Folk and

Classical
Dance
GENERAL KNOWLEDGE

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Folk and Classical Dance

India is rich in terms of diverse culture. One can experience a change in terms of
language, cuisines, attire and sometimes ideology as well when he or she travels from
one region to another.
Well, India has very much to offer when it comes to Indian folk dance that varies as per
the region you are residing in. India is a rich country of cultural and folk art.
Indian folk and tribal dances are simple, and they are performed to get pleasure from
them. Dancing is a part of daily life and religious rituals. Indian folk dances have eternal
forms and rhythm.
Traditional dancing is organised every time, i.e. the births of children, festivals, marriage
opportunities and the arrival of seasons. Indian folk and tribal dances are dances with
minimal steps or movements. These folk dances of India are full of vibrancy,
enthusiasm and energy.

Origin of Dance in India

 The origins of dance in India go back into the ancient times.

 The earliest paleolithic and neolithic cave paintings such as 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.

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 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 Sanskrit verses in chapter 13.2 of Satapatha Brahmana (≈800–700 BCE), for
example, are written in the form of a play between two actors.

 The evidence of earliest dance related texts are in Natasutras, 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.

 This performance arts related Sutra text is mentioned in other late Vedic texts, as
are two scholars names Shilalin (IAST: Śilālin) and Krishashva (Kṛśaśva), credited
to be pioneers in the studies of ancient drama, singing, dance and Sanskrit
compositions for these arts.

 Richmond et al. estimate the Natasutras to have been composed around 600 BCE,
whose complete manuscript has not survived into the modern age.

 India has 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.

Classical Dance
 Classical dance of India has developed a type of dance-drama that is a form of a
total theater.
 The dancer acts out a story almost exclusively through gestures. Most of the
classical dances of India enact stories from Hindu mythology.
 Each form represents the culture and ethos of a particular region or a group of
people.
 The criteria for being considered as classical is the style's adherence to the
guidelines laid down in Natyashastra, which explains the Indian art of acting.

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 The Sangeet Natak Academy currently confers classical status on eight Indian
classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North, West and
Central India), Kathakali (Kerala), Kuchipudi (Andhra Pradesh), Odissi (Odisha),
Manipuri (Manipur), Mohiniyattam (Kerala), and Sattriya(Assam).

 Please Note: Till now, sangeet natak academy has recognized eight classical dance
forms whereas the ministry of culture has recognized nine classical dance forms
including chhau

 All classical dances of India have roots in Hindu arts and religious practices.

 The tradition of dance has been codified in the Natyashastra and a performance is
considered accomplished if it manages to evoke a rasa (emotion) among the
audience by invoking a particular bhava(gesture or facial expression).

 Classical dance is distinguished from folk dance because it has been regulated by
the rules of the Natyashastra and all classical dances are performed only in
accordance with them.

Classical Dance of India

India has a very rich culture of dance and music, Traditional, classical, folk and Tribal
dances style. These Incredible traditional dances of India originated during the ancient
times and considered the mother art of classical dances.
The Classical Dances of India includes Bharatanatyam, the oldest form of the classical
dance in the country and one of the Most Popular Classical Dances in India and ancient
in Natya Shastra.

Bharatanatyam - Tamil Nadu

 Conventionally a solo dance performed only by women, it was initiated in the Hindu
temples of Tamil Nadu and eventually flourished in South India.
 Originally performed only by female soloists, Bharatanatyam is now performed by
male and female soloists as well as ensembles all over the world.
 Theoretical base of this form traces back to ‘Natya Shastra’, the ancient Sanskrit
Hindu text on the performing arts.
 A form of illustrative anecdote of Hindu religious themes and
spiritual ideas emoted by dancers with excellent footwork and
impressive gestures, its performance repertoire includes nritta,
nritya and natya.

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 Accompanists include a singer, music and particularly the guru who directs and
conducts the performance. It also continues to inspire several art forms including
paintings and sculptures starting from the spectacular 6th to 9th century CE temple
sculptures.

