DANCES OF INDIA- CLASSICAL AND FOLK DANCES - I

Major Classical Dance Forms

Dance State Description

It is a delightful combination of four elements i.e.
expression, music, beats, and dance. The
accompanying music in Bharatnatyam is classical
Bharatnatyam Tamil Nadu
Carnatic. The costumes are similar to Indian sarees
with vibrant colours and made of Kanchipuram silk
and Banaras silk.
The word Kathak is originated from the word Katha
which means storytelling. Traditionally this dance was
Kathak Uttar Pradesh more religious in nature, typically narrating the stories
of Radha and Krishna. The dancers dance to the
rhythm of table or pakhawaj
Kathakali means story play; hence the stories of
Ramayana and Mahabharata act as a source for a lot
Kathakali Kerala
of performances. This form of dance is known for its
heavy, intense makeup and costumes.
It is a combination of speech, Abhinaya (mime) and
pure dance. Kuchipudi performance is more like a
Kuchipudi Andhra Pradesh
dance drama where dancers play different roles based
on the drama content.

The main characteristics of this dance are colourful

decoration and costumes, charming music, gentle and
Manipuri Manipur
swaying petal-soft foot movements and delicacy of
performance. This traditional dance is mainly inspired
by the rich culture of Manipur.

The word Mohiniattam derives its meaning from the

word Mohini, which means beautiful women and
Mohiniattam Kerala
‘attam’ which means dance. Thus, this form of dance
represents a beautiful feminine grace. These dances
are based on love and emotion themes.
Performed by ‘Maharis’ or female temple servants, this
dance form has a close association with the temples
Odissi Odisha and temple sculptures. Odissi stands out from other
forms of dances because of its Tribhangi posture,
dealing with three body parts, i.e. head, bust, and
torso.
It is an art which represents dance-drama
Sattriya Assam performances with a unique combination of hand
gestures, footwork, expressions, and body movements.
Most of the themes of dance related to Ram and Sita
or Krishna and Radha.
Bharatanatyam: Indian Classical Dance elements.
Bharatanatyam, a revered Indian classical dance, originated in 2. Nritya:
Tamil Nadu’s temples, drawing from ancient texts like the Natya  Nritya involves the communication of stories,
Shastra. Evolving over centuries, it intertwines storytelling with spiritual themes, messages, or emotions
intricate hand gestures and rhythmic footwork. The dance form through expressive gestures.
faced colonial opposition but saw a revival during the Indian  Dancers employ slower body movements that
freedom movement. Today, adorned in traditional attire, are harmonized with musical notes.
Bharatanatyam is a global art form, celebrated for its cultural  This category combines the technical aspects of
richness and expressive storytelling. Nritta with interpretive elements.
3. Natya:
Bharatanatyam Dance History and Evolution  Natya is typically performed in a group or, in
 The name “Bharatanatyam” is derived from “Bharata” some cases, by a solo dancer who adopts
(representing bhava, raga, and tala) and “Natyam” specific body movements for characters in a
(meaning dance) in Hindu tradition. play.
 The theoretical foundation of Bharatanatyam is found in  It involves dance-acting, conveying the
the ancient text “Natya Shastra” by Bharata Muni, narrative through the expressive language of
dating between 200 BCE to 200 CE. Bharatanatyam.
Elements of Bharatanatyam Sequence of Performance: The Bharatanatyam performance
 “Natya Shastra” divides dance into “nrita” (pure dance) typically follows a structured sequence:
and “nritya” (expressive solo dance). 1. Alarippu:
 The dance form involves intricate hand gestures called  An invocatory piece that introduces the dancer,
mudras, expressions (bhava), and rhythmic patterns invoking blessings and setting the mood for the
(tala). performance.
Historical References 2. Jatiswaram:
 The epic “Silappatikaram” (2nd century CE) references  A segment where pure dance movements are
Bharatanatyam. showcased without interpretive elements,
 Temples, such as the Shiva temple in Kanchipuram, highlighting rhythmic patterns.
showcase carvings dating from the 6th to 9th centuries, 3. Shabdam:
depicting the development of Bharatanatyam.  In this section, the dancer begins to introduce
Devadasi Culture and Evolution expressive elements, combining rhythmic
 Bharatanatyam prospered in South Indian temples, movements with interpretive gestures.
evolving under the Devadasi culture, where temple 4. Varnam:
dancers served as dedicated servants of the Lord.  The central piece of the performance, Varnam
 Devadasis were not proven to be prostitutes, but the combines complex Nritta with elaborate Nritya,
culture faced challenges during the colonial period. telling a story or exploring a theme.
Colonial Opposition and Ban 5. Padam:
 British colonial rule in the 19th century saw  A slower-paced section focusing on expressive
contemptuous attitudes towards classical dance forms, elements, often portraying intense emotions,
including Bharatanatyam. love, or devotion.
6. Thillana:
 The Madras Presidency banned temple dancing in 1910,
leading to the decline of the tradition.  The concluding segment is Thillana,
Revival Efforts characterized by fast-paced rhythmic
movements, showcasing the dancer’s technical
 Krishna Iyer and Rukmini Devi Arundale played key roles
prowess.
in reviving Bharatanatyam.
Bharatanatyam, through its meticulous arrangement of Nritta,
 Despite colonial bans, efforts to save the dance form
Nritya, and Natya elements, creates a holistic and captivating
continued, with artists like Esther Sherman adopting
dance experience. The structured sequence ensures a dynamic
Indian classical dance forms.
and expressive performance that engages both the technical and
 The revival movement gained momentum during the
emotional facets of this classical art form.
Indian freedom movement in the early 20th century.
Bharatanatyam Dance Costumes
Contemporary Status
The attire of a Bharatanatyam dancer closely resembles that of a
 Bharatanatyam expanded beyond Hindu temples and
Tamil Hindu bride, exuding elegance and tradition. Here’s a
established itself as a mainstream dance form.
description of the dancer’s ensemble:
 Tamil Hindu migrants revived the tradition in British
Sari:
Tamil temples in the late 20th century.
 The dancer wears a splendid tailor-made sari, similar to
 Today, Bharatanatyam includes technical performances,
a Tamil Hindu bride.
as well as non-religious and fusion-based themes.
 The sari features a specially stitched cloth with pleats
Bharatanatyam Dance Repertoire
that fall gracefully in the front from the waist.
The repertoire of Bharatanatyam is traditionally divided into
 During dynamic footwork, such as stretching or bending
three categories as outlined in the ‘Natya Shastra,’ a
the knees, the cloth widens, resembling a hand fan.
classification followed by major Indian classical dance forms.
