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Dance and Music

The classical traditions of all regions derive their basic inspiration from the sage Bharat's analysis and his treatise on the aesthetics of dance and dramaturgy, the Natya Shastra. Literally meaning the text of drama, it is the oldest surviving text on stagecraft in the world; a text, which spins together dance and drama in musical narration. Love, Humour, Pathos, Anger, Heroism, Terror, Disgust, Wonder and Serenity are the Nava Rasas or nine basic emotions, which are fundamental to all dance and music forms.

The basis for Indian music is found in the Sanskrit word Sangeet, which means music. It is a combination of three art forms: geet (song), vadya (instrumental music) and nritya (dance). In the old days of the theatre, the dancers would mime the story while the singers would sing the dialogue. The instrumentalists would accompany them all. The nature of the old theatre was such that the dancers occupied a central position. Today these three art forms have differentiated into complex and highly refined individual arts.

Nritya (dance) is closely linked to the Natya (theatre). The dancer must express himself with his entire body: every movement is practiced for hours on end and must be under perfect control - whether it is the lifting of an eyebrow or a finger. The pantomime expressed by the hands (mudras) together with the expression of the face (abhinaya), allow the full development of the nine emotions.

India also has a wealth of folk dances and songs, closely interwoven with the lives of the people. Almost all age groups participate. The tempo varies from the slow and languorous movements of the tribal and hill regions to the staccato movements of the Mizo bamboo dance, to the boisterous leaps of the robust peasants of Punjab, the splendour of the colourful whirling skirts of Rajasthan, to the disciplined and virile movements of the Nagas. Folk songs are sung on almost all occasions but, broadly speaking, the themes are occupational or connected with ceremonies, festivals and the change of seasons. Ballads are more often about tales of heroism and romance.

The Guru (teacher) has a special place in the performing world in India. He is next to parents in the hierarchy where God finds the last place. The pupils do not call the Gurus by their name and accidental call invite a spontaneous gesture of touching the ears.

The understanding of the complex and exciting field of Sangeet easily consumes an entire lifetime.




The Indian classical dance forms are a beautiful compilation of the Mudras and Abhinaya. The present classical dance forms, however, are not as old as the Natya Shastra. These dance forms evolved around early 15th to 18th century AD when some people worked to revive the dying art. For many centuries the dancers were attached to the temples. This maintained a strong religious flavour to dance. Even today many of the traditional themes are mythological in nature. Over the centuries different areas have given their own colour to the ancient classical tradition.

Each of these styles have a strong regional connection and none can claim to be representative of the entire Indian subcontinent. These dances when revived were performed in temples as a tribute to the deity. Dancers were carefully selected after years of practice. These were performed during the daily morning and evening prayer ceremonies and on special festivals. It was only in the pre independent India that these forms got their present status.

All the major dance forms have some features in common. Before every performance there are certain stage rites. As all the dances are more or less devotional, the very first rite is to offer prayers to the deity. The stage is not considered just a platform where one performs, it is considered to be sacred and draws special attention of the performer. Every performance has a Sutradhar or a narrator who narrates the epic extract. Sangat (company) is given by musicians and the type of music depends on the type of dance form. In the south Indian dance forms Carnatic style of music is followed to recite the epics.

Today the acknowledged classical dance styles are:

  • Bharatnatyam of Tamil Nadu
  • Kathak of North India
  • Kathakali of Kerala
  • Kuchipudi of Andhra Pradesh
  • Manipuri of Northeast India
  • Mohiniyattam of Kerala
  • Odissi of Orissa


The most celebrated art form of the Southern Indian State of Tamil Nadu, Bharatnatyam is a dynamic and earthy dance style. It is, in effect, a tradition that demands of the performer - total dedication, detachment from worldly ties and a sublimation of self to the art. Bharatnatyam is a relatively new name. It was earlier known as Sadir, Dasi attam, and Thanjavur Natyam. The contemporary form of Bharatnatyam evolved during the late 18th or early 19th century. Sadir, which was till then the domain of devadasis (girls who were dedicated to gods), reached its nadir during 1910-1930 with the degeneration of social mores. But during 1926-35, under the championship of E. Krishna Iyer, the dance regained its majesty and came to be known as Bharatnatyam.