History and Evolution

 According to the Hindu tradition the name of the dance form was derived by joining
two words, ‘Bharata’ and Natyam’ where ‘Natyam in Sanskrit means dance and
‘Bharata’ is a mnemonic comprising ‘bha’, ‘ra’ and ‘ta’ which respectively means
‘bhava’ that is emotion and feelings; ‘raga’ that is melody; and ‘tala’ that is rhythm.
 Thus, traditionally the word refers to a dance form where bhava, raga and tala are
expressed. The theoretical base of this dance form, which is also referred as Sadir,
traces back to ancient Indian theatrologist and musicologist, Bharata Muni’s Sanskrit
Hindu text on the performing arts called ‘Natya Shastra’.
 The text’s first complete version was presumably completed between 200 BCE to
200 CE, however such timeframe also varies between 500 BCE and 500 CE.
 According to legends Lord Brahma revealed Bharatanatyam to the sage Bharata
who then encoded this holy dance form in Natya Shastra.
 The text that consists of thousands of verses structured in different chapters divides
dance in two specific forms, namely ‘nrita’ that is pure dance consisting of finesse of
hand movements and gestures, and ‘nritya’ that is solo expressive dance that
comprises expressions.
 According to Russian scholar Natalia Lidova, ‘Natya Shastra’ elucidates several
theories of Indian classical dances including that of Tandava dance, standing
postures, basic steps, bhava, rasa, methods of acting and gestures.
 One of the five great epics of Tamil Literature, ‘Silappatikaram’ (~2nd century CE)
has a direct reference to this dance form.
 The Shiva temple of Kanchipuram that is decorated with carvings dating back to a
period between 6th to 9th centuries CE manifests the development of this dance
form by around the mid first millennium CE.
 Many ancient Hindu temples are embellished with sculptures of Lord Shiva in
Bharatanatyam dance poses.
 The eastern gopuram of the 12th century Thillai Natarajar Temple, Chidambaram, of
Tamil Nadu dedicated to Lord Shiva bears sculptures depicting 108 poses of
Bharatanatyam, referred as karanas in ‘Natya Shastra’, that are intricately carved in
small rectangular panels.
 Another notable sculpture can be seen in the Cave 1 of Karnataka’s Badami cave
temples dating back to the 7th century where a 5 feet tall sculpture of Lord Shiva is
depicted as Nataraja doing Tandava dance.
 The 18 arms of the Shiva sculpture expresses mudras or hand gestures that are part
of Bharatanatyam.

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 The eastern gopuram of the 12th century Thillai Natarajar Temple, Chidambaram, of
Tamil Nadu dedicated to Lord Shiva bears sculptures depicting 108 poses of
Bharatanatyam, referred as karanas in ‘Natya Shastra’, that are intricately carved in
small rectangular panels.
 Another notable sculpture can be seen in the Cave 1 of Karnataka’s Badami cave
temples dating back to the 7th century where a 5 feet tall sculpture of Lord Shiva is
depicted as Nataraja doing Tandava dance.
 The 18 arms of the Shiva sculpture expresses mudras or hand gestures that are part
of Bharatanatyam.

Costume
 The style of dressing of a Bharatanatyam dancer is more or less similar to that of a
Tamil Hindu bride.
 She wears a gorgeous tailor-made sari that consists of a cloth specially stitched in
pleats that falls in the front from the waist and when the dancer performs
spectacular footwork that include stretching or bending her knees, the cloth widens
up like a hand fan.
 The sari worn in a special manner is well complemented with traditional jewellery
that include the ones that adorn her head, nose, ear and neck and vivid face make-
up specially highlighting her eyes so that the audience can view her expressions
properly.
 Her hair neatly plaited in a conventional way is often beautified with flowers. A
jewellery belt adorns her waist while musical anklets called ghunghru made of
leather straps with small metallic bells attached to it are wrapped in her ankles.
 Her feet and fingers are often brightened with henna colour so as to highlight
gestures of her hands.

Kathak
 Kathak is one of the main genres of ancient Indian classical dance and is
traditionally regarded to have originated from the travelling bards of North India
referred as Kathakars or storytellers.
 These Kathakars wandered around and communicated legendary stories via music,
dance and songs quite like the early Greek theatre.

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 The genre developed during the Bhakti

movement, the trend of theistic devotion
which evolved in medieval Hinduism.
 The Kathakars communicate stories through
rhythmic foot movements, hand gestures,
facial expressions and eye work.
 This performing art that incorporates legends
from ancient mythology and great Indian
epics, especially from the life of Lord Krishna became quite popular in the courts of
North Indian kingdoms.
 Three specific forms of this genre that are three gharanas (schools), which mostly
differ in emphasis given to footwork versus acting, are more famous namely, the
Jaipur gharana, the Benaras gharana and the Lucknow gharana.

Highlights of Kathak
 Kathak is world famous for its spectacular footwork, amazing spins, Nazakat and
Padhant (Chanting of bols, toda, tukdas by dancer himself and then
performing). This is the distinctive feature of Kathak.
 It creates a nexus between the dancer and audience.
 The body movements are quite straight as compared to Bend movements of South
Indian Dances.
 The heavy ghungroos are worn by the Dancers – 100/200/250 on one leg.
 There is a wide variety of sounds hidden in these ghungroos like running trains,
heavy rains, Sound of Horse riding,( Ghode ki chaal) and much more. This
adds more beauty to the performance.

