by Ms. Shruti Verma, a 5th year student of National Law Institute University Bhopal.

INTRODUCTION

Preserving cultural heritage is of paramount importance in maintaining the identity and traditions of a society. In India, dance forms have played an integral role in the country’s cultural fabric, reflecting its rich history and diversity. To protect and promote these unique dance forms, the Indian government has implemented Geographical Indications (GIs) tags, providing legal recognition and ensuring their authenticity. This article explores the significance of GIs in cultural preservation, focusing on two renowned Indian dance forms that have received GI tags: the Thanjavur dancing dolls and the Bhotia folk dance. 

UNDERSTANDING GEOGRAPHICAL INDICATION

Geographical Indications are intellectual property rights that certify the origin and authenticity of products, linking their qualities or reputation to a specific geographic location. GIs protect traditional knowledge, cultural expressions, and unique characteristics associated with products originating from a particular region. By safeguarding these products, GIs ensure economic benefits flow back to the communities that have preserved and developed them.

The international recognition of Geographical Indications (GIs) is outlined in the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS Agreement), which aims to protect GIs as a form of intellectual property to prevent misleading use and unfair competition.

 In India, the legal framework for GIs is provided by the Geographical Indications of Goods (Registration and Protection) Act, 1999. This legislation establishes the registration and protection procedures for GIs in India, allowing producers from specific geographical areas to obtain exclusive rights to use the GI tag for their products, preventing unauthorized use and misrepresentation.

To obtain GI registration, applicants must demonstrate the specific qualities, characteristics, or reputation of their product attributable to its geographical origin. The Registrar of Geographical Indications examines the application and, if satisfied, grants the GI registration. Once registered, GIs are protected against unauthorized use and imitation, with legal remedies available to the GI right holders in case of infringement.

The legal framework for GIs also provides for the establishment of GI certification bodies and the formation of GI producer associations, which play a crucial role in safeguarding the interests of producers, maintaining quality standards, and promoting the collective reputation of the geographical indication. GIs offer several advantages for producers and regions, providing a distinctive identity and recognition to products, contributing to their marketability, commercial value, and economic development of regions, while also preserving cultural heritage.

 GIs are essential for protecting and promoting regional products and cultural heritage, with the Geographical Indications of Goods (Registration and Protection) Act, 1999 serving as the legal framework for GIs in India, supporting the registration and protection procedures for GIs, and ensuring the preservation of the product’s reputation and origin.  

SIGNIFICANCE OF GEOGRAPHICAL INDICATIONS IN CULTURAL PRESERVATION

Obtaining Geographical Indication (GI) protection for Indian dance forms can significantly contribute to the preservation and promotion of these rich cultural traditions. By securing GI status, these dance forms can preserve their distinctiveness by highlighting their unique historical, social, and cultural significance. This protection ensures that the knowledge and techniques associated with each dance form are passed down to future generations, safeguarding their authenticity and traditional roots.

Furthermore, GI protection can play a pivotal role in ensuring the continued practice and evolution of these dance forms. It can help in maintaining the integrity and standards of training, performance, and representation, preventing misappropriation and unauthorized use. This not only sustains the art forms but also encourages continuous innovation and development within the boundaries of tradition and authenticity.

In addition to preserving the essence of these dances, GI protection can also bring attention to the communities and regions that have nurtured and enriched these art forms. This recognition can potentially stimulate cultural tourism, encourage the local economy, and create opportunities for the practitioners and stakeholders associated with these dance forms.

Overall, GI protection can serve as a mechanism for safeguarding the diverse dance forms of India, ensuring their continued cultural significance, and promoting their sustained practice, evolution, and contribution to the country’s cultural heritage.  

Dance forms are an integral part of India’s cultural heritage, reflecting the country’s diverse traditions, customs, and beliefs. From classical dance forms like Bharatanatyam, Kathak, Odissi, and Kathakali to regional folk dances like Bhangra, Garba, and Lavani, each dance form represents a unique expression of the community that nurtures it. By obtaining GI protection, these dance forms can preserve their distinctiveness, pass on traditional knowledge to future generations, and ensure their continued practice and evolution.

SAFEGUARDING CULTURE HERITAGE

GIs serve as a means to safeguard India’s cultural heritage, protecting it from misappropriation and imitation. By certifying the authenticity of dance forms, GIs prevent unauthorized use of the name and ensure that consumers can trust the quality and origin of the performances. This safeguarding promotes the continued practice and development of these dance forms, allowing them to thrive and evolve within their cultural context.

