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Indian Dance Forms

Indian dances comprise numerous classical and folk styles originating from different regions. The eight classical styles recognized by Sangeet Natak Akademi are Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri, and Mohiniyattam. India also has many folk dance styles which vary by state and region, such as Chhau, Ghoomar, Bhangra, Bihu, and Lavani. Indian dances developed from ancient roots as expressed in sculptures, epics, and texts like the Natya Shastra, incorporating music, drama, and spiritual ideas.

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DANCE IN INDIA • Dance in India comprises numerous styles of dances, generally classified as classical or folk. • As with other aspects of Indian culture, different forms of dances originated in different parts of India,. • They developed according to the local traditions and also imbibed elements from other parts of the country. • Sangeet Natak Akademi recognizes eight traditional dances as Indian classical dances. • 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.
Origin of Dance in India • The origins of dance in India go back into the ancient times. • The earliest Palaeolithic and Neolithic cave paintings such at the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh shows dance scenes. • Several sculptures found at Indus Valley Civilization archaeological sites, now distributed between Pakistan and India, show dance figures. • For example, the Dancing Girl sculpture is dated to about 2500 BCE, shows a 10.5 centimetres (4.1 in) high figurine in a dance pose. • The Vedas integrate rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes. • The evidence of earliest dance related texts are in Nat sutras, which are mentioned in the text of Panini the sage who wrote the classic on Sanskrit grammar, and who is dated to about 500 BCE. • The classic text of dance and performance arts that has survived is the Hindu text Natya Shastra, attributed to sage Bharata.
Origin of Dance in India
INDIAN CLASSICAL DANCE • Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra. • The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. • Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. • These dances are traditionally regional, all of them include music and recitation in local language or Sanskrit. • They represent a unity of core ideas in a diversity of styles, costumes and expression.
BHARATANATYAM • Bharatanatyam is a major genre of Indian classical dance that originated in Tamil Nadu. • Traditionally, Bharatanatyam has been a solo dance that was performed exclusively by women.
BHARATANATYAM • It expressed south Indian religious themes and spiritual ideas, particularly of Shaivism, but also of Vaishnavism and Shaktism. • Bharatanatyam may be the oldest classical dance tradition of India(trace to the ancient Sanskrit text by Bharata muni, natya shastra and the ancient Tamil epic Silappatikaram).
KATHAK • The term Kathak is derived from the Vedic Sanskrit word Katha which means "story", and Kathaka which means "the one who tells a story", or "to do with stories". • Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music in a manner similar to early Greek theatre.
KATHAK • Kathak dancers tell various stories through their hand movements and footwork, but most importantly through their facial expressions. • Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music in a manner similar to early Greek theatre.
KATHAKALI • Kathakali is a "story play" genre of art, but one distinguished by the elaborately colourful make-up, costumes and facemasks that the traditionally male actor-dancers wear. • Kathakali primarily developed as a Hindu performance art in the Malayalam-speaking southwestern region of India (Kerala).
KATHAKALI • A Kathakali performance, like all classical dance arts of India, synthesizes music, vocal performers, choreography and hand and facial gestures together to express ideas. • However, Kathakali differs in that it also incorporates movements from ancient Indian martial arts and athletic traditions of South India.
KUCHIPUDI • Kuchipudi is originated in a village named Kuchipudi in the Indian state of Andhra Pradesh. • Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra.
KUCHIPUDI • It developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India. • Kuchipudi largely developed as a Hindu god Krishna-oriented Vaishnavism tradition.
ODISSI Odishi also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha – an eastern coastal state of India.
ODISHI • Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). • Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism).
SATTRIYA • Sattriya or Sattriya Nritya, is a major Indian classical dance. • It is a dance-drama performance art with origins in the Krishna-centred Vaishnavism monasteries of Assam.
SATTRIYA • One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama. • The plays are usually performed in the dance community halls (namghar) of monastery temples (sattras). • The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.
MANIPURI • Manipuri dance, also known as Jagoi, is one of the major Indian classical dance forms, named after the region of its origin – Manipur.
MANIPURI DANCE • It is particularly known for its Hindu Vaishnavism themes, and exquisite performances of love-inspired dance drama of Radha-Krishna called Raslila. • However, the dance is also performed to themes related to Shaivism, Shaktism and regional deities such as Umang Lai during Lai Haraoba.
