CLASSICAL DANCES OF INDIA

ORIGIN

Every form of the classical dancing takes its source in folk dances. It is being cause folk dances are
believed to be the spontaneous growth of human feeling and experiences expressing themselves in
various movements of human body. So folk dances are the basis on which the other types of classical
dances stand.

Probably taking folk dances as the basis, our ancestors with their intuitive knowledge tried to give a
permanent shape to this noble art. They codified the principles of Indian dancing and as a result of
which Bharata’s Natya Shastra Nandikeswar’s Abhinaya Darpana and certain other texts are came
into existence. Hence the dances which strictly followed the rules and regulations came to be known
as Maegi Nrutya or Sastriya Nrutya (Classical Dance). Due to the differences in climate,
geography,language,belief,racial genesis and ways of living which all go to build up an art it is for this
reason that we are able to see several forms of classical dances in different parts of India.

Whatever may be the cause of origin of dance, the dance of the orient, of Indian remained and still
remains- a direct contact with the spiritual life of people, it is still ‘inspired’ dancing.

A HISTORICAL EVIDENCE

The history of classical dance style goes back to many centuries. It is supported by a rich body of
archeological, sculpture and literary evidences. This history can be traced back to the earliest known
as literature of the country namely the vedas and to archeological evidence dating back to the
Mahenjodaro and Harappan civilization (2500 B.C). From 2nd century B.C. onwards there is
continuous history of self- conscious attempt to capture the dance movement in stone . The
continues up to the 17th century. Along side is the growth of Sanskrit literature followed by the
emergence of codifiers and theoreticians who analyse, codify and theorize.

Dance according to these treatise as divided into abstract on pure dance (nrtta) and mime (Nritya).
It is also divided into the masculine vigorous known as the Tandaya and feminine dedicated known
as Lasya. A further subdivision into four types of mimetic art (Abhinaya) is made. These constitute
exacting through words (Vachhika), physical movement (Angika), costume and décor (Aharya) and of
the subtle shades of emotion (Sattavika). Further heros and heroine are divided into character types
known as the Nayakas and Naikas. Dance is built through the use of physical movement in stylised
poses and through physical gesticulation related to the word. Each of the Indian classical dance
styles follow this basic structures. Alongside is the phenomenon that the art dance styles of all the
regions in India share certain common fundamentals of a cohesive aesthetic vision and comparable
methodologies of technique.

Today about five dance styles namely Bharatnatyam, Kathakali, Odissi, Manipuri and Kathak are
recognised as classical. To these could be added others which fall into the category of traditional
dance drama forms such as kuchipudi from Andra PradeshYakshagana from Mysore and
Koodiyattam or Mohiniattam of Kerala

Glimpses of Indian Classical Dances

DIFFERENT FORMS

ODISSI DANCE

ORIGIN: The term Odissi has been taken from the word Odisha. Odissi is a dance of great antiquity.
Evidence of the existence of a formal mode of dance in Odissi is available from the temple sculptures
in the region that go back to the beginning of the Christian Era.

With the decline of the Savite cult and emergency of the supremacy of the vaishnavism, the

temple of Lord Jagannath at Puri became the centre of religious and cultural activities from

12thcentury onwards. The present form of Odissi dance owes its origin to the Devadasis, who are

known as Maharis in Odisha, attached to the temple of Lord Jagannath of Puri. This practice of

dancing accompanied by the singing of Jayadev’s Gitagovindam two times a day before the deity.

Devadasis were engaged to dance, and dancing remained a very important and indispensible item in

the daily ritual of the temple.

REPERTORY: There is a systematic ‘set’ of dances in Odissi. The dancer begins with ‘Mangalacharan’
an invocatory piece. Next is ‘Batu Nritta’ begins with a series of sculptures poses and is not
accompanied by any song or recitation. This is followed by Pallavi, a sequence in which music and
rhythm are given equal importance with the dance proper. Next is Abhinaya which is a
demonstration of an emotion contained in a song or lyric. Mokcha Nata is the the final dance. It is an
item of pure Nritta and is performed in a fast tempo. Each item in Odissi is mpre or less started with
a series of sculpturesque poses and every movement of the dance is supported by the canons of
classical dancing.

