Introduction

Introduction to Indian Dance

All eight forms of Indian classical dance

     India has thousands of year old tradition of fine arts and classical and folk music and dances. Dance in India comprises the varied styles of dances in the country. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. The national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities. Some of the world-famous dance forms that originated and evolved in India are Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi and Sattriya. All these dance forms use basically the same 'mudras' or signs of hand as a common language of expression and were originally performed in the temples to entertain various Gods and Goddesses. They were also effective in carrying forward the various mythological stories from generation to generation while entertaining the audiences. 

It eventually became a part of 'Natya Shashtra', as propounded by Sage Bharata to compile and forge some rules and regulations of entertaining arts. With time, the classical dances evolved to include the expressions and themes from social life and experiences. Lord Shiva is said to be the 'Nataraja' meaning 'King of All Dances', who is said to perform the Cosmic Dance that delicately balances life and death and all that is happening in the Universe in harmonious cycles.

Origin of Indian Dance

In Hindu scriptures, dance is believed to have been conceived by Brahma. Brahma inspired the sage Bharata Muni to write the "Natya Shastra", a treatise on performing arts, from which a codified practice of dance and drama emerged. He used "pathya" (words) from the Rigveda, "abhinaya" (gestures) from the Yajurveda, "geet" (music) from the Samaveda and "rasa" (emotions) from the Atharvaveda to form the "Natyaveda" (body of knowledge about dance). The best-known of Hindu deities—Shiva, Kali and Krishna—are typically represented dancing.

Shiva as Nataraja is worshiped as God of dance in Hinduism.

In ancient India, there were no dedicated auditorium halls or theaters, and dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. Classical dance forms such as Bharata Natyam use mudras or hand gestures also to retell episodes of mythological tales such as the slaying of Kaliya by Krishna.

Gradually dancers, particularly from South India, moved from temples to houses of royal families where they performed exclusively for royalty. India offers a number of classical Indian dance forms, each of which can be traced to different parts of the country. Classical and folk dance forms also emerged from Indian traditions, epics and mythology. There are many Indian folk dances such as Bhangra, Bihu, Ghumura Dance, Sambalpuri, Chhau and Garba and special dances observed in regional festivals such as Lohri and Navratri.

The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience.

Various types of dances

The 8 traditional dances of India

1. Bharatanatyam

2. Kathakali

3. Kathak

4. Kuchipudi

5. Manipuri

6. Mohiniattam

7. Odissi

8. Sattriya

Bharatanatyam

Bharatnatyam is one of the most popular classical Indian dances. Bharatnatyam is more popular in South Indian states of Tamil Nadu and Karnataka. Bharatnatyam dance is almost 2,000 years old. It is believed that Bharatnatyam was revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit text called the Natya Shastra. The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics. Natya Shastra divides dance into two distinct forms- nritta, and nritya. In nritta, focus is on mastery of abstract hand gestures and movements, whereas the dancer employs a complex system of hand signals and body language to depict emotional expressions in nritya.

Bharatanatyam dance forms

The Bharatnatyam dance flourished in the Hindu temples of South India. The temple dancers (Called Devadasis or servants of god) flourished under royal patronage and religious devotion. The Devadasi system became an integral part of South Indian temple ritual. Slowly and gradually the Devadasi system went into disrepute due to economic and social conditions attached to it. The credit of reviving and popularizing the Bharatnatyam in its present form goes to Rukmini Devi, who gave it new life and respectability. Bala Saraswati, the queen of Bharatnatyam also deserves accolades for her work and efforts to popularize Bharatnatyam. 

At present Bharatnatyam is an immensely popular classical dance form of India. The present form of Bharatnatyam dance was evolved by Poniah Pillai of Tanjore and his brothers. Formats of Bharatnatyam consist of "Alarippu" (invocation), "Jathi Swaram" (note combinations) "Shabdam" (notes and lyrics), "Varnam" (a combination of pure dance and abhinaya) lighter items like Padams and Javalis (all erotic) and finally the thillana (again pure dance). Bharatnatyam is considered the mother art of most of the other classical dances of India and inspires many art forms like sculpture, painting, and icon-making.

Kathakali

Kathakali

Kathakali is the classical dance form of Kerala. The word Kathakali literally means "Story-Play". Kathakali is known for its heavy, elaborate makeup and costumes. In fact, the colorful and fascinating costumes of Kathakali have become the most recognized icon of Kerala. Kathakali is considered as one of the most magnificent theatres of imagination and creativity. Kathakali dance presents themes derived from the Ramayana, the Mahabharata and other Hindu epics, mythologies and legends. 