Jewellery:
1. Nritta:
 Traditional jewellery complements the attire, adorning
 Nritta is a technical performance emphasizing
the dancer’s head, nose, ears, and neck.
pure Bharatanatyam movements.
 Elaborate jewellery highlights the cultural richness,
 It focuses on speed, form, pattern, range, and
enhancing the overall aesthetic of the performance.
rhythmic aspects.
Makeup:
 It does not involve enactment or interpretive
 The dancer’s face is adorned with vivid makeup, with
 special emphasis on highlighting the eyes. Kathak: Indian Classical Dance
 The makeup ensures that the audience can perceive the Kathak is one of the eight classical dance forms of India, known
nuances of the dancer’s expressions during the for its expressive storytelling through intricate footwork, hand
performance. gestures, and facial expressions. Originating from the northern
Hair: regions, particularly in Uttar Pradesh, Kathak has evolved from
 The dancer’s hair is neatly plaited in a conventional traditional temple performances to the sophisticated art form
manner, often adorned with flowers for a touch of grace seen today.
and tradition. It includes elements like rhythmic footwork (tatkar), spins
Jewelry Belt: (chakkar), and storytelling (abhinaya). The dance form often
 A jewelry belt graces the dancer’s waist, adding a touch adapts to both classical and contemporary themes, making it a
of elegance to the overall ensemble. dynamic and versatile expression of Indian culture. Kathak is
Anklets (Ghungroo): accompanied by classical North Indian music, including tabla,
 Musical anklets, known as ghungroo, are wrapped sitar, and sarod.
around the dancer’s ankles. Kathak Dance History and Evolution
 These anklets, made of leather straps with small  Ancient Origins: Kathak traces its roots to the Sanskrit
metallic bells, create rhythmic sounds during foot Hindu text “Natya Shastra,” attributed to Bharata Muni
movements. between 200 BCE and 200 CE.
Henna Adornments:  Art of Storytelling: The dance form evolved from the
 The dancer’s feet and fingers are often adorned with storytelling tradition of North Indian Kathakars, akin to
henna, adding a vibrant touch and highlighting the early Greek theatre, conveying legends through music,
intricate gestures of her hands. dance, and songs.
Bharatanatyam Dance Instruments and Music  Bhakti Movement Influence: Kathak flourished during
In Bharatanatyam, the dancer is accompanied by a Nattuvanar the Bhakti movement, focusing on theistic devotion in
(or Taladhari), often a vocalist who oversees the entire medieval Hinduism. Performers expressed stories
performance, a role typically executed by the guru. This person through rhythmic footwork, hand gestures, facial
may also play the cymbals or other instruments. The musical expressions, and eye movements.
style associated with Bharatanatyam is the Carnatic style of  Gharanas (Schools): Prominent gharanas include Jaipur,
South India. Instruments commonly used include cymbals, flute, Benaras, and Lucknow, each emphasizing specific
nagaswaram (long pipe horn), mridangam (drum), and veena. aspects like footwork or acting.
The verses recited during the performance are in languages such  Lucknow Gharana and Bhakti Connection: The Lucknow
as Sanskrit, Tamil, Kannada, and Telugu. Gharana, founded by Ishwari Prasad, aligns with the
Bharatanatyam Dance Famous Exponents Bhakti movement, incorporating dance as a form of
 Tanjaore Bandhu (Ponaiyah, Vadivelu, Sivanandam, worship, particularly devoted to Lord Krishna.
Chinnaiya): Renowned Nattuvanars or musicians known  Mughal Era Integration: Kathak gained popularity in
as Tanjaore Bandhu shaped modern-day Bharatanatyam Mughal courts, adapting to a more sensual form with
during their time in the Durbar of Maratha ruler Sarfoji- influences from Central Asian and Persian themes.
II from 1798 to 1832.
 Colonial Era Challenges: During colonial rule, Kathak
 Meenakshi Sundaram Pillai: A notable dance guru from faced criticism, adapting to entertain Mughal courts
Pandanallur, known for founding the Pandanallur school with erotic elements. Missionaries and officials
of Bharatanatyam. disparaged the dance form, leading to a decline.
 Rukmini Devi: A student of Meenakshi Sundaram Pillai,  Revival Efforts: Despite colonial opposition, Kathak
Rukmini Devi championed and performed the survived through efforts by families, and its revival
Pandanallur (Kalakshetra) style, becoming a leading gained momentum during the Indian freedom
figure in the classical dance revival movement. movement. Kalkaprasad Maharaj played a crucial role in
 Balasaraswati: Regarded as a child prodigy, the early 20th-century revival.
Balasaraswati was a virtuoso of the Thanjavur style of  Current Status: Kathak stands as a dynamic classical
Bharatanatyam, contributing significantly to its revival. dance, blending ancient Indian tradition with influences
 Mrinalini Sarabhai: A prominent Bharatanatyam artist from various cultures. Its revival preserved and
who played a crucial role in popularizing the dance showcased the rich cultural heritage of India.
form. Kathak Dance Repertoire
 Mallika Sarabhai: Daughter of Mrinalini Sarabhai, Invocation:
Mallika Sarabhai has continued the legacy and  The dancer pays homage to her guru, onstage
contributed to the promotion of Bharatanatyam. musicians, and Hindu deities through mudras and facial
 Padma Subramanyam: An accomplished dancer and expressions.
choreographer, Padma Subramanyam has made  In Muslim traditions, a salami (salutation) is offered.
significant contributions to Bharatanatyam. Nritta (Pure Dance):
 Alarmel Valli: Known for her graceful and expressive  Begins with a graceful ‘thath’ sequence, featuring slow
performances, Alarmel Valli is a highly acclaimed movements of eyebrows, neck, and wrists.
Bharatanatyam artist.  Progresses to faster sequences of ‘bol,’ incorporating
 Yamini Krishnamurthy: Renowned for her classical tora, tukra, parhant, paran, showcasing dynamic
dance performances, Yamini Krishnamurthy is footwork, turns, and gestures.
celebrated in the world of Bharatanatyam.  Synchronizes footwork (‘tatkars’) with musical beats,
 Anita Ratnam: A versatile dancer, choreographer, and creating rhythmic sounds with ghunghru, often
cultural commentator, Anita Ratnam has made punctuated by sharp head turns.
noteworthy contributions to Bharatanatyam. Nritya (Expressive Dance):
 Involves storytelling, expressing spiritual themes,
 messages, or emotions. With historical connections to temples and spiritual
 Utilizes expressive gestures and slower body traditions, Kuchipudi’s origins date back to 10th-century
movements, harmonizing with musical notes and vocals. copper inscriptions and 15th-century texts like ‘Machupalli
Kathak Dance Costumes Kaifat.’ Traditionally attributed to the 17th-century efforts
Hindu Female Dancers
of Tirtha Narayana Yati and his disciple Siddhendra Yogi,
 Traditional Sari Ensemble:
this dance form’s repertoire focuses on Lord Krishna and
o Unique sari draping, accompanied by a choli
(blouse) and a scarf or urhni in some regions.