MOHINIYATTAM • Mohiniyattam, also spelled Mohiniyattam, is one of two classical dances of India that developed and remain popular in the state of Kerala.
MOHINIYATTAM • Mohiniyattam dance gets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers. • It is traditionally a solo dance performed by women after extensive training.
CHHAU • Chhau dance, also spelled as Chau or Chhau, is a semi classical Indian dance with martial, tribal and folk traditions, with origins in the eastern Indian states of Jharkhand, West Bengal, and Odisha. • It is found in three styles named after the location where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Jharkhand, and the Mayurbhanj Chau of Odisha.
CHHAU • The dance ranges from celebrating martial arts, acrobatics and athletics performed in festive themes of a folk dance, to a structured dance with religious themes found in Shaivism, Shaktism and Vaishnavism. • The costumes vary between the styles, with Purulia and Seraikella using masks to identify the character. • The stories enacted by Chhau dancers include those from the Hindu epics the Ramayana and the Mahabharata, the Puranas and other Indian literature.
YAKSHAGANA • Yakshagana is a traditional theatre form that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. • This theatre style is mainly found in Tulunadu and some parts of Malenadu regions of Karnataka and Kerala. • Yakshagana is traditionally presented from dusk to dawn. • Its stories are drawn from Ramayana, Mahabharata, Bhagavata and other epics from both Hindu and Jain traditions.
YAKSHAGANA • Yakshagana is a separate genre of music, independent of Karnataka Sangeetha and the Hindustani music of India. • It is believed to have survived as an indigenous phenomenon only in Karnataka and northern parts of Kerala. • A typical Yakshagana performance consists of background music played by a group of musicians (known as the himmela); and a dance and dialog group (known as the mummela), who together enact poetic epics on stage.
BHAGAVATA MELA • Bhagavata Mela is a classical Indian dance that is performed in Tamil Nadu, particularly the Thanjavur area. • It is choreographed as an annual Vaishnavism tradition in Melattur and nearby regions, and celebrated as a dance- drama performance art. • The dance art has roots in a historic migration of practitioners of Kuchipudi, another Indian classical dance art, from Andhra Pradesh to Tamil Nadu
BHAGAVATA MELA • The term Bhagavata, state Brandon and Banham, refers to the Hindu text Bhagavata Purana. • Mela is a Sanskrit word that means "gathering, meeting of a group" and connotes a folk festival. • The traditional Bhagavata Mela performance acts out the legends of Hinduism, set to the Carnatic style music.
FOLK AND TRIBAL DANCE FORMS • Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities. • Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. • India has numerous folk dances. Every state has its own folk dance forms • like Bedara Vesha, Dollu Kunitha in Karnataka, • Thirayattam and Theyyam in Kerala, • Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, • Kalbelia, Ghoomar, Rasiya in Rajasthan, • Neyopa, Bacha Nagma in Jammu and Kashmir, • Bhangra & Giddha in Punjab, • Perini Dance in Telangana, • Chholiya dance in Uttarakhand, • Bihu and Bagurumba dance in Assam, • Sambalpuri Dance in Western Odisha and likewise for each state and smaller regions in it.
DANDIYA RAAS • Raas or Dandiya Raas is the traditional folk dance form of Gujarat & Rajasthan India, and is associated with scenes of Holi, and Lila of Krishna and Radha at Vrindavan. • Along with Garba, it is the featured dance of Navratri evenings in Western India.
GARBA • Garba is a form of dance which originated in the state of Gujarat in India. • The name is derived from the Sanskrit term Garbha ("womb") and Deep. Many traditional Garba is performed around centrally lit lamp or a picture or statue of the Goddess Shakti. • Traditionally, it is performed during the nine-day Hindu festival Navaratri. • Either the lamp (the Garba Deep) or an image of the Goddess, Durga (also called Amba) is placed in middle of concentric rings as an object of veneration.
GHOOMAR • Ghoomar is a traditional folk dance of Bhil tribe performed to worship Goddess Sarasvati which was later embraced by other Rajasthani communities. • The dance is chiefly performed by veiled women who wear flowing dresses called Ghaghara. • According to the traditional rituals, newly married bride is expected to dance Ghoomar on being welcomed to her new marital home. • Ghoomar is often performed on special occasions, such as at weddings, festivals and religious occasions.
