Dance in India

2022-04-18T01:22:45Z

2409:4040:D08:4983:A818:D3FD:EC2D:3B32:

{{short description|Classical to folk dance arts of India}}
{{Use dmy dates|date=February 2020}}
{{Culture of India}}
[[File:Classical dances of India.jpg|thumb|260px|Dance in India include classical (above), semiclassical, folk and tribal.]]
'''Dance in India''' comprises numerous styles of [[dance]]s, generally classified as [[Indian classical dance|classical]] or [[Folk dance in India|folk]].<ref name=lochtefeld467/> 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.<ref name="McCormickWhite2010">{{cite book|last1=McCormick|first1=Charlie T.|last2=White|first2=Kim Kennedy|title=Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art|url=https://books.google.com/books?id=Ea65pD9YyzkC&pg=PA705|date=13 December 2010|publisher=ABC-CLIO|isbn=978-1-59884-241-8|page=705}}</ref>

[[Sangeet Natya Academy]], the national academy for performing arts in India, recognizes eight traditional dances as [[Indian classical dance]]s,<ref>{{cite book|author1=Bishnupriya Dutt|author2=Urmimala Sarkar Munsi|title=Engendering Performance: Indian Women Performers in Search of an Identity|url=https://books.google.com/books?id=uNaGAwAAQBAJ&pg=PA216|year=2010|publisher=SAGE Publications|isbn=978-81-321-0612-8|page=216}}</ref> while other sources and scholars recognize more.{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: [[Bharatanatyam]], [[Kathak]], [[Odissi]], [[Kathakali]], [[Kuchipudi]], [[Sattriya]], [[Chhau dance|Chhau]], [[Manipuri dance|Manipuri]], [[Yaksagana]] and [[Bhagavata Mela]]}}<ref>{{cite book|author1=Don Rubin|author2=Chua Soo Pong|author3=Ravi Chaturvedi|title=The World Encyclopedia of Contemporary Theatre: Asia/Pacific|url=https://books.google.com/books?id=maGU4ziPQJQC&pg=PA130 |year=2001|publisher=Routledge |isbn=978-0-415-26087-9|pages=130–139}}</ref> These have roots in the Sanskrit text ''[[Natya Shastra]]'',<ref name=lochtefeld467>{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: N-Z|url=https://archive.org/details/illustratedencyc0000loch |url-access=registration|year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3180-4 |pages=[https://archive.org/details/illustratedencyc0000loch/page/467 467] }}, '''Quote:''' "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".</ref> and the [[Religion|religious]] performance arts of [[Hinduism]].<ref name=lipner206>{{cite book|author=Julius Lipner|title=Hindus: Their Religious Beliefs and Practices|url=https://books.google.com/books?id=qv3fCgAAQBAJ&pg=PA206|year=2012|publisher=Routledge|isbn=978-1-135-24061-5|page=206|quote=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.|author-link=Julius Lipner}}</ref><ref name=holmbowker85>{{cite book|author1=Jean Holm|author2=John Bowker|title=Worship|url=https://books.google.com/books?id=s_nUAwAAQBAJ&pg=PA85|year=1994|publisher=Bloomsbury Academic |isbn=978-1-85567-111-9|page=85}}, '''Quote:''' Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the vedic literature, (...)".</ref><ref name="Brown2013p195">{{cite book|author=Frank Burch Brown|title=The Oxford Handbook of Religion and the Arts |url=https://books.google.com/books?id=X8g8BAAAQBAJ |year=2013|publisher=Oxford University Press|isbn=978-0-19-972103-0 |pages=195–196 }}, '''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."</ref>

[[File:Mohiniyattam at Kannur district school kalothsavam 2019 10.jpg|thumb|[[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 regions. 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 [[South East Asia]] as well. Dances in Indian films, like [[Hindi Dance Music|Bollywood Dance]] for Hindi films, are often noted for freeform expression of dance and hold a significant presence in popular culture of the Indian subcontinent.<ref name="popculture">{{cite book|last=McFee|first=Graham|title=The concept of dance education|url=https://books.google.com/books?id=z68OAAAAQAAJ&pg=PA128|access-date=29 February 2012|year=1994|publisher=Routledge|isbn=978-0-415-08376-8|pages=127–128}}</ref>

