9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

DANCE FORMS OF INDIA

Bharata Natyam
Bharatanatyam is the most popular of Indian dances and belongs to the South Indian state of
Tamilnadu. Its antiquity is well established. In the past it was practised ad performed in the
temples by a class of dancers known as the devadasis. It was a part of the religious rituals and
has a long and hoary past. The kings and the princely courts patronised the temples, as well as
the various traditions sustaining the dance form.
The salient features of Bharatanatyam are movements conceived in space mostly either along
straight lines or triangles. In terms of geometrical designs, the dancer appears to weave a
series of triangles besides several geometrical patterns.
In nritta (pure dance) to the chosen time cycle and a raga (melody), a dancer executes patterns
that reveal the architectonic beauty of the form with a series of dance units called jathis or
teermanams. The torso is used as a unit, the legs are in a semi-plie form and the stance
achieves the basic posture called araimandi. The nritta numbers include Alarippu, Jatiswaram
and Tillana, which are abstract items not conveying and specific meaning except that of joyous
abandon with the dancer creating variegated forms of staggering visual beauty.
In nritya, a dancer performs to a poem, creating a parallel kinetic poetry in movement,
registering subtle expressions on the face and the entire body reacts to the emotions, evoking
sentiments in the spectator for relish - the rasa. The numbers are varnam, which has
expressions as well as pure dance; padams, javalis and shlokas. The accompanying music is
classical Carnatic. The themes are from Indian mythology, the epics and the Puranas.

Chakiarkoothu
This dance form is believed to have been introduced to Kerala by the early Aryan immigrants & is
performed only by the members of the Chakiar caste. A highly orthodox type of entertainment, it
can be staged inside temples only & witnessed by the Hindus of the higher castes. The theatre
is known as Koothambalam. The story is recited in a quasi-dramatic style with emphasis on
eloquent declarations with appropriately suggestive facial expressions & hand gestures. The
only accompaniments are the cymbals & the drum known as the mizhavu, made of copper with a
narrow mouth on which is stretched a piece of parchment.

Chhau
With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes
through cadences of body flexions, movements and kinetic suggestions. The word Chhau is
interpreted differently by scholars. Shadow, Disguise and Image are the most common
interpretations due to the extensive use of masks in this dance form. The martial movements of
Chhau have led to another interpretation of the word as meaning to attack stealthily or to
hunt.
Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia
(West Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and
dynamic use of space are characteristic of Chhau.
Seraikella Chhau flourished under royal patronage. Its vigorous martial character made it
suitable only for male dancers. The princes were not only patrons but also dancers, teachers
and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of
http://www.indian-heritage.org/dance/dncefrms.htm

1/6

9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

Japan and the Wayang Wong of Java.

Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with
its tribal inhabitants and multi-layered influences of Vedic literature, Hinduism and martial folklore have all combined to shape the Purulia Chhau dances which have only one message - the
triumph of good over evil.
Mayurbhanj Chhau has highly developed movements, no masks and a more chiselled vocabulary
than the other two Chhau styles. Like Seraikella Chhau, it had also thrived under royal
patronage and is considered a link between the earthy Indian dance movements and the flying,
springing elevations of Western dance. Unlike other Indian Classical dance forms, vocal music in
Chhau hardly exists! Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara,
Dhansa and Chadchadi provide the accompaniment. Combining folk, tribal and martial traditions
and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya
aspects of classical dance, the Chhau dances are complex combinations of Folk and Classical
motifs.

Kathak
Prevalent in the North as a classical dance form, Kathak has a long history. Nurtured in the holy
precincts of the Hindu temples, Kathak has over the centuries attained refinement and enriched
itself with various hues and embellishments. Kathak means a story teller and it developed as a
dance form in which a solo dancer tells and interprets stories from mythology.
In nritya, the expressional numbers called gats are danced by delicate glances of the eye and
by using the art of mime. Themes from life are taken like enacting simple chores of carrying
water from the well or walking gracefully, covering a face with a veil and looking through it in a
tantalising manner at the lover.
Also, to the lyrics, expressions are shown evoking the rasa or emotion in the spectators, who, if
the musical traditions are shared along with the songs, enjoy it by expressing their appreciation
with a round of applause.
The themes of Krishna, Radha, Shiva, Parvati and mythological characters find a prominent place
in the Kathak dancers repertoire. Nowadays, experiments are being carried out with group
choreography exploring the dance form. Both men and women perform Kathak which is also
used to present dance dramas of historical tales and contemporary events.

