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Dance in India

February 16, 2024

Dance in India comprises numerous styles of dances, generally classified as classical or folk.[1] As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.[2]

Dance in India include classical (above), semiclassical, folk and tribal.

Sangeet Natya Academy, the national academy for performing arts in India, recognizes eight traditional dances as Indian classical dances,[3] while other sources and scholars recognize more.[4][5] These have roots in the Sanskrit text Natya Shastra,[1] and the religious performance arts of Hinduism.[6][7][8]

Mohiniyattam at Kannur district school kalothsavam 2019

Folk dances are numerous in number and style and vary according to the local tradition of the respective state, ethnic, or geographic region. Contemporary dances include refined and experimental fusions of classical, folk, and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of Southeast Asia as well. Dances in Indian films, like Bollywood Dance for Hindi films, are often noted for freeform expression of dance and hold a significant presence in the popular culture of the Indian subcontinent.[9]

In India, a command over either of Sanskrit, Tamil, Telugu, Oriya, Meitei (Manipuri), Persian, or Arabic, are highly appreciated and respected for learning dances (most significantly Indian Classical Dances) as dancers could have the tools of these languages to go into the primary material texts.[10]

Nomenclature edit

Classical dance is one whose theory, training, means and rationale for expressive practice is documented and traceable to ancient classical texts, particularly the Natya Shastra.[1][11] Classical Indian dances have historically involved a school or guru-shishya parampara (teacher-disciple tradition) and require studies of the classical texts, physical exercises, and extensive training to systematically synchronize the dance repertoire with underlying play or composition, vocalists and the orchestra.[12][13]

A folk Indian dance is one which is largely an oral tradition,[14] whose traditions have been historically learnt and mostly passed down from one generation to the next through word of mouth and casual joint practice.[15] A semi-classical Indian dance is one that contains a classical imprint but has become a folk dance and lost its texts or schools. A tribal dance is a more local form of folk dance, typically found in one tribal population; typically tribal dances evolve into folk dances over a historic period.[16][17]

Origins of dance in India edit

 
Shiva as Nataraja (Lord of Dance).

The origins of dance in India go back to ancient times. The earliest paleolithic and neolithic cave paintings such as the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh show dance scenes.[18] Several sculptures found at Indus Valley Civilisation archaeological sites, now distributed between Pakistan and India, show dance figures. For example, the Dancing Girl sculpture is dated to about 2500 BCE, showing a 10.5 centimetres (4.1 in) high figurine in a dance pose.[19][20][21]

The Vedas integrate rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes.[22][23] The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (≈800–700 BCE), for example, are written in the form of a play between two actors.[24]

The Vedic sacrifice (yajna) is presented as a kind of fight, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes.

— Louis Renou, Vedic India[22]

The evidence of earliest dance-related texts are in Natasutras, which are mentioned in the text of Panini, the sage who wrote the classic on Sanskrit grammar, and who is dated to about 500 BCE.[25][26] This performance arts related Sutra text is mentioned in other late Vedic texts, are as two scholars names Shilalin (IAST: Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts.[25][27] Richmond et al. estimate the Natasutras to have been composed around 600 BCE, whose complete manuscript has not survived into the modern age.[26][25]

The classic text of dance and performance arts that has survived is the Hindu text Natya Shastra, attributed to sage Bharata. He credits the art his text systematically presents to times before him, ultimately to Brahma who created Natya-veda by taking the word from the Rigveda, melody from the Samaveda, mime from the Yajurveda, and emotion from the Atharvaveda.[28][29][30] The first complete compilation of Natya Shastra is dated to between 200 BCE and 200 CE,[31][32] but estimates vary between 500 BCE and 500 CE.[33] The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.[31][34] The classical dances are rooted in Natya Shastra.[1]

India has a number of classical Indian dance forms, each of which can be traced to different parts of the country. Classical and folk dance forms also emerged from Indian traditions, epics and mythology.[35][36]

Classical dance edit

Main article: Indian classical dance

Classical dance of India has developed a type of dance-drama that is a form of total theater. The dancer acts out a story almost exclusively through gestures. Most of the classical dances of India enact stories from Hindu mythology.[37] Each form represents the culture and ethos of a particular region or a group of people.[38]

The criteria for being considered as classical is the style's adherence to the guidelines laid down in Natyashastra, which explains the Indian art of acting. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North, West and Central India), Kathakali (Kerala), Kuchipudi (Andhra), Odissi (Odisha), Manipuri (Manipur), Mohiniyattam (Kerala), and Sattriya (Assam).[39][40] All classical dances of India have roots in Hindu arts and religious practices.[6][8]

The tradition of dance has been codified in the Natyashastra and performance is considered accomplished if it manages to evoke a rasa (emotion) among the audience by invoking a particular bhava(gesture or facial expression). Classical dance is distinguished from folk dance because it has been regulated by the rules of the Natyashastra and all classical dances are performed only in accordance with them.[41]

Bharatanatyam edit

Main article: Bharatanatyam
 
Bharatanatyam

Dating back to 1000 BC, barathanatyam is a classical dance from the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music.[42] Bharatnatyam is a major genre of Indian classical dance that originated in the Hindu temples of Tamil Nadu and neighboring regions.[43][44][45] Traditionally, Bharatanatyam has been a solo dance that was performed exclusively by women,[46][47] and expressed Hindu religious themes and spiritual ideas, particularly of Shaivism, but also of Vaishnavism and Shaktism.[43][48][49]

Bharatanatyam and other classical dances in India were ridiculed and suppressed during the colonial British Raj era.[50][51][52] In the post-colonial period, it has grown to become the most popular classical Indian dance style in India and abroad, and is considered to be synonymous with Indian dance by many foreigners unaware of the diversity of dances and performance arts in Indian culture.[53]

Kathakali edit

Main article: Kathakali
 
Kathakali

Kathakali (katha, "story"; kali, "performance") is a highly stylized classical dance-drama form, which originated from Kerala in the 17th century.[54][55][56] This classical dance form is another "story play" genre of art, but one distinguished by its elaborately colorful make-up, costumes and face masks wearing actor-dancers, who have traditionally been all males.[55][56]

Kathakali primarily developed as a Hindu performance art, performing plays and mythical legends related to Hinduism.[57] While its origin are more recent, its roots are in temple and folk arts such as Kutiyattam and religious drama traceable to at least the 1st millennium CE.[55][58] A Kathakali performance incorporates movements from the ancient martial arts and athletic traditions of south India.[55][56][57] While linked to the temple dancing traditions such as Krishnanattam, Kutiyattam and others, Kathakali is different from these because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines.[59]

 
Kathak

Kathak edit

Main article: Kathak

Kathak is traditionally attributed to the traveling bards of ancient northern India, known as Kathakas or storytellers.[60] The term Kathak is derived from the Vedic Sanskrit word Katha meaning "story", and kathaka in Sanskrit means "he who tells a story", or "to do with stories".[60][61] Kathak evolved during the Bhakti movement, particularly by incorporating childhood and amorous stories of Hindu god Krishna, as well as independently in the courts of north Indian kingdoms.[60][62] It transitioned, adapted and integrated the tastes and Persian arts influence in the Mughal courts of the 16th and 17th century, was ridiculed and declined in the colonial British era,[52][63] then was reborn as India gained independence.[51][64]

Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – Jaipur, Benares and Lucknow.[65] Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), the movement harmonized to the music, the legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, stage movements, bends and turns.[51][62][66]

Kuchipudi edit

Main article: Kuchipudi
 
Kuchipudi

Kuchipudi classical dance originated in a village of Krishna district in modern era Indian state of Andhra Pradesh.[67][68][69] It has roots in antiquity and developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India.[70][71][72] In its history, the Kuchipudi dancers were all males, typically Brahmins, who would play the roles of men and women in the story after dressing appropriately.[73]