Vaishnavism, incorporating elements like invocation,
o Alternatively, a long embroidered skirt paired dharavu, nritta, and nritya.
with a contrasting choli and a transparent Kuchipudi Dance History and Evolution
urhni. Roots in ‘Natya Shastra’:
o Adorned with gold traditional jewelry for the The theoretical foundation of Kuchipudi is traced back to
hair, nose, ears, neck, and hands. the ancient Sanskrit text ‘Natya Shastra,’ credited to the
o Musical anklets (ghunghru) with small metallic Indian theatrologist and musicologist Bharata Muni.
bells for rhythmic footwork. Period of Origin:
o Vivid face makeup accentuates expressions. The full version of ‘Natya Shastra’ is believed to have been
Hindu Male Dancers
completed between 200 BCE and 200 CE, although some
 Silk Dhoti Ensemble:
variations suggest a broader timeline between 500 BCE
o Silk dhoti paired with a silk scarf tied on the
upper body or covered by a loose jacket. and 500 CE.
o Simple stone jewellery, less elaborate than Types of Dance:
female counterparts. ‘Natya Shastra’ classifies dance into two types: ‘nrita,’ pure
Muslim Female Dancers technical dance, and ‘nritya,’ solo expressive dance. It
 Chic and Modest Attire: delves into various dance theories, including postures,
o Skirt with a tight-fitting churidar or pyjama, bhava, rasa, basic steps, acting methods, gestures, and the
paired with a long coat covering the upper Tandava dance associated with Lord Shiva.
body and hands. Andhra Region References:
o Headscarf completes the ensemble, Bharata Muni mentions the Andhra region in ‘Natya
accompanied by light jewellery.
Shastra,’ attributing the elegant movement ‘Kaishiki vritti’
Kathak Instruments & Music
and the raga ‘Andhri’ to this region.
 Tabla:
o Harmonizes with rhythmic foot movements, Brahmana Melas and Vaishnavism:
creating a jugalbandi with the dancer. 10th-century copper inscriptions validate Shaivism-
o Mimics footwork sounds or complements associated dance dramas called ‘Brahmana Melas’ in South
them. India. Vaishnavism embraced Kuchipudi, evolving in the
 Manjira (Hand Cymbals): Tamil region as ‘Bhagavata Mela Nataka’ and in Andhra as
o Used for rhythmic accompaniment. Kuchipudi.
 Sarangi or Harmonium: Influence of Karnataka’s ‘Yakshagana’:
o Provides melodic support to the performance. Kuchipudi and ‘Bhagavata Mela Nataka’ share connections
Famous Kathak Exponents with Karnataka’s traditional theater form, ‘Yakshagana,’
 Gharana Founders:
incorporating Carnatic music with distinct variations in
o Jaipur Gharana: Bhanuji
costume, format, and ideas.
o Benaras Gharana: Janaki Prasad
o Lucknow Gharana: Ishwari Prasad Eastern Ganga Dynasty’s Role:
o Raigarh Gharana: Raja Chakradhar Singh Kuchipudi is believed to have emerged in the late 13th
 Lucknow Gharana Stalwarts: century under the patronage of the Eastern Ganga dynasty,
o Shambhu Maharaj: Renowned guru. influenced by works like Jayadeva’s ‘Gita Govinda.’
o Lachhu Maharaj and Acchan Maharaj: Brothers Initiators in the 17th Century:
and stalwarts in Kathak. Tirtha Narayanayati and Sidhyendra Yogi, in the 17th
 Modern Day Kathak Icon: century, are credited with initiating, methodizing, and
o Pandit Birju Maharaj: Leading advocate of the arranging the present-day version of Kuchipudi.
Lucknow Kalka-Bindadin gharana. Sri Krishna Leela Tarangini:
 Legendary Kathak Queen: Narayanayati’s Sanskrit opera, ‘Sri Krishna Leela Tarangini,’
o Sitara Devi: Described as Nritya Samragini
covers Lord Krishna’s life and has been a significant libretto
(Empress of Dance) by Rabindranath Tagore.
for Kuchipudi performances over the centuries.
 Other Eminent Artists:
o Roshan Kumari, Shovana Narayan, Maya Rao, Village Origin and Name:
Kumudini Lakhia: Contributed significantly to Sidhyendra Yogi, finding performers in the village of
the art of Kathak. Kuchelapuram, received permission to stage the play
annually. The dance form derived its name, Kuchipudi,
Kuchipudi Dance: Indian Classical Dance from this village, also known as Kuchilapuri.
Kuchipudi, a prominent Indian classical dance, is among Flourishing and Decline in Medieval Era:
the ten leading classical dance forms in India. Originating in Kuchipudi flourished in the 16th century under medieval
a Krishna district village in Andhra Pradesh, it is a dance- rulers, evidenced by copper inscriptions and performances
drama rooted in the ancient Hindu Sanskrit text, ‘Natya at the Vijayanagara Empire court. However, Islamic
Shastra.’ invasions, Deccan Sultanates’ establishment, and the
Vijayanagara Empire’s defeat in 1565 led to its decline. o Stitched pleated cloth enhances visual
Revival Efforts: appeal during spectacular footwork.
The last Shia Muslim Nawab of Golkonda, Abul Hasan Qutb  Make-Up:
Shah, supported a revival in 1678. Colonial rule in the 18th o Generally light makeup is applied.
and 19th centuries, along with bans on temple dancing, o Traditional jewellery complements the
contributed to the art form’s decline. regional style, including accessories for the
Revival During Freedom Movement: hair, nose, ears, arms, and neck.
Indian classical dance revivalists, including Vedantam  Waist Adornments:
Lakshminarayana Sastri, played key roles in the early 20th o Sports a light metallic waist belt made of
century. Efforts intensified between 1920 and 1950, with gold or brass.
figures like Chinta Venkataramayya and Vempati Venkata  Anklet with Ghunghroo:
Narayana Sastri contributing to Kuchipudi’s preservation o Wears a leather anklet with small metallic
and popularization. bells (ghunghroo) on the ankles.
Western Influence and Ragini Devi: o Produces rhythmic sounds, enhancing the
Western artists, such as American dancer Esther Sherman auditory experience during footwork.