Kathakali dance forms

The dance aspect of Kathakali consists of pure dance (nritya) as well as mime (abhinaya). Initially Kathakali was thought to be the sole domain of men but now women also perform the dance. Like all other dance forms Kathakali has also undergone changes over the time. In Kathakali emphasis is given more on aharya abhinaya, the use of costumes, ornaments and facial make-up. It is interesting to note that Kathakali is the only Indian dance form in which the entire body, both skeleton and muscles, down to even the smallest facial muscle are used to portray emotion. When Kathakali dance is being performed the text of the drama or the story is sung for the dancer and is the baseline for his/her interpretation. 

In Kerala and some other south Indian states Kathakali performance is a major social event, which starts at dusk and continues all through the night. The Kathakali tradition dates back to the 17th century. It was Mahakavi Vallathol Narayan Menon, who gave Kathakali its present form. He was the founder of the Kerala Kala Mandalam. 

Kathakali Costumes The most distinctive characteristic of Kathakali is its dance costume. In Kathakali the makeup is very intricate and the costumes are very large and heavy. There are several kinds of Kathakali costumes namely, Sathwika (the hero), Kathi (the villain), Minukku (females), and Thatti. Each character in Kathakali dance is immediately recognizable by characteristic makeup and costume. The Kathakali makeup is so heavy that it looks like a mask.

Kathak

Kathak

Kathak is one of the most important classical dances of India. Kathak is said to be derived from the word katha, meaning "the art of storytelling." The Kathak dance form originated in north India and was very similar to the Bharatnatyam dance form. In ancient India, there were Kathakars or bards who used to recite religious and mythological tales to the accompaniment music, mime and dance. 

Kathak dance forms

Under the influence of Persian and Muslim traditions Kathak dance assumed the form of courtly entertainment. Under the patronage of medieval rulers and Nawabs a class of dancing girls and courtesans emerged to entertain the palaces and courts. Medieval traditions imparted Kathak a distinct Hindu-Muslim texture. Thus, with the passage of time Kathak went on changing its form and character. This change was also reflected in the dress of Kathak dance. 

During the nineteenth century Kathak enjoyed a revival and gained prominence among the kings and zamindars (feudal lords) not only as a form of entertainment but also as a classical art form. Slowly and gradually Gharanas or schools of Kathak emerged. The Jaipur Gharana of Kathak emphasized technical mastery of pure dance. In the court of Wajid Ali Shah, the Nawab of Oudh (a student of Kathak), Kathak dance emphasized dramatic and sensuous expression and developed into a distinct style called the Lucknow Gharana. This Gharana is said to have originated with Wajid Ali Shah's court dancer Thakur Prasadji. 

Kathak dances are performed straight-legged and the ankle bells worn by the dancers are skillfully controlled. In Kathak dance the emphasis is more on footwork as against hasta mudras or hand formations in Bharatnatyam dance. Kathak dance can be performed by both men and women. A Kathak dancer is not required strictly to stick to fixed steps and stages in. He or she can change the sequence of steps to suit his or her skill and style of dancing. Modern exponents of Kathak dance are Birju Maharaj and Uma Sharma.

Kuchipudi

Kuchipudi

Kuchipudi is one of the classical dance forms of the South India. Kuchipudi derives its name from the Kuchipudi village of Andhra Pradesh. In the seventeenth century the Kuchipudi village was presented to the Brahmins, who were experts in staging dance and drama. Kuchipudi exhibits scenes from the Hindu Epics, legends and mythological tales through a combination of music, dance and acting. Like other classical dances, Kuchipudi also comprises pure dance, mime and histrionics but it is the use of speech that distinguishes Kuchipudi's presentation as dance drama. 

Kuchipudi dance forms

Carrying a fine combination of Natya, Nritta and Nritya, Kuchipudi was never a solo affair and required a number of performers. Kuchipudi was performed in the open air by performers who were given a vigorous training in abhinaya, music, dancing and singing. In its early form, the female roles were played by boys and young men of beautiful looks. The director (called Sutradhar) played the most important role. He combined the role of conductor, dancer, singer, musician, comedian, all in one. The Kuchipudi performance started with orchestral music which included Mridanga, Madala and a pair of cymbals. To bless the performance invocation of a deity was done. All this was followed by announcement of the theme of the play and introduction of characters by the sutradhar. 