Modern Kuchipudi tradition believes that Tirtha Narayana Yati and his disciple an orphan named Siddhendra Yogi founded and systematized the art in the 17th century.[74][75][76] Kuchipudi largely developed as a Hindu god Krishna-oriented Vaishnavism tradition,[77] and it is most closely related to Bhagavata Mela performance art found in Tamil Nadu, [71] which itself has originated from Andhra Pradesh. The Kuchipudi performance includes pure dance (nritta),[78] and expressive part of the performance (nritya), where rhythmic gestures as a sign language mime the play.[78][79] Vocalists and musicians accompany the artist, and the tala and raga set to (Carnatic music).[80] In modern productions, Kuchipudi dancers include men and women.[81]

Odissi edit

Main article: Odissi
 
Odissi

Odissi originated in the Hindu temples of Odisha – an eastern coastal state of India.[82][83] Odissi, in its history, was performed predominantly by women,[46][82] and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath), but also of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism).[84] Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes,[85] body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature.[86]

Sattriya edit

Main article: Sattriya
 
Sattriya

Sattriya is a classical dance-drama performance art with origins in the Krishna-centered Vaishnavism monasteries of Assam, and attributed to the 15th century Bhakti movement scholar and saint named Srimanta Sankardev.[87][88][89] One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama.[90][91] The plays are usually performed in the dance community halls (namghar[91]) of monastery temples (sattras).[92] The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.[93]

Manipuri edit

Main article: Manipuri Raas Leela
 
Manipuri Raas Leela dance

Manipuri Raas Leela dance is a unique form of dance drama which has its origin in Manipur, a state in northeastern India bordering with Myanmar (Burma).[94][95] It is particularly known for its Hindu Vaishnavism themes, and performances of love-inspired dance drama of Radha-Krishna called Ras Lila.[94][96][97] However, the dance is also performed to themes related to Shaivism, Shaktism.[98][99] The Manipuri Raas Leela dance is a team performance, with its own unique costumes notably the Kumil (a barrel shaped, elegantly decorated skirt), aesthetics, conventions and repertoire.[100] The Manipuri dance drama is, for most part, marked by a performance that is graceful, fluid, sinuous with greater emphasis on hand and upper body gestures.[101][102]

Mohiniyattam edit

Main article: Mohiniyattam
 
Mohiniyattam

Mohiniyattam developed in the state of Kerala, gets its name from Mohini – the seductress avatar of Vishnu, who in Hindu mythology uses her charms to help the good prevail in a battle between good and evil.[103][104] Mohiniyattam follows the Lasya style described in Natya Shastra, that is a dance which is delicate, with soft movements and feminine.[104][105] It is traditionally a solo dance performed by women after extensive training. The repertoire of Mohiniyattam includes pure and expressive dance-drama performances, timed to sopana (slower melody) styled music,[106][107] with recitation. The songs are typically in a Malayalam-Sanskrit hybrid called Manipravala.[104]

Folk and tribal dance forms edit

Main article: Folk dance in India
 
Gujarati Navaratri Garba at Ambaji Temple

Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities.[108]

Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a drama.[109]

 
Bhangra, folk dance form from dancers Punjab, India.

India has numerous folk dances. Every state has its own folk dance forms like Bihu and Bagurumba in Assam, Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, Nati in Himachal Pradesh, Neyopa, Bacha Nagma in Jammu and Kashmir, Jhumair, Domkach in Jharkhand, Bedara Vesha, Dollu Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Dalkhai in Odisha, Bhangra & Giddha in Punjab, Kalbelia, Ghoomar, Rasiya in Rajasthan, Perini Dance in Telangana, Chholiya dance in Uttarakhand and likewise for each state and smaller regions in it.[110] Lavani, and Lezim, and Koli dance is most popular dance in Maharashtra.

Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folk music.[111]

The dancers do not necessarily fall rigidly into the category of "tribal". However, these forms of dance closely depict their life, social relationships, work, and religious affiliations. They represent the rich culture and customs of their native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these dances. Some involve very slight movement with a groovier edge to it, while others involve elevated and vigorous involvement of limbs.

These dances are composed mostly on locally made instruments. Percussion instruments feature in most of these dances. Music is produced through indigenous instruments. Music too has its own diversity in these tribal dances with the aesthetics ranging from mild and soothing to strong and weighted rhythms. A few of them also have songs, either sung by themselves or by onlookers. The costumes vary from traditional saris of a particular pattern to skirts and blouses with mirror work for women and corresponding dhotis and upper-wear for men. They celebrate contemporary events, and victories and are often performed as a mode of appeasing the tribal deities.

A lot of the dance styles depend upon the regional positioning of the ethnic group. Factors as small as the east or west of a river result in a change of dance form even though the overreaching look of it may seem the same. Religious affiliation affects the content of the songs and hence the actions in a dance sequence. Another major factor affecting their content is the festivals, mostly harvest.

For example, the ethnic groups from the plain land rabhas from the hilly forested areas of Assam make use of baroyat (plate-like instrument), Handa (a type of sword), boushi (adze-like instrument), boumshi (bamboo flute), sum (heavy wooden instrument), dhansi. kalbansi, kalhurang, chingbakak. Traditionally, their dances are called basili. Through their dance, they express their labours, rejoicings and sorrows. Handur Basu their pseudo-war dance expresses their strength and solidarity.[112]

Tribal dances by territory edit

From a broader point of view, the different tribal dance forms, as they would be classified in the context of territory are:

Andhra Pradesh

Siddi, Tappeta Gundlu, Urumulu (thunder dance), Butta Bommalata, Goravayyalu, Garaga (Vessel Dance), Vira Ntyam (Heroic Dance), Kolatam, Chiratala Bhajana, Dappu, Puli V Esham (Tiger Dance), Gobbi, Karuva, and Veedhi Bhagavatam.[113]

Arunachal Pradesh

Ponung, Sadinuktso, Khampti, Ka Fifai, Idu Mishmi (ritual) and Wancho.

Assam

Dhuliya and Bhawariya, Bihu, Deodhani, Zikirs, Apsara-Sabah.[113]

Goa

Mussoll, Dulpod or Durpod, Kunnbi-Geet, Amon, Shigmo, Fugdi, and Dhalo.

Haryana

Rasleela, Phag Dance, Phalgun, Daph Dance, Dhamaal, Loor, Guga, Jhomar, Ghomar, Khoria, Holi, Sapela.[113]

Himachal Pradesh

Chambyali dance, ghuraiyan, pahadi nati, Dalshone and Cholamba,jhamakda, Jataru Kayang, Jhoori, Ji, Swang Tegi, Rasa.[113]

Jharkhand

Jhumair, Domkach, Paiki, Chhau, Mundari dance, Santali dance.[114]

Karnataka

Veeragase, Nandi Dhwaja, Beesu Kamshaley, Pata Kunitha, Bana Debara Kunitha, Pooja kunitha, Karaga, Gorawa Mela, Bhuta Nrutya, Naga Nrutya, Batte Kola, Chennu Kunitha, Maaragalu Kunitha, Kolata, Simha Nrutya,[113] Yakshagana

Kerala

Thirayattam, Padayani, Ayyappanvilakku, Vattakkali, Theyyam, Mohiniyattom, Kadhakali, Koodiyattam, Thiruvathira Kali, Ottamthullal, Kerala folk dance, Kalamezhuthum Pattum, Oppana, Marghamkali, Chavittunadakam, Mudiyettu, Dhaphumuttu, Parichamuttukali, Kolkali, Arbhanamuttu, Pulikali, Kummattikali, Poorakali, Arjunanirtham, Pettathullal

Chhattisgarh

Dadariya, Panthii, Suaa, Kaksat, Maria, Shaila, Gondi, Gaur, Karma, Sarhul, Raut Nacha, Danda Nacha, Gerri, Thiski, Bar, Relo, Muriya

Madhya Pradesh

Sugga, Banjaara (Lehangi), Matki dance, Phul Patti dance, Grida dance.[113]

Manipur

Lie Haraoba dance, Chanlam, Toonaga Lomna dance[113]

Meghalaya

Wiking, Pombalang Nongkrem[113]

Mizoram

Cheraw, Khuallam, Chheihlam, Chailam, Tlanglam, Sarlamkai, Chawnglaizawn[113]

Maharashtra

Lavani, Koli, Tamasha, Bala Dindi, Dhangari Gaja[113]

Odisha

Naga, Ghumri,[113] Danda Nacha,[115]Chhau, Goti Pua, Dal khai, Baagha Nacha, Keisabadi

Punjab

Bhangra, Gidha, Kikli, Sammi, Karthi

Rajasthan

Banjaara, Ghoomar, Fire dance, Tera tali, Kachhi Ghori, Geedar[113]

Sikkim

Pang Toed Chaam (Chaam means dance) performed during the Pang Lhabsol festival in honor of the Guardian deity Khang-Chen-Dzonga, Maruni (Nepali Dance), and Tamak.[113]

Tamil Nadu
 
Santali Dance

Karakam, Puravai Attam, Ariyar Natanam, Podikazhi Attam, Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil Kummi, Pavakkuthu[113]

West Bengal

Chhau, Santali dance, Jatra, Gazan[113]

Tribal Gypsies

Lozen, Gouyen[113]

Contemporary dance edit

 
Dance accompanied by Rabindra Sangeet, a music genre started by Rabindranath Tagore.