(Ragini Devi), contributed to the revival movement,  Hairstyle:
demonstrating a cross-cultural exchange in the art form’s o Hair is neatly braided and may be adorned
resurgence. with flowers or styled in Tribhuvan,
Kuchipudi Dance Repertoire symbolizing the three worlds.
Kuchipudi’s repertoire consists of three performance  Eye Expressions:
categories: ‘Nritta’ (Nirutham), ‘Nritya’ (Niruthiyam), and o Highlights eye expressions with black
‘Natya’ (Natyam), in line with major Indian classical dance collyrium outlining.
traditions.  Special Costumes and Props:
1. Nritta (Nirutham): o Occasionally, specific characters or plays
 Focuses on technical aspects of dance. may require unique costumes and props.
 Emphasizes pure dance movements o Example: A dancer portraying Lord Krishna
without narrative or interpretive elements. might wear a peacock feathered crown.
 Highlights speed, form, pattern, range, and  These elements collectively contribute to the visual
rhythmic aspects. and auditory richness of the Kuchipudi
2. Nritya (Niruthiyam): performance, enhancing the storytelling and
 Involves storytelling and communication of expressive aspects of the dance form.
narratives. Kuchipudi Dance Instruments and Music
 Expressive gestures and slower body  Conductor (Sutradhara or Nattuvanar):
movements convey spiritual themes, often o Guides the entire performance.
centered around Lord Krishna. o Recites musical syllables and uses cymbals
 Harmonizes movements with musical for rhythmic beats.
notes to evoke emotions and engage the  Vocalists:
audience. o The story or spiritual message is sung by
3. Natya (Natyam): the conductor, another vocalist, or actor-
 Typically performed in a group or solo dancers.
setting.  Musical Instruments:
 Involves dance-acting, maintaining specific o The ensemble includes cymbals,
body movements for characters in a play. mridangam (a percussion instrument),
 Communicates the narrative through a tambura (a string instrument), veena (a
combination of dance and theatrical plucked string instrument), and flute.
elements. Kuchipudi Dance Famous Exponents
These categories follow the principles outlined in the 1. Indrani Bajpai (Indrani Rahman):
ancient Sanskrit text, ‘Natya Shastra,’ and are shared  Daughter of Ragini Devi.
among various classical dance forms in India, showcasing a  Contributed to the art’s expansion through
balanced blend of technical prowess, storytelling, and public performances beyond Andhra.
theatrical expression in Kuchipudi performances.  Played a pivotal role in making Kuchipudi
Kuchipudi Dance Costumes popular nationally and internationally.
 Male Character Attire: 2. Yamini Krishnamurti:
o Wears a traditional dhoti, a garment  Renowned dancer who, alongside Indrani
wrapped around the waist and extending Rahman, expanded the reach of Kuchipudi
down the legs. through public performances.
 Female Character Attire: 3. Raja and Radha Reddy:
o Adorns a colourful sari with pleats that  Internationally acclaimed dancing couple.
open like a hand fan during leg  Made significant contributions to
movements. popularizing Kuchipudi on global stages.
4. Yamini Reddy:
  Daughter of Raja and Radha Reddy. dedicated to the sylvan deity Thangjing, reflects
 Carries on the family legacy, contributing Manipuri folklore about lovers Khamba and Thoibi.
to the international fame of Kuchipudi.  Medieval Development: Manuscripts and
5. Kaushalya Reddy: archaeological findings validate Manipuri dance’s
 Accomplished Kuchipudi dancer, presence, with Hindu Brahmin migration and the
associated with the famous Reddy dancing adoption of Vaishnavism by Manipur Kings in the
family. 15th century CE.
6. Bhavana Reddy:  Vaishnavism Integration: King Gareeb Niwaz
 Daughter of Raja and Kaushalya Reddy. embraced the Chaitanya style of devotional
 Established herself as a notable Kuchipudi Vaishnavism in 1717, accentuating religious
artist. performance arts, including singing and dancing
7. Lakshmi Narayn Shastri: based on Lord Krishna.
 Recognized as an eminent Kuchipudi  Ras Lila Tradition: Rajarshi Bhagya Chandra in the
dancer, contributing to the art form’s 18th century played a pivotal role in inventing ‘Ras
legacy. Lila’ dance, composing forms like ‘Kunja Ras,’
8. Swapana Sundari: ‘Basanta Ras,’ and ‘Maha Ras.’
 Notable Kuchipudi dancer, adding to the  Colonial Impact: British colonial rule in the 19th
richness of the tradition. century led to a decline in Manipuri dance, facing
contempt and discouragement. The Christian
Manipuri Dance: Indian Classical Dance missionaries and the British colonial government
Manipuri dance, also known as Manipuri Raas Leela, is a imposed bans on dancing in Hindu temples.
major Indian classical dance form that originated in the  Revival Efforts: The 20th century witnessed efforts
state of Manipur. It is one of the six classical dance styles to revive Indian classical dance forms, including
of India. Manipuri dance, with classical art revivalists
Manipuri dance is known for its graceful and fluid between 1920 and 1950.
movements, which are often described as being wave-like.  Tagore’s Influence: Rabindranath Tagore played a
The dancers’ bodies move in a continuous and flowing crucial role in rekindling Manipuri dance, inviting
manner, with no sudden or jerky movements. Mudras, or Guru Budhimantra Singh and Guru Naba Kumar to
hand gestures, are an important part of Manipuri dance. join Shantiniketan, a cultural and study center.
Manipuri dance is a religious art and its aim is the Tagore’s dance dramas featured choreography by
expression of spiritual values. Aspects of this performance eminent Gurus.
art are celebrated during festivals and major rites of Manipuri Dance Repertoire
passage such as weddings among the Manipuri people.  Seasonal Theme: Manipuri dance revolves around
Manipuri dance is characterized by a variety of forms that different seasons, with performances linked to
are linked to folk tradition and ritual. Themes are generally autumn (thrice from August to November) and
taken from episodes in the life of Krishna, the pastoral god. spring (once around March-April) on full moon
Manipuri dance is accompanied by the Kirtan form of nights.
congregational singing, which is known as Sankirtana in  Traditional Style: The dance form is characterized
Manipur. The male dancers play the Pung and Kartal while by graceful, gentle, and lyrical movements,
dancing. embodying the traditional style of Manipuri art.