TECHNIQUE: Odissi is an entirely an individual dance form. In Odissi, the feet are placed wide apart
at right angles, and the palms of the extended hands face down. The placing of the arms is an
intimation of Jagannath’s arms.

It includes both Tandava and Lasya elements. Sabda-Swarapata and Bandha Nrutya, which are based
on pure Tandava technique have not yet been revived. But, these are still being performed in rural
areas in crude form.
Odissi embraces both Nrutta and Nritya and generally both these elements are found together,
through in different measures in the different of the dance are based on the ‘Tribhanga’ concept of
Hindu Iconography as in the case orissan sculpture. The another important pose of Odissi dance is
Chauka the completion of a performance.

BHARAT NATYAM

ORIGIN: Bharat Natyam is a form of dance prevalent in South India, the purest style being found in
Tamil Nadu. But in reality Bharatnatyam includes all forms of dances and dance dramas which are in
accordance with the Sastra as laid down by the great sage Bharata.

Bharat natyam is compounded from ‘BHA’ for ‘BHAVA’ or inner spiritual feeling expressed outwardly
or visibly, ‘RA’ for RAGA’ or melody and ‘TA’ for ‘TALA’ or rhythm. Natya means the art of dance. The
sangam age from 500 B.C to 500 A.D marks the evolution of this dance forms.

REPERTORY: An entire recital or solo performance of Bharatnatyam is composed of the following

items. The recital begins with ‘Alaripu’ which is danced to abstract meunmonics. It is followed by an
other number of pure dance performed to the musical composition ‘Jatiswaram’. Notes of the
melodic line set to a tala are interpreted through the dancer’s movements. A number called
‘shabdam’introduces mime foe the time ‘Varnam’ comes next. The dancer follows closely the
structuring of the musical composition comprising three phases of the ‘Pallavi’, ‘anupallavi’ and
‘charanam’. Next is the ‘padam’ to which mime (nrtya) is performed. The recital concludes with the
tillana. The tarana, a foem of a song, come to South India from the Hindustani ustads, music
teachers and masters of North India about 150-200 years ago and became absorbed into the
Carnatic music of the south where it is now known as ‘Tillana’. It consists of a melody based on 8
beats, with the dancer performing rhythmical variations.

KATHAK

ORIGIN: Kathak is the most popular form of classical dance in Northern India is the urban
sophisticated style full of virtuosity and intricate craftsmanship. The form of ‘Kathak’ occurs
in Mahabharat to mean narrator or story teller but is also meant a chief actor.

REPERTORY: An entire recital of Kathak is composed of the following items. The recital
begins with ‘Amad’. Next is ‘That’, a kind of opening gambit. This is usually followed by a
stylised ‘walk’. Then comes ‘Torah’ is a fast and brillent dance-sequence which, however
includes sangit or dramatic content in addition to dance-technique. ‘Turka’ is a dance-
sequence, pure, brillent and fast, showing technique alone ‘Gat’ as a short decorative or
descriptive passage performed in rather a lyrical manner to a gentle rhythm, classified to-
day as Lasya. ‘Tatkar’ embraces the powerful foot work in the form of an exercise , including
the complicated cross-rhythms.

TECHNIQUE: In technique Kathak is two dimensional always following a vertical line,with no

breaks and deflections. The characteristic features of Kathak are its jumps and piroulttes(a
rapid whirling about the body). The foot-work is the most important part of the dancers
training, where he is taught innumerable rhythmic patterns with varying emphasis so that
the 100 odd ankle bells tied round the ankles can produce a fantastic range of sound and
rhythm. Straight walks, gliding movements fast piraettes, changing tempos and material
patterns constitute the beauty and dexterity of the style. The style has its own type of Nritta
and Abhinay. The Kathak dancers invariably recites the ‘bols’ or ‘jatis’ of the dance cadenes.
For Abhinay the artist perform to selections from Jayadeva, Vidyapati, Surdas and Mira Bai.
But the richest part of Abhinaya in this style is the Thumri and another composition known
as Dadra.