== Nomenclature ==
A 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]]''.<ref name=lochtefeld467/><ref>{{cite book|author1=John Pragathi national aware Gassner|author2=Edward Quinn|title=The Reader's Encyclopedia of World Drama|url=https://books.google.com/books?id=oPOQf26l-PEC |year=2002|publisher=Courier |isbn=978-0-486-42064-6 |pages=448–454 }}</ref> 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.<ref>{{cite book|author1=Pallabi Chakravorty|author2=Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=KQly7wn0C5sC |year=2012|publisher=Routledge|isbn=978-1-136-51612-2|pages=56–57, 169–170, 209–210 }}</ref><ref>{{cite book|author1=Urmimala Sarkar Munsi|author2=Stephanie Burridge|title=Traversing Tradition: Celebrating Dance in India |url=https://books.google.com/books?id=bKepAgAAQBAJ&pg=PT116|year=2012|publisher=Taylor & Francis|isbn=978-1-136-70378-2|pages=115–116}}</ref>

A folk Indian dance is one which is largely an [[oral tradition]],<ref>{{cite book|author1=Pallabi Chakravorty|author2=Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=KQly7wn0C5sC |year=2012|publisher=Routledge|isbn=978-1-136-51612-2|page=40 }}</ref> whose traditions have been historically learnt and mostly passed down from one generation to the next through word of mouth and casual joint practice.<ref name=gassner448>{{cite book|author1=John Gassner|author2=Edward Quinn|title=The Reader's Encyclopedia of World Drama|url=https://books.google.com/books?id=oPOQf26l-PEC |year=2002|publisher=Courier |isbn=978-0-486-42064-6 |pages=448–454 }}</ref> 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.<ref>{{cite book|author1=Pallabi Chakravorty|author2=Nilanjana Gupta|title=Dance Matters: Performing India on Local and Global Stages|url=https://books.google.com/books?id=KQly7wn0C5sC |year=2012|publisher=Routledge|isbn=978-1-136-51612-2|pages=43–45}}</ref><ref>{{cite book|author=Kamal Sharma |title=Folk Dances of Chambā |url=https://books.google.com/books?id=Gz4ZAxYR6igC |year=2004|publisher=Indus |isbn=978-81-7387-166-5|pages=35–36}}</ref>

== Origins of dance in India ==
[[File:Shiva as the Lord of Dance LACMA edit.jpg|thumb|100px|Shiva as [[Nataraja]] (Lord of Dance).]]

The origins of dance in India go back into the ancient times. The earliest paleolithic and neolithic cave paintings such as the UNESCO world heritage site at [[Bhimbetka rock shelters]] in Madhya Pradesh shows dance scenes.<ref>{{cite book|author=Kapila Vatsyayan|title=Dance in Indian Painting|url=https://books.google.com/books?id=58fUibaZdGYC |year=1982|publisher=Abhinav Publications|isbn=978-81-7017-153-9|pages=12–19}}</ref> Several sculptures found at [[Indus Valley Civilization]] archaeological sites, now distributed between Pakistan and India, show dance figures. For example, the [[Dancing Girl (sculpture)|Dancing Girl sculpture]] is dated to about 2500 BCE, shows a {{convert|10.5|cm|in}} high figurine in a dance pose.<ref>{{cite web|title=Collections:Pre-History & Archaeology|publisher=National Museum, New Delhi|url=http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|access-date=30 December 2017|archive-date=6 January 2019|archive-url=https://web.archive.org/web/20190106145719/http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|url-status=dead}}</ref><ref>{{cite book|author=Upinder Singh|title=A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century|url=https://books.google.com/books?id=H3lUIIYxWkEC |year=2008|publisher=Pearson Education |isbn=978-81-317-1120-0|pages=153–162}}</ref><ref>{{cite book|author=Gregory L. Possehl|title=The Indus Civilization: A Contemporary Perspective|url=https://books.google.com/books?id=pmAuAsi4ePIC |year=2002|publisher=Rowman|isbn=978-0-7591-0172-2|pages=111–115 with Figures 6.4–6.5}}</ref>

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.<ref name=varadpande45/>{{Sfn|Maurice Winternitz|2008|pp=181–182}} 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.<ref>ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav, {{ISBN|978-8170172789}}, page 48</ref>