Contemporary dance in India encompasses a wide range of dance activities currently performed in India. It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists.[116]

Uday Shankar and Shobana Jeyasingh have led modern Indian ballet which combined classical Indian dance and music with Western stage techniques. Their productions have included themes related to Shiva-Parvati, Lanka Dahan, Panchatantra, Ramayana among others.[117]

Dance in Bollywood Film edit

Main articles: Hindi dance music and Bollywood song and dance

The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience.[118]

Dance and song sequences have been an integral component of films across the country. With the introduction of sound to the cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films.[119]

 
A Bollywood dance performance in Bristol.

Dance in early Hindi films was primarily modeled on classical Indian dance styles such as Kathak, or folk dancers. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film. Typically, the hero or heroine performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. It is popular for a hero and heroine to dance and sing a pas de deux (a French ballet term, meaning "dance of two") in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation".[120] Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. The choreography for such item numbers varies depending on the film's genre and situation. The film actress and dancer Helen was famous for her cabaret numbers.[121]

Often in movies, the actors don't sing the songs themselves that they dance too, themselves but have another artist sing in the background. For an actor to sing in the song is unlikely but not rare. The dances in Bollywood can range from slow dancing to a more upbeat hip-hop style dance. The dancing itself is a fusion of all dance forms. It could be Indian classical, Indian folk dance, belly dancing, jazz, hip-hop, and everything else you can imagine.[122][123]

Dance education edit

Since India's independence from colonial rule, numerous schools have opened to further education, training, and socialization through dance classes,[124][125] or simply a means to exercise and fitness.[126]

Major cities in India now have numerous schools that offer lessons in dances such as Odissi, Bharatanatyam, and these cities host hundreds of shows every year.[127][128] Dances which were exclusive to one gender, now have participation by both males and females.[129] Many innovations and developments in the modern practice of classical Indian dances, states Anne-Marie Geston, are of a quasi-religious type.[53]

Geographic spread edit

Some traditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. Indian mythologies play a significant part in dance forms of countries in Southeast Asia, an example being the performances based on Ramayana in Javanese dances.[130]

Festivals edit

 
A group of Ahir dancers during Diwali.

Sangeet Natak Akademi (The National Academy of Music, Dance, and Drama) organizes dance festivals around India.[131]

See also edit

References edit

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  2. ^ McCormick, Charlie T.; White, Kim Kennedy (13 December 2010). Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. ABC-CLIO. p. 705. ISBN 978-1-59884-241-8.
  3. ^ Bishnupriya Dutt; Urmimala Sarkar Munsi (2010). Engendering Performance: Indian Women Performers in Search of an Identity. SAGE Publications. p. 216. ISBN 978-81-321-0612-8.
  4. ^ Williams 2004, pp. 83–84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Sattriya, Chhau, Manipuri, Yaksagana and Bhagavata Mela.
  5. ^ Don Rubin; Chua Soo Pong; Ravi Chaturvedi (2001). The World Encyclopedia of Contemporary Theatre: Asia/Pacific. Routledge. pp. 130–139. ISBN 978-0-415-26087-9.
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  7. ^ Jean Holm; John Bowker (1994). Worship. Bloomsbury Academic. p. 85. ISBN 978-1-85567-111-9., Quote: Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".
  8. ^ a b Frank Burch Brown (2013). The Oxford Handbook of Religion and the Arts. Oxford University Press. pp. 195–196. ISBN 978-0-19-972103-0., Quote: All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Sattriya and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and to the world."
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Notes edit

  • Massey, Reginald (2004), India's Dances: Their History, Technique, and Repertoire, Abhinav Publications
  • Narayan, Shovanna (2005). “ The Sterling Book: Indian Classical Dance", Nepalian Dawn Press Group, New Delhi, India.
  • "Revealing the Art of Surya-namasjarnatyasastra" by Narayanan Chittoor Namboodiripad ISBN 9788121512183
  • Ragini Devi (1990). Dance Dialects of India. Motilal Banarsidass. ISBN 978-81-208-0674-0.
  • Saryu Doshi (1989). Dances of Manipur: The Classical Tradition. Marg Publications. ISBN 978-81-85026-09-1.
  • Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications. ISBN 978-81-7017-359-5.
  • Natalia Lidova (2014). Natyashastra. Oxford University Press. doi:10.1093/obo/9780195399318-0071.
  • Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.
  • Massey, Reginald (1999). India's Kathak Dance - Past, Present, Future. Abhinav Publications. ISBN 978-81-7017-374-8.
  • Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0.
  • Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 978-90-04-03978-0.
  • Williams, Drid (2004). (PDF). Visual Anthropology. 17 (1): 69–98. doi:10.1080/08949460490274013. S2CID 29065670. Archived from the original (PDF) on 4 March 2016. Retrieved 5 August 2016.
  • Richmond, Farley P.; Swann, Darius L.; Zarrilli, Phillip B. (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. ISBN 978-81-208-0981-9.
  • Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi:10.2307/3204783. JSTOR 3204783.
  • Maurice Winternitz (2008). History of Indian Literature Vol 3 (Original in German published in 1922, translated into English by VS Sarma, 1981). New Delhi: Motilal Banarsidass. ISBN 978-8120800564.

External links edit

 
Wikimedia Commons has media related to Dance of India.
  • , National Centre for the Performing Arts, Mumbai
  • Center for the Performance Arts in India, University of Pittsburgh
  • Dance and Theatre in India, Goethe Institut
  • , Stony Brook University
  • Dance in India college exchange programs, City University of New York
  • [1], Darpana Academy of Performing Arts, Ahmedabad
  • Dance in India Study Abroad Programs in the USA 28 November 2016 at the Wayback Machine, Schools for International Training
  • The Anthropology of Theater and Spectacle William Beeman (1993)

