Classical dances of India
Classical dance in India is an eloquent expression of an ancient tradition, in which every action, be it the pursuit of knowledge, skills, craft, or an art form, became a stirring ritual and an offering to the divine. While the various classical dance forms of India have taken birth in temples and places of worship, the basis has always been the philosophy, the cultural and traditional values, and the individual characteristics of the myriads of communities and villages throughout the country. In ancient India, the arts of dance, drama, and music were fused into one, as seen in the treatise called the Natya Shastra-the Science of Dramatics, written by the sage Bharata around the second century BC (Sanskrit).
Between the 14th and 15th centuries AD, contemporary regional dance styles began to develop across India. During this period, dancers and musicians were closely associated with temple worship, with devadasis—women dedicated to the temple and considered married to the deity—playing a significant role in preserving and performing these sacred art forms. These traditions were often supported and patronized by kings and the wealthy elite. In the early twentieth century, Indian dance transitioned from being primarily a temple ritual to a performance art showcased before public audiences. Following India’s independence, each regional dance style gradually gained official recognition as a distinct and unique cultural tradition.
Bharatanatyam is an ancient classical dance form that was performed and nurtured in the temples of Tamil Nadu in Southern India as a part of the daily worship. Graceful movement, mime, and music contribute in equal measure to this traditional and beautiful dance. Speaking a universal language of gestures, replete with diverse moods and emotions and portraying rhythmic precision, the dance essentially brings to life the glorious sculptures of the temples as well as the mythology of the land. The distinguishing features of Bharatanatyam are the almost geometrical angularity of line, precise and forceful footwork, and the varied facial expressions. This dance is accompanied by classical South Indian or Carnatic music, while the rhythm is kept by the cymbals and the mridangam (horizontal drum). The dancer wears anklets of small bells to emphasize the rhythm. This style is one of the most ancient and arguably the best-known classical dance form of India.
Bharatanatyam was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet whose musical compositions for dance form the bulk of the Bharata Natyam repertoire even today. The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India’s cultural heritage prompted the educated elite to discover its beauty. By this time the Devadasis had fallen upon prejudicial days due to lack of state patronage and changed social mores. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage while retiaining its essentially devotional character.
In the word Bharata are the three components of all dancing. Bha denoting Bhava, or expression; Ra denoting Raga, or melody; and Ta denoting Tala, or rhythm. The word Natyam is a general term for theatrical dance.
Photo by Bipin Thakkar
Kuchipudi originated in the Kuchelapuram village in the state of Andra Pradesh in Southern India. Originally performed by men, Kuchipudi was intended as a dance drama requiring a set of characters, but has only recently evolved into a solo performance art as well. It shares many similarities with Bharatanatyam, but is distinguished by its flowing and rounded movement patterns, including more up and down movements, the sway of the torso and ribcage, and a more storytelling/dramatic interpretation of mythology. This emphasis on storytelling is punctuated by the artists singing and speaking along with the dance.
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Odissi hails from the state of Orissa in Eastern India. The art form was kept alive through the Gotipuas and Maharis (temple dancers) who dedicated their art to the Divine. The characteristic feature of this style is a hip deflection, giving rise to the tribhanga or 3-bend posture of the body. Odissi is known for its lyrical and sinuous quality, and abounds with sculpturesque poses from the temples of Orissa. Odissi also is known for its performance of ashtapadis (poem of eight couplets) from Jayadeva’s Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and Lord Krishna.
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Kathak finds its origins with the nomadic bards of ancient northern India, known as Kathakas, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. With the advent of Mughal culture, the themes and style of presentation gradually developed to fit the decorum of the court. Kathak technique is characterized by fast rhythmic footwork set to complex time cycles, as well as its numerous fast pirouettes. In addition, the solo kathak performance involves a high level of improvisation in both pure dance and expressional dance. Kathak has evolved over time into various schools, or gharanas, with the Lucknow, Banaras and Jaipur gharanas being the most famous.
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Mohiniattam, which is literally translated as the “dance of the enchantress,” comes from the state of Kerala in Southern India. The movements of the dancer represent the motion of Mohini, the enchantress, a disguise used by Lord Vishnu to lure the rakshasas, or evil demons, away from the nectar of immortality. Mohiniattam is characterized by slow, swaying movements of the upper body with legs placed in a stance similar to a plie position. The eyes also play an important role in accenting the direction of the movement. This dance form is notable for being performed only by women.
Kathakali also hails from the state of Kerala, and is a theater art performed primarily by men. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, particularly the Ramayana and the Mahabharata. One of the most distinguishing features of Kathakali is its use of elaborate make-up, which creates the appearance of the dancers wearing a mask. The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigorous, and mastery of the art requires many years of vigorous training and development of flexibility.
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Manipuri originates from the state of Manipur in Northeastern India. It has its roots in that state’s folk traditions and rituals, and often depicts scenes from the life of the god Krishna, including the raas-lila, or cosmic dance between Krishna and the gopi maidens. Unlike some of the other, more rhythmic classical forms, Manipuri is characterized by smooth and graceful movements, as well as swaying and twirling. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful and athletic movements. The dance may be accompanied by narrative chanting and choral singing.
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Saatriya, from the northeastern state of Assam, is the most recent classical dance form recognized by the Sangeet Natak Akademi. Attributed to the 15th-century saint-composer, Srimanta Sankaradeva, Sattriya is a group dance-drama for celibate monks to accompany his one-act plays. It is traditionally performed in the namghar, the prayer hall of the sattra – the Vaishnavite monasteries in Assam. Sattriya is accompanied by devotional music in local ragas known as borgeet, composed by Sankaradeva and other composers. Lord Krishna’s flute, hand cymbals and the khol (double-headed tuned drum) form the traditional orchestral accompaniment instrumentation.
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