Kathakali
Kathakali means a story play or a dance drama. Katha means story. Belonging to the SouthWestern coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely
colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a
specific type of symbolic makeup to portray various roles which are character-types rather than
individual characters. Various qualities, human, godlike, demonic, etc., are all represented
through fantastic make-up and costumes.
The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth
winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the
Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas.
The macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the
cheeks, the nose and the chin are minutely worked out and various emotions are registered in a
flash by a Kathakali actor-dancer. Often men play the female roles, though of late women have
taken to Kathakali.
http://www.indian-heritage.org/dance/dncefrms.htm

2/6

9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

The pure dance element in Kathakali is limited to kalasams, decorative dance movements
alternating with an expressional passage where the actor impersonates a character, miming to
the liberetto sung by the musician. A cylindrical drum called chenda, a drum called maddalam
held horizontally, cymbals and a gong form the musical accompaniment, and two vocalists
render the songs. Using typical music known as Sopanam, Kathakali creates a world of its own.
The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters
never speak. It is danced to the musical compositions, involving dialogues, narration and
continuity. It employs the lexicon of a highly developed hand-gesture language which enhances
the facial expressions and unfolds the text of the drama.
Koodiyattam
Practised and preserved by the Chakyar community in Kerala, Koodiyattam is the oldest
surviving link with ancient Sanskrit theatre. A precursor of Kathakali drama, Koodiyattam has
several conventions which reflect the aesthetic conventions of the Natyashastra. The stylised
mode of acting, the same character playing different roles, the use of the spoken word akin to
chanting, stories within stories, flash backs, improvisations, eye expressions (netrabhinaya), an
extensive gesture vocabulary or 'hastas', body movements (angika abhinaya) and facial
expressions (mukhajabhinaya), the use of Sanskrit by the main character and Malayalam by the
court jester or vidushaka who comments, satirizes and ridicules the protagonists... these are
the salient features of Koodiyattam.
Performances are traditionally held in the Koothambalam which are special theatres attached to
temples. The Sanskrit play selected for the performance usually takes over several days. Female
dancers called Nangiars deliver the invocatory songs and also participate. The use of the
tirashila or curtain, different colours for the face to depict characters and elaborate ornaments
are all similar to Kathakali. The mizhavu is a special drum used as an accompaniment for
Koodiyattam performances.
The repertoire consists of Sanskrit dramas like Ascharyachudamani of Shaktibadra,
Subhadradhananjeyan of Kulasekara Varman, Abhisekha Nataka and Swapnavasavadatta of
Bhasa, Kalyana Saugandhikam of Mahendra Vikrama and Bhagavadajjukiyam of Bodhayana
which are the popular favourites. With disciplined and dedicated performers like Ammanur
Madhava Chakyar, Kocchukuttan Chakyar and Kitangur Kuttappan Chakyar, this ancient classical
form has a growing legion of students and afficionados in India and elsewhere.
Krishnattam
It is intended for presentation on eight successive nights to unfold the entire story of Lord
Krishna, the style is almost akin to Kathakali.

Kuchipudi
Kuchipudi, like Kathakali is also a dance-drama tradition and derives its name from the vilage of
Kuchipudi in the Southern State of Andra Pradesh. In recent years, it has evolved as a solo
dance for the concert platform and is performed by women, though like Kathakali it was formerly
the preserve of men. The female roles were enacted by men and even today, the tradition
boasts of gifted male dancers enacting female roles with such consummate artistry that hardly
anyone would notice them as male dancers.
The movements in Kuchipudi are quicksilver and scintillating, rounded and fleet-footed.
Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In
its solo exxposition Kuchipudi nritta numbers include jatiswaram and tillana whereas in nritya it
http://www.indian-heritage.org/dance/dncefrms.htm

3/6

9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

has several lyrical compositions reflecting the desire of a devotee to merge with God symbolically the union of the soul with the super soul.
The songs are mimed with alluring expressions, swift looks and fleeting emotions evoking the
rasa. A special number in the Kuchipudi repertoire is called tarangam, in which a dancer
balances herself on the rim of a brass plate and executes steps to the beat of a drum. At times
she places a pot full of water on her head and dances on the brass plate. The song
accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts
the life and events of Lord Krishna.
In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the
proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam. She
goes through various stages of love. When in separation from Lord Krishna, she recalls the
happy days of union and pines for him. At last they are reunited when she sends him a letter.
One more number from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in
which a milkmaid invites Krishna for a rendezvous in myriads of ways giving full scope for the
dancer to display the charms of a woman.

Manipuri
Manipuri dances originate from the North Eastern state of Manipur and derives its name from its
native state. Intensely devotional in mood, the Manipuri dances are a part of the daily life of the
Manipuri people. Essentially presented as a group dance with gorgeous, colourful costumes and
gentle, swaying petal-soft movements, Manipuri dances create a hypnotic impact. The dances
are influenced by the religious movement of Vaishnavism, the worship of Lord Vishnu, and have
flowered in exquisite Rasalila performances, the favourite dance in a circle by Krishna with his
milkmaids. Various types of Rasalilas are performed on special occasions and festivals.
Besides Rasalilas, there are other dances called Natasankirtana, in which a group of men play
cymbals and dance in a circle or in two rows singing praises of God. In Pung Cholom, the
dancers play upon pung, the drum, and dance while playing the intricate time cycles, executing
somersaults and breathtaking acrobatic feats. In group dances like Lai Haraoba, the merrymaking for the gods, the dancers perform various steps and weave patterns, involving various
choreographic compositions. From the corpus of Manipuri dances, one sees on the contemporary
stage solo, duet and group performances. The music is typical of the region and is influenced by
the kirtan school of Bengal due to the influence of Vaishnavism.
Rasalila, Lai Haraoba, Choloms, Pung Cholom, Natasankirtana, Khubak Ishai and other Manipuri
dances share both nritta and nritya aspects and are edited judiciously for the concert platform
to suit the urban audience. However, to enjoy Manipuri, one should see the dances in their
natural setting. Gossamer veils, cylindrical mirrored skirts and ornaments dazzle the audiences
with their colourful costumes which create a dream-like effect.