February 16, 2024
dance, india, comprises, numerous, styles, dances, generally, classified, classical, folk, with, other, aspects, indian, culture, different, forms, dances, originated, different, parts, india, developed, according, local, traditions, also, imbibed, elements, f. Dance in India comprises numerous styles of dances generally classified as classical or folk 1 As with other aspects of Indian culture different forms of dances originated in different parts of India developed according to the local traditions and also imbibed elements from other parts of the country 2 Dance in India include classical above semiclassical folk and tribal Sangeet Natya Academy the national academy for performing arts in India recognizes eight traditional dances as Indian classical dances 3 while other sources and scholars recognize more 4 5 These have roots in the Sanskrit text Natya Shastra 1 and the religious performance arts of Hinduism 6 7 8 Mohiniyattam at Kannur district school kalothsavam 2019Folk dances are numerous in number and style and vary according to the local tradition of the respective state ethnic or geographic region Contemporary dances include refined and experimental fusions of classical folk and Western forms Dancing traditions of India have influence not only over the dances in the whole of South Asia but on the dancing forms of Southeast Asia as well Dances in Indian films like Bollywood Dance for Hindi films are often noted for freeform expression of dance and hold a significant presence in the popular culture of the Indian subcontinent 9 In India a command over either of Sanskrit Tamil Telugu Oriya Meitei Manipuri Persian or Arabic are highly appreciated and respected for learning dances most significantly Indian Classical Dances as dancers could have the tools of these languages to go into the primary material texts 10 Contents 1 Nomenclature 2 Origins of dance in India 3 Classical dance 3 1 Bharatanatyam 3 2 Kathakali 3 3 Kathak 3 4 Kuchipudi 3 5 Odissi 3 6 Sattriya 3 7 Manipuri 3 8 Mohiniyattam 4 Folk and tribal dance forms 4 1 Tribal dances by territory 5 Contemporary dance 5 1 Dance in Bollywood Film 6 Dance education 7 Geographic spread 8 Festivals 9 See also 10 References 11 Notes 12 External linksNomenclature editClassical dance is one whose theory training means and rationale for expressive practice is documented and traceable to ancient classical texts particularly the Natya Shastra 1 11 Classical Indian dances have historically involved a school or guru shishya parampara teacher disciple tradition and require studies of the classical texts physical exercises and extensive training to systematically synchronize the dance repertoire with underlying play or composition vocalists and the orchestra 12 13 A folk Indian dance is one which is largely an oral tradition 14 whose traditions have been historically learnt and mostly passed down from one generation to the next through word of mouth and casual joint practice 15 A semi classical Indian dance is one that contains a classical imprint but has become a folk dance and lost its texts or schools A tribal dance is a more local form of folk dance typically found in one tribal population typically tribal dances evolve into folk dances over a historic period 16 17 Origins of dance in India edit nbsp Shiva as Nataraja Lord of Dance The origins of dance in India go back to ancient times The earliest paleolithic and neolithic cave paintings such as the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh show dance scenes 18 Several sculptures found at Indus Valley Civilisation archaeological sites now distributed between Pakistan and India show dance figures For example the Dancing Girl sculpture is dated to about 2500 BCE showing a 10 5 centimetres 4 1 in high figurine in a dance pose 19 20 21 The Vedas integrate rituals with performance arts such as a dramatic play where not only praises to gods were recited or sung but the dialogues were part of a dramatic representation and discussion of spiritual themes 22 23 The Sanskrit verses in chapter 13 2 of Shatapatha Brahmana 800 700 BCE for example are written in the form of a play between two actors 24 The Vedic sacrifice yajna is presented as a kind of fight with its actors its dialogues its portion to be set to music its interludes and its climaxes Louis Renou Vedic India 22 The evidence of earliest dance related texts are in Natasutras which are mentioned in the text of Panini the sage who wrote the classic on Sanskrit grammar and who is dated to about 500 BCE 25 26 This performance arts related Sutra text is mentioned in other late Vedic texts are as two scholars names Shilalin IAST Silalin and Krishashva Kṛsasva credited to be pioneers in the studies of ancient drama singing dance and Sanskrit compositions for these arts 25 27 Richmond et al estimate the Natasutras to have been composed around 600 BCE whose complete manuscript has not survived into the modern age 26 25 The classic text of dance and performance arts that has survived is the Hindu text Natya Shastra attributed to sage Bharata He credits the art his text systematically presents to times before him ultimately to Brahma who created Natya veda by taking the word from the Rigveda melody from the Samaveda mime from the Yajurveda and emotion from the Atharvaveda 28 29 30 The first complete compilation of Natya Shastra is dated to between 200 BCE and 200 CE 31 32 but estimates vary between 500 BCE and 500 CE 33 The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters 31 34 The classical dances are rooted in Natya Shastra 1 India has a number of classical Indian dance forms each of which can be traced to different parts of the country Classical and folk dance forms also emerged from Indian traditions epics and mythology 35 36 Classical dance editMain article Indian classical dance Classical dance of India has developed a type of dance drama that is a form of total theater The dancer acts out a story almost exclusively through gestures Most of the classical dances of India enact stories from Hindu mythology 37 Each form represents the culture and ethos of a particular region or a group of people 38 The criteria for being considered as classical is the style s adherence to the guidelines laid down in Natyashastra which explains the Indian art of acting The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles Bharatanatyam Tamil Nadu Kathak North West and Central India Kathakali Kerala Kuchipudi Andhra Odissi Odisha Manipuri Manipur Mohiniyattam Kerala and Sattriya Assam 39 40 All classical dances of India have roots in Hindu arts and religious practices 6 8 The tradition of dance has been codified in the Natyashastra and performance is considered accomplished if it manages to evoke a rasa emotion among the audience by invoking a particular bhava gesture or facial expression Classical dance is distinguished from folk dance because it has been regulated by the rules of the Natyashastra and all classical dances are performed only in accordance with them 41 Bharatanatyam edit Main article Bharatanatyam nbsp BharatanatyamDating back to 1000 BC barathanatyam is a classical dance from the South Indian state of Tamil Nadu practiced predominantly in modern times by women The dance is usually accompanied by classical Carnatic music 42 Bharatnatyam is a major genre of Indian classical dance that originated in the Hindu temples of Tamil Nadu and neighboring regions 43 44 45 Traditionally Bharatanatyam has been a solo dance that was performed exclusively by women 46 47 and expressed Hindu religious themes and spiritual ideas particularly of Shaivism but also of Vaishnavism and Shaktism 43 48 49 Bharatanatyam and other classical dances in India were ridiculed and suppressed during the colonial British Raj era 50 51 52 In the post colonial period it has grown to become the most popular classical Indian dance style in India and abroad and is considered to be synonymous with Indian dance by many foreigners unaware of the diversity of dances and performance arts in Indian culture 53 Kathakali edit Main article Kathakali nbsp KathakaliKathakali katha story kali performance is a highly stylized classical dance drama form