History and Evolution

 The roots of this dance form trace back to Sanskrit Hindu text on performing arts
called ‘Natya Shastra’ written by ancient Indian theatrologist and musicologist
Bharata Muni.

 It is presumed that the first complete version of the text was completed between 200
BCE to 200 CE, but some sources mention the timeframe to be around 500
BCE and 500 CE.

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 Thousands of verses structured in different chapters are found in the text that
divides dance in two particular forms, namely ‘nritta’ that is pure dance which
consists of finesse of hand movements and gestures, and ‘nritya’ that is solo
expressive dance that focuses on expressions.

Bhakti Movement
 The Lucknow Gharana of Kathak was founded by Ishwari Prasad, a devotee of the
Bhakti movement.

 Ishwari lived in the village of Handiya situated in southeast Uttar Pradesh. It is

believed that Lord Krishna came to his dreams and instructed him to develop "dance
as a form of worship".

 He taught the dance form to his sons Adguji, Khadguji and Tularamji who again
taught their descendants and the tradition continued for more than six generations
thus carrying forward this rich legacy that is well acknowledged as the Lucknow
gharana of Kathak by Indian literature on music of both Hindus and Muslims.

 The development of Kathak during the era of Bhakti movement predominantly

focussed on the legends of Lord Krishna and his eternal love Radhika or Radha
found in texts like the ‘Bhagavata Purana’ which were spectacularly performed by
the Kathak artists.

Revival
 In the midst of such upheaval, the families made effort in keeping this ancient dance
form from dying out and continued teaching the form including training boys.

 The progress of the Indian freedom movement in the early 20th century saw an
effort among Indians to revive national culture and tradition and rediscover the rich
history of India in order to resurrect the very essence of the nation.

 The revival movement of Kathak developed both in the Hindu and Muslim gharanas
simultaneously, especially in the Kathak-Mishra community.

 Kalkaprasad Maharaj played an instrumental role in drawing international

viewership of Kathak in the early 20th century.

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Costume
 Traditionally, Sari, Ghagra-Choli, Churidar Frock – Jacket, Dupatta for women
and men can wear Churidar Kurta and Dupatta tied at the waist.

 This dance-drama may have costumes as per the character.

 Makeup is not much heavy but is quite sharp and Fine to reflect the expressions. A
bun or long plaits with garland looks beautiful.

 Mostly white—yellow pearl ornaments are used.

Odissi
 The long-established dance form in the serene
surroundings of Shri Jagannath Temple in Odisha
is famous as ‘Odissi’.
 It has its mention in the oldest Sanskrit Text –
Natya Shastra as Audramagdhi. In ancient days
this dance form filled with Bhakti ras was a part of
worship to God at Jagannath temples.
 Thus we find many sculptures in dance positions inside the temple.
 It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears
like waves of the ocean.
 Odissi is famoits presentations on poet Jayadev’s fabulous work.
There are two types of this dance us for form:
 Maharis (Devadasis or Temple Girls).
 Gotipua ( Performed by Boys).

The Sequence
 Managalacharan (Worshipping Lord Jagannath or other gods, goddesses).

 This will be followed by Pushpanjali (Offering of flowers) and salutation to

mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas.

 The next comes the Batu Nrutya—Fast dance pure dance which we call it as
Nritta which is then followed by Nritya which include, Abhinay- Expressions
on some devotional poems or songs.

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 The verses may be in Sanskrit or Odia language. Ashtapadis—Dashavtar,

Ardhanari etc. are quite famous.

 Then comes the Dance Drama in sequence. The themes generally relate to the
Hindu gods and goddesses. Modern day expressive theme presentations go beyond
the horizon.

Sequence of Odissi
Dance

Mangalacharan. Pushpanjali.
Batu Nritya. (Fast
(Worshiping of (Offering of Dance Drama.
Dance)
Lord Jagannath) Flowers)

Followed by It follows the

Salutation to
Abhinay on theme of Hindu
Mother Earth
some Poem & Gods and

Trikhandi
Pranam. (Devas,
Gurus, Rasikas)

Music and Instrument

The South Indian, as well as North Indian Music, is employed for the dance. The
Pakhawaj, Tabla, Swarmandal, Harmonium, Sitar, Flute, Violin, and Cymbals.

Revival
 Kelucharan Mahapatra, Gangadhar Pradhan, Pankaj Charan Das etc.revived
this dance form in the late forties and early fifties.

 Sanjukta Panigrahi, Sonal Mansingh, Kumkum Mohanty, Anita Babu, Sujata

Mohapatra etc. contributed to the upliftment and popularization of Odissi.