In modern times the Kuchipudi dance is considerably different than it originally used to be. Most of the performances are solo, done by female dancers. Today the expressional numbers are sung by the danseuse herself instead by the vocalists in the background of the stage. The invocation of deity part has also been done away with as Kuchipudi has become more secular in its presentation. Today there is predominance of 'sringar' or erotic essence. Another notable facet of modern day Kuchipudi is the dilution of drama component. 

Kuchipudi has many features that are common to other classical dances of India. Kuchipudi carries the sensuousness and fluidity of Odissi with the geometric line of today's Bharata Natyam. As in all other classical dance forms of India, the Kuchipudi dance is both interpretive and lyrical, making use of abstract dance sequences as well. Kuchipudi dance retains its devotional character with stress on dramatic outlook. It is because of these qualities and features Kuchipudi dance enjoys great popularity and is recognized as one of the leading classical dance styles of India.

Manipuri

Manipuri

Manipuri is one of the six major classical dances of India. Manipuri dance is indigenous to Manipur, the North eastern state of India. The Manipuri dance style is inextricably woven into the life pattern of Manipuri people. The most striking part of Manipur dance is its colorful decoration, lightness of dancing foot, delicacy of abhinaya (drama), lilting music and poetic charm. The Manipuri dance form is mostly ritualistic and draws heavily from the rich culture of the state of Manipur. Costumes used in the Manipur dance are colorful and the music carries a quaint charm. 

Manipuri dance forms

Manipuri dance is entirely religious and aims at gaining spiritual experience. The Manipuri dance is not only a medium of worship and delight but also essential for all socio-cultural ceremonies of Manipuri people. Looking from a religious and artistic point of view the Manipuri Classical dance is said to be one on the purest, modest, softest and mildest and meaningful dances. 

Manipuri Dance is a common name and envelopes all the dance-forms of Manipur. Thus, Manipuri dance can be called a basket of various dances. According to legends the original creator of Manipuri dance was Radha and Krishna. This Rasa Leela dance is said to be repeated by Shiva and his consort, Goddess Uma in Lasya style (in Manipur). It is interesting to note that the same dance (Rasa-dance) was performed for the third time by two mortal human beings, princess Toibi and Khamba of Manipur. The dance performed by these two lovers is known as Lai Haraoba. 

The most important facet of Manipuri culture is that it has preserved the ancient ritual based dances and folk dances along with the later developed classical Manipuri dance style. Of all the classical categories, the 'Ras Leela' (a greatly evolved dance drama, choreographed on 'Vaishnavite Padavalis') is the utmost expression of artistic genius, devotion and excellence of the Manipuri people.

Mohiniattam

Mohiniattam

Mohiniattam is a classical dance form of Kerala. Mohiniattam is derived from the words "Mohini" (meaning beautiful women) and "attam"(meaning dance). Thus, Mohiniattam dance form is a beautiful feminine style with surging flow of body movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi system, which later grew and developed a classical status. 

Mohiniattam dance forms

Mohiniattam is a solo female dance (in a single costume), where musical melody and the rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the body movement is the striking feature. The Mohiniattam dance focuses mainly on feminine moods and emotions. Usually, the theme of Mohiniattam dance is "sringara" or love. Subtle subjects of love are executed with suggestive abhinaya, subtle gestures, rhythmic footwork and lilting music. The legend of Vishnu as "Mohini", (the enchantress) forms the core of Mohiniattam dance. 

The credit for reviving the Mohiniattam dance in the nineteenth century goes to Swati Tirunal. Swati Tirunal was an enlightened ruler of Travancore (Southern Kerala) and promoted the study of Mohiniattam. Swati Tirunal composed many of the musical arrangements and vocal accompaniments that provide musical background for the Mohiniattam dancers. The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school in 1930, also played an important role in reviving the Mohiniattam dance form. 

The performers of Mohiniattam dance usually wear an off-white colored sari with gold brocade borders. Hairs of the dancer are gathered in a bun and decorated with jasmine flowers. The Mohiniattam dancer is adorned with Gold Jewellery including necklaces, bangles, waistbands and anklets. The tinkling of the Jewellery produces music as the dancer performs the dance. Mohiniattam dance is accompanied by musical instruments like violin, Veena and Mridangam and the dancer narrates episodes from the epics and legends through elegant steps, rhythmic movements of her arms and amazing facial expressions. The Hastha Lakshandeepika is a classical text and forms the basis of hands and arms movement in Mohiniattam.