{{Quote|
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<ref name=varadpande45>ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav, {{ISBN|978-8170172789}}, pages 45–47</ref>}}

The evidence of earliest dance related texts are in ''Natasutras'', which are mentioned in the text of [[Pāṇini|Panini]], the sage who wrote the classic on [[Vyakarana|Sanskrit grammar]], and who is dated to about 500 BCE.<ref name="Lidova1994p111">{{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 |pages=111–113}}</ref>{{sfn|Richmond|Swann|Zarrilli|1993|p=30}} 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.<ref name="Lidova1994p111"/>{{Sfn|Tarla Mehta|1995|pp=xxiv, xxxi–xxxii, 17}} Richmond et al. estimate the ''Natasutras'' to have been composed around 600 BCE, whose complete manuscript has not survived into the modern age.{{sfn|Richmond|Swann|Zarrilli|1993|p=30}}<ref name="Lidova1994p111"/>

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]].<ref>{{cite book|author=Magda Romanska|title=The Routledge Companion to Dramaturgy|url=https://books.google.com/books?id=XXQ9BAAAQBAJ |year=2014 |publisher=Routledge|isbn=978-1-135-12289-8|pages=94–95}}</ref><ref>{{cite book|author=Daniel S. Burt|title=The Literature 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time|url=https://books.google.com/books?id=bdtJx5KrZkMC&pg=PA335 |year=2008 |publisher=Infobase |isbn=978-1-4381-2706-4|page=335}}</ref><ref>{{cite book|last=Sinha|first=Aakriti|title=Let's know dances of India|year=2006|publisher=Star Publications|location=New Delhi|isbn=978-81-7650-097-5|edition=1st}}</ref> The first complete compilation of ''Natya Shastra'' is dated to between 200 BCE and 200 CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500 BCE and 500 CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The classical dances are rooted in ''Natya Shastra''.<ref name=lochtefeld467/>

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.<ref>{{cite book|last=Sinha|first=Aakriti|title=Let's know dances of India|year=2006|publisher=Star Publications|location=New Delhi|isbn=978-81-7650-097-5 |url=https://books.google.com/books?id=h67wZpGPUi0C&q=dance+forms+in+india&pg=PT8|edition=1st}}</ref><ref name="Kapoor1989">{{cite book|last=Kapoor|first=Sukhbir Singh|title=Sikh festivals|url=https://archive.org/details/sikhfestivals00kapo|url-access=registration|access-date=28 February 2012|date=March 1989|publisher=Rourke Enterprises|isbn=978-0-86592-984-5|page=[https://archive.org/details/sikhfestivals00kapo/page/44 44]}}</ref>

== Classical dance ==
{{Main|Indian classical dance}}
Classical dance of India has developed a type of dance-drama that is a form of a total theater. The dancer acts out a story almost exclusively through gestures. Most of the classical dances of India enact stories from Hindu mythology.<ref>{{cite book|title=A to C (Abd Allah ibn al-Abbas to Cypress)|year=2000|publisher=Encyclopædia Britannica (India)|location=New Delhi|isbn=978-0-85229-760-5 |page=13|editor1=Ramchandani |editor2=Dale Hoiberg}}</ref> Each form represents the culture and ethos of a particular region or a group of people.<ref name="Chander2003">{{cite book|last=Chander|first=Prakash|title=India: past & present|url=https://books.google.com/books?id=4_Rl5c_v1-kC&pg=PA131|access-date=29 February 2012|date=1 January 2003|publisher=APH Publishing|isbn=978-81-7648-455-8|page=131}}</ref>

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 Pradesh|Andhra]]), [[Odissi]] ([[Odisha]]), [[Manipuri dance|Manipuri]] ([[Manipur]]), [[Mohiniyattam]] ([[Kerala]]), and [[Sattriya]] ([[Assam]]).<ref>{{cite news|url= http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html|title= Indian Classical Dance|date= 2009-04-19|publisher= One India|access-date= 2010-06-11|url-status= dead|archive-url= https://web.archive.org/web/20090417044206/http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html|archive-date= 17 April 2009|df= dmy-all}}</ref><ref>{{Cite book | last = Narayan|first = Shovana| title = Indian classical dances: "ekam sat vipraah bahudaa vadanti"| publisher = Shubhi Publications| year = 2005| url = https://books.google.com/books?id=vxBq4xq94ZYC | page = 5|isbn = 9781845571696}}</ref> All classical dances of India have roots in Hindu arts and religious practices.<ref name=lipner206/><ref name="Brown2013p195"/>