BHANGRA • The term Bhangra refers to the traditional dance from the Indian subcontinent originating in the Majha area of the Punjab region. • Bhangra is related to the Punjabi dance ‘Bagaa' which is a martial dance of Punjab.
CHHOLIYA • Chholiya is a dance form practised in the Kumaun region of Uttarakhand. It is basically a sword dance accompanying a marriage procession but now it is performed on many auspicious occasions. • It is especially popular in the districts of Pithoragarh, Champawat, Bageshwar and Almora of Kumaun division and has even spread to the Garhwal division. • This sword dance has a history of more than a thousand years and is rooted in the martial traditions of the Kumauni people.
BEDARA VESHA • ‘Bedara Vesha’ is a folk dance performed days before Holi night in Sirsi town of Karnataka. • It is also known as ‘Hunter Dance’. People of Sirsi celebrate Holi with this unique folk dance every alternate year. • It attracts a large crowd from different parts of the state on all the five days of Holi.
THIRAYATTAM • Thirayattam is a ritual performing ethnic art form of the South Malabar region in Kerala state, India. • It blend of dance, theatre, music, satire, facial and body painting, masking, martial art and ritualistic function. • This vibrant art form has a great resemblance to the traditions and customs of the ancient civilization. • Thirayattam usually enacted in courtyards of "kaavukal" (sacred groves) and village shrines of south Malabar region (Kozhikode & Malappuram) in Kerala. • Traditionally, the "Perumannan" community has the right to perform this magnificent art form in "kaavukal" (sacred Groves).
PERINI SHIVATANDAVAM • Perini Shivatandavam is an ancient dance form from Telangana which has been revived in recent times. • It originated and prospered in Telangana during the Kakatiya dynasty. • Perini is performed by males and it is believed that in ancient times this was performed before the soldiers set to war. • Nataraja Ramakrishna was the person who revived this art form recently. • Perini Dance form was developed at the time of Ganapathi deva, the king of Kakatiya Empire
BIHU • Bihu is the chief festival in the Assam state of India. • It refers to a set of three different festivals: Rongali or Bohag Bihu observed in April, Kongali or Kati Bihu observed in October, and Bhogali or Magh Bihu observed in January. • The Rongali Bihu is the most important of the three celebrating the Assamese new year and the spring festival. • The Bhogali Bihu or the Magh Bihu is the one that is all about food. • The Kongali Bihu or the Kati Bihu is the sombre, thrifty one reflecting a season of short supplies and is an animistic festival.
LAVANI • Lavani is a genre of music popular in Maharashtra. • Lavani is a combination of traditional song and dance, which particularly performed to the beats of Dholki, a percussion instrument. • Lavani is noted for its powerful rhythm. Lavani has contributed substantially to the development of Marathi folk theatre. • In Maharashtra and southern Madhya Pradesh and North Karnataka, it is performed by the female performers wearing nine-yard long saris.
ANDHRA PRADESH • Siddi, Tappeta Gundlu, Urumulu (thunder dance), Butta Bommalata, Goravayyalu, Garaka (Vessel Dance), Vira Ntyam (Heroic Dance), Kolatam, Chiratala Bhajana, Dappu, Puli Vesham (Tiger Dance), Gobbi, Karuva, and Veedhi Bhagavatam.
ARUNACHAL PRADESH • Ponung, Sadinuktso, Khampti, Ka Fifai, Idu Mishmi (ritual) and Wancho.
ASSAM • Dhuliya and Bhawariya, Deodhani, Zikirs, Apsara-Sabah.
GOA • Mussoll, Dulpod or Durpod, Kunnbi-Geet, Amon, Shigmo, Foogddi, and Dhalo.
HARYANA • Rasleela, Phag Dance, Phalgun, Daph Dance, Dhamaal, Loor, Guga, Jhomar, Ghomar, Khoria, Holi, Sapela.
HIMACHAL PRADESH • Chamba, Dalshone and Cholamba, Jataru Kayang, Nuala, Jhoori, Ji, Swang Tegi, Rasa.
KARNATAKA • Veeragase, Nandi Dhwaja, Beesu Kamshaley, Pata Kunitha, Bana Debara Kunitha, Pooja kunitha, Karaga, Gorawa Mela, Bhuta Nrutya, Naga Nrutya, Batte Kola, Chennu Kunitha, Maaragalu Kunitha, Kolata, Simha Nrutya,Yakshagana.