 Recently, the Odissi has now been included in the syllabus of IIT Bhubaneshwar’s
B.Tech syllabus since 2015. It became the first national technical institute to
introduce any Indian Classical Dance form in their syllabus.

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Kuchipudi
 The Kuchipudi was originated from the place
named ‘Kuchipudi’ in Krishna district of Andhra
Pradesh around 3rd century BCE, Kuchipudi
Dance form is a long-established dance-drama
style.

 Tirtha Narayana Yati and his disciple

Siddhendra Yogi organized and founded the
modern version of Kuchipudi which we see today.

 Kuchipudi gradually developed as a solo dance form and today we can see both
male and female performing it.

 Kuchipudi has themes related to Vaishnavism, Lord Krishna, Rukmini,

Satyabhama and other myths.

 Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as well.

Difference between Kuchipudi and Bharatnatyam

 Bharatanatyam is a classical dance form that originated from the state of Tamil
Nadu in South India. On the other hand, the dance form Kuchipudi originated
in the traditional style from the state of Andhra Pradesh, also in South India.

 Both the dance forms differ when it comes to their poses. In fact, Bharatanatyam
has more sculptured poses, whereas Kuchipudi has more rounded poses.

 Bharatanatyam represents the inner fire of the human body. Hence, it is often called
a fire dance. On the other hand, Kuchipudi represents the metaphysical desire in
man to unite with God.

 Bharatanatyam has several pieces in its format. A Bharatanatyam recital generally

starts with an alarippu and includes jatiswaram, sabdam, padam, varnam, tillana
and ashtapadi. This is only a general rule regarding the format of the Bharatanatyam
recital.

 On the other hand, the Kuchipudi concentrates mainly on the Thillana and the
Jatiswaram aspects in order to exhibit the intense desire of the dancer to
become one with the supreme God.

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 The poses in Kuchipudi are more brisk when compared to the poses in
Bharatanatyam.

 Both the dance forms differ when it comes to the nature of costumes used by its
dancers. The costumes used in Bharatanatyam have three fans of varied lengths.
One of them is the lengthiest. On the other hand, the costumes used in the
Kuchipudi style of dance have only one fan and it is invariably lengthy than the
lengthiest one used in the style of Bharatanatyam. This is an interesting difference
between the two forms.

 Kuchipudi has Vachik Abhinay. That means they give lip movement as if they are
singing the song. However, Bharatanatyam dancers do not make lip movements
while dancing. This is one of the main differences between the two dance forms;
namely, Bharatanatyam and Kuchipudi.

Music and Instrument

 Based on Carnatic music the language is usually Telugu.
 Mridangam, cymbals, veena, flute and Tambura.

Notable Kuchipudi Dancers

Portrait Name & Highlights

Raja-Radha Reddy.
The Govt of India conferred them with Padma Shri and
Padma Bhushan.
Doctorate from University of Hyderabad.

Yamini Reddy.
Yuva Ratna Award
Youth Vocational Excellence award
Devadasi National Award
Sangeet Natak Akademi Bismillah Khan Yuva Puraskar

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Portrait Name & Highlights

Vaijayanti Kashi.
Sangeet Natak Akademy Puraskar
Karnataka Rajyotsava Award
Member of Sangeet Natak Academy.

Uma Rama Rao.

Kala Niranjan from Govt of Andhra Pradesh.
Pratibha Puraskar from Potti Sreeramulu Telugu
University.
Best Teacher Award from Govt. of Andhra Pradesh.

Kathakali
 The Dazzling classical dance of Kerala is Kathakali. ‘Katha’= Story or tale, ‘Kali’=
Performance and Art.

 Its roots are in ancient ‘Kutiyattam’ (Classical Sanskrit Dance Drama) and
‘Krishnattam’ (Dance-Drama depicting Stories of Hindu God Krishna).

 Movements in Kathakali are influenced by ancient martial arts and athletic tradition.

 It is basically a Dance-Drama. Kathakali was traditionally a male-dominated dance

and now females are too welcomed in this dance form.

 Kathakali is also famous for its huge elaborate costumes, amazing make-up style,
face masks, and ornaments.

 Unlike other Classical Dances, Kathakali art forms developed in the courts and
theaters of Hindu principalities.

 The traditional performances used to be as long from Dusk to dawn. Modern day
presentations are short as per the time limit of the program. The Kerala
Kalamandalam is the main center for Kathakali Artists.

 Kathakali has similarities with other dance forms like that of the Japanese ‘ Noh’
and ‘Kabuki’ dance forms have similarities with Kathakali.

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Theme of the Dance

 Mythological themes include Ramayan,
Mahabharat, Bhagavata Purana, etc.