KATHAKALI

ORIGIN: Kathakali is an exclusive product of Kerala soil and is the offspring of the
imagination of a race strongly individual in culture and tradition. It was created in 17 th
century. Zamorain of Calicut wrote plays Krishnattam for this style and later a Raja of
Kottarakara wrote similar plays on Rama. Their efforts were later supplemented by
Maharaja Swati Tirumala, Iraiyimman Tampi and others who wrote textes for Kothakali of
symbolises the blending of the Aryan and Dravidian cultures, and is presumed to be evolved
out of the various ancient theatre traditions of the regions like Mudayyetu and Teyyam.
Mahakavi Vallathel of Cherutoorrthi contributed greatly in the revival of this art by forming
Kala Mandalam, the famous teaching institutions , setup in the thirties. Musical instruments
like Chengala, Elattalam, Chenda and Maddalam add local colour to the art. The songs are
sung in what is called the sopana style of South Indian music.

TECHNIQUE: Kathakali from Kerala is classical dance-drama. It is a complex art consisting of

Abhniya, a Nritya and Gita. It is dramatic rather than narrative in character. Different roles
are taken by different characters. Facial expression and mudras (Hand Gestures) are very
important in this dance.

It is a pantomine in which the actors the neither speak nor sing but interpret their emotions
through a highly sensitive medium of gestures, hand poses and vivid facial expressions. The
plots for these dance-dramas are invariably taken from Hindu epics and Mythology. The
characters are classified into Satvika, Rajasa and Tamsa and the make up and costumes are
based on this principle, Paccha or green is adopted for Gods and Kings, Kattis is for Asuras,
Tadi (bread) for villians and gorgeous costumes for women. Nala charitam, Kalyana
Saugandhikam, Bali vijayam, Ramayana and Mahabharata are among the popular plays. The
dancer are all men.

MANIPURI

ORIGIN: Manipuri is a jewel of natural beauty tucked away amidst the bills on the north-
eastern borders of India adjacene to Burma. The people call themselves Meiteis and speak
the kuki-chin group of language.
Apart from few tribal and folk dances of thee pre-vaishnavite period, Manipuri dance is
classical in the main. The science of the style is explained in the Sanskrit treatise ‘Govinda
sangita Lila Vitasah’ attribute to king Bhagyachandra.

Early in the 18th century vaishnavism was adopted as the state religion and this changed the
very nature of the dance. Natya was divided into Rupaka and Rasaka. The later elaborately
describes the Bhagavata tradition and the Radha-Krishna lila at Brindavan. The origin of
marital arts is associated with the creation of myth. A local legend throws light on the
integral relationship between the marital arts and several Manipuri dances.

REPERTORY: Manipuri is a lyrical dance form. The Rasa Lila of Manipur occupies the pride of
place among its dances. The vasanta Rasa is performed on the full moon of chaitra when
Krishna and the Gopis, led by Radha, dance together. The second group of the classical
dances is known as the sankirtanas performed generally by men with typical Manipuri
drums called pung or cymbals (Kartals) or clapping.

TECHNIQUE: In technique Manipuri is quite different from Bharatnatyam and Odissi. Feet
are in front, not out-turned, knees are relaxed, slightly bent forward but not flexed
sideways. There is no outturned position of the thigh. The torse is held in relaxation with the
upper chest and waist moving in opposition. The whole body is turned into an imaginery
figure of light or akin to the English letter ‘S’. The finger of the hands also move in circles,
semi-circles, curves, folding, unfolding gradually. The primary unit of movement is known as
the Chali or the Pareng on which the dance is built. The sankirtanas follow a more vigorous
masculine technique with jumps, elevation but no leg extensions.

KUCHIPUDI

ORIGIN: If Bharatanatyam is a product of the Tamil Nadu soil, its counterpart in Andra
Pradesh is the Kuchipudi style of dance. About 500 years ago a new dance form was created
by same Brahmin families in the Telugu speaking areas and was known as Bhagavata Mela
Nataka. Later the main centre of this dance became Kuchipudi in the Krishna District and the
art itself came to be named after this village Kuchipudi was the result of the Bhakti
movement in the 6th century in South India.