KERALA • Thirayattam, Padayani, Ayyappanvilakku, Vattakkali, Theyyam,
MADHYA PRADESH • Gaur, Muriya, Saila, Kaksar, Sugga, Banjaara (Lehangi), Matki Dance, Phul Patti Dance, Grida Dance.
MANIPUR • Lie Haraoba Dance, Chanlam, Toonaga Lomna Dance
MEGHALAYA • Wiking, Pombalang Nongkrem
ODISHA • Chau, Naga, Ghumri
PUNJAB • Kikri, Sammi, Jhumar, Karthi
RAJASTHAN • Banjaara, Fire dance, Tera tali, Kachhi Ghori, Geedar
SIKKIM • Pang Toed Chaam (Chaam means dance) performed during the Pang Lhabsol festival in honour of the Guardian diety Khang- Chen-Dzonga, Maruni (Nepali Dance) and Tamak.
TAMIL NADU • Karakam, Puravai Attam, Ariyar Natanam, Podikazhi Attam, Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil Kummi, Pavakkuthu
WEST BENGAL • Chau, Santari, Jatra, Gazan
CONTEMPORARY DANCE • Contemporary dance in India encompasses a wide range of dance activities currently performed in India. • It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists. • Uday Shankar and Shobana Jeyasingh have led modern Indian ballet which combined classical Indian dance and music with Western stage techniques. • Their productions have included themes related to Shiva-Parvati, Lanka Dahan, Panchatantra, Ramayana among others.
CONTEMPORARY DANCE
DANCE IN FILMS- BOLLYWOOD DANCE • The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience. • Dance and song sequences have been an integral component of films across the country. • With the introduction of sound to cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films. • Dance in early Hindi films was primarily modelled on classical Indian dance styles such as Kathak, or folk dancers. • Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film.
DANCE IN FILMS- BOLLYWOOD DANCE
DANCE IN FILMS- BOLLYWOOD DANCE • Typically, the hero or heroine performs with a troupe of supporting dancers. • Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. • It is popular for a hero and heroine to dance and sing in beautiful natural surroundings or architecturally grand settings, referred to as a "picturization". • Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. • The choreography for such item numbers varies depending on the film's genre and situation. • The film actress and dancer Helen was famous for her cabaret numbers.
DANCE IN FILMS- BOLLYWOOD DANCE • Often in movies, the actors don't sing the songs themselves that they dance too, but have another artist sing in the background. • For an actor to sing in the song is unlikely but not rare. • The dances in Bollywood can range from slow dancing, to a more upbeat hip hop style dance. • It could be Indian classical, Indian folk dance, belly dancing, jazz, hip hop and everything else you can imagine.
DANCE EDUCATION • Since India's independence from colonial rule, numerous schools have opened to further education, training and socialization through dance classes, or simply a means to exercise and fitness. • Major cities in India now have numerous schools that offer lessons in dances such as Odissi, Bharatanatyam, and these cities host hundreds of shows every year. • Dances which were exclusive to one gender, now have participation by both males and females. • Many innovations and developments in modern practice of classical Indian dances, states Anne-Marie Gaston, are of a quasi- religious type.
GEOGRAPHIC SPREAD • Some traditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. • Indian mythologies play significant part in dance forms of countries in South East Asia, an example being the performances based on Ramayana in Javanese dances.
CONCLUSION • All major classical Indian dance forms include in repertoire, three categories of performance in the Natya Shastra. These are Nritta, Nritya and Natyam: 1. The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. 2. The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a Nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. 3. The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story.
CONCLUSION • All classical dances of India used similar symbolism and rules of gestures in abhinaya (acting). • A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music. • The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. • In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance: • Angika (gestures and body language), • Vachika (song, recitation, music and rhythm), • Aharya (stage setting, costume, make up, jewellery), • Sattvika (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). • Abhinaya draws out the bhava (mood, psychological states).
Thank You!

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Indian Dance Forms

  • 2.
    DANCE IN INDIA •Dance in India comprises numerous styles of dances, generally classified as classical or folk. • As with other aspects of Indian culture, different forms of dances originated in different parts of India,. • They developed according to the local traditions and also imbibed elements from other parts of the country. • Sangeet Natak Akademi recognizes eight traditional dances as Indian classical dances. • 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.