 Also modern day Kathakali dancers present stories

and plays of Shakespeare.

The Makeup of Kathakali

 According to the role of the dancer, his face is colored/painted.
 The colors are made in rice paste with vegetable colors and applied on the face.
 The Green for Noble characters.
 Tati (Red) for evil like Ravana.
 Kari (black) for hunters and monsters.
 Yellow for women etc.

Notable Artist of Kathakali

Portrait Name and Highlights

Kalamandalam Krishna Prasad.

M.A. Vellody Medal from Kalamandalam.
Vazhenkada Award for Cholliyattam.

Kalamandalam Kesavan Namboodiri.

Kerala Kalamandalam Award.
Kala Sahitya Academy Award.
Ravunni Memorial Award.
N.K. Pisharadi Award.

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Portrait Name and Highlights

Kalamandalam Gopi.
The Govt of India awarded him with Padma
Shri in 2003.

Mohiniattam
 Mohiniattam is a Lasya inspired dance with soft,
calm and gentle movements. Characterized as
Feminine, usually done by women.

 The word ‘Mohini’ is related to the charming

women avatar of Lord Vishnu – to end the evil
powers.

 Mohiniattam also connotes beautiful dancing

women. The graceful and most beautiful, Mohiniattam is mesmerizing.

 The text ‘Hastha Lakshana Deepika’ is followed (for hand gestures and facial
expressions) that has an elaborate description of mudras.

Revival of Mohiniattam
 In 1930, Nationalist Malayalam poet Vallathol Narayan Menon helped to repeal the
ban on temple dancing in Kerala as well as established the Kerala Kalamandalam
dance school and gave encouragement for its training and practice.

 Mukundraj, Krishna Panicker, Thankamony as well as Guru and Dancer

Kalamandalam Kalyanikutty Amma gave their heroic contribution in reviving
the traditional art form.

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Manipuri
 The Manipuri dance form named after its
region of origin, ‘Manipur’ is also known
as ‘Jogai’.

 It was traditionally performed as a dance

– drama on devotional songs, Manipuri
showcases the love between Radha-
Krishna through Raaslila.

 Manipuri is a combination of two cultures-

Indian and South-East Asian. The Manipuri dance form is categorized as Tandav or
Lasya.

 The beautifully soft and graceful dance form, Manipuri has significant movements of
hands and upper body.

 Another uniqueness of this dance form is that, while Ghungroos (Bells) glorify the
classical dances of India, they are not worn in Manipuri.

Theme
 Mostly influenced by Hindu Vaishnavism themes.

 It also includes themes related to Shaivism and Shaktism and regional deities.

 Tandav Manipuri depicts the themes of Shiv, Shakti or Krishna as warriors.

 Lasya theme includes Love inspired stories of Radha-Krishna.

Manipur Raslila
 Tal Rasak: It is accompanied by clapping.

 Danda Rasak: The synchronous beat of two sticks where dancers position
creates geometric patterns.

 Mandal Rasak: The Gopis make a circle while Krishna attains the center.

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Forms of Manipur Dance

 Raas.

 Nata-Sankirtan.

 Pung Cholam.

 Dhola Cholam.

 Kartal Cholam.

 Thang ta ( a Martial art of Manipuri)

Costumes
 The female dancers wear decorative barrel-shaped drums like long stiff skirts till
bottom with decorative embellishments. Dark colored velvet blouses cover the upper
part of the body and a traditional veil is worn over hair that falls gracefully over the
face.

 The male dancers adorn themselves with a dhoti kurta white turban, a folded shawl
over the left shoulder and the drum strap over the right shoulder.

 The costume for the character of Lord Krishna is Yellow dhoti, dark velvet jacket,
and crown of peacock feathers.

Notable Manipur Dancers

Portrait Name & Highlights

Guru Bipin Sinha.

Kalidas Samman for Classical dance.
Sangeet Natak Akademi Award.

Nirmala Mehta.

Savita Mehta.

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Portrait Name & Highlights

Yumlembam Gambhini Devi.

Padma Shri in 2005.
Nritya Ratna Award in 1979.
Sangeet Natak Akademi Award in 1988.

Darshana Jhaveri
Padma Shri in 2002.
Sangeet Natak Akademi Award in 1996.
Kalidas Samman Award in 2018.

Sattriya
 Sattriya is the traditional dance –drama of
Assam. Sattriya was recognized in 2000 as
Classical Dance by Sangeet Natak Akademi.

 It is influenced by Vaishnavism and the modern

form of Sattriya is attributed to the 15th century
Bhakti Movement Scholar and Saint
Srimanta Sankaradeva.

 Since the 15th Century, Sattriya grew as a part of Vaishnav Bhakti Movement in
Hindu Monasteries called ‘Sattra’.