In the 17th century Sidhdendra yogi is considered to be the founder of the Kuchipudi
tradition but continuous to be a legendary figure. Consciously they raised the form above
the reach of the Devadasis. Till recently women were for bidden to take part in the dance
but now that the ban has been lifted they are playing a vital role in the revival.

REPERTORY: ‘Bhama Kalapam’, the most popular item in a Kuchipudi performance ,

Narayana Tirthats, ‘Balagopala Tarangam’ is the main item and includes an intricate dance
and on a brass plate. The present day repertory of Kuchipudi includes songs from Usha
Parinayam, Prahlada Nataka, Golla Kolapam, Astapadis, Sabdams ,Padams, Varnamas and
Tillana. Fresh items are being added from time to time.
TECHNIQUE: The most thrilling feature of Kuchipudi is the rhythmic Gati variations and some
artists attempt as many as 35 rare step combinations. The forte of this style is a pada
abhinaya which is gifted artist renders in a single rase.

Kuchipudi is becaming the increasingly popular in the city of Madras and many
Bharatnatyam dancers are taking training in this style as an additional accomplishment.

MOHINI ATTAM

ORIGIN: If Kathakali is the dance of Kerala known for its manly vigour, Mohiniattam, the
dance of the enchantress, is its lyrical counterpart reputed for its grace and elegance.
Although literary evidence is lacking regarding its origin, Mohiniattam is mentioned in a
Malayalam commentary written in 1709 A.D later, Kunjan Nambiar makes a reference to it
in his Ghoshayatra ottam Tullal.

Mohiniattam is one of the youngest Indian classical dances. It was by about 16 th century
that this dance form was known from about 19th century Maharaja Swati Tirumala of
Trivandrum encouraged this art form and stabilised it. Mohimi means a maidan who excites
desire and her dance is known as Mohiniattam. From the inception itself, Mohini attam was
conceived as a form of social diversion.

REPERTORY: The Mohiniattam repertory runs parallel to that of Bharatanatyam as during

Swati Tirumala’s time, the former was influenced by two members of the Tanjori Quartette.
But there are many dissimilarities also. Instead of the Alaripu, the Cholukettu is danced as
the invocation. It is followed by a Svarajati but the sabdam is absent. Padams are in plenty in
Mohiniattam. It is essentially a solo dance and performed by women.

TECHNIQUE: The body movements are rotary and the upper and lower parts of body are
balanced gracefully. Nayana abhinaya or eye gestures are a speciality in this style. The hand
gestures play an important part as communication medium.

Mohiniattam is a captivating, seductive and full of rase and has come to stay as an
individualistic style of dance.

SATTRIYA

ORIGIN: Sattriya Nritya was created by Sankardeva to accompany the Ankiya Naat (a sort of
Assamese one-act drama invented by him), which were mainly performed in the sattras, as
Assam's monasteries are named. As the convention expanded and evolved with the sattras, the
dancing style became known as Sattriya Nritya.

Sankaradeva of the 15th century is credited for organising the dance utilising ancient scriptures
and introducing drama and expressive dancing (nritta and nritya) as a kind of community
religious art for emotional devotion to Krishna.
In the second half of the nineteen century, Sattriya Nritya emerged from the temple. This kind
of dancing started in monasteries before reaching the metropolitan stage.
REPERTORY: Assam has a long history in dance and art, as indicated by copper plate writings and
art from the Shaivism and Shaktism traditions. Singing and musical traditions have also been
traced back to the Assamese chorus singing tradition for the Hindu epics Ramayana and
Mahabharata. One of the main benefits of following the rules of the sattras has been the
capacity to preserve its original form and distinct style.
Sattriya became famous and well-known after the Sangeet Natak Akademi was classified as one
of India's traditional dance genres.
TECHNIQUE: Sattriya Dances' essential position differs from that of all other classical dances in
India. Males adopt the Purush Pak position during the dance, while girls use the Prakriti Pak
posture.
The dance honours several legendary creatures. They do complicated dances and steps, and
several vocalists write sections of the songs. 'Borgeet,' Assamese traditional music, is played
during these dances.
Sattriya dances like Ankiya Bhaona and Ojapali, in which the lead vocalist performs while
singing, are known as 'abhinaya,' or the art of telling stories.