The tradition of dance has been codified in the Natyashastra and a performance is considered accomplished if it manages to evoke a ''[[rasa (aesthetics)|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.<ref name=Culture>{{cite book|title=Culture of India|year=2010|publisher=The Rosen Publishing Group|isbn=978-1-61530-203-1 |page=352|url=https://books.google.com/books?id=c8PJFLeURhsC}}</ref>

=== Bharatanatyam ===
{{Main|Bharatanatyam}}
[[File:Bharata Natyam Performance DS.jpg|thumb|100px|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]].<ref>{{cite web|url=http://www.rso.cornell.edu/spicmacay/spicmacay_files/home_files/pav.html |title=A Dance Recital of Bharatanatya |publisher=SPICMACAY chapter, Cornell university |access-date=24 January 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120617062651/http://www.rso.cornell.edu/spicmacay/spicmacay_files/home_files/pav.html |archive-date=17 June 2012 }}</ref> Bharatnatyam is a major genre of [[Indian classical dance]] that originated in the Hindu temples of [[Tamil Nadu]] and neighboring regions.<ref name=britannicabn>[https://www.britannica.com/art/bharata-natyam Bharata-natyam] ''Encyclopædia Britannica''. 2007</ref>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Kathak, Kuchipudi, Odissi, Kathakali, Manipuri, Cchau, Satriya, Yaksagana and Bhagavata Mela}}<ref>{{cite book |last= Banerjee |first= Projesh |title= Indian Ballet Dancing |year= 1983 |publisher= Abhinav Publications |location= New Jersey |page= 43}}</ref> Traditionally, Bharatanatyam has been a solo dance that was performed exclusively by women,<ref name="Claus2003p136">{{cite book|author1=Peter J. Claus|author2=Sarah Diamond|author3=Margaret Ann Mills|title=South Asian Folklore: An Encyclopedia|url= https://books.google.com/books?id=ienxrTPHzzwC |year=2003|publisher=Routledge |isbn= 978-0-415-93919-5 |pages=136 }}</ref><ref name=":0">{{Cite book|title=Traditions of Indian Classical Dance|last=Khokar|first=Mohan|publisher=Clarion Books|year=1984|location=India|pages=73–76}}</ref> and expressed Hindu religious themes and spiritual ideas, particularly of [[Shaivism]], but also of [[Vaishnavism]] and [[Shaktism]].<ref name=britannicabn/><ref name= Schechner65>{{cite book|author=Richard Schechner |title=Between Theater and Anthropology |url=https://books.google.com/books?id=DoEaulAxbu8C&pg=PA65 |year=2010|publisher=University of Pennsylvania Press |isbn=978-0-8122-0092-8 |pages=65–66}}</ref><ref>T Balasaraswati (1976), Bharata Natyam, ''NCPA Quarterly Journal'', Volume 4, Issue 4, pages 1-8</ref>

Bharatanatyam and other classical dances in India were ridiculed and suppressed during the colonial [[British Raj]] era.<ref>{{cite book|author=Leslie C. Orr|title=Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu|url=https://books.google.com/books?id=F___xKcP8lMC |year=2000|publisher=Oxford University Press|isbn=978-0-19-535672-4|pages=11–13}}</ref><ref name="marysnodgrass166"/><ref name="Walker2016p94">{{cite book|author=Margaret E. Walker|title=India's Kathak Dance in Historical Perspective|url=https://books.google.com/books?id=nC83DAAAQBAJ&pg=PA94|year=2016|publisher=Routledge |isbn=978-1-317-11737-7 |pages=94–98 }}</ref> 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.<ref name="Leslie1992p149">{{cite book|author=Anne-Marie Gaston|editor=Julia Leslie|title=Roles and Rituals for Hindu Women|url=https://books.google.com/books?id=sKDm8EH2L3kC |year=1992|publisher=Motilal Banarsidass |isbn=978-81-208-1036-5 |pages=149–150, 170–171 }}</ref>

