The document explores the rich diversity of classical and folk dances in India, highlighting eight recognized classical dance forms and numerous folk traditions that reflect local cultures and rituals. It emphasizes the spiritual and mythological significance of dance, particularly in relation to themes surrounding the Hindu god Shiva. The text also discusses the evolution of contemporary dance forms, their therapeutic aspects, and the importance of maintaining cultural heritage through traditional practices.

1. CLASSICAL & FOLK DANCES
IN INDIAN CULTURE
Palkalai Chemmal, Yogacharya
Dr. ANANDA BALAYOGI BHAVANANI
MBBS, ADY, DSM, DPC, PGDFH, PGDY, FIAY, MD (AM)
Chairman & Hereditary Trustee
Yoganjali Natyalayam & ICYER, Pondicherry
www.rishiculture.org

2. INTRODUCTION
 Dance in India comprises the varied styles of
dances and 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.
 These dance forms emerged from Indian
traditions, epics and historical-mythology.

3. INDIAN CLASSICAL DANCES
Sangeet Natak Akademi, recognizes
EIGHT distinctive traditional dances as
Indian Classical Dances.
These are:
 Bharatanatyam- TN
 Kathak- UP
 Kathakali- Kerala
 Kuchipudi- AP
 Manipuri-Manipur
 Mohiniyattam -
Kerala
 Odissi –Odisha
 Sattriya -Assam

5. OTHERS…
 Folk dances are numerous in number and
style, and vary according to the local tradition of
the respective state, ethnic or geographic
regions.
 Contemporary dances include refined and
experimental fusions of classical, folk and
Western forms.
 In modern times, the presentation of Indian
dance styles in films (Bollywood dancing) has
exposed the range of dance in India to a global
audience.

7. HISTORY AND MYTHOLOGY
 In India all forms of art have a sacred origin and
the inner experience of the soul finds its highest
expression in music and dance.
 Lord Shiva as Nataraja is its manifesting
principle.
 Shiva manifests Tandava (masculine form)
 Parvati manifests Lasya (feminine form).
 Natya Shastra and Abhinaya Darpana tells us
that, Lord Brahma created dance upon request
of the Gods and it became known as the fifth
Veda, open to all, irrespective of caste and

8. CREATION OF NATYA VEDA
 Prior to the creation of the Natya Veda, Brahma
entered a Yogic trance and..
 He drew literature from the Rig Veda,
 Song from the Sama Veda,
 Abhinaya or expression from the Yajur Veda
and
 Rasa or aesthetic experience from Atharva
Veda.
 These aspects are the four main constituents of
the Natya Veda.

9. SIGNIFICANCE OF NATARAJA
 Dance of Shiva is the dance of life
as it represents all functions of
Shiva as the creator, preserver and
destroyer.
 Abhaya & varadha hastham instill
courage and bless with
benevolence
 Damaru & agni hastam represent
creation & dissolution.
 The upraised left foot represents
blessing bestowed by the Lord and
under the right foot is Muyalagan,
which signifies triumph over ego.

10. FOLK DANCES OF INDIA
 Significant in rural areas as an expression of daily
work and rituals of village communities.
 Have their roots in religious and seasonal festivals.
 They are mostly performed in groups.
 Every state has its own folk dance forms like
 Kolattam, khummi, pambattam, puliattam,
karagattam, oyilattam, bommalattam, poikal kudirai
attam and theru koothu in Tamil Nadu;
 Bedara Vesha & dollu kunitha in Karnataka;

11.  Garba, gagari & ghodakhund in Gujarat;
 Kalbelia, ghoomar & rasiya in Rajasthan;
 Neyopa & bacha nagma in Jammu and
Kashmir;
 Bhangra & giddha in Punjab;
 Bihu dance in Assam;
 Chau, goti pua & ghumura in Odisha;
 Lavani in Maharastra
 and likewise for each state and smaller regions in it.

12. TAMILNADU FOLK DANCE

18. YAKSHAGANA - A FORM OF OPERA
 A classical dance drama popular in
Karnataka. Traditionally start late and
run all night.
 Has music, songs, dance, acting,
dialogue & unique costumes.
 The tala patterns are similar to
classical forms while acting &
dialogues are created spontaneously
on stage.
 This combination of classical & folk
elements makes it unique.

19. BHARATANATYAM
 Seamless blend of nritta & nritya (natyam)
 Nritta is rhythmic movement of the body in
dance. It does not express any emotion.
 Nritya comprises Abhinaya, depicting
Rasa (sentimental) and Bhava (mood)
expressed through the eyes, hands and
facial movements.
BH, RA, TA = Bhava – Raaga - Taala

20. ABHINAYA

21.  “Abhi” means “towards” – with the root “Ni”
meaning “to lead”- (audience and performer)
towards a particular state of being or feeling.
 Four aspects namely:
 Aangika: expression through body
(sharira), face (mukha) and movement
(cheshta).
 Vachika: through words, literature and
drama;
 Aahaarya: through decorations of make-up,
jewellery & costumes
 Saathvika: acting out and manifesting
different state of the mind & feelings.

22. “angikam bhuvanam yasya vachicam
sarva vangmayam aharyam chandra
taradi tam vande satvikam shivam”
We bow to Him the benevolent One, whose
limbs are the world, whose song and poetry are
the essence of all language, and who is
adorned with the moon and the stars.

23. POSTURES - BHANGA
There are four types of body depicted in Shilpa
Shastra with artistic deviations of the body from
the central erect position:
 Abhanga: a slightly askew standing position.
 Samabhanga : equal distribution of body limbs
on a central line, whether standing or sitting.
 Atibhanga: great bend with torso diagonally
inclined and knees bent.
 Tribhanga: triple bend with one hip raised, torso
curved to opposite side and head tilted at an
angle.