 Sattras are the dance community halls (namghar) of monastery temples.

Today it is popular worldwide.

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Theme
 The themes performed are mostly on Radha-Krishna and other myths.

 Dramas written by Sankardev are typically presented.

 Sattriya performance integrated two styles: One Masculine (Paurashik Bhangi

— energetic and with jumps) and Feminine (Stri Bhangi—Lasya or delicate).

 Both male and female perform this beautiful, expressive dance openly on the
modern platform.

Costumes
 Male—Dhoti, chadar, paguri (turban).

 Female—Ghuri, chadar, Kanchi (waist cloth) made up of materials manufactured in

Assam.

 The play and Character specific costumes are also seen in Sattriya.

 Masks are used for special characters (like demons) sometimes.

 Traditional Assamese jewellery is employed.

Revival of Sattriya Dance

 Conventionally, it was only performed by Bhokots/‘Monks’ as a part of their daily
rituals not before the idol but before the copy of Bhagavata Purana placed in the
eastern corner of the dance community hall (namghar).

 After the second half of the 20th century, this dance form moved from the den of
Assam’s Monasteries to the modern day stage.

 Sattriya received patronage outside Assam and Outside India too.

 Sattriya Kendra Guwahati is a constituent body of Sangeet Natak Akademi

established for preserving, promoting and providing training to young aspirants of
Sattriya.

 Today Sattriya performances are a part of Major Dance Festivals in India and
Abroad.

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Notable Artist of Sattriya

Portraits Names & Highlights

Guru Indira P.P Bora.

Sangeet Natak Akademi Award in 1996.
Member of Ministry of Culture, Govt of India.
Guru Gopinath Desiya Natya Puraskaram in
2019.
Best Artist Award for Assam Silpi Samiti.

Late Pradip Chaliha.

Sangeet Natak Akademi Award.
D.Litt. in Dibrugarh University

Jatin Goswami.
Founder and Director of Sattriya Akademi,
Guwahati.
Padma Shri in 2008.
Sangeet Natak Akademi Award.
Moghai Ojha Srijan Award in 2015.

Anita Sarma
Nritya Bidushai Samman in 2012.
Devadasi Award in 2012.
Sangeet natak Akademi Award in 2014.

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The Ministry of Culture currently confers classical status on nine Indian classical dance styles:
Chhau (Eastern India)

Chhau (Eastern India)

 The Chhau dance of Eastern India (Orissa, Jharkhand, and West Bengal) is a blend of
martial traditions, temple rituals, and folk and popular performance of this region.

 Theme: Episodes from the epics such as Mahabharata, Ramayana, Puranas, traditional
folklore, local legends and abstract themes are depicted through the medium of dance and
the music primarily consists of indigenous drums.

 The dance is intimately connected with the festivals and rituals of this region. Vocal music
is not used in Chhau, the melodies are based on songs from the Jhumur folk repertoire, the
devotional Kirtan, classical Hindustani 'ragas', and traditional Oriya sources.

 Instruments: Dhol, Dhumsa, Nagada, Chadchadi and Jhanj provide accompaniment to the
Chhau dance.

Notable Artist of Chhau

Portraits Name and Highlight

 Hem Mahato: 92 years Hem Chandra Mahato is a

pioneer of Purulia Chhau.
 His immense contribution provided a new identity in
Puruliia Chhau.
 He learnt Chhau dance from his father and grandfather
both at the age of 12.
 Immediately, he created his own identity through his
inexplicable performance.

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 Bhuban Kumar: Veteran Chau artist Bhuban Kumar is a

Chau dancer who was born in 1962 at Bamnia village
of Jhalda II block in Purulia. His father Late Prabhudas
Kumar was a well-known Chhau artist of the district. In
1985 he formed a new Chhau team and developed
some new Production like “ Santhal Bidroho, Sidhu
Kanu, Nabab Murshid Kuli Khan, Kargil Juddha” etc.
Apart from Bengal & Jharkhand, Bhuban Kumar
performed in many places across the country.

 Mousumi is a leading woman Chau dancer, an art form

native to Purulia in the state of Mousumi Choudhury:
West Bengal in India. By being the first woman to learn
and perform Chau, a male bastion for ages, she is an
inspiration for other girls learning the art. Born in
Maldi village of Balarampur in Purulia, Mousumi
started dancing Chau at the age of 10, learning the art
from her father, Jagannath Choudhury, an
accomplished Chau exponent.

Anil Mahato:
 Anil Mahato is a highly revered, veteran Chau artist
from Dubrajpur village of Purulia district. He was
initiated into Chau dance under the guidance of the
late Chau maestro Sadananda Mahato. He is a master
of Shiva dance which involves different postures,
movements and steps that portrays the mood of Lord
Shiva.