  • 3.
    Origin of Dancein India • The origins of dance in India go back into the ancient times. • The earliest Palaeolithic and Neolithic cave paintings such at the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh shows dance scenes. • Several sculptures found at Indus Valley Civilization archaeological sites, now distributed between Pakistan and India, show dance figures. • For example, the Dancing Girl sculpture is dated to about 2500 BCE, shows a 10.5 centimetres (4.1 in) high figurine in a dance pose. • The Vedas integrate rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes. • The evidence of earliest dance related texts are in Nat sutras, which are mentioned in the text of Panini the sage who wrote the classic on Sanskrit grammar, and who is dated to about 500 BCE. • The classic text of dance and performance arts that has survived is the Hindu text Natya Shastra, attributed to sage Bharata.
  • 4.
  • 5.
    INDIAN CLASSICAL DANCE •Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra. • The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. • Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. • These dances are traditionally regional, all of them include music and recitation in local language or Sanskrit. • They represent a unity of core ideas in a diversity of styles, costumes and expression.
  • 7.
    BHARATANATYAM • Bharatanatyam isa major genre of Indian classical dance that originated in Tamil Nadu. • Traditionally, Bharatanatyam has been a solo dance that was performed exclusively by women.
  • 8.
    BHARATANATYAM • It expressedsouth Indian religious themes and spiritual ideas, particularly of Shaivism, but also of Vaishnavism and Shaktism. • Bharatanatyam may be the oldest classical dance tradition of India(trace to the ancient Sanskrit text by Bharata muni, natya shastra and the ancient Tamil epic Silappatikaram).
  • 9.
    KATHAK • The termKathak is derived from the Vedic Sanskrit word Katha which means "story", and Kathaka which means "the one who tells a story", or "to do with stories". • Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music in a manner similar to early Greek theatre.
  • 10.
    KATHAK • Kathak dancerstell various stories through their hand movements and footwork, but most importantly through their facial expressions. • Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music in a manner similar to early Greek theatre.
  • 11.
    KATHAKALI • Kathakali isa "story play" genre of art, but one distinguished by the elaborately colourful make-up, costumes and facemasks that the traditionally male actor-dancers wear. • Kathakali primarily developed as a Hindu performance art in the Malayalam-speaking southwestern region of India (Kerala).
  • 12.
    KATHAKALI • A Kathakaliperformance, like all classical dance arts of India, synthesizes music, vocal performers, choreography and hand and facial gestures together to express ideas. • However, Kathakali differs in that it also incorporates movements from ancient Indian martial arts and athletic traditions of South India.
  • 13.
    KUCHIPUDI • Kuchipudiis originated in a village named Kuchipudi in the Indian state of Andhra Pradesh. • Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra.
  • 14.
    KUCHIPUDI • It developedas a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India. • Kuchipudi largely developed as a Hindu god Krishna-oriented Vaishnavism tradition.
  • 15.
    ODISSI Odishi also referredto as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha – an eastern coastal state of India.
  • 16.
    ODISHI • Odissi, inits history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). • Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism).
  • 17.
    SATTRIYA • Sattriyaor Sattriya Nritya, is a major Indian classical dance. • It is a dance-drama performance art with origins in the Krishna-centred Vaishnavism monasteries of Assam.
  • 18.
    SATTRIYA • One-act playsof Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama. • The plays are usually performed in the dance community halls (namghar) of monastery temples (sattras). • The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.
  • 19.
    MANIPURI • Manipuridance, also known as Jagoi, is one of the major Indian classical dance forms, named after the region of its origin – Manipur.
  • 20.
    MANIPURI DANCE • Itis particularly known for its Hindu Vaishnavism themes, and exquisite performances of love-inspired dance drama of Radha-Krishna called Raslila. • However, the dance is also performed to themes related to Shaivism, Shaktism and regional deities such as Umang Lai during Lai Haraoba.
  • 21.
    MOHINIYATTAM • Mohiniyattam, alsospelled Mohiniyattam, is one of two classical dances of India that developed and remain popular in the state of Kerala.
  • 22.
    MOHINIYATTAM • Mohiniyattam dancegets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers. • It is traditionally a solo dance performed by women after extensive training.