25. MUDRAS - GESTURES OF INTER, INTRA AND
TRANSPERSONAL COMMUNICATION
 Hastha Mudras - hand gestures are a very highly
developed aspect of the art and are a science of
communication with the Divine.
 They mime meaning of songs, convey deeper
feelings, bring out inherent qualities and invoke the
Divine
 Classified as
 Asamyutha Hastha (single hand gestures)- 28
and
 Samyutha Hastha (double hand gestures)- 24.
Each Hastha has defined usage called Viniyoga

26. Asamyutha Hastha
(Single Hand Gestures)
pataka tripatakordhapataka kartareemukhaha
mayurakyordhachandrashcha arala
shukatundakaha mushtishcha shikarakyashcha
kapitha katakamukhaha suchee chandrakala
padmakosha sarpashirastata mrugasheersha
simhamukho langulasolapadmakaha chaturo
bramarashchiva hamsasyo hamsapakshakaha
samdamsho mukulashchiva tamrachooda
trishoolakaha

28. Samyutha Hastha
(Double Hand Gestures)
anjalishcha kapotashcha karkata swastikastatha
dolahastha pushpaputaha utsanga shivalingakaha
katakavardhanashchiva kartaree swatikastata
shakata shankha chakrecha samputa pasha
keelakau matsya koorma varahashcha
garudonagabandakaha khatwa
bherundakakhyashcha avahitastathivacha

30. NAVARASA- EVOKING THE NINE EMOTIONAL
ATTITUDES
 Shringara (erotic
love),
 Haasya (humour &
laughter),
 Karuna
(compassion),
 Roudra (anger),
• Veera (heroism),
• Bhaya (fearful terror),
• Bheebatsa (disgust),
• Adbhuta (awe) and
• Shanta
(peacefulness).
• Emotional catharsis – cleansing negative aspects of
emotions and sublimation for higher emotions of Divine
Bhakti.
• A type of psychological preventive therapy – helps develop
positive emotional intelligence.

32. NATYA KARANAS
 Part of the traditional Bharatanatyam repertoire.
 108 Natya Karanas described in Natya Shastra.
 Not only particular poses as is commonly
believed, but also are cadences of movements.
 Geometric shapes are created with Angas
(limbs)
 Evidence of Natya Karanas - sculptures and
paintings in Gopuram walls, ceilings &
courtyards of our ancient temples, especially in
Chidambaram, Kumbakonam, Thanjavur and
Tiruvannamalai

33.  Extensive research on Natyakaranas by
Padmabhushan Dr Padma Subramaniyam.
 In Pondicherry by Ammaji, Kalaimamani
Meenakshi Devi Bhavanani through Yoganjali
Natyalayam
 Yoga Asanas that are similar include dhanura,
chakra, vriksha, nataraja, trivikrama, ananda
tandava, padma, siddha, kaka & vrishchikasana.
 Yoganjali Natyalayam is restoring these
acrobatic Karanas to classical Bharatanatyam
performances and this is possible only by
combining sustained Yogic discipline with
training in classical dance from an early age.

36. BHARATANATYAM
A PLAY OF SUBTLE ENERGIES
 Yatho hasthastato dristhihi, yatho drishthasthato
manaha, yatho manasthato bhaavo, yatho
bhavasthato rasaha -Where hands go, eyes follow;
where eyes go mind follows; where mind goes,
there is created aesthetic expression of emotion
and thus the essence is evoked.
 Yoga teaches us –Where the mind goes, Prana
flows!
 When Prana flows, life manifests and emotion
comes alive. This is indeed the intricate, inner link
between the Pranamaya Kosha and our emotions!

38. CONCLUSION
 Upon creating the Natyaveda, Brahma said, “This art is
not merely for your pleasure, but shall teach men that
the fruit of righteousness will be given to those who
follow Dharma. The spirituality of this art shall be a
restraint for the unruly, a discipline for the followers of
rule. It will create wisdom in the ignorant, learning in
scholars, afford sport to kings and endurance to the
sorrow-stricken. This great art shall console and elevate
the world”.
 May we strive to keep the purity of our great cultural
heritage intact through the great art of Natya that
enables us to fulfill our Dharma in a most refined,
pleasing, enjoyable, dignified, beautiful and joyful
manner and attain that final union with the Supreme

39. REFERENCES
 Bhavanani Meenakshi Devi. Yoga: One woman’s view. Satya Press, Ananda Ashram,
Pondicherry. 1985
 Coomaraswamy Ananda. The Mirror of Gesture: Being the Abhinaya Darpana of
Nandikeswara. Munshiram Manoharlal. New Delhi.1997.
 Gitananda Giri Swami. Mudras. Satya Press, Ananda Ashram, Pondichery.1975
 Hinduism Today July 1992. Yogi Playwright Infusing Indian Theatre With More Atma and
Altruism
 Kothari Sunil. Bharata Natyam: Indian classical dance art. Marg Publications. 1979.
 Ramanathan Leela. Moving sculpture, frozen dance. Sunday Herald, Deccan Herald,
Sundays, January 18 and 25, 2004
 Sudhakar Kanaka. Indian classical dancing: The therapeutic advantages. Sterling
Publishers, New Delhi.1994
 http://en.wikipedia.org/wiki/Indian_classical_dance
 www.ignca.nic.in/ks_14_cn.htm#KARANA
 www.kanakasabha.com/hastas/index
 www.nadanam.com/bharatnatyam
 www.pir.net/~beth/main
 www.shilpkalamart.com/classicaldances