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Art & CultureFree till Sep 9

Indian Dance Forms: Classical Styles and Their Revival

July 19, 2026

Indian Dance Forms: Classical Styles and Their Revival

Introduction

India's classical dance tradition represents one of the world's oldest continuous performing art forms, with origins traced to the Natya Shastra attributed to Sage Bharata (circa 200 BCE–200 CE). The Sangeet Natak Akademi currently recognizes eight classical dance forms, each with distinct repertoire, costumes, and regional roots.

The Eight Classical Dance Forms

1. Bharatanatyam (Tamil Nadu)

Originating from Tamil Nadu's temples, Bharatanatyam was traditionally performed by devadasis. Key features include:

  • Margam repertoire: Alarippu (invocation), Jatiswaram (pure dance), Varnam (centerpiece), Padam (expression), Tillana (conclusion)
  • Key postures: Araimandi (half-seated position), distinct hand gestures (mudras) from Abhinaya Darpana
  • Revival figures: E. Krishna Iyer (rescued from social stigma), Rukmini Devi Arundale (founded Kalakshetra in 1936)
  • Notable exponents: M. S. Subbulakshmi, Alarmel Valli, Malavika Sarukkai

2. Kathak (North India)

Evolving from Ras Leela and influenced by Mughal courts, Kathak emphasizes rhythmic footwork (tatkar) and spins (chakkar).

  • Three gharanas: Lucknow (expression, nazaakat), Jaipur (rhythmic virtuosity), Banaras (charm, intricate footwork)
  • Pioneers: Sitara Devi, Birju Maharaj, Shambhu Maharaj, Pandit Lachhu Maharaj
  • Contemporary revival: Efforts by institutions like Kathak Kendra (Delhi) to preserve traditional compositions

3. Kathakali (Kerala)

Classical dance-drama from Kerala, known for elaborate costumes and makeup (aharya abhinaya).

  • Character types: Pacha (noble heroes), Kathi (villainous nobles), Kari (demonic females), Minukku (female/ascetic)
  • Training: Kalaripayattu (martial arts) integration, extensive eye exercises
  • Revival: Kalamandalam institution (founded 1930 by poet Vallathol Narayana Menon)

4. Kuchipudi (Andhra Pradesh)

Originally performed by Brahmin men as dance-drama from Kuchipudi village.

  • Key features: Speedy footwork, sculptural poses, dramatic narrative
  • Notable items: Tarangam (dancing on brass plate), Krishna Shabdam
  • Exponents: Vedantam Lakshminarayana, Raja & Radha Reddy, Swapnasundari

5. Odissi (Odisha)

Dedicated to Lord Jagannath, with sculpturesque poses inspired by temple carvings.

  • Key features: Tribhangi (three-bend posture), Chauka (basic square stance), fluid upper body movements
  • : Reconstructed from temple manuscripts and sculptures; efforts by Guru Mayadhar Raut, Kelucharan Mohapatra, Sanjukta Panigrahi

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Revival
  • Distinct element: Mangalacharan (opening ritual), Batu (pure nritta)
  • 6. Manipuri (Manipur)

    Evolving from Vaishnavite traditions and Lai Haraoba festival, characterized by gentle, flowing movements.

    • Major forms: Ras Leela (Radha-Krishna theme), Pung Cholom (drum dance), Thang Ta (martial)
    • Key feature: Costumes—barrel-shaped skirt (potloi) for female dancers
    • Gurus: Singhajit Singh, Darshana Jhaveri

    7. Mohiniyattam (Kerala)

    "Enchantress dance" performed by women, focusing on graceful lasya (feminine) elements.

    • Repertoire: Similar to Bharatanatyam but with distinctive swaying hip movements
    • Revival: Revived by poet Vallathol, later by Kalamandalam Kalyanikutty Amma
    • Costume: White/ivory sari with gold border, gajra (jasmine garland)

    8. Sattriya (Assam)

    Evolved from Vaishnavite monasteries (sattras) established by Sankaradeva in the 15th-16th century.

    • Recognized: By Sangeet Natak Akademi in 2000 as classical form
    • Key features: Strict geometric patterns, brisk footwork, distinct bhona (costume)
    • Preservation: Still performed in sattras; efforts by Jatin Goswami, Indira PP Bora

    Revival and Contemporary Challenges

    Government Initiatives

    • Sangeet Natak Akademi Awards: Highest recognition for performing artists
    • CCRT (Centre for Cultural Resources and Training): Educational outreach
    • Cultural exchange: ICCR sponsorship for overseas performances
    • Scheme for Promotion of Culture: Financial support for artists and institutions

    Contemporary Issues

    • Commercialization vs. purity: Balancing traditional aesthetics with modern stage demands
    • Documentation: Need for archiving disappearing guru-shishya parampara compositions
    • Regional language barriers: Classical terms in Tamil/Sanskrit often inaccessible outside regions
    • Economic viability: Most artists require alternate income sources
    • Digital preservation: COVID-19 accelerated online learning but raised access equity concerns

    Conclusion

    India's classical dance forms embody the Natya Shastra's dictum that dance is a visual offering to the divine. Revival efforts have successfully rescued several forms from decline, but ongoing challenges of preservation, economic sustainability, and authentic transmission in a globalized world require sustained policy attention and community engagement.