=== Kathakali ===
{{Main|Kathakali}}
[[File:Kathakali BNC.jpg|thumb|100px|Kathakali]]
Kathakali (''katha'', "story"; ''kali'', "performance") is a highly stylized classical [[dance]]-[[drama]] form, which originated from [[Kerala]] in the 17th century.<ref name="Zarrilli1984">{{cite book|last=Zarrilli|first=Phillip B.|title=The Kathakali complex: actor, performance & structure|url=https://books.google.com/books?id=CjwYysH2ZQIC|access-date=28 February 2012|year=1984|publisher=Abhinav Publications|isbn=978-81-7017-187-4|pages=3–11}}</ref><ref name="Lochtefeld2002p359">{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: A-M|url=https://archive.org/details/illustratedencyc0000loch |url-access=registration|year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3179-8 |page=359 }}</ref><ref name="claus2003p332">{{cite book|author1=Peter J. Claus|author2=Sarah Diamond|author3=Margaret Ann Mills|title=South Asian Folklore: An Encyclopedia |url=https://books.google.com/books?id=ienxrTPHzzwC |year=2003|publisher=Routledge |isbn=978-0-415-93919-5 |pages=332–333 }}</ref> 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.<ref name="Lochtefeld2002p359"/><ref name="claus2003p332"/>

Kathakali primarily developed as a Hindu performance art, performing plays and mythical legends related to Hinduism.<ref name=zarrilli17>{{cite book|author=Phillip B. Zarrilli|title=Kathakali Dance-drama: Where Gods and Demons Come to Play|url=https://archive.org/details/kathakalidancedr0000zarr/page/|url-access=registration|year=2000|publisher=Routledge|isbn=978-0-415-13109-4|pages=[https://archive.org/details/kathakalidancedr0000zarr/page/ xi, 17–19]}}</ref> 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.<ref name="Lochtefeld2002p359"/><ref name=zarrilli191>{{cite book|author=Phillip B. Zarrilli|title=Kathakali Dance-drama: Where Gods and Demons Come to Play|url=https://archive.org/details/kathakalidancedr0000zarr |url-access=registration|year=2000|publisher=Routledge |isbn=978-0-415-13109-4 |pages=[https://archive.org/details/kathakalidancedr0000zarr/page/22 22]–25, 191 }}</ref> A Kathakali performance incorporates movements from the ancient martial arts and athletic traditions of south India.<ref name="Lochtefeld2002p359"/><ref name="claus2003p332"/><ref name=zarrilli17/> 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.{{sfn|Richmond|Swann|Zarrilli|1993|pages=317–318}}
[[File:Kathak dance India November 2011.jpg|thumb|160x160px|'''kathak dance''']]

=== Kathak ===
{{Main|Kathak}}
Kathak is traditionally attributed to the traveling bards of ancient [[northern India]], known as Kathakas or storytellers.<ref name=reenashah8/> 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".<ref name=reenashah8/>{{Sfn|Massey|1999|p=15}} 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.<ref name=reenashah8>{{cite book|author=Reena Shah|title=Movement in Stills: The Dance and Life of Kumudini Lakhia|url=https://books.google.com/books?id=sSKU2DROHMgC&pg=PA8|year=2006|publisher=Mapin |isbn=978-81-88204-42-7 |pages=8 }}</ref><ref name="Lochtefeld2002p358">{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: A-M|url=https://archive.org/details/illustratedencyc0000loch |url-access=registration|year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3179-8 |pages=358–359 }}</ref> 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,<ref name="Walker2016p94"/><ref name="Ghuman2014p97">{{cite book|author=Nalini Ghuman|title=Resonances of the Raj: India in the English Musical Imagination, 1897-1947|url=https://books.google.com/books?id=BkVZAwAAQBAJ&pg=PA97 |year=2014|publisher=Oxford University Press|isbn=978-0-19-931489-8 |pages=97 footnote 72 }}</ref> then was reborn as India gained independence.<ref name=marysnodgrass166/><ref name=reenashah9>{{cite book|author=Reena Shah|title=Movement in Stills: The Dance and Life of Kumudini Lakhia|url=https://books.google.com/books?id=sSKU2DROHMgC&pg=PA8|year=2006|publisher=Mapin |isbn=978-81-88204-42-7 |page=9 }}</ref>

Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – [[Jaipur]], [[Varanasi|Benares]] and [[Lucknow]].{{Sfn|Williams|2004|p=83}} 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.<ref name=marysnodgrass166>{{cite book|author=Mary Ellen Snodgrass|title=The Encyclopedia of World Folk Dance|url=https://books.google.com/books?id=DMGpDAAAQBAJ |year=2016|publisher=Rowman & Littlefield |isbn=978-1-4422-5749-8 |pages=165–168 }}</ref><ref name="Lochtefeld2002p358"/><ref>{{cite book|author=John H. Beck|title=Encyclopedia of Percussion|url=https://books.google.com/books?id=8U83AgAAQBAJ |year=2013|publisher=Routledge|isbn=978-1-317-74768-0 |pages=170–175 }}</ref>

=== Kuchipudi ===
{{Main|Kuchipudi}}
[[File:Kuchipudi Performer DS.jpg|thumb|100px|Kuchipudi]]
Kuchipudi classical dance originated in a village of [[Kuchipudi, Krishna district|Krishna district]] in modern era Indian state of [[Andhra Pradesh]].<ref name="Varadpande1982p133">{{cite book|author=Manohar Laxman Varadpande|title=Krishna Theatre in India|url=https://books.google.com/books?id=TaF603WEv4IC |year=1982|publisher=Abhinav Publications|isbn=978-81-7017-151-5 |pages=133 }}</ref>{{Sfn|Ragini Devi|1990|pp=60-68}}{{Sfn|Sunil Kothari|Avinash Pasricha|2001|pp=43-46, 80 footnote 8}} 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.<ref name=lochtefeld376>{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: A-M|url=https://books.google.com/books?id=5kl0DYIjUPgC&pg=PA376 |year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3179-8 |pages=376–377 }}</ref>{{Sfn|Massey|2004|pp=79-81}}{{Sfn|Ragini Devi|1990|pp=67-68}} In its history, the Kuchipudi dancers were all males, typically [[Brahmin]]s, who would play the roles of men and women in the story after dressing appropriately.<ref name="NettlStone1998p516">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter |title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA516|year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=516–518 |display-authors=etal}}</ref>

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.{{Sfn|Ragini Devi|1990|p=73}}<ref>{{cite book|author1=Martin Banham|author2=James R. Brandon |title=The Cambridge guide to Asian theatre|year=1993|publisher=Cambridge University Press |isbn=978-0521588225| page=96|url=https://books.google.com/books?id=ttnH5W9qoBAC }}</ref>{{Sfn|Sunil Kothari|Avinash Pasricha|2001}} Kuchipudi largely developed as a Hindu god [[Krishna]]-oriented [[Vaishnavism]] tradition,{{sfn|Richmond|Swann|Zarrilli|1993|p=173}} and it is most closely related to [[Bhagavata Mela]] performance art found in Tamil Nadu, {{Sfn|Massey|2004|pp=79-81}} which itself has originated from [[Andhra Pradesh]]. The Kuchipudi performance includes pure dance (''nritta''),{{Sfn|Sunil Kothari|Avinash Pasricha|2001|pp=43-45, 97-104, 117-121}} and expressive part of the performance (''nritya''), where rhythmic gestures as a [[sign language]] mime the play.{{Sfn|Sunil Kothari|Avinash Pasricha|2001|pp=43-45, 97-104, 117-121}}<ref name="Müller2013p310">{{cite book|author=Cornelia Müller |title=Body - Language - Communication|url=https://books.google.com/books?id=VPjbBgAAQBAJ&pg=PA309| year=2013| publisher= De Gruyter| isbn=978-3-11-026131-8 |pages=310–319 }}</ref> Vocalists and musicians accompany the artist, and the ''tala'' and ''raga'' set to ([[Carnatic music]]).{{Sfn|Sunil Kothari|Avinash Pasricha|2001|pp=147-149}} In modern productions, Kuchipudi dancers include men and women.{{Sfn|Sunil Kothari|Avinash Pasricha|2001|pp=20-21, 190-204}}