Manipuri Dance Origin and Evolution  Core Movement – Chari or Chali: The fundamental
 Ancient Roots: Manipuri dance traces its origin to dance movement in Ras dances of Manipur is
Vedic texts, where the Manipuri people consider known as Chari or Chali, forming the basis of the
themselves as ‘Gandharvas,’ associated with repertoire.
singing, dancing, and music for deities.  Festival Alignments: Vasant Ras coincides with
 Cultural Heritage: Southeast Asian temples depict spring, celebrating Holi, while other performances
sculptures of ‘Gandharvas’ as dancers, and are scheduled around post-harvest festivals like
Manipur is mentioned as ‘Gandharva-desa’ in Diwali.
ancient texts.  Themes of Love: Songs and plays depict the love
 Rig Veda Influence: Usha, the dawn goddess in the and association of Radha and Krishna along with
Rig Veda, is credited with creating female dance the Gopis, including Sudevi, Rangadevi, Lalita,
art, with the oral tradition called ‘Chingkheirol’ Indurekha, Tungavidya, Vishakha, Champaklata,
passed down verbally to women. and Chitra.
 Mahabharata Connection: Manipur is referenced  Dedicated Compositions: Each Gopi is honored
in the Mahabharata, where Arjun falls in love with with a dedicated composition and dance sequence,
Chitrangada in the picturesque valley. with the longest emphasis on Radha and Krishna.
 Ethnic Terminology: The majority of Meitei people  Expressive Dance Drama: Performances showcase
refer to dance as ‘Jagoi,’ and the traditional ‘Lai excellent displays of expressions, hand gestures,
Haraoba’ festival includes dances depicting and body language to convey the intricate
Nataraja, Lord Shiva as the cosmic ecstatic dancer. emotions of the stories.
 Folklore Influence: ‘Khamba Thoibi’ dance, a duet  Acrobatic Elements: Manipuri dancers incorporate
 acrobatic and vigorous movements in various  Darshana Jhaveri and Sisters:
plays, adding dynamic elements to the o Disciples of Guru Bipin Singh, including
performances. Nayana, Ranjana, and Suverna.
Manipuri Dance Costumes  Charu Mathur and Devyani Chalia:
 Male Dancer’s Attire: o Notable Manipuri performers contributing
o Bright colored dhoti (dhora or dhotra) for to the art’s prominence.
flexibility in footwork.
o Peacock feather-adorned crown for those Kathakali Dance: Indian Classical Dance
portraying Lord Krishna. ‘Kathakali,’ a significant genre within the Indian classical
 Female Dancer’s Attire (Potloi Costume): dance tradition, is renowned for its storytelling aspect.
o Introduced by Meidingu Bhagyachandra Originating in the southern Indian state of Kerala, this
Maharaj for Gopis in ‘Rasa Lila.’ dance drama shares commonalities with other Indian
o Kumil costume: Embellished barrel-shaped classical dance forms in its use of footwork, expressive
skirt with gold/silver embroidery, mirrors, facial and hand gestures, and musical accompaniment to
and lotus designs. convey narratives to the audience. What sets ‘Kathakali’
o Velvet choli (blouse) and a translucent apart is its elaborate and vibrant makeup, distinctive face
white veil covering the head. masks, and costumes worn by the performers. The dance
o Round-shaped jewelry and flower garlands style and movements are characterized by influences from
on face, hands, neck, waist, and legs. ancient martial arts and athletic traditions prevalent in
o No ghunghroo, unlike other classical dance Kerala and its surrounding regions.
forms. Traditionally, ‘Kathakali’ has been predominantly
 Drummers (Male): performed by male dancers, and it emerged in the courts
o White dhoti for lower body coverage. and theaters of Hindu regions. This sets it apart from other
o White turban on the head. Indian classical dances that primarily evolved within Hindu
o Neatly folded shawl on the left shoulder. temples and monastic schools. Although its precise origins
o Drum strap falls on the right shoulder. are not clearly traceable, this classical dance form is
 Overall Aesthetic: believed to have roots in temple and folk arts dating back
o Devotional music accompanies the to the 1st millennium CE or even earlier.
graceful onstage performance. Kathakali Dance Origin and Evolution
o Creates a visual reminiscent of floating  ‘Kathakali’ has its roots in ancient Sanskrit Hindu
apsaras. text ‘Natya Shastra,’ attributed to the sage Bharata
Manipuri Dance Instruments & Music Muni.
 Primary Instruments:  The text, completed between 200 BCE to 200 CE
o Pung (barrel drum), cymbals (kartals), (or possibly 500 BCE to 500 CE), categorizes dance
harmonium, flute, pena, and sembong. into ‘nrita’ (pure dance) and ‘nritya’ (solo
o Singer as an essential accompanist. expressive dance).
 Performance Styles:  Natalia Lidova notes that ‘Natya Shastra’ explores
o Pong Cholom: various theories of Indian classical dances,
o Prelude to ‘Ras Lila.’ including Tandava dance, standing postures, basic
o Dancer-drummers showcase steps, bhava, rasa, acting methods, and gestures.
spectacular footwork and dance  The name ‘Kathakali’ is derived from ‘Katha’ (a
jumps while drumming. traditional tale or story) and ‘Kali’ (derived from
o Kartal Cholom: ‘Kala,’ meaning art and performance).
o Group dance with performers Ambiguous Historical Roots
playing kartals or cymbals, moving  Views on the historical roots of ‘Kathakali’ vary
in a circle to its rhythm. o Jones and Ryan suggest a history of over
o Mandilla Cholom: 500 years.
o Women’s group performance o Mahinder Singh proposes roots dating
playing cymbals with colorful back around 1500 years.
tassel strings. o Phillip Zarrilli points to the 16th and 17th
o Language of Songs: centuries as the period of Kathakali’s
o Varied text song languages, unique development in the coastal belt of
including Sanskrit, Brij Bhasha, and southern India, where Malayalam is
Maithili. spoken.
o Texts sourced from poets like  Evolution from ‘Krishnanattam’ and
Jayadeva, Govindadas, Chandidas, ‘Ramanattam’
and Vidyapati. o ‘Krishnanattam,’ depicting Lord Krishna’s
Manipuri Dance Famous Exponents life, is considered a precursor to
 Guru Bipin Singh: ‘Kathakali.’
o Renowned Manipuri performer and o ‘Krishnanattam’ developed under the
influencer in the art form. Zamorin ruler of Calicut, Sri Manavedan
 Raja. music, and lighting.
o The creation of ‘Ramanattam’ by  Makeup code categorizes characters into gods,
Kottarakkara Thampuran, in response to a goddesses, saints, animals, demons, etc., reflecting
denied request, is seen as the genesis of the ‘Guna’ theory of personalities.