  • 23.
    CHHAU • Chhau dance,also spelled as Chau or Chhau, is a semi classical Indian dance with martial, tribal and folk traditions, with origins in the eastern Indian states of Jharkhand, West Bengal, and Odisha. • It is found in three styles named after the location where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Jharkhand, and the Mayurbhanj Chau of Odisha.
  • 24.
    CHHAU • The danceranges from celebrating martial arts, acrobatics and athletics performed in festive themes of a folk dance, to a structured dance with religious themes found in Shaivism, Shaktism and Vaishnavism. • The costumes vary between the styles, with Purulia and Seraikella using masks to identify the character. • The stories enacted by Chhau dancers include those from the Hindu epics the Ramayana and the Mahabharata, the Puranas and other Indian literature.
  • 25.
    YAKSHAGANA • Yakshagana isa traditional theatre form that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. • This theatre style is mainly found in Tulunadu and some parts of Malenadu regions of Karnataka and Kerala. • Yakshagana is traditionally presented from dusk to dawn. • Its stories are drawn from Ramayana, Mahabharata, Bhagavata and other epics from both Hindu and Jain traditions.
  • 26.
    YAKSHAGANA • Yakshagana isa separate genre of music, independent of Karnataka Sangeetha and the Hindustani music of India. • It is believed to have survived as an indigenous phenomenon only in Karnataka and northern parts of Kerala. • A typical Yakshagana performance consists of background music played by a group of musicians (known as the himmela); and a dance and dialog group (known as the mummela), who together enact poetic epics on stage.
  • 27.
    BHAGAVATA MELA • BhagavataMela is a classical Indian dance that is performed in Tamil Nadu, particularly the Thanjavur area. • It is choreographed as an annual Vaishnavism tradition in Melattur and nearby regions, and celebrated as a dance- drama performance art. • The dance art has roots in a historic migration of practitioners of Kuchipudi, another Indian classical dance art, from Andhra Pradesh to Tamil Nadu
  • 28.
    BHAGAVATA MELA • Theterm Bhagavata, state Brandon and Banham, refers to the Hindu text Bhagavata Purana. • Mela is a Sanskrit word that means "gathering, meeting of a group" and connotes a folk festival. • The traditional Bhagavata Mela performance acts out the legends of Hinduism, set to the Carnatic style music.
  • 29.
    FOLK AND TRIBALDANCE FORMS • Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities. • Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. • India has numerous folk dances. Every state has its own folk dance forms • like Bedara Vesha, Dollu Kunitha in Karnataka, • Thirayattam and Theyyam in Kerala, • Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, • Kalbelia, Ghoomar, Rasiya in Rajasthan, • Neyopa, Bacha Nagma in Jammu and Kashmir, • Bhangra & Giddha in Punjab, • Perini Dance in Telangana, • Chholiya dance in Uttarakhand, • Bihu and Bagurumba dance in Assam, • Sambalpuri Dance in Western Odisha and likewise for each state and smaller regions in it.
  • 30.
    DANDIYA RAAS • Raasor Dandiya Raas is the traditional folk dance form of Gujarat & Rajasthan India, and is associated with scenes of Holi, and Lila of Krishna and Radha at Vrindavan. • Along with Garba, it is the featured dance of Navratri evenings in Western India.
  • 32.
    GARBA • Garba isa form of dance which originated in the state of Gujarat in India. • The name is derived from the Sanskrit term Garbha ("womb") and Deep. Many traditional Garba is performed around centrally lit lamp or a picture or statue of the Goddess Shakti. • Traditionally, it is performed during the nine-day Hindu festival Navaratri. • Either the lamp (the Garba Deep) or an image of the Goddess, Durga (also called Amba) is placed in middle of concentric rings as an object of veneration.
  • 34.
    GHOOMAR • Ghoomar isa traditional folk dance of Bhil tribe performed to worship Goddess Sarasvati which was later embraced by other Rajasthani communities. • The dance is chiefly performed by veiled women who wear flowing dresses called Ghaghara. • According to the traditional rituals, newly married bride is expected to dance Ghoomar on being welcomed to her new marital home. • Ghoomar is often performed on special occasions, such as at weddings, festivals and religious occasions.
  • 36.
