Bharat Natyam is the most widely known classical dance form of India, originating from Tamil Nadu. It was developed in the 1930s by combining elements from older styles. Kathak originated in Uttar Pradesh and is accompanied by Hindustani classical music. It evolved from temple dances but took on a more entertaining style under Mughal rule. Kathakali is a classical dance drama form from Kerala featuring elaborate costumes and makeup portraying stories from epics and scriptures.

1. Indian classical
Dance
Saumyadip Maiti
Amity University, Noida

2. Bharat Natyam

3. Bharat Natyam is the most widely known and exalted of the
classical Indian dances. Although it has been traditionally
associated with Tamil Nadu, it now has a strong presence
throughout India. Even outside of India, the majority of
schools that teach Indian dance, teach this style.
The history of Bharat Natyam is interesting. The genre of Bharat
Natyam was developed by amalgamating a number of elements
from the earlier forms of Dassi Attam and Sadr. Dassi Attam was
a dance form of the Deva Dassis (temple dancing girls) while
Sadr was a form found in the palaces of southern India. A
number of people contributed to the development of Bharat
Natyam, but the most notable was E. Krishna Iyer of Madras
(Chennai). This was in the 1930's

4. It is difficult to determine the age of Bharat Natyam; this is due to the
evolving nature of Indian dance. Although Bharat Natyam evolved
from Sadr and Dassi Attam, there are differences. If one feels that
Bharat Natyam is different enough to be considered a distinct genre,
then we may safely say that it is only about 70 years old. On the other
hand, if we consider the differences to be insignificant, then we may
push the age back several hundred years. However, the careless
manner in which many artists date Bharat Natyam back to the Natya
Shastra is absolutely preposterous. The cumulative changes that have
occurred over the last 2000 years make such statements totally
insupportable.

5. There are a number of musicians and instrumentalist who provide the
musical accompaniment. Typically there is one or more vocalist, a
person reciting the dance syllables, and a mridangam. Additionally,
one usually finds violin, vina (saraswati vina), or venu (bamboo flute).
There is also a thallam (manjira) which is usually played by the person
reciting the dance syllables. The overall style of the Bharat Natyam
musical accompaniment is not unlike other Carnatic performances.
All of the traditional elements of classical dance are present in Bharat
Natyam. The mudras (hand positions), abhinaya (facial expressions),
and padams (narrative dances) form the basis for the performance.

6. Kathak

7. Kathak
Kathak dances is basically from Uttar
Pradesh.
This north Indian dance form is inextricably
bound with classical Hindustani music, and
the rhythmic nimbleness of the feet is
accompanied by the table or pakhawaj.
Traditionally the stories were of Radha and Krishna, in the
Natwari style (as it was then called) but the Moghul
invasion of North India had a serious impact on the dance.
The dance was taken to Muslim courts and thus it became
more entertaining and less religious in content. More
emphasis was laid on nritta, the pure dance aspect and
less on abhinaya

8.  These rahapsodists and minstrels were associated with
temples and shrines. Their particular dance-forms,
which had its origin in simple story-telling, later came
to be known as Kathak. Kathak is danced by both men
and women. A Kathak dancer is not required strictly to
adhere to fixed steps and stages in a fixed order. He or
she can change the sequence of stages to suit his or her
aptitude and style of dancing.

9. Kathakali

10. Introduction
Kathakali is the most well known dance drama from the south
Indian state of Kerala. The word Kathakali literally means
"Story-Play". It is known for its large, elaborate makeup and
costumes. The elaborate costumes of Kathakali have become
the most recognised icon for Kerala.
History
The themes of the Kathakali are religious in nature. They
typically deal with the Mahabarat, the Ramayana and the ancient
scriptures known as the Puranas. This is performed in a text
which is generally Sanskritised Malayalam.
A Kathakali performance is a major social event. They generally
start at dusk and go through out the night. Kathakali is usually
performed only by men. Female characters are portrayed by men
dressed in women's costume. However, in recent years, women
have started to becomeKathakali dancers

11. Kathakali has a long tradition. It dates back to the 17th
century. It was given its present form by Mahakavi Vallathol
Narayan Menon, who was the founder of the Kerala Kala
Mandalam.
The actors rely very heavily on hand gesture to convey the
story. These hand gestures, known as mudra, are common
through out much of classical Indian dance.

12. Costume
The costume is the most distinctive characteristic of Kathakali. The makeup is very
elaborate and the costumes are very large and heavy.
There are several kinds of costume. There are: Sathwika (the hero), Kathi (the
villain), Minukku (females), and Thatti. These basic divisions are further subdivided
in a way which is very well known to Malayali (Keralite) audiences. Each character
is instantly recognisable by their characteristic makeup and costume.
The makeup is very elaborate. It is so elaborate that it is more like a mask than
makeup in the usual sense. The materials that comprise the makeup is all locally
available. The white is made from rice flour, the red is made from Vermilion (a red
earth such as cinnabar). The black is made from soot. The colours are not merely
decoration, but are also a means of portraying characters. For instance, red on the
feet is used to symbolise evil character and evil intent.

13. Manipuri

14. Manipuri
 Introduction
 Manipuri is the classical dance from the north East
Indian state of Manipur. Its themes are devotional and
are performed on religious occasions and in temples
throughout the area. It is even often referred to
as "sankirtan". The term Manipuri actually covers a
number of dance forms from the region. The most
important being the Ras Lila and the Pung Cholom.