‘Kathakali.’ Makeup Codes
o ‘Ramanattam’ differs as it is written in  Seven fundamental makeup codes include ‘Pacca’
Malayalam, while ‘Krishnanattam’ is in (green), ‘Minukku,’ ‘Teppu,’ ‘Kari’ (black), ‘Tati,’
Sanskrit. ‘Payuppu’ (ripe), and ‘Katti’ (knife).
 Influence of ‘Kutiyattam’ and Folk Arts  Each code corresponds to specific character types,
o ‘Kathakali’ shares elements with utilizing colors extracted from vegetables and rice
‘Kutiyattam,’ a Sanskrit drama form in paste.
Kerala. Kathakali Dance Instruments and Music
o Evolution from folk arts, including Musical Instruments
‘Porattunatakam’ and ritualistic forms like  ‘Kathakali’ performances feature three major
‘Padayani,’ ‘Teyyam,’ and ‘Mudiyettu.’ drums: ‘Itaykka,’ ‘Centa,’ and ‘Maddalam.’
o Reflects aspects of ‘Kalaripayattu,’ an  Music plays a significant role, creating variations in
ancient martial art from Kerala. tones corresponding to the mood of a scene.
 Performance Style and Themes Musical Arrangements
o Uniqueness lies in the exclusive focus of  Various musical arrangements, such as ‘Cempata’
actor-dancers on emoting scenes through for combat scenes, ‘Atanta’ for divine characters,
acting and dancing, while voice artists ‘Muri Atanta’ for heroic acts, ‘Triputa’ for scenes
deliver lines. with teachers and sages, ‘Pancari’ for repugnant
o Traditionally, themes were based on scenes, and ‘Campa’ for clashes and arguments.
religious sagas, legends, mythologies, Vocal Contribution
folklores, and spiritual concepts.  Voice artists play a significant role, delivering lines
o Modern ‘Kathakali’ troupes adapt themes and setting the mood.
from Christianity, Western plays, and  Modulation of voice expresses the temperament of
works of authors like William Shakespeare. the character, with clear and sharp tones for anger
o Contemporary evolution includes the and delicate tones for pleas.
inclusion of women in troupes, breaking Kathakali Dance Famous Exponents
the traditional all-men ensemble.  Kavungal Chathunni Panicker, a veteran from the
 Language and Adaptation renowned Kavungal family with six generations in
o Traditional vocal parts continue to be ‘Kathakali.’
delivered in Sanskritized Malayalam.  Kalamandalam Gopi, a prominent representative
o Contemporary adaptations include themes of the Kalluvazhi School with over 30 years in the
from various cultural and religious sources, field.
showcasing the dynamic evolution of  Kottakkal Sivaraman, is known for portraying
‘Kathakali.’ feminine characters and expressing various ‘nayika
Kathakali Dance Repertoire bhavas.’
Attakatha Structure  Kalamandalam Ramankutty Nair, is recognized for
 ‘Kathakali’ is structured around ‘Attakatha,’ negative characters like Ravana and Duryodhana,
meaning the story of dance. as well as Lord Hanuman.
 ‘Attakatha’ plays historically derived from Hindu  Other eminent performers include Kalamandalam
epics like ‘Bhagavata Purans,’ ‘Mahabharata,’ and Krishna Prasad, Kalamandalam Vasu Pisharody,
‘Ramayana.’ Kalamandalam Kesavan Namboodiri, and
 The format allows for dialogue portions (Pada) and Kalanilayam Balakrishnan.
action portions (Shloka) determination, with the
latter elucidating actions through choreography. Mohiniyattam Dance: Indian Classical Dance
Performance Format Mohiniyattam, an Indian classical dance form that
 A Kathakali performance involves actor-dancers, originated in Kerala, holds a significant place alongside
vocalists, and musicians. Kathakali as one of the state’s prominent dance arts.
 Typically begins at dusk and continues through Rooted in the ancient Sanskrit text ‘Natya Shastra,’
dawn with breaks and interludes, sometimes Mohiniyattam falls into the Lasya category, emphasizing
spanning several nights. grace, gentleness, and a feminine expression of dance. The
Kathakali Dance Costumes name Mohiniyattam is derived from “Mohini,”
Intricate Makeup and Costume representing the female manifestation of Lord Vishnu.
 ‘Kathakali’ incorporates intricate makeup, Traditionally a solo performance by female artists,
costumes, face masks, headgear, and brightly Mohiniyattam combines dance and singing to convey a
painted faces. narrative. The songs are typically in Manipravala, a blend
 Unique costume, accessories, and makeup of Sanskrit and Malayalam, and the recitation can be
complemented by spectacular performances, executed by the dancer or a vocalist. The musical
accompaniment follows the Carnatic style. This dance form  Follows ‘Nritta’ and ‘Nritya’ categories from ‘Natya
beautifully weaves together movement, expression, and Shastra.’
storytelling, showcasing the artistry and cultural richness of  Embraces the Lasya type of dance, showcasing
Kerala. grace, gentleness, and femininity.
Mohiniyattam Dance Origin and Evolution  Excellence in ‘Ekaharya Abhinaya,’ a solo
Roots in Natya Shastra expressive dance form.
 Mohiniyattam finds its theoretical foundation in Nritta
the ancient Sanskrit Hindu text, ‘Natya Shastra,’  Technical performance emphasizing pure dance
attributed to sage Bharata Muni. movements.
 ‘Natya Shastra’ classifies dance into two types:  Focus on speed, form, pattern, range, and
‘nritta’ (pure dance) emphasizing hand rhythmic aspects.
movements, and ‘nritya’ showcasing expressive Nritya
aspects.  Communicates stories and spiritual themes
Origin and Sculptural Evidences in Kerala through expressive gestures and slower body
 Mohiniyattam originated in Kerala, influenced by movements.
the Lasya style of dancing.  Engages the audience with emotional and thematic
 Temple sculptures in Kerala, such as those in the elements.
11th-century Vishnu temple at Trikodithanam and Natyam
Kidangur Subramanya temple, showcase early  Group performance communicating a play through
manifestations of Mohiniyattam poses. dance-acting.
Historical Mentions:  Part of Mohiniyattam’s repertoire sequence.
 The term “Mohiniyattam” appears in texts like Mohiniyattam Dance Costumes
‘Vyavaharamala’ (16th century) and ‘Gosha Yatra’  Plain white or off-white sari with golden or gold-
(17th century) by scholars Mazhamangalam laced brocade embroidery.
Narayanan Namboodiri and Kunchan Nambiar,  Matching choli or blouse.
respectively.  Pleated cloth with concentric golden or saffron-
 ‘Balarama Bharatam’ (18th century) by King colored bands.
Karthika Thirunal Bala Rama Varma references  Golden waist belt and various jewelry pieces.