    BHANGRA • The termBhangra refers to the traditional dance from the Indian subcontinent originating in the Majha area of the Punjab region. • Bhangra is related to the Punjabi dance ‘Bagaa' which is a martial dance of Punjab.
  • 38.
    CHHOLIYA • Chholiya isa dance form practised in the Kumaun region of Uttarakhand. It is basically a sword dance accompanying a marriage procession but now it is performed on many auspicious occasions. • It is especially popular in the districts of Pithoragarh, Champawat, Bageshwar and Almora of Kumaun division and has even spread to the Garhwal division. • This sword dance has a history of more than a thousand years and is rooted in the martial traditions of the Kumauni people.
  • 40.
    BEDARA VESHA • ‘BedaraVesha’ is a folk dance performed days before Holi night in Sirsi town of Karnataka. • It is also known as ‘Hunter Dance’. People of Sirsi celebrate Holi with this unique folk dance every alternate year. • It attracts a large crowd from different parts of the state on all the five days of Holi.
  • 42.
    THIRAYATTAM • Thirayattam isa ritual performing ethnic art form of the South Malabar region in Kerala state, India. • It blend of dance, theatre, music, satire, facial and body painting, masking, martial art and ritualistic function. • This vibrant art form has a great resemblance to the traditions and customs of the ancient civilization. • Thirayattam usually enacted in courtyards of "kaavukal" (sacred groves) and village shrines of south Malabar region (Kozhikode & Malappuram) in Kerala. • Traditionally, the "Perumannan" community has the right to perform this magnificent art form in "kaavukal" (sacred Groves).
  • 44.
    PERINI SHIVATANDAVAM • PeriniShivatandavam is an ancient dance form from Telangana which has been revived in recent times. • It originated and prospered in Telangana during the Kakatiya dynasty. • Perini is performed by males and it is believed that in ancient times this was performed before the soldiers set to war. • Nataraja Ramakrishna was the person who revived this art form recently. • Perini Dance form was developed at the time of Ganapathi deva, the king of Kakatiya Empire
  • 46.
    BIHU • Bihu isthe chief festival in the Assam state of India. • It refers to a set of three different festivals: Rongali or Bohag Bihu observed in April, Kongali or Kati Bihu observed in October, and Bhogali or Magh Bihu observed in January. • The Rongali Bihu is the most important of the three celebrating the Assamese new year and the spring festival. • The Bhogali Bihu or the Magh Bihu is the one that is all about food. • The Kongali Bihu or the Kati Bihu is the sombre, thrifty one reflecting a season of short supplies and is an animistic festival.
  • 49.
    LAVANI • Lavani isa genre of music popular in Maharashtra. • Lavani is a combination of traditional song and dance, which particularly performed to the beats of Dholki, a percussion instrument. • Lavani is noted for its powerful rhythm. Lavani has contributed substantially to the development of Marathi folk theatre. • In Maharashtra and southern Madhya Pradesh and North Karnataka, it is performed by the female performers wearing nine-yard long saris.
  • 51.
    ANDHRA PRADESH • Siddi,Tappeta Gundlu, Urumulu (thunder dance), Butta Bommalata, Goravayyalu, Garaka (Vessel Dance), Vira Ntyam (Heroic Dance), Kolatam, Chiratala Bhajana, Dappu, Puli Vesham (Tiger Dance), Gobbi, Karuva, and Veedhi Bhagavatam.
  • 52.
    ARUNACHAL PRADESH • Ponung,Sadinuktso, Khampti, Ka Fifai, Idu Mishmi (ritual) and Wancho.
  • 53.
    ASSAM • Dhuliya andBhawariya, Deodhani, Zikirs, Apsara-Sabah.
  • 54.
    GOA • Mussoll, Dulpodor Durpod, Kunnbi-Geet, Amon, Shigmo, Foogddi, and Dhalo.
  • 55.
    HARYANA • Rasleela, PhagDance, Phalgun, Daph Dance, Dhamaal, Loor, Guga, Jhomar, Ghomar, Khoria, Holi, Sapela.
  • 56.
    HIMACHAL PRADESH • Chamba,Dalshone and Cholamba, Jataru Kayang, Nuala, Jhoori, Ji, Swang Tegi, Rasa.
  • 57.