15.  History
 The history and development of Manipuri dance is interesting. It is said
that King Khuyoi Tompok was a great patron of the arts and
developedManipuri in the 2nd century AD. However, it is not very likely
that this early form of Manipuri had much in common with contemporary
forms.
 It is more likely that Manipuri began to take a familiar form with the
introduction of Vaishnavism in the 15th century AD. This was first
introduced by King Kyamba and greatly expanded under the support of
later kings such as Khagemba, Chairairangaba and a host of others.
 The earlier forms of Manipuri had not been codified or given a scientific
base. This was accomplished in the 18th century by King
Bhagyachandra. He invited the major teachers and performers from all
over the area to codify their art into a coherent system.
 Today, Manipuri is generally acknowledge as a classical dance form of very
high artistic and technical standards.

16. Forms
 There are a number of forms in Manipuri. These are the Ras Lila,
the Pung Cholom, Nupa Cholom, Thoibi and a host of others.
 The Ras Lila is the most important dance form in
the Manipuri style. The theme revolves around the love of Krishna and
the milkmaids(gopinis). Although the themes are romantic, we must
remember that the Bhakti school of Hinduism considers physical love as
a metaphor for spiritual longing. There are five Ras Lilas that deal with
the divine love of Radha and Krishna. These are: Maharas, Vasantras,
Kunjaras, Nityaras and Divaras. Other Ras deal with various aspects of
Krishna's life such as Karnabheda (ear piercing), marriage, etc. The
performance of Ras Lila is generally performed in a special enclosure in
front of the temple called a Nat Mandap.

17.  The Pung Cholom is a very characteristic dance of
Manipur. It is based upon the drum known
as pung or Manipuri mridang. This dance may be
performed by men or women and is usually a prelude to
the Ras Lila. In this style, the dancers play the pung at
the same time that they are dancing. Sometimes
acrobatics are used for an exciting effect, all without
breaking the flow of the music.

18. ODISSI (ORISSI)

19. The Odissi (Orissi) dance is the Indian classical dance from the Eastern
state of Odissa. It has a long, yet broken tradition. Although dance in
Odissa may be traced back more than 2000 years, it was brought to
near extinction during the colonial period. Therefore, modern Odissi
dance is a reconstruction.
History
Like other forms of Indian classical dance, the Odissi style traces its origins
back to antiquity. Dancers are found depicted in bas-relief in the hills of
Udaygiri (near Bhubaneshwar) dating back to the 1st century
BC. The Natya Shastra speaks of the dance from this region and refers to
it asOdra-Magadhi.
Over the centuries three schools of Odissi dance developed: Mahari,
Nartaki, and Gotipua. The Mahari tradition is the devadasi tradition; this is
the use of women who are attached to deities in the
temple. The Nartaki tradition is the school of Odissi dance which
developed in the royal courts. Gotipua is a style characteristed by the use
of young boys dressed up in female clothing to perform female roles

20. Style
There are a number of characteristics of the Odissi dance. The style may
be seen as a conglomeration of aesthetic and technical details.
One of the most characteristic features of Odissi dance is
the Tribhangi. The concept of Tribhang divides the body into three parts,
head, bust, and torso. Any posture which deals with these three elements
is called tribhangi. This concept has created the very characteristic poses
which are more contorted than found in other classical Indian dances.
The mudras are also important. The term mudra means "stamp" and is a
hand position which signifies things. The use of mudras help tell a story in
a manner similar to the hula of Hawaii.

21. Mohini Attam

22. Mohini Attam is the feminine dance form of Kerala, a state in the south
western most part of India. It is danced by women and is known for its
very sensual themes. Mohini Attam has an extremely, slow seductive
quality. It has only been in recent decades that Mohini Attam has risen in
popularity and acceptability
There is a typical costume for Mohini Attam. It is generally simple and white,
or off-white. Usually there is a gold brocade, possibly with a border of
red. One of the most characteristic signs of the Mohini Attam dancer is the
bun of hair worn off-centre. This is very much a characteristic of women from
Kerala.
The myth of Mohini is central to the performance. According to the story,
Brahma tells the other Gods how they can obtain amrit (celestial
ambrosia); amrit bestows immortality and great power. He informs them that
they can do so by churned up the ocean of milk. Unfortunately, the job is so
great that the gods are forced to seek the assistance of the demons. The
demons agree to help, but are secretly plotting to keep it all for themselves.

23. Andhra Natyam

24. Andhra Natyam is a classical dance form from the south Indian
state of Andhra Pradesh. It is a style that became extinct but
was revived in the 20th century.
It is derived from the general soup of south Indian dance
forms. Therefore, it shows strong similarities to such forms
as Kuchipudi, andBharat Natyam, as well as the older forms
of Dasi Attam, Kacheri Attam, Chinna Melam, and a host of
others.

25. K
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26. Kuchipudi
 Kuchipudi is the classical dance form from the South-
East Indian state of Andhra Pradesh. It derives its name
from the village of Kuchelapuram, a small village about
65 kms from Vijaywada. It is known for its graceful
movements and its strong narrative / dramatic
character.
 Kuchipudi flourished as a dramatic form of dance for
hundreds of years. It was held in high esteem by the
rules of the Deccan. For instance Tana Shah in 1678
granted the lands around Kuchipudi to the Brahmins
who performed the dance.