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Summary
Here are the different types of Folk dances in India.

The list of Folk Dances in India is given below:

State/ Folk Dances Main Highlights

Andhra Kolattam, Veeranatyam  Kolattam - Kolattam Kara is a solid instrument

Pradesh made of wood and lacquer, which is used in
Kolattam - a dance form of Andhra Pradesh.

 Veeranatyam - Dubbed as the dance of the

brave, Veeranatyam has its origins in a
mythological story associated with Lord Shiva.

Arunachal Yakjong, Ponung  Yakjong - Also celebrated during the Unying

Pradesh Aran festival of the Adi community.

 Ponung - Generally celebrated before the

harvesting of the crops, the dance is performed
to seek bumper healthy crops in the year as well
as the healthy well-being of the village
community.

Assam Bihu, Bagurumba  Bihu - The dances are accompanied by musical

instruments like "Dhol" (Dholak), pepa, gogana,
banhi(flute) etc.

 Bagurumba - It is usually practiced during

Baisagu, a festival of the Bodos in the Bishuba
Sankranti or mid-April. The Bagurumba dance is
also called "butterfly dance".

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Bihar Jata-Jatin, Jhijhia  Jata-Jatin - The women of the Mithilanchal

region perform the Jat Jatin dance on moonlit
nights during the Monsoons. Unmarried girls
and young housewives assemble in a
courtyard and accompanied by a drum, dance
from midnight to dawn.

 Jhijhia -The dancers pray to the Lord of Rains

for life-giving rain and a good crop.

Chhattisgarh Panthi, Raut Nacha  Panthi - Panthi dance is given by Satnami

community of Chhattisgarh. Dancers are
equipped with white dhoti, waist belt,
ghungaroo. They also carry “Mridanga” and
waves themselves in parade.

 Raut Nacha - Raut dance is a traditional dance

of the Yadav community which is performed
on Deepawali.

Gujarat Garba, Tippani  Tippani - Tippani is a solid instrument made of

wood and bamboo. This folk instrument is
found in Gujarat. Majorly used in ‘Tippani’
dance by tapping them on the floor to the
rhythmic beat of the dance.

 Garba - The word Garbo or Garaba has

originated from Sanskrit word "Garbhdeep"-
an earthen pot with circular holes is popularly
known as Garbo.

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Goa Tarangamel, Dekhni  Dekhni - Dekhni dance is one of the oldest

dance forms of Goa. In Konkani it means
beauty. This dance is a mixture of Indian and
western music.

 Tarangamel - It is usually performed on the

occasions of Dushehra and Holi by young boys

Haryana Saang, Daph  Daph - Daph Dance is mainly a seasonal dance

performed by farmers to commemorate a
bountiful harvest on the advent of spring
season. The Daph or the one sided drum along
with the sound of ornaments worn by the
women offer the music.

 Saang Dance - Cross-dressing is quite popular in

this traditional folk dance of Haryana, some of
the male participants dress up as women to
perform the part of the female in the dance

Himachal Nati, Chham  Nati - Performers are known as Tunis and the
Pradesh instruments used during the performances are
flute, dhol, nagara, narsingha, karnal, and a
shenai.

 Chham - Chham dance is one of the most

colorful and splendid dance forms of Himachal.
It is performed by a sect of Buddhists — usually
monks and lamas in monasteries on special
occasions and festivities.

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Jammu & Rauf, Dhumal  Rauf -This dance form is practiced on festive
Kashmir occasions like Eid and Ramzan days are going.

 Dhumal - Dancers performing this dance are

dressed up wearing vibrant colored robes and
conical caps which are generally studded with
beads. Not every man can perform this dance
but only males of Wattal can perform this dance
and that too during special occasion.

Jharkhand Santhal, Chhau  Santhal - This dance was performed by the

Santhal tribes during all special festivals and
occasions.

 Chhau - Chhau is one of the finest folk dances of

Chhota Nagpur Plateau region. The folk dance is
performed in various states that lie in this
region such as West Bengal, Bihar, Orissa and
Jharkhand.

Karnataka Dollu Kunitha, Yakshagana  Dollu Kunitha - Also known as Drum Dance. It is
Dance a popular folk dance associated with the
worship of Sree Beeralingeshwara who is
considered as a form of Lord Shiva.

 Yakshagana Dance - It is a traditional folk dance

form popular in Coastal Karnataka districts.

Kerala OttamThullal, Kaikottikali  OttamThullal- The accompanying mridangam

(barrel shaped drum) used by performers.

 Kaikottikali - This dance is mainly performed by

women during the Malayalam festival Onam.