Odissi and Sattriya

Odissi

Odissi dance form

Odissi is one of the famous classical Indian dances from Orissa state. The history of Odissi dance is almost two thousand years old. Odissi is a highly inspired, passionate, ecstatic and sensuous form of dance. Like most of the South Indian classical dances of India Odissi too had its origin in the Devadasi tradition. The state of Orissa has a great cultural history. The rulers of this region built magnificent temples, which became the center of art and culture. It was around these temples that Odissi, one of India's scintillating dance-forms was born, nurtured and nourished. 

In its present form Odissi is a well established and codified classical dance form of India. Odissi is considered a dance of love, joy and intense passion, pure, divine and human. Over a period of time three schools of Odissi dance developed, they are- Mahari, Nartaki, and Gotipau. The Mahari system traces its roots in the Devadasi tradition. The dance form of Odissi that developed in royal courts is called the Nartaki tradition. In the Gotipau tradition of Odissi dance young boys dress up in female attires and enact female roles. 

Before the 17th century Odissi dance was held in great esteem due to patronage and support of local rulers and nobles. During this period even the royalty was expected to be accomplished dancers. However, the scenario changed after the 17th century. The dancing girls were thought of as prostitutes and from here the social position of dancers began to decline. During the colonial period too the position of Odissi dance suffered due to anti-nautch attitude of the British. 

With India gaining independence there began great efforts to revive the classical Indian dances. The government came to realize the role of cultural heritage in creating a national identity. A number of people and experts took initiatives for the reconstruction and popularization of Odissi dance. Some of the notable are Guru Deba Prasad Das, Guru Mayadhar Raut, Guru Pankaj Charan Das, Guru Mahadev Rout, Guru Raghu Dutta and Guru Kelu Charan Mahapatra. 

One of the most distinguishing features of Odissi dance is the Tribhangi. The notion of Tribhang divides the body into three parts, head, bust and torso. The postures dealing with these three elements are called Tribhangi. This concept has created the very characteristic poses which are more twisted than found in other classical Indian dances. Mudra is also an important component of Odissi dance. The term Mudra means "stamp" and is a hand position which suggests things. Odissi themes are almost religious in nature and mostly revolve around Krishna.

Sattriya

Sattriya dance form

The Sattriya dance form was introduced in the 15th century A.D by the great Vaishnava saint and reformer of Assam, Mahapurusha Sankaradeva as a powerful medium for propagation of the Vaishnava faith. The dance form evolved and expanded as a distinctive style of dance later on. This neo-Vaishnava treasure of Assamese dance and drama has been, for centuries, nurtured and preserved with great commitment by the Sattras i.e. Vaishnava maths or monasteries. Because of its religious character and association with the Sattras, this dance style has been aptly named Sattriya.

Sankaradeva introduced this dance form by incorporating different elements from various treatises, local folk dances with his own rare outlook. There were two dance forms prevalent in Assam before the neo-Vaishnava movement such as Ojapali and Devadasi with many classical elements. Two varieties of Ojapali dances are still prevalent in Assam i.e. Sukananni or Maroi Goa Ojah and Vyah Goa Ojah. Sukananni Oja paali is of Sakti cult and Vyah Goa Oja paali is of Vaishnava cult. Sankaradeva included Vyah Goa Ojah into his daily rituals in Sattra. Till now Vyah Goa Ojah is a part of rituals of the Sattras of Assam. The dancers in a Oja paali chorus not only sing and dance but also explain the narration by gestures and stylized movements. As far as Devadasi dance is concerned, resemblance of a good number of rhythmic syllables and dance postures along with footwork with Sattriya dance is a clear indication of the influence of the former on the latter. Other visible influences on Sattriya dance are those from Assamese folk dances namely Bihu, Bodos etc. Many hand gestures and rhythmic syllables are strikingly similar in these dance forms.

Sattriya dance tradition is governed by strictly laid down principles in respect of hastamudras, footworks, aharyas, music etc. This tradition, has two distinctly separate streams - the Bhaona-related repertoire starting from the Gayan-Bhayanar Nach to the Kharmanar Nach, secondly the dance numbers which are independent, such as Chali, Rajagharia Chali, Jhumura, Nadu Bhangi etc. Among them the Chali is characterized by gracefulness and elegance, while the Jhumura is marked by vigor and majestic beauty.