Famous Indian Dance Forms with GI Tags

• Bhotia Folk Dance

The Bhotia folk dance is a traditional dance form performed by the Bhotia tribe in the high-altitude regions of Uttarakhand. This dance form, unique to the Bhotia community, has also received a GI tag, recognizing its cultural importance and distinctiveness. This traditional dance form has been preserved for centuries without any changes to its steps. According to local beliefs, the souls of deceased individuals become trapped in the bodies of goats and sheep in the Bhotiya region, and performing this dance is believed to help liberate these souls. The dance forms “Dhurang” and “Dhuring” are specific to the Bhotiya tribes in Uttarakhand and are performed during death ceremonies and funerals. Similar dance styles are also present among tribes in Himachal Pradesh and Nagaland.  

• Purulia’s Mask for Chhau dance

The Chhau dance, a traditional art form from Bengal, has received a Geographical Indication (GI) tag. This tag recognizes the unique nature of goods produced in a specific geographical area. The Chhau dance, particularly the masks used in the performance, has gained recognition, signifying the skill and artistry of the artists from Charida village of Baghmundi. The historical significance of the Chhau mask’s evolution, from the use of bird feathers to the present combination of paper, clay, and cloth, highlights the traditional craftsmanship involved. This recognition is a significant achievement for the artists and is expected to help sustain the Chhau industry.  

• Thanjavur Dancing Dolls

The dancing dolls of Thanjavur, also known as thalai aatti bommai, have been granted the Geographical Indication (GI) mark by the Government of India. This GI registration acknowledges the dolls’ unique geographical origin in the Thanjavur region. Only the authentic Raja-Rani pair, standing on a curved pedestal, can be referred to as the “dancing dolls of Thanjavur” from now on. The GI registration ensures legal protection, allowing the registered proprietor and authorized users exclusive rights to the GI and relief in case of infringement. The registration recognizes the unique production method and attributes the dolls to the skills of artisans in and around Thanjavur, emphasizing the alluvial soil and clay available on the banks of the river Cauvery as enhancing the dolls’ uniqueness. Additionally, artisans can now register themselves with the Chamber to become GI-recognized craftsmen, which includes inspection by internal and external experts to audit the quality of the dolls in line with the culturally rich tradition of Thanjavur.  

THE ROLE OF GI’S IN PRESERVING CULTURE HERITAGE

• Unique Characteristics of Indian Dance Forms

Indian dance forms exhibit a myriad of unique characteristics that are deeply intertwined with their cultural heritage. Each dance form has distinct styles, movements, gestures, and musical accompaniments that reflect the traditions and customs of the regions from which they originate. GIs play a crucial role in preserving and promoting these unique characteristics, ensuring that the cultural significance of the dance forms is recognized and protected.

• Socio-Economic Impact of GIs on Artisans and Communities

Geographical Indications have a significant socio-economic impact on dance forms in India. By obtaining GI protection, the dance forms gain recognition, visibility, and marketability, leading to increased opportunities for the artists and communities involved. This, in turn, contributes to the preservation and promotion of these cultural practices.

One of the key benefits of GI protection is the economic empowerment of the artists. By safeguarding the authenticity and quality of the dance forms, GI protection helps create a market niche for these performances. This leads to increased demand for performances, both within India and internationally, providing economic opportunities for the artists and communities. It also encourages the transmission of traditional knowledge and skills from one generation to the next, ensuring the continuity of these dance forms.

Furthermore, GI protection contributes to the cultural tourism industry, attracting visitors who are interested in experiencing the richness and diversity of India’s dance traditions. This not only generates revenue for the local communities but also promotes cross-cultural exchange and understanding.

Additionally, GI protection encourages innovation within the dance forms themselves. While preserving the traditional techniques and repertoire, artists are also inspired to explore new ways of expression, blending the old with the new. This helps in the evolution and relevance of the dance forms in contemporary contexts, ensuring their continued vitality.

THE GEOGRAPHICAL INDICATIONS IN INDIA: LEGAL FRAMEWORK

The Geographical Indications of Goods (Registration and Protection) Act, 1999, forms the legal framework for GIs in India. This Act provides for the registration and protection of GIs, ensuring the preservation of traditional knowledge and cultural heritage. The Geographical Indications Registry, under the jurisdiction of the Controller General of Patents, Designs & Trademarks, plays a crucial role in managing the registration and safeguarding of GIs. This registry ensures the effective enforcement of GI protection and promotes the cultural and economic value of Indian dance forms.

PRESERVATION OF TRADITIONAL DANCE FORMS

Dance forms are an essential part of India’s cultural heritage, with each region boasting its unique traditions and styles. GIs play a vital role in preserving these traditional dance forms by recognizing their origin and distinctiveness. This recognition not only protects the art form but also ensures that the cultural knowledge and skills associated with it are passed down through generations. GIs provide a platform for artisans and performers to showcase their talent and contribute to the preservation of India’s diverse dance heritage.