which originated from Kerala in the 17th century 54 55 56 This classical dance form is another story play genre of art but one distinguished by its elaborately colorful make up costumes and face masks wearing actor dancers who have traditionally been all males 55 56 Kathakali primarily developed as a Hindu performance art performing plays and mythical legends related to Hinduism 57 While its origin are more recent its roots are in temple and folk arts such as Kutiyattam and religious drama traceable to at least the 1st millennium CE 55 58 A Kathakali performance incorporates movements from the ancient martial arts and athletic traditions of south India 55 56 57 While linked to the temple dancing traditions such as Krishnanattam Kutiyattam and others Kathakali is different from these because unlike the older arts where the dancer actor also had to be the vocal artist Kathakali separated these roles allowing the dancer actor to excel in and focus on choreography while the vocal artists focused on delivering their lines 59 nbsp KathakKathak edit Main article Kathak Kathak is traditionally attributed to the traveling bards of ancient northern India known as Kathakas or storytellers 60 The term Kathak is derived from the Vedic Sanskrit word Katha meaning story and kathaka in Sanskrit means he who tells a story or to do with stories 60 61 Kathak evolved during the Bhakti movement particularly by incorporating childhood and amorous stories of Hindu god Krishna as well as independently in the courts of north Indian kingdoms 60 62 It transitioned adapted and integrated the tastes and Persian arts influence in the Mughal courts of the 16th and 17th century was ridiculed and declined in the colonial British era 52 63 then was reborn as India gained independence 51 64 Kathak is found in three distinct forms named after the cities where the Kathak dance tradition evolved Jaipur Benares and Lucknow 65 Stylistically the Kathak dance form emphasizes rhythmic foot movements adorned with small bells Ghungroo the movement harmonized to the music the legs and torso are generally straight and the story is told through a developed vocabulary based on the gestures of arms and upper body movement facial expressions stage movements bends and turns 51 62 66 Kuchipudi edit Main article Kuchipudi nbsp KuchipudiKuchipudi classical dance originated in a village of Krishna district in modern era Indian state of Andhra Pradesh 67 68 69 It has roots in antiquity and developed as a religious art linked to traveling bards temples and spiritual beliefs like all major classical dances of India 70 71 72 In its history the Kuchipudi dancers were all males typically Brahmins who would play the roles of men and women in the story after dressing appropriately 73 Modern Kuchipudi tradition believes that Tirtha Narayana Yati and his disciple an orphan named Siddhendra Yogi founded and systematized the art in the 17th century 74 75 76 Kuchipudi largely developed as a Hindu god Krishna oriented Vaishnavism tradition 77 and it is most closely related to Bhagavata Mela performance art found in Tamil Nadu 71 which itself has originated from Andhra Pradesh The Kuchipudi performance includes pure dance nritta 78 and expressive part of the performance nritya where rhythmic gestures as a sign language mime the play 78 79 Vocalists and musicians accompany the artist and the tala and raga set to Carnatic music 80 In modern productions Kuchipudi dancers include men and women 81 Odissi edit Main article Odissi nbsp OdissiOdissi originated in the Hindu temples of Odisha an eastern coastal state of India 82 83 Odissi in its history was performed predominantly by women 46 82 and expressed religious stories and spiritual ideas particularly of Vaishnavism Vishnu as Jagannath but also of other traditions such as those related to Hindu gods Shiva and Surya as well as Hindu goddesses Shaktism 84 Odissi is traditionally a dance drama genre of performance art where the artist s and musicians play out a mythical story a spiritual message or devotional poem from the Hindu texts using symbolic costumes 85 body movement abhinaya expressions and mudras gestures and sign language set out in ancient Sanskrit literature 86 Sattriya edit Main article Sattriya nbsp SattriyaSattriya is a classical dance drama performance art with origins in the Krishna centered Vaishnavism monasteries of Assam and attributed to the 15th century Bhakti movement scholar and saint named Srimanta Sankardev 87 88 89 One act plays of Sattriya are called Ankiya Nat which combine the aesthetic and the religious through a ballad dance and drama 90 91 The plays are usually performed in the dance community halls namghar 91 of monastery temples sattras 92 The themes played relate to Krishna and Radha sometimes other Vishnu avatars such as Rama and Sita 93 Manipuri edit Main article Manipuri Raas Leela nbsp Manipuri Raas Leela danceManipuri Raas Leela dance is a unique form of dance drama which has its origin in Manipur a state in northeastern India bordering with Myanmar Burma 94 95 It is particularly known for its Hindu Vaishnavism themes and performances of love inspired dance drama of Radha Krishna called Ras Lila 94 96 97 However the dance is also performed to themes related to Shaivism Shaktism 98 99 The Manipuri Raas Leela dance is a team performance with its own unique costumes notably the Kumil a barrel shaped elegantly decorated skirt aesthetics conventions and repertoire 100 The Manipuri dance drama is for most part marked by a performance that is graceful fluid sinuous with greater emphasis on hand and upper body gestures 101 102 Mohiniyattam edit Main article Mohiniyattam nbsp MohiniyattamMohiniyattam developed in the state of Kerala gets its name from Mohini the seductress avatar of Vishnu who in Hindu mythology uses her charms to help the good prevail in a battle between good and evil 103 104 Mohiniyattam follows the Lasya style described in Natya Shastra that is a dance which is delicate with soft movements and feminine 104 105 It is traditionally a solo dance performed by women after extensive training The repertoire of Mohiniyattam includes pure and expressive dance drama performances timed to sopana slower melody styled music 106 107 with recitation The songs are typically in a Malayalam Sanskrit hybrid called Manipravala 104 Folk and tribal dance forms editMain article Folk dance in India nbsp Gujarati Navaratri Garba at Ambaji TempleFolk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities 108 Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka Rasaka Dand Rasaka and Charchari The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a drama 109 nbsp Bhangra folk dance form from dancers Punjab India India has numerous folk dances Every state has its own folk dance forms like Bihu and Bagurumba in Assam Garba Gagari dance Ghodakhund amp Dandiya in Gujarat Nati in Himachal Pradesh Neyopa Bacha Nagma in Jammu and Kashmir Jhumair Domkach in Jharkhand Bedara Vesha Dollu Kunitha in Karnataka Thirayattam and Theyyam in Kerala Dalkhai in Odisha Bhangra amp Giddha in Punjab Kalbelia Ghoomar Rasiya in Rajasthan Perini Dance in Telangana Chholiya dance in Uttarakhand and likewise for each state and smaller regions in it 110 Lavani and Lezim and Koli dance is most popular dance in Maharashtra Tribal Dances in India are inspired by the tribal folklore Each ethnic group has its own distinct combination of myths legends tales proverbs riddles ballads folk songs folk dance and folk music 111 The dancers do not necessarily fall rigidly into the category of tribal However these forms of dance closely depict their life social relationships work and religious affiliations They represent the rich culture and customs of their native lands through intricate movements of their bodies A wide variation can be observed in the intensity of these dances Some involve very slight movement with a groovier edge to it while others involve elevated and vigorous involvement of limbs These dances are composed mostly on locally made instruments Percussion instruments feature in most of these dances Music is produced through indigenous instruments Music too has its own diversity in these tribal dances