Bharatnatyam dancers are usually women and, like the sculptures they take their positions from, always dance bent-kneed. It is an extremely precise dance style where a huge repertoire of hand movements is used to convey moods and expressions. Bharatnatyam is vibrant and very demanding of the dancer. The body is visualized as made of triangles, one above and one below the torso. It is based upon a balanced distribution of body weight and firm positions of the lower limbs, allowing the hands to cut into a line, to flow around the body, or to take positions that enhance the basic form. A special feature of this dance form is Padams or poems on the hero-heroine theme. The tempo of these love songs is slow and each phase of the performance is crystallized into a specific mood of love


The Kathak dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks or storytellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures to enliven the stories. It underwent a paradigm change with Muslim and Persian influence transforming from a temple ritual to a courtly entertainment. With the advent of Mughal culture, Kathak became a sophisticated chamber art. Patronized by art loving rulers, the practitioners of Kathak worked at refining its dramatic and rhythmic aspects, delighting elite audiences with their mastery over rhythm and the stylized mime. This dance form has a distinct Hindu-Muslim texture.

The dance is performed straight-legged and more stress is laid on footwork. A bell string is tied around the ankles of both the legs and then starts a synchronized movement of hands and feet with complimentary jingling of the ankle bells. Kathak has an exciting and entertaining quality with intricate footwork and rapid pirouettes set to complex time cycles. The costumes and themes of these dances are often similar to those in Mughal miniature paintings. Though not similar to the Natya Shastra, the principles in Kathak are essentially the same. The footwork is matched by the accompanying percussion instruments such as Tabla and Pakhawaj and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry.


Kathakali is a rich and flourishing tradition of dance drama of the State of Kerala. It is a well-developed dance drama performance where the actors depict characters from the epics Ramayana and Mahabharata and from the Puranas (the ancient scriptures). Present day Kathakali is a dance drama tradition, which evolved from centuries of highly, stylized theatrical traditions of Kerala, especially Kudiyattam. Ritual traditions like Theyyams, Mudiyattam and the martial arts of Kerala played a major role in shaping the dance into its present form. Like Bharatnatyam, Kathakali also needed a resurrection in the 1930s. The great poet Vallathol rediscovered Kathakali, establishing the Kerala Kalamandalam in 1932, which lent a new dimension to the art form.

The dancers, usually men, adorn themselves in huge skirts, elaborate masks, costumes and headdress, wearing a most intricate style of make-up. The most characteristic feature of the dance form is the painted face of the dancers. Choice of colours is made according to the quality of the character portrayed; different colours depict properties like wickedness and soberness. Kathakali recitals are generally long and while other dance forms are more emotive than narrative, Kathakali is both. It combines dance with dialogue to bring myth and legend to life in the temple courtyards of Kerala. The dancers use their stunning costumes and make-up, with the accompaniment of drums and vocalists, to create various moods and emotions. So strong is the identification of the dancers with the characters they play and so absolute their conviction, that they seem to surpass themselves, becoming one with the legendary heroes and heroines they depict.


Kuchipudi, the indigenous style of dance of Andhra Pradesh took its birth and effloresced in the village of the same name, originally called Kuchelapuri or Kuchelapuram, a hamlet in Krishna district. From its origin, as far back as the 3rd century BC, it has remained a continuous and living dance tradition of this region. The genesis of Kuchipudi art as of most Indian classical dances is associated with religions. For a long time, the art was presented only at temples and that too only for annual festivals of certain temples in Andhra. According to tradition, only men originally performed this dance and they all belonged to the Brahmin community. Their programs were offerings to the deities and they never allowed women in their groups. In an era of the degeneration of dance due to exploitation of female dancers, an ascetic, Siddhendra Yogi redefined the dance form. In the late 18th century women were introduced and the dance form got refined.