“Mohino Natana” among various dance styles.  Musical anklets (ghungroo) for rhythmic footwork.
Patronage and Systematization  Red-colored natural dyes highlight feet and fingers.
 In the 18th and 19th centuries, Mohiniyattam  Light makeup with a Hindu tikka, vividly colored
received patronage from princely states, notably lips, and prominently lined eyes.
from Maharaja Swathi Thirunal Rama Varma of  Hair styled in a tight round chignon adorned with
Travancore. flowers, typically jasmine.
 Swathi Thirunal’s contributions led to the Mohiniyattam Dance Instruments & Music
development and systematization of Mohiniyattam  Vocal music with diverse rhythms, often in
as a distinct classical dance form. Manipravala (Sanskrit and Malayalam mix).
Colonial Decline  Carnatic style musical accompaniment.
 During British colonial rule in the 19th century,  Instruments: Kuzhitalam (cymbals), Veena, Idakka
classical dance forms, including Mohiniyattam, (hourglass-shaped drum), Mridangam (barrel-
faced contemptuous treatment and witnessed a shaped drum), flute.
decline. Mohiniyattam Dance Famous Exponents
 Social and economic challenges, along with disdain  20th-century figures: Kalamandalam Kalyanikutty
from missionaries, contributed to the decline of Amma, Thankamony, Krishna Panicker,
Mohiniyattam. Mukundraja.
Revival Efforts  Present-day exponents: Sunanda Nair, Smitha
 Vallathol Narayana Menon, a key figure in the Rajan, Radha Dutta, Vijayalakshmi, Gopika Varma,
revival of classical arts, played a crucial role in Jayaprabha Menon, among others.
rescinding the ban on temple dancing in Kerala.
 In 1930, Menon established ‘Kerala Sattriya Dance: Indian Classical Dance
Kalamandalam,’ a dance school that played a Sattriya, also known as Sattriya Nritya, is a prominent
pivotal role in the revival and reconstruction of Indian classical dance form with its roots in Assam. Initially
Mohiniyattam. created as part of Bhaona, which are one-act plays, Sattriya
Post-Independence Revival dance was established by Sankardev, a 15th-16th century
 Post-Independence, efforts to revive national polymath from Assam. These dances are an integral part of
culture and traditions contributed to the the living traditions of Sattras, which are communities of
resurgence of Mohiniyattam. devotees following the Ekasarana dharma, the religion
 Kalamandalam and other institutions played a founded by Sankardev.
significant role in inspiring artists to learn and The themes of Sattriya performances revolve around Lord
practice Mohiniyattam. Krishna, and sometimes include other Vishnu avatars such
Mohiniyattam Dance Repertoire as Rama and Sita. Stories from the epics Mahabharata and
Ramayana are also incorporated. Notably, the dance does incorporating silk produced in Assam, such as pat and
not include the character Radha, as the religious muga silk.
philosophy of Mahapurush Srimanta Sankaradeva, the Costumes for specific plays, like Krishna Nritya and
founder, was based on Vedanta, Bhagavadgītā, and the Nadubhangi Nritya, follow color schemes aligned with the
Bhāgavata Purāna. attire of Lord Krishna. Traditional Assamese jewelry,
In 2000, the Sangeet Natak Akademi of India recognized including Kopali, Muthi Kharu, and various neckpieces, is
Sattriya as one of the eight classical dances of India. worn by performers. Ankiya Naats (dramas) feature
Modern Sattriya has expanded to explore various themes character-specific costumes, and the use of masks to
and plays, gaining popularity with performances staged depict demons and special characters is unique to this
worldwide. dance form.
Sattriya Dance History Sattriya Dance Music and Instruments
Sattriya traces its origins to ancient Indian drama and Sattriya Nritya is accompanied by musical compositions
music texts, particularly Bharata Muni’s Nātya Śāstra, called bargeets, often composed by Sankardev and Shree
dating between 200 BCE and 200 CE. The dance form Shree Madhavdev. These compositions are based on
evolved in Assam, with a history rooted in copper plate classical ragas. The key musical instrument accompanying
inscriptions and sculptures related to Shaivism and Sattriya performances is the khol, a two-faced,
Shaktism traditions. The modern form of Sattriya is asymmetrical drum unique to Assam. Other instruments
attributed to Sankaradeva, who systematized the dance include various types of cymbals (Manjira, Bhortal, Bihutal,
using ancient texts and introduced drama and expressive Patital, Khutital), the flute (bansuri), and, more recently,
dancing as a form of community religious art devoted to the violin and harmonium.
Krishna. Sattriya Dance Styles
Since the 15th century, Sattriya has been closely associated Sattriya performances come in various styles, including
with the Vaishnava bhakti movement, flourishing in Hindu Sutradhara, character-specific Bhangi, Prabesh, Nritya, and
monasteries called Sattra. Initially, the dance-dramas were Jhumura. The Sutradhara style tells a story and presents
written and directed by Sankaradeva and his disciple the spiritual values of Vaisnavism in a classical format.
Madhavadeva, primarily in the 16th century. Originally Ankiya Nat is a subgenre consisting of one-act plays
performed by male monks, Sattriya is now also presented dedicated to ballads, dance, and drama.
by both male and female dancers. In the latter half of the Character-specific styles focus on different life stages and
20th century, Sattriya Nritya transitioned from the activities of Radha, Krishna, and the gopis. The Sattriya
sanctums of Assam’s monasteries to metropolitan stages. dance form has evolved from being performed solely by
The Sangeet Natak Akademi officially recognized Sattriya male monks in monasteries to being presented on stage by
Nritya as a classical dance of India in 2000, and it is now both men and women, exploring themes beyond the
performed on global stages. mythological.
Sattriya Dance Repertoire Sattriya Dance Exponents
Sattriya encompasses the principles of classical dance,  Jatin Goswami: Renowned as a Sattriya dancer and
drawing from treatises like Nātya Śāstra, Abhinaya teacher, Jatin Goswami has played a significant
Darpana, and Śārngadeva’s Sangīta Ratnākara. The role in promoting and propagating the art form. He
repertoire includes nritta (pure dance, solo), nritya has been actively involved in training the younger
(expressive dance, solo), and nātya (dramatic play, group). generation in Sattriya.
 Nritta: Abstract, fast, and rhythmic, focusing on  Prateesha Suresh: An accomplished Sattriya
the beauty of motion, form, speed, range, and dancer, Prateesha Suresh has earned acclaim for
pattern. her performances that skillfully blend tradition
 Nritya: Slower and expressive, aiming to with innovation. She has contributed to the global
communicate feelings and storylines, particularly recognition of Sattriya through her stage
with spiritual themes. presentations.