with the aesthetics ranging from mild and soothing to strong and weighted rhythms A few of them also have songs either sung by themselves or by onlookers The costumes vary from traditional saris of a particular pattern to skirts and blouses with mirror work for women and corresponding dhotis and upper wear for men They celebrate contemporary events and victories and are often performed as a mode of appeasing the tribal deities A lot of the dance styles depend upon the regional positioning of the ethnic group Factors as small as the east or west of a river result in a change of dance form even though the overreaching look of it may seem the same Religious affiliation affects the content of the songs and hence the actions in a dance sequence Another major factor affecting their content is the festivals mostly harvest For example the ethnic groups from the plain land rabhas from the hilly forested areas of Assam make use of baroyat plate like instrument Handa a type of sword boushi adze like instrument boumshi bamboo flute sum heavy wooden instrument dhansi kalbansi kalhurang chingbakak Traditionally their dances are called basili Through their dance they express their labours rejoicings and sorrows Handur Basu their pseudo war dance expresses their strength and solidarity 112 Tribal dances by territory edit From a broader point of view the different tribal dance forms as they would be classified in the context of territory are Andhra PradeshSiddi Tappeta Gundlu Urumulu thunder dance Butta Bommalata Goravayyalu Garaga Vessel Dance Vira Ntyam Heroic Dance Kolatam Chiratala Bhajana Dappu Puli V Esham Tiger Dance Gobbi Karuva and Veedhi Bhagavatam 113 Arunachal PradeshPonung Sadinuktso Khampti Ka Fifai Idu Mishmi ritual and Wancho AssamDhuliya and Bhawariya Bihu Deodhani Zikirs Apsara Sabah 113 GoaMussoll Dulpod or Durpod Kunnbi Geet Amon Shigmo Fugdi and Dhalo HaryanaRasleela Phag Dance Phalgun Daph Dance Dhamaal Loor Guga Jhomar Ghomar Khoria Holi Sapela 113 Himachal PradeshChambyali dance ghuraiyan pahadi nati Dalshone and Cholamba jhamakda Jataru Kayang Jhoori Ji Swang Tegi Rasa 113 JharkhandJhumair Domkach Paiki Chhau Mundari dance Santali dance 114 KarnatakaVeeragase Nandi Dhwaja Beesu Kamshaley Pata Kunitha Bana Debara Kunitha Pooja kunitha Karaga Gorawa Mela Bhuta Nrutya Naga Nrutya Batte Kola Chennu Kunitha Maaragalu Kunitha Kolata Simha Nrutya 113 Yakshagana KeralaThirayattam Padayani Ayyappanvilakku Vattakkali Theyyam Mohiniyattom Kadhakali Koodiyattam Thiruvathira Kali Ottamthullal Kerala folk dance Kalamezhuthum Pattum Oppana Marghamkali Chavittunadakam Mudiyettu Dhaphumuttu Parichamuttukali Kolkali Arbhanamuttu Pulikali Kummattikali Poorakali Arjunanirtham Pettathullal ChhattisgarhDadariya Panthii Suaa Kaksat Maria Shaila Gondi Gaur Karma Sarhul Raut Nacha Danda Nacha Gerri Thiski Bar Relo Muriya Madhya PradeshSugga Banjaara Lehangi Matki dance Phul Patti dance Grida dance 113 ManipurLie Haraoba dance Chanlam Toonaga Lomna dance 113 MeghalayaWiking Pombalang Nongkrem 113 MizoramCheraw Khuallam Chheihlam Chailam Tlanglam Sarlamkai Chawnglaizawn 113 MaharashtraLavani Koli Tamasha Bala Dindi Dhangari Gaja 113 OdishaNaga Ghumri 113 Danda Nacha 115 Chhau Goti Pua Dal khai Baagha Nacha Keisabadi PunjabBhangra Gidha Kikli Sammi Karthi RajasthanBanjaara Ghoomar Fire dance Tera tali Kachhi Ghori Geedar 113 SikkimPang Toed Chaam Chaam means dance performed during the Pang Lhabsol festival in honor of the Guardian deity Khang Chen Dzonga Maruni Nepali Dance and Tamak 113 Tamil Nadu nbsp Santali DanceKarakam Puravai Attam Ariyar Natanam Podikazhi Attam Kummi Kavadi Kolattam Navasandhi Kuravaik Koothu Mayilaattam Oyil Kummi Pavakkuthu 113 West BengalChhau Santali dance Jatra Gazan 113 Tribal GypsiesLozen Gouyen 113 Contemporary dance edit nbsp Dance accompanied by Rabindra Sangeet a music genre started by Rabindranath Tagore Contemporary dance in India encompasses a wide range of dance activities currently performed in India It includes choreography for Indian cinema modern Indian ballet and experiments with existing classical and folk forms of dance by various artists 116 Uday Shankar and Shobana Jeyasingh have led modern Indian ballet which combined classical Indian dance and music with Western stage techniques Their productions have included themes related to Shiva Parvati Lanka Dahan Panchatantra Ramayana among others 117 Dance in Bollywood Film edit Main articles Hindi dance music and Bollywood song and dance The presentation of Indian dance styles in film Hindi Cinema has exposed the range of dance in India to a global audience 118 Dance and song sequences have been an integral component of films across the country With the introduction of sound to the cinema in the film Alam Ara in 1931 choreographed dance sequences became ubiquitous in Hindi and other Indian films 119 nbsp A Bollywood dance performance in Bristol Dance in early Hindi films was primarily modeled on classical Indian dance styles such as Kathak or folk dancers Modern films often blend this earlier style with Western dance styles MTV or in Broadway musicals though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film Typically the hero or heroine performs with a troupe of supporting dancers Many song and dance routines in Indian films feature dramatic shifts of location and or changes of costume between verses of a song It is popular for a hero and heroine to dance and sing a pas de deux a French ballet term meaning dance of two in beautiful natural surroundings or architecturally grand settings referred to as a picturisation 120 Indian films have often used what are now called item numbers where a glamorous female figure performs a cameo The choreography for such item numbers varies depending on the film s genre and situation The film actress and dancer Helen was famous for her cabaret numbers 121 Often in movies the actors don t sing the songs themselves that they dance too themselves but have another artist sing in the background For an actor to sing in the song is unlikely but not rare The dances in Bollywood can range from slow dancing to a more upbeat hip hop style dance The dancing itself is a fusion of all dance forms It could be Indian classical Indian folk dance belly dancing jazz hip hop and everything else you can imagine 122 123 Dance education editSince India s independence from colonial rule numerous schools have opened to further education training and socialization through dance classes 124 125 or simply a means to exercise and fitness 126 Major cities in India now have numerous schools that offer lessons in dances such as Odissi Bharatanatyam and these cities host hundreds of shows every year 127 128 Dances which were exclusive to one gender now have participation by both males and females 129 Many innovations and developments in the modern practice of classical Indian dances states Anne Marie Geston are of a quasi religious type 53 Geographic spread editSome traditions of the Indian classical dance are practiced in the whole Indian subcontinent including Pakistan and Bangladesh with which India shares several other cultural traits Indian mythologies play a significant part in dance forms of countries in Southeast Asia an example being the performances based on Ramayana in Javanese dances 130 Festivals edit nbsp A group of Ahir dancers during Diwali Sangeet Natak Akademi The National Academy of Music Dance and Drama organizes dance festivals around India 131 See also editMettu AataReferences edit a b c d James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism N Z The Rosen Publishing Group pp 467 ISBN 978 0 8239 3180 4 Quote the Natyashastra remains the ultimate authority for any dance form that claims to be classical dance rather than folk dance McCormick Charlie T White Kim Kennedy 13 December 2010 Folklore An Encyclopedia of Beliefs Customs Tales Music and Art ABC CLIO p 705 ISBN 978 1 59884 241 8 Bishnupriya Dutt Urmimala Sarkar Munsi 2010 Engendering Performance Indian Women Performers in Search of an Identity SAGE Publications p 216 ISBN 978 81 321 0612 8 Williams 2004 pp 83 84 the other major classical Indian dances are Bharatanatyam Kathak Odissi Kathakali Kuchipudi Sattriya