The transition has been great from a time when men played female parts to the present when women play even the male parts. The most popular Kuchipudi dance is the pot dance in which a dancer keeps a pot filled with water on her head and feet kept on a brass plate. She moves on the stage manipulating the brass plate, with the feet kept on its rim and doing some hand movements without spilling a drop of water on the ground thus astounding the audience. The make up and costumes are characteristic of the art. There is nothing elaborate in the costumes and the makeup is not so heavy. The important characters have different make up and the female characters wear ornaments and jewellery and a long plait decorated with flowers. Today Kuchipudi has undergone many changes. The present day dancers having advanced training in this style, present this art in their own various individual ways.


The remote northeast corner of India has one of the most graceful dances of the subcontinent. It takes its name from the State of Manipur, which is situated in a secluded and picturesque valley enclosed by mountain ranges. The legend goes that the gods drained a lake in the beautiful countryside in order to find a place to dance. No wonder then, that dance is inextricably woven into the lives of the people and is an inherent part of the rituals of daily life such as weddings and homage to ancestors. The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of present Manipuri. The Lai Haroba is still an important living tradition, while Manipuri has expanded and gained popularity as a performing art in a group and solo presentations. Performed still in temples and religious occasions, of Manipur, this dance form is a very much living tradition.

This style is multifaceted, ranging from the softest feminine to the obviously vigorous masculine. The women perform the dance with slow graceful movements and undulating arm gestures. In its gentle, ritualistic and restrained performance there is evidence of affinity with the dance of South East Asia. On the contrary the form practiced by men, known as Sankirtana, is performed with traditional Manipuri drums and vigorous movements. Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic dance of Krishna and the gopis (village belles). The beautiful embroidered skirts of the dancers, long and flared from the waist, and the translucent veils, along with Krishna's costume with the tall peacock feather crown, add to the radiant appearance of this dance, as the performers sway and twirl to an ascending tempo. Another vibrant feature of Manipuri is the Pung Cholam or Drum dance, in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a fast rhythm. Dignified grace is to be found in every aspect and the range it offers in technique, rhythm and tempo makes a Manipuri recital an absorbing and exhilarating experience.


Mohiniyattam is the female semi-classical dance form of Kerala. Literally, the dance of the enchantress, Mohiniyattam was mainly performed in the temple precincts of Kerala. It is also the heir to the devadasi (girls who were dedicated to gods) dance heritage like Bharatnatyam. The word 'Mohini' means a maiden who exerts desire or steals the heart of the onlooker. The first historical reference to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan Namboodiri, assigned to the 16th century AD. In the 19th century, Swati Thirunal, the king of erstwhile Travancore, did much to encourage and stabilize this art form. The post Swati period however witnessed the downfall of this art form. It somehow degenerated into eroticism to satisfy the Epicurean life of some provincial satraps and landlords. It was Poet Vallathol who again revived it and gave it a status in modern times through Kerala Kalamandalam, which he founded in 1930.

The theme of Mohiniyattam is love and devotion to god. Vishnu or Krishna is more often the hero. The spectators could feel his invisible presence when the heroine or her maid details dreams and ambitions through the circular movements, delicate footsteps and subtle expressions. It is essentially a solo dance, but in present times it is performed in a group as well. Mohiniyattam maintains a realistic makeup and simple dressing. The dancer is attired in a beautiful white and gold-bordered sari. The style of vocal music for Mohiniyattam, is classical Carnatic.


Odissi is considered to be one of the oldest surviving dance forms based on archaeological evidence. The traditional dance form of Orissa, it owes its origin to the temple dances of the devadasi (girls who were dedicated to gods). Possibly, the oldest classical dance form in the country, Odissi has been mentioned in inscriptions, depicted on sculptures, in temples like the dancing hall of the Sun Temple at Konark. In the 1950s, the entire dance form was revitalized, thanks to the Abhinaya Chandrika and sculpted dance poses found in temples. Odissi as we know it today is the result of a long process of reconstruction from various dance traditions of Orissa, for instance the Maharis and the Goti puas. Maharis are the counterparts of the devadasis of the South. Goti puas are men who dressed as female dancers and danced like the Maharis. These artistes are not allowed to dance in temples after the age of 18.

While the form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust and torso; the Mudras and the expressions are similar to those of Bharatnatyam. Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govind are used to depict the love and devotion to God in soft flowing movements to express specific moods and emotions. It is a soft, lyrical classical dance, which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath.