 Nātya: A dramatic play, often a team performance,  Anwesa Mahanta: A dedicated Sattriya artist,
incorporating elements of both nritta and nritya. Anwesa Mahanta has been instrumental in
Sattriya Nritya is a genre of dance-drama that narrates bringing the dance form to international platforms.
mythical and religious stories through hand and face Her performances have been appreciated for their
expressions. The basic dance unit, Mati Akhara, consists of grace, precision, and adherence to traditional
foundational sets dancers learn during their training, elements.
subdivided into various styles.  Ghanakanta Bora: Known for his expertise in
Sattriya Dance Costumes Sattriya dance, Ghanakanta Bora has been a
The costumes of Sattriya dance are gender-specific. The stalwart in the field. He has not only excelled as a
male costume includes a dhoti, chadar, and paguri performer but has also made valuable
(turban), while the female costume comprises ghuri, contributions to the academic understanding and
chadar, and kanchi (waist cloth). Traditionally, costumes documentation of Sattriya.
were white or raw silk, with red, blue, and yellow used for  Ankita Sharma: As a Sattriya dancer, Ankita
specific dance numbers. As the dance form evolved onto Sharma has garnered recognition for her skillful
the stage, the design and materials of costumes changed, interpretations of traditional themes. Her
performances have showcased the aesthetic
 beauty and cultural depth inherent in Sattriya. destruction of temples and dance halls, impacting
the development of Odissi.
Odissi Dance: Indian Classical Dance  Gotipuas Tradition: In the 17th century, under
Odissi is a classical Indian dance form that originated in King Ramachandradeva’s patronage, Odissi
the state of Odisha. It is a sensuous and lyrical dance form expanded to include boys and youths (Gotipuas),
that is considered a dance of love. blending dance with athletics and martial arts.
Odissi is a dance-drama genre of performance art. Artists  Decline during British Rule: British colonial rule in
and musicians play out a story, a spiritual message, or a the 18th and 19th centuries, coupled with
devotional poem from the Hindu texts. They use symbolic missionary disdain and economic pressures, led to
costumes, body movements, abhinaya (expressions), and the decline of Odissi and other classical dance
mudras (gestures and sign language) set out in ancient forms.
Sanskrit literature.  Revival Efforts: In the early 20th century, as India
Odissi is usually performed in Orissa classical music, which sought independence, a revivalist movement
is a traditional style of Indian classical music that originated emerged to revive classical arts, including Odissi.
in the state of Odisha. Kavichandra Kalicharan Pattanayak played a crucial
Odissi is believed to be one of the oldest surviving classical role in the revival, coining the term ‘Odissi.’
dance forms in the country, originating its roots dating Odissi Dance Repertoire
back to the temples of Odisha in the 2nd century BCE. As  Invocation (Mangalacharana): Begins with
with all other classical dance forms of India, Odissi was also Pushpanjali (flower offering) and Bhumi Pranam
performed as a part of temple worship. (salutation to Mother Earth).
Odissi is considered to be one of the most complex forms  Nritta (Batu or Battu Nrutya): Pure dance
of classical dance. It keeps different body parts in sync and dedicated to Lord Shiva, performed on rhythmic
strengthens the lower half of your body, especially the music without recitation.
muscles of your thighs and calves.  Nritya: Expressional dance (Abhinaya) conveying
Odissi Dance Origin and Evolution stories, songs, or poetry through hand gestures
 Roots in Natya Shastra: Odissi’s foundation can be (mudras), emotions (bhavas), and eye movements.
traced to the ancient Sanskrit Hindu text, ‘Natya  Natya: Includes dance dramas based on Hindu
Shastra,’ reflecting all 108 fundamental dance units mythological texts and epics.
outlined in the text.  Moksha: Concludes the performance, aiming to
 Dance Categories: ‘Natya Shastra’ divides dance express the feeling of soul emancipation.
into ‘nrita’ (pure dance) and ‘nritya’ (expressive Odissi Dance Costumes
solo dance), emphasizing hand movements,  Female Dancers: Wear vibrant silk sarees like
gestures, and expressions. Bomkai or Sambalpuri, adorned with traditional
 Archaeological Evidence: Archaeological sites in designs. Silver jewelry, ghunghru anklets, and alta
Odisha, such as Puri, Konark, and Bhubaneswar, on feet and palms. Elaborate hair with a Mukoot or
feature historical carvings in temples and caves flower crest.
showcasing dance postures and musical forms.  Male Dancers: Don a pleated dhoti covering the
 Udayagiri Heritage: The Udayagiri heritage site, lower body, leaving the upper body bare. A waist
linked to the reign of Kharavela, exhibits cave belt completes the attire.
carvings depicting musicians and dance, reflecting Odissi Dance Instruments & Music
the dance’s ancient roots.  Unique incorporation of Indian ragas, showcasing
 6th-9th Century Art: Odissi dance carvings from the exchange of musical concepts between North
the 6th to 9th centuries CE are found in Hindu, and South India.
Buddhist, and Jaina archaeological sites, indicating  Main ragas: Shokabaradi, Karnata, Bhairavee,
its prevalence in diverse cultural contexts. Dhanashri, Panchama, Shree Gowda, Nata, Baradi,
 Medieval Era Maharis: Maharis, temple dancers, Kalyana.
and nata-mandaps (dance halls) gained popularity  Musical instruments: Tabla, pakhawaj, harmonium,
by the 9th century CE, reflecting the widespread cymbals, violin, flute, sitar, and Swarmandal.
acceptance of Odissi in medieval times. Odissi Dance Famous Exponents
 Textual References: Jain text ‘Kalpa Sūtra’ and  Revival Pioneers (1940s): Kelucharan Mohapatra,
Hindu dance texts like ‘Abhinaya Darpana’ Raghunath Dutta, Deba Prasad Das, Pankaj Charan
highlight Odissi dance poses, indicating its Das, Gangadhar Pradhan.
recognition in diverse regions.  Classical Status Achiever: Guru Mayadhar Raut
 Sculptural Evidence: Sculptures from temples like played a pivotal role in obtaining classical status.
Jagannath, Brahmeswara, and Sun Temple at  Disciples of Kelucharan Mohapatra: Sanjukta
Konark depict Odissi dance postures, showcasing Panigrahi, Sonal Mansingh, Kumkum Mohanty.
its prevalence in temple traditions.  Other Notable Exponents: Aruna Mohanty, Anita
 Mughal Era Challenges: Muslim invasions, notably Babu, Aadya Kaktikar, contributed significantly to
by Sultan Firuz Shah Tughlaq, led to the Odissi’s legacy.