Chhau Manipuri Yaksagana and Bhagavata Mela Don Rubin Chua Soo Pong Ravi Chaturvedi 2001 The World Encyclopedia of Contemporary Theatre Asia Pacific Routledge pp 130 139 ISBN 978 0 415 26087 9 a b Julius Lipner 2012 Hindus Their Religious Beliefs and Practices Routledge p 206 ISBN 978 1 135 24061 5 It would be appropriate here to comment on Hindu classical dance This developed in a religious context and was given high profile as part of temple worship There are a number of regional and other styles as well as source texts but the point we wish to stress is the participative nature of such dance In form and content the heart of dance as worship in Hinduism has always been expression abhinaya i e the enacting of various themes Jean Holm John Bowker 1994 Worship Bloomsbury Academic p 85 ISBN 978 1 85567 111 9 Quote Hindu classical dance forms like Hindu music are associated with worship References to dance and music are found in the Vedic literature a b Frank Burch Brown 2013 The Oxford Handbook of Religion and the Arts Oxford University Press pp 195 196 ISBN 978 0 19 972103 0 Quote All of the dances considered to be part of the Indian classical canon Bharata Natyam Chhau Kathak Kathakali Kuchipudi Manipuri Mohiniattam Odissi Sattriya and Yakshagana trace their roots to religious practices the Indian diaspora has led to the translocation of Hindu dances to Europe North America and to the world McFee Graham 1994 The concept of dance education Routledge pp 127 128 ISBN 978 0 415 08376 8 Retrieved 29 February 2012 Munsi Urmimala Sarkar Burridge Stephanie 2012 Traversing Tradition Celebrating Dance in India en Routledge Taylor amp Francis p 35 ISBN 978 1 136 70378 2 a href Template Cite book html title Template Cite book cite book a CS1 maint date and year link John Pragathi national aware Gassner Edward Quinn 2002 The Reader s Encyclopedia of World Drama Courier pp 448 454 ISBN 978 0 486 42064 6 Pallabi Chakravorty Nilanjana Gupta 2012 Dance Matters Performing India on Local and Global Stages Routledge pp 56 57 169 170 209 210 ISBN 978 1 136 51612 2 Urmimala Sarkar Munsi Stephanie Burridge 2012 Traversing Tradition Celebrating Dance in India Taylor amp Francis pp 115 116 ISBN 978 1 136 70378 2 Pallabi Chakravorty Nilanjana Gupta 2012 Dance Matters Performing India on Local and Global Stages Routledge p 40 ISBN 978 1 136 51612 2 John Gassner Edward Quinn 2002 The Reader s Encyclopedia of World Drama Courier pp 448 454 ISBN 978 0 486 42064 6 Pallabi Chakravorty Nilanjana Gupta 2012 Dance Matters Performing India on Local and Global Stages Routledge pp 43 45 ISBN 978 1 136 51612 2 Kamal Sharma 2004 Folk Dances of Chamba Indus pp 35 36 ISBN 978 81 7387 166 5 Kapila Vatsyayan 1982 Dance in Indian Painting Abhinav Publications pp 12 19 ISBN 978 81 7017 153 9 Collections Pre History amp Archaeology National Museum New Delhi Archived from the original on 6 January 2019 Retrieved 30 December 2017 Upinder Singh 2008 A History of Ancient and Early Medieval India From the Stone Age to the 12th Century Pearson Education pp 153 162 ISBN 978 81 317 1120 0 Gregory L Possehl 2002 The Indus Civilization A Contemporary Perspective Rowman pp 111 115 with Figures 6 4 6 5 ISBN 978 0 7591 0172 2 a b ML Varadpande 1990 History of Indian Theatre Volume 1 Abhinav ISBN 978 8170172789 pages 45 47 Maurice Winternitz 2008 pp 181 182 ML Varadpande 1990 History of Indian Theatre Volume 1 Abhinav ISBN 978 8170172789 page 48 a b c Natalia Lidova 1994 Drama and Ritual of Early Hinduism Motilal Banarsidass pp 111 113 ISBN 978 81 208 1234 5 a b Richmond Swann amp Zarrilli 1993 p 30 Tarla Mehta 1995 pp xxiv xxxi xxxii 17 Magda Romanska 2014 The Routledge Companion to Dramaturgy Routledge pp 94 95 ISBN 978 1 135 12289 8 Daniel S Burt 2008 The Literature 100 A Ranking of the Most Influential Novelists Playwrights and Poets of All Time Infobase p 335 ISBN 978 1 4381 2706 4 Sinha Aakriti 2006 Let s know dances of India 1st ed New Delhi Star Publications ISBN 978 81 7650 097 5 a b Natalia Lidova 2014 Tarla Mehta 1995 pp xxiv 19 20 Wallace Dace 1963 p 249 Emmie Te Nijenhuis 1974 pp 1 25 Sinha Aakriti 2006 Let s know dances of India 1st ed New Delhi Star Publications ISBN 978 81 7650 097 5 Kapoor Sukhbir Singh March 1989 Sikh festivals Rourke Enterprises p 44 ISBN 978 0 86592 984 5 Retrieved 28 February 2012 Ramchandani Dale Hoiberg eds 2000 A to C Abd Allah ibn al Abbas to Cypress New Delhi Encyclopaedia Britannica India p 13 ISBN 978 0 85229 760 5 Chander Prakash 1 January 2003 India past amp present APH Publishing p 131 ISBN 978 81 7648 455 8 Retrieved 29 February 2012 Indian Classical Dance One India 9 March 2023 Archived from the original on 17 April 2009 Retrieved 11 June 2010 Narayan Shovana 2005 Indian classical dances ekam sat vipraah bahudaa vadanti Shubhi Publications p 5 ISBN 9781845571696 Culture of India The Rosen Publishing Group 2010 p 352 ISBN 978 1 61530 203 1 A Dance Recital of Bharatanatya SPICMACAY chapter Cornell university Archived from the original on 17 June 2012 Retrieved 24 January 2012 a b Bharata natyam Encyclopaedia Britannica 2007 Williams 2004 pp 83 84 the other major classical Indian dances are Kathak Kuchipudi Odissi Kathakali Manipuri Cchau Satriya Yaksagana and Bhagavata Mela Banerjee Projesh 1983 Indian Ballet Dancing New Jersey Abhinav Publications p 43 a b Peter J Claus Sarah Diamond Margaret Ann Mills 2003 South Asian Folklore An Encyclopedia Routledge p 136 ISBN 978 0 415 93919 5 Khokar Mohan 1984 Traditions of Indian Classical Dance India Clarion Books pp 73 76 Richard Schechner 2010 Between Theater and Anthropology University of Pennsylvania Press pp 65 66 ISBN 978 0 8122 0092 8 T Balasaraswati 1976 Bharata Natyam NCPA Quarterly Journal Volume 4 Issue 4 pages 1 8 Leslie C Orr 2000 Donors Devotees and Daughters of God Temple Women in Medieval Tamilnadu Oxford University Press pp 11 13 ISBN 978 0 19 535672 4 a b c Mary Ellen Snodgrass 2016 The Encyclopedia of World Folk Dance Rowman amp Littlefield pp 165 168 ISBN 978 1 4422 5749 8 a b Margaret E Walker 2016 India s Kathak Dance in Historical Perspective Routledge pp 94 98 ISBN 978 1 317 11737 7 a b Anne Marie Gaston 1992 Julia Leslie ed Roles and Rituals for Hindu Women Motilal Banarsidass pp 149 150 170 171 ISBN 978 81 208 1036 5 Zarrilli Phillip B 1984 The Kathakali complex actor performance amp structure Abhinav Publications pp 3 11 ISBN 978 81 7017 187 4 Retrieved 28 February 2012 a b c d James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group p 359 ISBN 978 0 8239 3179 8 a b c Peter J Claus Sarah Diamond Margaret Ann Mills 2003 South Asian Folklore An Encyclopedia Routledge pp 332 333 ISBN 978 0 415 93919 5 a b Phillip B Zarrilli 2000 Kathakali Dance drama Where Gods and Demons Come to Play Routledge pp xi 17 19 ISBN 978 0 415 13109 4 Phillip B Zarrilli 2000 Kathakali Dance drama Where Gods and Demons Come to Play Routledge pp 22 25 191 ISBN 978 0 415 13109 4 Richmond Swann amp Zarrilli 1993 pp 317 318 a b c Reena Shah 2006 Movement in Stills The Dance and Life of Kumudini Lakhia Mapin p 8 ISBN 978 81 88204 42 7 Massey 1999 p 15 a b James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group pp 358 359 ISBN 978 0 8239 3179 8 Nalini Ghuman 2014 Resonances of the Raj India in the English Musical Imagination 1897 1947 Oxford University Press pp 97 footnote 72 ISBN 978 0 19 931489 8 Reena Shah 2006 Movement in Stills The Dance and Life of Kumudini Lakhia Mapin p 9 ISBN 978 81 88204 42 7 Williams 2004 p 83 John H Beck 2013 Encyclopedia of Percussion Routledge pp 170 175 ISBN 978 1 317 74768 0 Manohar Laxman Varadpande 1982 Krishna Theatre in India Abhinav Publications p 133 ISBN 978 81 7017 151 5 Ragini Devi 1990 pp 60 68 Sunil Kothari amp Avinash Pasricha 2001 pp 43 46 80 footnote 8 James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group pp 376 377 ISBN 978 0 8239 3179 8 a b Massey 2004 pp 79 81 Ragini Devi 1990 pp 67 68 Bruno Nettl Ruth M Stone James Porter et al 1998 The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 516 518 ISBN 978 0 8240 4946 1 Ragini Devi 1990 p 73 Martin Banham James R Brandon 1993 The Cambridge guide to Asian theatre Cambridge University Press p 96 ISBN 978 0521588225 Sunil Kothari amp Avinash