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Ladakh Jabro, Spawo  Jabro - It is a nomadic dance and song of

people inhabiting eastern Ladakh

 Spawo - It is a heroic song and dance

associated with a legendary hero of Himalayan

Maharashtra Lavani, Povada  Povada - It is the dance form that showcases

the lifetime achievements of the Maratha
ruler Shivaji Maharaj.

 Lavani - The word Lavani derived from

Lavanya, meaning beauty. This form is a
combination of dance and music.

Madhya Jawara, Matki, Rai  Jawara - It is mainly famous in the

Pradesh Bundelkhand region among the peasant
community.

 Mataki - Women performed this dance while

balancing earthen pots or matkis on their
heads. Which is performed on the beats of a

Manipur Nupa Pala, Pung Cholom,  Nupa Pala - It is a group performance of male
Maibi Dance partners, using cymbals and wearing snow
white ball-shaped large turbans, who sing and
dance to the accompaniment of Mridanga, an
ancient classical drum “Pung” as it is called in
Manipuri.

 Maibi Dance - It is performed during the

festival of Lai-Haraoba which is an annual
ritual festival of the Meiteis.

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Meghalaya Nongkrem, Umsan Nongkharai  Nongkrem Dance - The Nongkrem dance festival
is celebrated during Autumn at Smit, the cultur-
al centre of the Khasi Hills.

 Shad Suk Mynsiem - The festival is held in

spring (April or May), commencing on Sugi
Lyngka with a ceremonial sacrifice of a goat and
two cocks before the supreme deity of the

Mizoram Cheraw Dance, Khuallam  Cheraw dance - The male performers then clap
the bamboos rhythmically while groups of fe-
male dancers dance in intricate steps between
the beating bamboos.

 Khuallam - Khuallam literary means 'Dance of

the Guests'. It is a dance usually performed in
the ceremony called 'Khuangchawi'.

Nagaland Chang Lo, Melo Phita  Chang Lo- Performed by the Chang tribe of Na-
galand to to celebrate victory over an enemy.

 Melo Phita - It is performed by Angami Naga

Tribe.

Odisha Gotipua , Ranappa  Gotipua - The dance form involves acrobatic

moves performed by young boys dressed as
feminine characters.

 Ranappa - The dance is prevalent in Ganjam dis-

trict especially in the villages. Usually, the danc-
ers enact chapters from Lord Krishna’s child-
hood during the performance.

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Punjab Bhangra, Giddha,  Bhangra - This dance is based on music from a dhol, folk
Daff singing, and the chimta.

 Giddha - The dance is often considered derived from the

ancient dance known as the ring dance and is just as
energetic as Bhangra. Mostly women prefer clapping as
the rhythm.

Rajasthan Kalbeliya, Ghoomra  Kalbeliya - The Kalbeliya tribes of Rajasthan are snake
charmers. This dance reflects the graceful, fluid
movements of a snake.

 Ghoomra - This dance is part of the tribal culture of the

Mewar region of Rajasthan. It is called Ghoomra because
both men and women participate equally in this dance.
However, a dance performed solelv by women is known
as "Ghoomar"

Sikkim Maruni, Tashi Sabdo  Maruni - It is one of the oldest and popular group dance
form of the Nepali community. Sometimes Maruni dances
are performed to the accompaniment of the nine
instrument orchestra known as “Nau-mati Baja”.

 Tashi Sabdo - In this dance Performers used musical

instrument such as Yarkha, Drum, Flute and Yangjey.

Tamil Nadu Karagam, Kummi  Karagam - Traditionally, this dance was performed by the
villagers in praise of the rain goddess Mari Amman and
river goddess, Gangai Amman.

 Kummi - Kummi is a folk dance, popular in Tamil Nadu and

Kerala in India, danced mostly by Tamil women in circle.

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Tripura Hojagiri, Sangrai Dance  Hozagiri - Performed by Reang community.

The Reangs also use the musical Instruments
like Khamb, Flute made of bamboo and
bamboo cymbal.

 Sangrai Dance - It is performed by the Mog

community people on the occasion of
Sangrai festival

Uttar Pradesh Raslila, Charkula  Braj Raslila - It is associated with the life of
the lover-God, Lord Krishna.

 Charkula - The dance of Charkula involves a

female dancer balancing a column of lighted
deepaks over her head while dancing.

Uttarakhand Bhotia Dance, Choliya dance  Bhotia Dance - This dance form is performed
by tha Bhotia tribes. Bhotiyas are an ancient
tribe of Uttarakhand It is also known as the
dance of the dead!

 Choliya dance- It is the sword dance, meant

to depict the martial art traditions of the
Kumaoni tribe.

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