The preservation and promotion of India’s diverse dance forms through Geographical Indication (GI) protection can be further enhanced through the following strategies:

• 1 . Documentation and Preservation of Traditional Knowledge: Encouraging the documentation of dance traditions, including their historical significance, unique techniques, musical accompaniment, and costumes. Creating comprehensive archives of these dance forms can help in preserving traditional knowledge for future generations.
• Education and Training Programs: Supporting educational initiatives aimed at teaching and training individuals in traditional dance forms. Establishing academies, workshops, and cultural exchange programs can help in passing down the skills and techniques associated with these dance forms and ensuring their continuation.
• 3 . Community Involvement and Recognition: Involving local communities in the promotion and preservation of their traditional dance forms. Recognizing the contribution of dance practitioners, choreographers, musicians, and costume designers within their communities can foster a sense of pride and ownership, encouraging them to continue nurturing and evolving these art forms.
• Cultural Exchange and Collaboration: Facilitating cultural exchange programs and collaborations between practitioners of different dance forms and regions. This can lead to the enrichment of traditions through the sharing of techniques, choreography, and artistic interpretations.
• Promotion and Marketing: Utilizing the GI status to promote these dance forms both domestically and internationally. Organizing festivals, performances, and exhibitions dedicated to showcasing the diversity and beauty of Indian dance forms can create a wider appreciation and audience for these art forms.
• 6 . Legal Protection and Support: Ensuring effective legal support and protection for the GI status of these dance forms, including measures to prevent misappropriation and unauthorized use. This can also involve advocating for intellectual property rights and fair compensation for the practitioners of these dance forms.

By implementing these suggestions, the cultural significance and unique heritage of India’s traditional dance forms can be effectively preserved, celebrated, and passed on to future generations.  

CHALLENGES AND FUTURE PROSPECTS

Despite the numerous benefits of Geographical Indications for dance forms, there are several challenges that need to be addressed. One of the challenges is the need for awareness and understanding of the GI system among artists, communities, and the general public. Many artists may not be aware of the potential benefits of GI protection or may face challenges in navigating the complex registration process. Efforts should be made to educate and empower artists, ensuring that they can access the benefits of GI protection.

Another challenge is the need for effective enforcement mechanisms to prevent the unauthorized use or dilution of the protected dance forms. This requires strong legal frameworks and collaborations between government agencies, cultural organizations, and the artists themselves. Regular monitoring and evaluation of the GI-protected dance forms can help identify and address any issues related to quality control, misappropriation, or infringement.

Looking ahead, there are promising prospects for the continued growth and recognition of dance forms through Geographical Indications. As more dance forms obtain GI protection, India’s cultural heritage will be further celebrated and preserved. The recognition and economic opportunities provided by GI protection can contribute to the sustainability and vitality of these dance forms, ensuring their continued practice and evolution in the years to come.

Geographical Indications play a vital role in cultural preservation by protecting traditional dance forms and safeguarding India’s rich cultural heritage. The GI tags awarded to the Thanjavur dancing dolls, Bhotia folk dance, and Bhotiya Dann hand-knotted carpets highlight the diverse range of art forms protected under the GI system. These dance forms possess unique characteristics deeply rooted in their place of origin, reflecting the traditions and customs of their respective regions. By recognizing and protecting these dance forms, GIs contribute to the preservation, promotion, and economic empowerment of artisans and communities associated with India’s vibrant dance heritage.

• The article, Geographical Indications and Cultural Protection in India: Harnessing Intellectual Property for Regional Development was originally written by Ganesh Makum and the link for the same is herein https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4490648.
• The article, Magnificent Masks of Chhau: Tradition, Technique and Transformations was originally written by Smriti Malhotra and the link for the same is herein https://abirpothi.com/magnificent-masks-of-chhau-tradition-technique-and-transformations/
• The article, G.I. Tags in India: Preserving Cultural Heritage and Promoting Economic Growth was originally written by Deepankar Singhal and the link for the same is herein https://www.successmantra.in/blog/g-i–tags-in-india
• The article, Bhotiya Folk Dance Gets GI Tag was originally written by Veronica and the link for the same is herein https://www.studyiq.com/articles/bhotiya-folk-dance-gets-gi-tag-free-pdf/ .
• The article,Geographical Indications (GI Tag): A Key to Unlocking Market Value and Preserving Cultural Heritage was originally written by Mohit Chordiya and the link for the same is herein https://in.linkedin.com/in/mohit-chordiya-756165122?trk=article-ssr-frontend-pulse_publisher-author-card
• The article, My Native Treasures: Thanjavur Dancing Dolls was originally written by Jayashree Krishnan and the link for the same is herein https://indiacurrents.com/my-native-treasures-thanjavur-dancing-dolls/

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Essay on indian classical dance (493 words).

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Essay on Indian Classical Dance!

