Part 1 — The Eight Classical Dances

Introduction

India possesses one of the richest and most diverse dance traditions in the world, broadly divided into classical dances (codified, with a theoretical basis in ancient texts, especially the Natya Shastra attributed to Sage Bharata) and folk/tribal dances (community-rooted, tied to seasons, festivals, and rituals, and varying enormously by region). The Sangeet Natak Akademi, India's national academy for music, dance, and drama, currently confers classical status on eight dance forms. This is one of the most frequently tested Culture/Art topics in SSC and RRB General Awareness papers.

The Natya Shastra

The Natya Shastra, a Sanskrit treatise on the performing arts traditionally attributed to Sage Bharata Muni and dated variously between 200 BCE and 200 CE, is the foundational text for Indian classical dance and drama. It describes the Navarasa (nine emotions/sentiments): Shringara (love), Hasya (laughter), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear), Bibhatsa (disgust), Adbhuta (wonder), and Shanta (peace). It also codifies Mudras (hand gestures), Abhinaya (expressive technique, divided into Angika/body, Vachika/speech, Aharya/costume, and Sattvika/emotional), and Tala (rhythm).

The Eight Classical Dances (Sangeet Natak Akademi Recognised)

1. Bharatanatyam (Tamil Nadu)

The oldest of the classical dance forms, originating in the temples of Tamil Nadu, traditionally performed by Devadasis. Its theoretical basis draws heavily on the Natya Shastra. Structure follows a fixed sequence called the Margam: Alarippu, Jatiswaram, Shabdam, Varnam (the centrepiece), Padam, Tillana, and Shlokam. Performed to Carnatic music. Notable exponents: Rukmini Devi Arundale (revivalist, founded Kalakshetra), Balasaraswati, Yamini Krishnamurthy, Padma Subrahmanyam, Alarmel Valli.

2. Kathak (North India, esp. Uttar Pradesh)

Derived from the word "Katha" (story), evolved from temple/storytelling traditions of North Indian "Kathakars" and later refined in Mughal and Rajput courts, giving it a distinctive blend of Hindu devotional themes and Persian-influenced court aesthetics. Marked by intricate footwork (tatkar), rapid spins (chakkars), and subtle facial expression, performed to Hindustani music. Three major gharanas (schools): Lucknow Gharana (emphasis on grace/abhinaya, associated with Wajid Ali Shah's court), Jaipur Gharana (emphasis on footwork and rhythm), and Banaras Gharana. Notable exponents: Birju Maharaj, Sitara Devi, Shovana Narayan, Uma Sharma.

3. Kathakali (Kerala)

A dance-drama form characterised by elaborate, colourful costumes and make-up (vesham), large headdresses, and highly stylised facial expressions and hand gestures depicting stories chiefly from the Ramayana, Mahabharata, and Puranas. Performers train for years to master the 24 basic mudras and the vigorous, athletic style rooted in Kalaripayattu (Kerala's martial art). Traditionally an all-night performance form with vocalists narrating while performers enact. Colour-coded make-up denotes character type: green (pacha) for noble/heroic characters, red-and-white/knife (kathi) for villainous but valorous characters, black (thadi/kari) for demons and forest-dwellers. Notable exponents: Kalamandalam Gopi, Kalamandalam Krishnan Nair.

4. Kuchipudi (Andhra Pradesh)

Named after the village Kuchipudi in Andhra Pradesh's Krishna district, historically performed by Brahmin men (including in female roles) as a dance-drama; today performed by both men and women, and has evolved solo repertoire alongside dance-drama. Known for a distinctive Tarangam item, danced while standing on the rim of a brass plate. Performed to Carnatic music. Notable exponents: Vempati Chinna Satyam (key modern revivalist), Yamini Krishnamurthy, Raja and Radha Reddy.

5. Odissi (Odisha)

One of the oldest dance forms, with archaeological evidence in the Rani Gumpha caves at Udayagiri (Odisha) dating to around the 2nd century BCE; historically linked to temple traditions of the Maharis (temple dancers, similar to Devadasis) at the Jagannath Temple, Puri, and later the Gotipua tradition of young boys dressed as girls. Characterised by the distinctive Tribhangi (three-bend) posture and fluid, sculpturesque movements evocative of temple sculpture. Notable exponents: Kelucharan Mohapatra (key modern revivalist), Sanjukta Panigrahi, Sonal Mansingh, Madhavi Mudgal.