=== Odissi ===
{{Main|Odissi}}
[[File:Shrinika performing Abhinaya (Kede Chhanda Janilu Tuhi).jpg|thumb|100px|Odissi]]
Odissi originated in the [[Hindu temple]]s of [[Odisha]] – an eastern coastal state of [[India]].<ref name=britannicaodis>[https://www.britannica.com/art/odissi Odissi] ''Encyclopædia Britannica'' (2013)</ref><ref>[http://ccrtindia.gov.in/classicaldances.php Centre for Cultural Resources and Training (CCRT)];<br>{{cite web|url=http://sangeetnatak.gov.in/sna/guide-snaawards.htm |title=Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar |access-date=6 November 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131014000750/http://sangeetnatak.gov.in/sna/guide-snaawards.htm |archive-date=14 October 2013 }} Guidelines for Sangeet Natak Akademi Ratna and Akademi Puraskar</ref> Odissi, in its history, was performed predominantly by women,<ref name="Claus2003p136"/><ref name=britannicaodis/> 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]]).<ref name="KothariPasricha1990p41">{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=4–6, 41 }}, '''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."</ref> 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,<ref>{{cite book|author=Stephanie Arnold|title=The Creative Spirit: An Introduction to Theatre|url=https://books.google.com/books?id=pn1zCgAAQBAJ&pg=PA9 |year=2014|publisher=McGraw Hill |isbn=978-0-07-777389-2 |pages=9 }}</ref> body movement, ''abhinaya'' (expressions) and ''[[mudra]]s'' (gestures and [[sign language]]) set out in ancient Sanskrit literature.<ref>{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990|publisher=Marg Publications|isbn=978-81-85026-13-8|pages=1–4, 76–77}}</ref>

=== Sattriya ===
{{Main|Sattriya}}
[[File:Krishnakahi Kashyap performing Sattriya Dance.jpg|thumb|100px| 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]].<ref name="Brown2014p195">{{cite book|author=Frank Burch Brown|title=The Oxford Handbook of Religion and the Arts|url=https://books.google.com/books?id=GkvSAQAAQBAJ&pg=PA195 |year=2014|publisher=Oxford University Press |isbn=978-0-19-517667-4 |pages=193–195}}</ref><ref name="Narayan2011p73">{{cite book|author=Shovana Narayan|title=The Sterling Book of INDIAN CLASSICAL DANCE|url=https://books.google.com/books?id=zLOiaGDLYOAC&pg=PA73 |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=73–74}}</ref>{{sfn|Richmond|Swann|Zarrilli|1993|p=22}} One-act plays of ''Sattriya'' are called ''[[Ankia Naat|Ankiya Nat]]'', which combine the aesthetic and the religious through a ballad, dance and drama.<ref>[http://www.accu.or.jp/ich/en/arts/A_IND1.html Ankiya Nat], UNESCO: Asia-Pacific Database on Intangible Cultural Heritage (ICH), Japan</ref><ref name=vemsani12>{{cite book|author=Lavanya Vemsani|title=Krishna in History, Thought, and Culture: An Encyclopedia of the Hindu Lord of Many Names|url=https://books.google.com/books?id=4fw2DAAAQBAJ |year=2016|publisher=ABC-CLIO|isbn=978-1-61069-211-3|pages=12–13}}</ref> The plays are usually performed in the dance community halls (''namghar''<ref name=vemsani12/>) of monastery temples (''[[sattra]]s'').<ref name="Liu2016p19">{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA19 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=19–21 }}</ref> The themes played relate to Krishna and Radha, sometimes other Vishnu [[avatar]]s such as Rama and Sita.<ref name="Neog1980p294">{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=294–299 }}</ref>