    KARNATAKA • Veeragase, NandiDhwaja, Beesu Kamshaley, Pata Kunitha, Bana Debara Kunitha, Pooja kunitha, Karaga, Gorawa Mela, Bhuta Nrutya, Naga Nrutya, Batte Kola, Chennu Kunitha, Maaragalu Kunitha, Kolata, Simha Nrutya,Yakshagana.
  • 58.
    KERALA • Thirayattam, Padayani,Ayyappanvilakku, Vattakkali, Theyyam,
  • 59.
    MADHYA PRADESH • Gaur,Muriya, Saila, Kaksar, Sugga, Banjaara (Lehangi), Matki Dance, Phul Patti Dance, Grida Dance.
  • 60.
    MANIPUR • Lie HaraobaDance, Chanlam, Toonaga Lomna Dance
  • 61.
  • 62.
  • 63.
  • 64.
    RAJASTHAN • Banjaara, Firedance, Tera tali, Kachhi Ghori, Geedar
  • 65.
    SIKKIM • Pang ToedChaam (Chaam means dance) performed during the Pang Lhabsol festival in honour of the Guardian diety Khang- Chen-Dzonga, Maruni (Nepali Dance) and Tamak.
  • 66.
    TAMIL NADU • Karakam,Puravai Attam, Ariyar Natanam, Podikazhi Attam, Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil Kummi, Pavakkuthu
  • 67.
    WEST BENGAL • Chau,Santari, Jatra, Gazan
  • 68.
    CONTEMPORARY DANCE • Contemporarydance in India encompasses a wide range of dance activities currently performed in India. • It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists. • Uday Shankar and Shobana Jeyasingh have led modern Indian ballet which combined classical Indian dance and music with Western stage techniques. • Their productions have included themes related to Shiva-Parvati, Lanka Dahan, Panchatantra, Ramayana among others.
  • 69.
  • 71.
    DANCE IN FILMS-BOLLYWOOD DANCE • The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience. • Dance and song sequences have been an integral component of films across the country. • With the introduction of sound to cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films. • Dance in early Hindi films was primarily modelled on classical Indian dance styles such as Kathak, or folk dancers. • Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film.
  • 72.
    DANCE IN FILMS-BOLLYWOOD DANCE
  • 74.
    DANCE IN FILMS-BOLLYWOOD DANCE • Typically, the hero or heroine performs with a troupe of supporting dancers. • Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. • It is popular for a hero and heroine to dance and sing in beautiful natural surroundings or architecturally grand settings, referred to as a "picturization". • Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. • The choreography for such item numbers varies depending on the film's genre and situation. • The film actress and dancer Helen was famous for her cabaret numbers.
  • 76.
    DANCE IN FILMS-BOLLYWOOD DANCE • Often in movies, the actors don't sing the songs themselves that they dance too, but have another artist sing in the background. • For an actor to sing in the song is unlikely but not rare. • The dances in Bollywood can range from slow dancing, to a more upbeat hip hop style dance. • It could be Indian classical, Indian folk dance, belly dancing, jazz, hip hop and everything else you can imagine.
  • 78.
    DANCE EDUCATION • SinceIndia's independence from colonial rule, numerous schools have opened to further education, training and socialization through dance classes, or simply a means to exercise and fitness. • Major cities in India now have numerous schools that offer lessons in dances such as Odissi, Bharatanatyam, and these cities host hundreds of shows every year. • Dances which were exclusive to one gender, now have participation by both males and females. • Many innovations and developments in modern practice of classical Indian dances, states Anne-Marie Gaston, are of a quasi- religious type.
  • 79.
    GEOGRAPHIC SPREAD • Sometraditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. • Indian mythologies play significant part in dance forms of countries in South East Asia, an example being the performances based on Ramayana in Javanese dances.
  • 80.
    CONCLUSION • All majorclassical Indian dance forms include in repertoire, three categories of performance in the Natya Shastra. These are Nritta, Nritya and Natyam: 1. The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. 2. The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a Nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. 3. The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story.
  • 81.
    CONCLUSION • All classicaldances of India used similar symbolism and rules of gestures in abhinaya (acting). • A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music. • The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. • In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance: • Angika (gestures and body language), • Vachika (song, recitation, music and rhythm), • Aharya (stage setting, costume, make up, jewellery), • Sattvika (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). • Abhinaya draws out the bhava (mood, psychological states).
  • 82.