The sculptures of yore are silent evidences of the antiquity of the Indian classical dances traditional sacred text show the close association of religion with dance. Indian dance, like other Indian arts, has always been conscious of the relationship between the human being and God.

The divine concept of the cosmos and the philosophy of Indian thought pervade and form a backdrop to the dance techniques. Dance was a ritual form of worship in temples. The much denigrated devadasis in the temples, in their rituals of worship, kept alive the art form, till a cultural revival brought the dances out of the temples into the theatres of the present.

The principles of Indian classical dance—whatever the style—derive from the Natyashastra (c. 2nd century AD) by Bharatamuni. Natya includes dance, music and drama. Bharatamuni traces the origin of the art form to Brahma. It was Brahma who, on perceiving the growing desire, greed, jealousy, anger, and misery in the world, went into meditation and created a fifth Veda, viz., the Natyaveda, representing the essence of the existent four Vedas.

The intellectual content of the Rig-Veda, the music of the Samaveda, abhinaya or mime from the Yajurveda and the rasa from the Atharvaveda have been brought together in the Natyaveda to embody moral and spiritual truths. Thus the art form is meant not just to entertain but also to instruct and inspire discipline and righteousness.

The dancing Shiva, Nataraja, represents in his art creation, preservation, destruction, release from bondage and the cycle of life and death. Parvati, learning the art from Shiva, in turn taught it to the people of the earth. Whatever the origin, dance is often considered to be a ‘complete art’, at least a composite art enfolding in its range other fine arts—music, of course, besides elements of sculpture, poetry and drama.

There are two basic aspects to Indian classical dance, namely, tandava and lasya. If the former denotes movement and rhythm, the latter denotes grace, bhava and rasa, and abhinaya.

Nritta consists of dance movements in their basic form; nritya is expressional, enacting the sentiments of a particular theme. These are expressed through mudras or gestures and poses. The hasta is a hand gesture representing a word or even an idea. There are 108 karana or fundamental poses.

A famous treatise on dance is Nandikeswara’s Abhinaya Darpana. Later works include Maheshwar Mahapatra’s Abhinaya Chandrika and Jadunath Singh’s Abhinaya Prakash.

Bharata and other writers have emphasised that learning can only come through gurus. The traditions—the sampradaayas—have been taught by gurus to their sishyas through the centuries.

The nayaka-nayaki bhava, symbolic of the human soul surrendering itself as the beloved (nayaki) of the One Lover (nayaka) of the universe, i.e., Divinity, is a common theme of Indian dance. Apparently erotic songs, too, can be interpreted on this higher plane. There are nine rasas: love, heroism, pathos, humour, anger, fear, disgust, wonder and peace.

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World Art Day 2024: 5 traditional Indian art forms you must know about

Explore the vibrant tapestry of indian culture on world art day 2024 with a journey through five timeless traditional art forms. from intricate madhubani paintings to mesmerizing kathak dance, delve into the rich heritage that continues to inspire and captivate the world..

Madhubani Painting

Originating from the Mithila region of Bihar, Madhubani painting is a traditional art form that dates back to ancient times. Characterised by intricate patterns, vibrant colours, and themes inspired by mythology and nature, Madhubani paintings often adorn the walls of homes during festivals and special occasions. Traditionally done by women, each piece of Madhubani art tells a story, making it a cherished cultural heritage.

Hailing from the tribal communities of Maharashtra, Warli art is one of the oldest forms of Indian folk art. Created by using simple geometric shapes like circles, triangles, and lines, Warli paintings depict scenes of daily life, rituals, and folktales. The monochromatic hues against a mud base render a rustic charm to this art form, which has gained international acclaim for its simplicity and earthy appeal.

Pattachitra

Pattachitra, meaning cloth (patta) painting (chitra), is a traditional art form from the state of Odisha. Intricately detailed and vibrant, Pattachitra paintings are crafted on cloth or dried palm leaves using natural colours derived from minerals, vegetables, and plants. These paintings often depict mythological narratives, religious themes, and scenes from epics like the Ramayana and Mahabharata, showcasing the artist's skill and devotion.

Kalamkari, which translates to 'pen work', is an ancient Indian art form that originated in the southern states of Andhra Pradesh and Telangana. Known for its elaborate hand-painted or block-printed designs on fabric, Kalamkari art involves a laborious process of dyeing, bleaching, hand painting, and washing. Themes in Kalamkari range from Hindu mythology to floral motifs, with each piece reflecting the artist's mastery and creativity.

Tanjore Painting

Hailing from the culturally rich state of Tamil Nadu, Tanjore painting is renowned for its rich colours, intricate designs, and embellishments of gold foil. Originating in the 16th century, these paintings often depict Hindu gods and goddesses, adorned with jewels and intricate detailing. The use of precious stones and gold leaf adds a royal touch to Tanjore art, making it a prized possession for art enthusiasts worldwide.

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