Pasricha 2001 Richmond Swann amp Zarrilli 1993 p 173 a b Sunil Kothari amp Avinash Pasricha 2001 pp 43 45 97 104 117 121 Cornelia Muller 2013 Body Language Communication De Gruyter pp 310 319 ISBN 978 3 11 026131 8 Sunil Kothari amp Avinash Pasricha 2001 pp 147 149 Sunil Kothari amp Avinash Pasricha 2001 pp 20 21 190 204 a b Odissi Encyclopaedia Britannica 2013 Centre for Cultural Resources and Training CCRT Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar Archived from the original on 14 October 2013 Retrieved 6 November 2013 Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar Sunil Kothari Avinash Pasricha 1990 Odissi Indian classical dance art Marg Publications pp 4 6 41 ISBN 978 81 85026 13 8 Quote There are other temples too in Orissa where the maharis used to dance Besides the temple of Lord Jagannatha maharis were employed in temples dedicated to Shiva and Shakti Stephanie Arnold 2014 The Creative Spirit An Introduction to Theatre McGraw Hill p 9 ISBN 978 0 07 777389 2 Sunil Kothari Avinash Pasricha 1990 Odissi Indian classical dance art Marg Publications pp 1 4 76 77 ISBN 978 81 85026 13 8 Frank Burch Brown 2014 The Oxford Handbook of Religion and the Arts Oxford University Press pp 193 195 ISBN 978 0 19 517667 4 Shovana Narayan 2011 The Sterling Book of INDIAN CLASSICAL DANCE Sterling Publishers pp 73 74 ISBN 978 81 207 9078 0 Richmond Swann amp Zarrilli 1993 p 22 Ankiya Nat Archived 17 February 2020 at the Wayback Machine UNESCO Asia Pacific Database on Intangible Cultural Heritage ICH Japan a b Lavanya Vemsani 2016 Krishna in History Thought and Culture An Encyclopedia of the Hindu Lord of Many Names ABC CLIO pp 12 13 ISBN 978 1 61069 211 3 Siyuan Liu 2016 Routledge Handbook of Asian Theatre Routledge pp 19 21 ISBN 978 1 317 27886 3 Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass pp 294 299 ISBN 978 81 208 0007 6 a b James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group pp 420 421 ISBN 978 0 8239 3179 8 Massey 2004 pp 177 187 Massey 2004 p 177 Ragini Devi 1990 pp 175 180 Massey 2004 pp 177 180 Saroj Nalini Parratt 1997 The pleasing of the gods Meitei Lai Haraoba Vikas Publishers pp 14 20 42 46 ISBN 9788125904168 Saryu Doshi 1989 pp 19 20 93 99 Richmond Swann amp Zarrilli 1993 pp 174 175 Ragini Devi 1990 p 176 James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group p 433 ISBN 978 0 8239 3179 8 a b c Mohini Attam Encyclopaedia Britannica 2016 Bharati Shivaji Avinash Pasricha 1986 The Art of Mohiniyattam Lancer Publishers pp 6 44 48 ISBN 978 81 7062 003 7 Siyuan Liu 2016 Routledge Handbook of Asian Theatre Routledge pp 131 132 ISBN 978 1 317 27886 3 Bharati Shivaji Avinash Pasricha 1986 The Art of Mohiniyattam Lancer Publishers pp 79 90 ISBN 978 81 7062 003 7 Hoiberg Dale 2000 Students Britannica India Volume 2 Popular Prakashan p 392 ISBN 9780852297605 Devi Ragini 1990 Dance dialects of India Motilal Banarsidass p 181 ISBN 978 81 208 0674 0 Retrieved 29 February 2012 Gupta Shobhna 2005 Dances of India Har Anand Publications ISBN 9788124108666 Chakravorty Pallabi Gupta Nilanjana 2010 Dance Matters New Delhi Routledge pp 43 44 ISBN 978 0 415 55375 9 Chakravorty Pallabi 2010 Dance Matters New Delhi Routledge pp 50 51 a b c d e f g h i j k l m n o p Bajpai Gyanendra Dutt 2014 ext Book of Dance New Delhi Neha Publishers amp Distributors Welcome Jharkhand Tourism Development Corporation Ltd jharkhandtourism gov in Archived from the original on 5 August 2018 Retrieved 6 September 2018 Danda Nacha Folk Dance of Odisha Hindustan Times 25 April 2017 Retrieved 15 January 2019 Banerji Projesh October 1983 Indian ballet dancing Abhinav Publications p 172 ISBN 978 0 391 02716 9 Retrieved 28 February 2012 Kathleen Kuiper 1 July 2010 The Culture of India The Rosen Publishing Group p 284 ISBN 978 1 61530 203 1 Retrieved 29 February 2012 Gopal Sangita Moorti Sujata 2008 Global Bollywood travels of Hindi song and dance Illustrated ed U of Minnesota Press p 249 ISBN 978 0 8166 4579 4 Retrieved 6 February 2012 Shreshthova Sangita 2008 Between cinema and performance Globalizing Bollywood dance p 372 ISBN 978 0 549 90081 8 permanent dead link Gopal Sangita 2008 Global Bollywood travels of Hindi song and dance Minneapolis University of Minnesota Press ISBN 9780816645787 Meyer Michael 2009 Word amp image in colonial and postcolonial literatures and cultures Rodopi p 379 ISBN 978 90 420 2743 5 Jubin 4 March 2020 Viral Dance Song in India 2020 Campbell 2007 Meduri Avanthi 2004 Bharatanatyam as a Global Dance Some Issues in Research Teaching and Practice PDF Dance Research Journal 36 2 11 29 doi 10 2307 20444589 JSTOR 20444589 S2CID 144784756 O Shea Janet 2003 At Home in the World The Bharatanatyam Dancer As Transnational Interpreter PDF TDR 47 1 176 186 doi 10 1162 105420403321250071 S2CID 17824898 Gokulsing Dissanayake Wimal 2009 K Moti ed Popular culture in a globalised India London Routledge pp 125 126 ISBN 978 0 415 47666 9 Anne Marie Gaston 1992 Julia Leslie ed Roles and Rituals for Hindu Women Motilal Banarsidass pp 150 152 ISBN 978 81 208 1036 5 Ester Gallo 2016 Migration and Religion in Europe Comparative Perspectives on South Asian Experiences Routledge pp 32 33 ISBN 978 1 317 09637 5 Sharma Arvind 1998 Katherine K Young ed Feminism and world religions Albany N Y State University of New York Press ISBN 978 0 7914 4023 0 Studies in Indo Asian art and culture Volume 3 International Academy of Indian Culture 1974 p 131 Shah Purnima 2000 National dance festivals in India public culture social memory and identity University of Wisconsin Madison Retrieved 20 August 2012 Notes editMassey Reginald 2004 India s Dances Their History Technique and Repertoire Abhinav Publications Narayan Shovanna 2005 The Sterling Book Indian Classical Dance Nepalian Dawn Press Group New Delhi India Revealing the Art of Surya namasjarnatyasastra by Narayanan Chittoor Namboodiripad ISBN 9788121512183 Ragini Devi 1990 Dance Dialects of India Motilal Banarsidass ISBN 978 81 208 0674 0 Saryu Doshi 1989 Dances of Manipur The Classical Tradition Marg Publications ISBN 978 81 85026 09 1 Sunil Kothari Avinash Pasricha 2001 Kuchipudi Abhinav Publications ISBN 978 81 7017 359 5 Natalia Lidova 2014 Natyashastra Oxford University Press doi 10 1093 obo 9780195399318 0071 Natalia Lidova 1994 Drama and Ritual of Early Hinduism Motilal Banarsidass ISBN 978 81 208 1234 5 Massey Reginald 1999 India s Kathak Dance Past Present Future Abhinav Publications ISBN 978 81 7017 374 8 Tarla Mehta 1995 Sanskrit Play Production in Ancient India Motilal Banarsidass ISBN 978 81 208 1057 0 Emmie Te Nijenhuis 1974 Indian Music History and Structure BRILL Academic ISBN 978 90 04 03978 0 Williams Drid 2004 In the Shadow of Hollywood Orientalism Authentic East Indian Dancing PDF Visual Anthropology 17 1 69 98 doi 10 1080 08949460490274013 S2CID 29065670 Archived from the original PDF on 4 March 2016 Retrieved 5 August 2016 Richmond Farley P Swann Darius L Zarrilli Phillip B 1993 Indian Theatre Traditions of Performance Motilal Banarsidass ISBN 978 81 208 0981 9 Wallace Dace 1963 The Concept of Rasa in Sanskrit Dramatic Theory Educational Theatre Journal 15 3 249 254 doi 10 2307 3204783 JSTOR 3204783 Maurice Winternitz 2008 History of Indian Literature Vol 3 Original in German published in 1922 translated into English by VS Sarma 1981 New Delhi Motilal Banarsidass ISBN 978 8120800564 External links edit nbsp Wikimedia Commons has media related to Dance of India Dance Indian performing arts National Centre for the Performing Arts Mumbai Center for the Performance Arts in India University of Pittsburgh Dance and Theatre in India Goethe Institut Center for India Studies Performance Art Series Classical Dances Stony Brook University Dance in India college exchange programs City University of New York 1 Darpana Academy of Performing Arts Ahmedabad Dance in India Study Abroad Programs in the USA Archived 28 November 2016 at the Wayback Machine Schools for International Training The Anthropology of Theater and Spectacle William Beeman 1993 Retrieved from https en wikipedia org w index php title Dance in India amp oldid 1194034502, wikipedia, wiki, book, books, library,

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