Mohiniattam
Mohini Attam as a dance form has developed in Kerala. Performed by women it has graceful,
gentle bobbing movements. Mohini means an enchantress and a dancer with enchanting
movements, dressed in a typical white saree with gold border, hair gathered in a bun on one
side and with golden jewellery epitomises the image of a beautiful maiden. Apparently it
resembles the Bharatanatyam dance form but is quite distinct in its execution of movements,
usage of hand gestures and its stark, simple costume.
http://www.indian-heritage.org/dance/dncefrms.htm

4/6

9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

Mohini Attam has enjoyed a revival in recent times and is the most popular dance form among
the young aspirants in Kerala. It has a format which follows the Bharatanatyam form and the
repertoire has common names. In nritta a number called Cholukattu consists of pure dance
movements at the end of which is tagged a poem that is in praise of a deity and also narrates
the story of the Ramayana in a nutshell. The mnemonic syllables are sung instead of being
uttered by the musician. Another item of pure dance is Tillana which follows the musical mode of
Bharatanatyam with classical Carnatic music. However, of late, kerala's Sopana music is being
employed for Mohini Attam and the repertoire has also been enlarged with the choreography
maintaining the typical movements of this graceful style.
In nritya, the padams are mimed with facial expressions and hand gestures and the themes are
drawn from mythology. The nayika or heroine longs for union with her beloved. A confidante
goes and conveys the message to the lover and the nayika describes the pangs of separation.
A varnam follows the structure of a Bharatanatyam varnam dwelling upon the narration,
impersonation and alternating with pure dance. Though the dance units in Mohini Attam are
limited, the quintessential grace and the measured movements are its distinct features.

Odissi
Odissi has been revived in the past fifty years and can be considered as the oldest classical
Indian dance on the basis of archival evidence. The form belongs to the East Indian state of
Orissa. Odissi has a close association with the temples and its striking feature is its intimate
relationship with temple sculpture. Tribhanga, the three-body bend characterises this dance
form. It has a vast range of sculptural body movements which gives one the illusion of the
sculptures coming to life.
In nritta the numbers consist of batu nritya, pallavi and mokhya. In batu nritya the dancer
strikes poses holding various instruments like veena, flute, cymbals and drums and the
choreography of this number reveals the imagination of the choreographer-gurus. Pallavi means
to elaborate, and a dancer performs pure dance to a chosen time cycle and a musical raga
(melody). Various body postures similar to temple sculptures are woven in this number. In
mokhya, before the dance concludes, a dancer employs various dance units creating arresting
visuals. In nritya, the songs from the celebrated Gita Govinda of poet Jayadeva written in the
12th century A.D., are used by dancers for expressional numbers.
The exquisite Sanskrit poetry and the sculptural movements to the typical Odissi music almost
cast a spell on the spectators. Songs of other Oriya poets are also danced with subtle
expressions, replete with emotions. In its revival period Odissi has received enthusiastic
support from the young exponents and often one finds Bharatanatyam dancers also mastering
the Odissi technique and performing both the dance forms though while doing so, they maintain
the

clearcut differences

in the

execution of the

movements. In recent years, group

choreographic presentations and dance dramas are also attempted in order to bring out the full
glory and sculptural wealth of Odissi which is truly a visually fascinating performance style.

Ottan Thullal
It is performed solo & because of its ready mass appeal, it is also known as the poor man's
Kathakali. Kunjan Nambiar evolved it & brought out the social conditions of his time, the
distinctions of class & the weakness & whims of the rich & the great. The dialogue is in simple
Malayalam & therefore ensures mass appeal.

http://www.indian-heritage.org/dance/dncefrms.htm

5/6

9/15/2015

www.indian-heritage.org/dance/dncefrms.htm

Yaksha Gana
This belongs to Karnataka & has a rural origin. It is an admixture of dance & drama. Its heart
lies in Gana meaning music. It is about 400 years old. The language is Kannada & the themes
are based on Hindu Epics. The costumes are almost akin to the Kathakali ones & the style
seems to have drawn inspiration from Kathakali. As prescribed in the Natya Sastra, it has the
Suthra Dhara (conductor) & the vidushaka (the Jester).
The info about Bharatanatyam, Chhau, Kathak, Kathakali, Koodiyattam, Kuchipudi, Manipuri,
Mohinattam, Odissi have been provided from "Narthaki - A web directory of Classical Indian
Dances"

http://www.indian-heritage.org/dance/dncefrms.htm

6/6