There is really no such thing as folk dancing. Rather, there is a large body of unrelated non-classical dance forms. The only thing common among these dance forms is their rural origins. Many folk dances are performed by ordinary people rather than professional dancers. It is very usual that on special occasions the villagers will gather and sing and dance, accompanying themselves on a variety of folk instruments. Such special occasions include harvesting, planting, marriages and religious holidays. There is also the institution of folk theatre. Professional musicians, actors and dancers travel from village to village performing their dance dramas. This was a rural extension of the ancient theatrical tradition found in the Natya Shastra. However, it appears to have degenerated into a rural tradition. One example of the folk theatre is the Yaksha Gana of Karnataka.

It would be more correct to divide folk dances into two categories: folk and tribal. The difference between the two is cultural. Folk dances are the rural extensions of the larger Indian population. Examples are the Bhangra of Punjab and the Garba of Gujarat. However, the tribal dances are performed by India's aboriginal populations. These people, known as Adivasi, have a culture, which is very distinct from the larger Indian population. Attempting to relate Indian tribal dances with Indian folk dances is very much like trying to relate the dances of the Cherokee Indians to the "Cotton Eyed Joe". A common example of a tribal dance is the Santhali of Bihar. It may be academically desirable to separate tribal from simple folk dances, however this is generally not done. Artists do not concern themselves with these academic matters. Therefore the following list does not make any distinctions.

Some of the popular folk and tribal dances are:

Bhangra - is a folk dance from the Northwest Indian State of Punjab. It is a lively, powerful dance performed by men in celebration of the harvest season.

Bihu - is a folk dance from Assam. It is a very brisk and aggressive dance performed by both boys and girls on occasions like harvest and wedding ceremonies.

Changu - the folk dance found in Orissa and Andhra Pradesh derives its name from the changu, which is a simple tambourine that is used to accompany this dance.

Garba - is a folk dance from Gujarat. It is traditionally danced at marriages and during the festival of Navaratri (October/November).

Ghoomar - is a folk dance of Rajasthan performed by women. It derives its name from its characteristic pirouettes and swirling skirts.

Ghanta Patua - is a folk dance of Orissa. Its name is derived from the large brass gongs known as ghanta. It is performed in the Hindu month of Chaitra. This dance is most notable because it is performed on stilts

Kavadi - is a folk dance of Tamil Nadu. It is played with a wooden pole upon which are tied two pots. The stick is then balanced upon the shoulder.



The music of India is one of the oldest unbroken musical traditions in the world. Indian music is not written and cannot be learnt from books. Traditions of music have been handed down by teachers in a special guru-shishya (master-disciple) relationship. It has developed within a very complex interaction between different peoples of different races and cultures. Aspects of musical from such as tonal intervals, harmonies and rhythmical patterns are the unique products of a wealth of musical traditions and influences; they are also very different from that familiar in the west. Much of the music recalls Indian fables and legends, as well as celebrating the seasonal rhythms of nature.

Music, according to Hindu mythology, originated with the first sound ever to be heard in the universe, the Naadbrahma or Om, which is the purest sound to be heard. It is this purity that the musician attempts to achieve in his sadhana (dedicated pursuit) of the music he is involved in. Where Indian cultural history is concerned, classical music claims the Vedic chants as its source that dates back to approximately 5000 to 4000 BC. These are arguably the earliest written documents to have emerged from the Indian subcontinent. The Vedic chants themselves, though, would date back even further. Research indicates that the Samveda (one of the four Vedas) had a rather complicated way of chanting that used more than just three notes as in the case of the other Vedas. Also, it has been found that a rather definite scale of svaras (notes) had been arrived at by scholars of the Vedic period.

As the centuries faded into one another and civilizations rose and fell, the writings of the Vedas endured. The advent of Muslims brought with them the influence of the Persian form of music and this introduced flexibility and a certain lightness to the classical music. Musicians from various states were constantly improving their gayaki (styles) and were continuously innovating and studying deeper aspects of music. Mughal Emperor Akbar's reign also saw the master of Indian music Tansen perform in the royal court. Tansen is also credited with composing many new ragas (music compositions).

