The Eight Classical Dance Forms

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2.1 Bharatanatyam (Tamil Nadu)

One of the oldest classical dance forms, with roots in the temple dance tradition of the Devadasis in Tamil Nadu temples (associated historically with temples such as the Brihadeeswarar Temple, Thanjavur).
Revived and codified in its modern form in the early 20th century, notably through the efforts of Rukmini Devi Arundale, who founded the Kalakshetra institution in Chennai and helped move the form from temple/court contexts into a respected concert art.
Characterised by fixed, sculpturesque body postures (aramandi, a distinctive half-sitting stance), intricate footwork, and precise geometric patterns.
Traditional performance structure (Margam): Alarippu, Jatiswaram, Shabdam, Varnam (the centrepiece, combining Nritta and Abhinaya), Padam, Tillana.
Notable exponents: Rukmini Devi Arundale, Balasaraswati, Yamini Krishnamurthy, Padma Subrahmanyam.

Derives its name from "Katha" (story), rooted in the tradition of storytellers (Kathakars) narrating mythological tales, later refined in Mughal and Nawabi courts (particularly Lucknow), giving it a distinctive blend of Hindu devotional and Persian/Islamic courtly aesthetic influences.
Characterised by fast, intricate footwork (with ankle bells, "ghungroo"), rapid spins (chakkars), and a straight-backed, upright posture (distinct from the more grounded postures of South Indian forms).
Two/three major "gharanas" (schools): Lucknow Gharana (emphasis on grace, expression/abhinaya, Nawabi court aesthetics), Jaipur Gharana (emphasis on rigorous footwork and rhythmic complexity), and the lesser-known Banaras Gharana.
Notable exponents: Birju Maharaj (Lucknow Gharana), Sitara Devi, Shovana Narayan.

A dramatic, highly stylised dance-drama form combining dance, music, and acting, portraying stories primarily from the Ramayana, Mahabharata, and Puranas.
Distinguished by elaborate, colourful costumes and striking painted facial makeup ("chutti") that categorises characters by type (e.g., green face — noble/heroic characters; red/black — villainous characters; distinctive white beard character — Hanuman), and highly codified hand gestures (mudras) derived from an older text, the Hastalakshanadeepika.
Performances are traditionally all-night events, accompanied by vocalists and percussion instruments (chenda, maddalam).
Developed in its present form in the 17th century, closely linked to the patronage of the Zamorin rulers and later the Kottarakkara Thampuran; further shaped by the Raja of Vettathu and later systematised by the Kalamandalam institution founded by poet Vallathol Narayana Menon.

Named after the village of Kuchipudi in present-day Andhra Pradesh, where it developed as a temple/village dance-drama tradition, traditionally performed by an all-male troupe of Brahmin performers (a feature that has since evolved with wider participation, including women).
A distinctive, athletic technique includes movements performed while balancing on the rim of a brass plate ("tarangam") and, in some traditional presentations, elements combining dance with dialogue/song in Telugu.
Traditionally attributed to a reform/systematisation by the 17th-century Vaishnava saint-poet Siddhendra Yogi, who is credited with composing the influential dance-drama Bhama Kalapam.
Notable exponents: Vempati Chinna Satyam (major modern revivalist), Raja and Radha Reddy.

One of the oldest dance forms, with archaeological evidence of dance poses found in the Rani Gumpha caves (Udayagiri, Odisha) dating back over 2,000 years; historically linked to temple dance traditions (Devadasis called "Maharis") at temples such as the Jagannath Temple, Puri.
Distinguished by the Tribhangi posture (a three-bend stance of the body — head, torso, and lower body each angled differently), fluid, lyrical movements, and strong sculptural quality echoing Odishan temple carvings.
Revived in its modern classical form in the mid-20th century by gurus including Kelucharan Mohapatra, Pankaj Charan Das, and Debaprasad Das.

Deeply intertwined with the Vaishnava devotional tradition of Manipur (as well as older indigenous Meitei traditions), especially the Raas Leela dance-dramas depicting the divine love of Radha and Krishna.
Characterised by graceful, gentle, flowing movements (in contrast to the sharper rhythmic emphasis of several other classical forms), with minimal percussive footwork sound (dancers often perform barefoot without ankle bells emphasising rhythm audibly), and elaborate, distinctive conical/barrel-shaped skirts (particularly in the Raas Leela costume for female dancers).
Notable exponents: Guru Bipin Singh (major modern codifier/revivalist), the Jhaveri Sisters.

The name translates to "dance of the enchantress" (Mohini being an enchanting female form/avatar associated with Vishnu in mythology).
A solo, lyrical, gently swaying dance form performed traditionally by women, characterised by soft, flowing, graceful movements distinct from the more vigorous, angular Kathakali of the same region; traditionally accompanied by Carnatic music.
Associated with the patronage and revival efforts of Maharaja Swati Tirunal of Travancore in the 19th century, and later significantly revived in the 20th century with the involvement of Mahakavi Vallathol Narayana Menon and the Kalamandalam institution.

Originated in the Vaishnavite monasteries (Sattras) of Assam, associated with the 15th–16th century Assamese saint-reformer Srimanta Sankardev, who used dance-drama as a devotional and pedagogical tool alongside his broader Bhakti (Ekasarana Dharma) movement.
Traditionally performed by monks (bhokots) within monastery settings as a part of religious ritual and community teaching; only formally recognised as a classical dance form by the Sangeet Natak Akademi in 2000 (the most recently added of the eight classical forms).
Combines dance, drama, and music, drawing on themes from Krishna's life, with accompanying instruments including the khol (drum) and taal (cymbals).

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