6. Manipuri (Manipur)

Distinct from other classical forms for its gentle, lyrical, non-percussive movement quality, and its deep association with Vaishnavism and the Ras Lila tradition depicting the life of Krishna and Radha, introduced under Manipuri king Bhagyachandra in the 18th century. Costumes are notably elaborate, especially the stiff, mirror-embroidered skirt (Kumil) worn by female dancers in Ras Lila. Also includes the vigorous martial Pung Cholom (drum dance). Notable exponents: Guru Bipin Singh, Jhaveri Sisters.

7. Mohiniyattam (Kerala)

Meaning "dance of the enchantress" (Mohini being the female avatar of Vishnu), this is a solo, lyrical dance form performed by women, characterised by soft, swaying movements, in contrast to the vigorous style of Kathakali from the same region. Revived in the 20th century with support from poet Vallathol Narayana Menon, founder of the Kerala Kalamandalam. Notable exponents: Kalamandalam Kalyanikutty Amma, Bharati Shivaji.

8. Sattriya (Assam)

The most recently recognised classical dance (accorded classical status by the Sangeet Natak Akademi in 2000), originating in the Sattras (Vaishnavite monasteries) established by the 15th–16th century Assamese saint-reformer Srimanta Sankardeva. Traditionally performed by monks (Bhokots) as a devotional offering, it combines dance-drama (Ankiya Naat) elements. Notable exponents: Jatin Goswami, Ghanakanta Bora.

Chhau Dance — A Special Case

Chhau deserves special mention as a semi-classical/folk dance-form recognised by UNESCO as an Intangible Cultural Heritage of Humanity (inscribed 2010), practised across the tri-junction of West Bengal (Purulia Chhau), Odisha (Mayurbhanj Chhau), and Jharkhand (Seraikella Chhau), each with distinct stylistic features — Purulia and Seraikella use masks, while Mayurbhanj Chhau is performed without masks. It combines martial arts, acrobatics, and traditional dance to depict stories from epics and folklore, traditionally performed by men during the spring Chaitra Parva festival.

Other Notable Traditional and Folk Forms

Yakshagana (Karnataka) is a traditional dance-drama combining dance, music, dialogue, elaborate costume, and make-up, depicting stories from Hindu epics, performed through the night in coastal Karnataka. Theyyam (Kerala) is a ritualistic performance in which performers are believed to embody deities and ancestral spirits, involving elaborate costumes and trance states. Garba and Dandiya Raas (Gujarat) are performed during Navratri, Garba traditionally around a lamp or image of the goddess (representing the womb/life force), Dandiya Raas using sticks and associated with Krishna's Raas Lila. Bihu (Assam) accompanies the Assamese New Year/harvest festival of the same name, marked by energetic movements and traditional Bihu songs. Bhangra (Punjab) originated as a harvest celebration dance for men, danced to the dhol; its female counterpart is Giddha. Ghoomar (Rajasthan) is a graceful swirling dance performed by women, traditionally associated with the Bhil tribe and later adopted by Rajput women, gaining pop-culture prominence via Bollywood.

Institutions Promoting Dance

The Sangeet Natak Akademi (established 1952, headquartered in New Delhi) is India's apex national academy for music, dance, and drama and confers the Sangeet Natak Akademi Award (equivalent to a national honour in performing arts) and the Akademi Fellowship, its highest honour. Kalakshetra in Chennai, founded by Rukmini Devi Arundale in 1936, is a leading institution for Bharatanatyam and Carnatic music training. Kerala Kalamandalam, founded by poet Vallathol Narayana Menon in 1930, is central to Kathakali and Mohiniyattam training.

Dance Gurus and Padma Awards (Selected)

Dancer	Dance Form	Notable Honour
Rukmini Devi Arundale	Bharatanatyam	Padma Bhushan; founded Kalakshetra
Birju Maharaj	Kathak	Padma Vibhushan
Kelucharan Mohapatra	Odissi	Padma Vibhushan
Sonal Mansingh	Odissi/Bharatanatyam	Padma Vibhushan
Yamini Krishnamurthy	Bharatanatyam/Kuchipudi	Padma Bhushan
Vempati Chinna Satyam	Kuchipudi	Padma Bhushan
Sitara Devi	Kathak	Padma Bhushan (though famously declined the Padma Shri earlier)
Mallika Sarabhai	Bharatanatyam/Kuchipudi	Padma Bhushan