During the 20th century with the growing struggle for Independence, the field of classical Indian music reached a point of rest. With the patronage of the noblemen and royals gone, very few Indian classical artistes survived. Interest seemed to fade and classical music became the prerogative of the intellectuals. In the post independent India, however, music evolved to new dimensions. With cinema becoming popular, film music became more popular than the classical forms. One of the reasons for this was the simple nature of film music, though it incorporated the essence of classical music yet it was simpler to the ears.

Today there are two major traditions of Indian classical music: Hindustani in the north and Carnatic in the south. Both systems are fundamentally similar but differ in nomenclature and performance practice. Within this field of classical music, it was a different kind of development that started taking place in the 1960s with Pandit Ravi Shankar taking classical music out of the country to audiences' abroad. He was also the first to experiment with mixing western music with the Indian classical form to arrive at what is called fusion or world music, a genre that is exceedingly popular today. The Indian classical music tradition, however, has by no means faded. There are still teachers and disciples all over the country that dedicate a major part of their lives to the pursuit of this art, the sadhana of shastriya (classical) sangeet (music).

The present system of Indian Classical Music is based upon two important pillars: Raga and Taal. Raga is the melodic form while Taal is the rhythmic. Raga may be roughly equated with the Western term mode or scale. There is a system of seven notes, which are arranged in a means not unlike Western scales. However when we look closely we see that it is quite different what we are familiar with. The Taal forms are also very complex. Many common rhythmic patterns exist and they revolve around repeating patterns of beats. The interpretation of the Raga and the Taal is not the same all over India.

The Indian classical music has two forms, gayaki (vocal) and vadya (instrumental). In both Hindustani and Carnatic music, songs are usually (although not always) preceded by an improvised unmeasured prelude (alaap) which is sometimes extensive. This is followed by the "composition section" in which a specific Taal is used. Although it is usually based upon a pre-existing composition, there are specific improvisational features to this section as well. This complicated system of Taals and Ragas lead to the melody that forms the basis of any type of music in India.

Vadya Sangeet (instrumental music) occupies an important position in Indian music. There is a general tendency for the instrumental styles to follow quite closely the vocal styles. Yet, the degree to which an instrument follows is primarily linked to the dynamics of the instrument. Dynamics is the nature of the loudness of an instrument. This is not intended to mean loudness in the usual interpretation, but rather the amplitudinal characteristics of the instrument.

Many musical instruments are peculiar to India. There is a traditional system for the classification of instruments but there are three main types: string instruments, wind blown and beat (percussion) instruments. Sitar, Tanpura, Violin, Veena, Sarangi are the various string instruments. Bansuri (flute), Shehnai, Harmonium are the wind blown instruments. Tabla, Dholak, Mridangam, Pakhawaj are the popular percussion instruments. These instruments have evolved to their present form after a long period of transitional instruments. Indian music has absorbed a lot form other countries also. The well-known instrument Sarod is a modified version of Rabab, which is essentially a Persian instrument. The contemporary Indian music is now experimenting with western instruments like guitar and piano.



India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style. There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.

Folk and tribal music is not taught in the same way that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is. Music in the villages is learned almost by osmosis. From childhood the music is heard and imbibed along with ones mother's milk. There are numerous public activities that allow the villagers to practice and hone their skills. Music is an indispensable component of functions such as weddings, engagements, and births. There is a plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In these activities the villagers routinely sing of their hopes, fears and aspirations.

Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded), the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be.

Musical instruments are often different from those found in classical music. The instruments that folk musicians use are generally not as refined as the classical musicians' use. The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments. In contrast the folk instruments are commonly crafted by the musicians themselves. It is very common to find folk instruments that have been fabricated of commonly available materials. Skin, peritoneum, bamboo, coconut shells and pots are but a few common materials used to make musical instruments

Although instruments like the Tabla may sometimes be found it is more likely that cruder drums such as Daf, Dholak, or Nal will be used. The Sitar and Sarod which are so common in the classical genre, are absent in folk music. One often finds instruments such as the Ektar, Dotar, Saringda, Rabab and Santoor. Quite often they will not even be called these names, but may be named according to their local dialect. There are also instruments, which are used only in particular folk styles in particular regions and these instruments are innumerable.

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