===Manipuri===
{{main|Manipuri Raas Leela}}
[[File:Rasa Lila in Manipuri dance style.jpg|thumb|100px|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).<ref name=lochtefeld420>{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: A-M|url=https://books.google.com/books?id=5kl0DYIjUPgC&pg=PA376 |year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3179-8 |pages=420–421 }}</ref>{{Sfn|Massey|2004|pp=177-187}} It is particularly known for its Hindu [[Vaishnavism]] themes, and performances of love-inspired dance drama of Radha-Krishna called [[Ras Lila]].<ref name=lochtefeld420/>{{Sfn|Massey|2004|p=177}}{{Sfn|Ragini Devi|1990|pp=175-180}} However, the dance is also performed to themes related to [[Shaivism]], [[Shaktism]].{{Sfn|Massey|2004|pp=177-180}}<ref>{{cite book|author=Saroj Nalini Parratt|title=The pleasing of the gods: Meitei Lai Haraoba|url=https://books.google.com/books?id=COCBAAAAMAAJ|year=1997|publisher=Vikas Publishers|pages=14–20, 42–46|isbn=9788125904168}}</ref> 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.{{Sfn|Saryu Doshi|1989|pp=19-20, 93-99}} 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.{{sfn|Richmond|Swann|Zarrilli|1993|pp=174-175}}{{Sfn|Ragini Devi|1990|p=176}}

=== Mohiniyattam ===
{{main|Mohiniyattam}}
[[File:Rekha Raju DS 2.jpg|thumb|100px|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.<ref name="Lochtefeld2002p433">{{cite book|author=James G. Lochtefeld|title=The Illustrated Encyclopedia of Hinduism: A-M|url=https://archive.org/details/illustratedencyc0000loch|url-access=registration| year=2002|publisher=The Rosen Publishing Group|isbn=978-0-8239-3179-8|page=433}}</ref><ref name=mohiniybrit>[https://www.britannica.com/art/mohini-attam Mohini Attam], Encyclopædia Britannica (2016)</ref> Mohiniyattam follows the Lasya style described in ''Natya Shastra'', that is a dance which is delicate, with soft movements and feminine.<ref name=mohiniybrit/><ref name=shivaji6>{{cite book|author1=Bharati Shivaji|author2=Avinash Pasricha|title=The Art of Mohiniyāttam|url=https://books.google.com/books?id=jpxbZZVGNxUC |year=1986|publisher=Lancer Publishers|isbn=978-81-7062-003-7|pages=6, 44–48|author1-link=Bharati Shivaji}}</ref> It is traditionally a solo dance performed by women after extensive training. The repertoire of Mohiniyattam includes pure and expressive dance-drama performance, timed to sopana (slower melody) styled music,<ref>{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA132 |year=2016| publisher=Routledge|isbn=978-1-317-27886-3 |pages=131–132 }}</ref><ref>{{cite book|author1=Bharati Shivaji|author2=Avinash Pasricha|title=The Art of Mohiniyāttam|url=https://books.google.com/books?id=jpxbZZVGNxUC |year=1986|publisher=Lancer Publishers|isbn=978-81-7062-003-7|pages=79–90}}</ref> with recitation. The songs are typically in Malayalam-Sanskrit hybrid called Manipravala.<ref name=mohiniybrit/>

== Folk and tribal dance forms ==
{{main|Folk dance in India}}
[[File:Navratri garba at Ambaji temple.jpg|thumb|200px|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.<ref name=Brit>{{cite book|last=Hoiberg|first=Dale|title=Students' Britannica India, Volume 2|year=2000|publisher=Popular Prakashan|page=392|url=https://books.google.com/books?id=AE_LIg9G5CgC|isbn=9780852297605}}</ref>

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.<ref name="Devi1990">{{cite book|last=Devi|first=Ragini|title=Dance dialects of India|url=https://archive.org/details/dancedialectsofi0000ragi|url-access=registration|access-date=29 February 2012|year=1990|publisher=Motilal Banarsidass|isbn=978-81-208-0674-0|page=[https://archive.org/details/dancedialectsofi0000ragi/page/181 181]}}</ref>

[[File:Bhangra 1.jpg|thumb|left|200px|Bhangra, folk dance form from dancers [[Punjab, India]].]]
India has numerous folk dances. Every [[States of India|state]] has its own folk dance forms like [[Bihu]] and [[Bagurumba]] in [[Assam]], [[Garba (dance)|Garba]], [[Gagari (dance)]], [[Ghodakhund]] & [[Dandiya]] in [[Gujarat]], [[Nati (dance)|Nati]] in [[Himachal Pradesh]], [[Neyopa]], [[Bacha Nagma]] in [[Jammu and Kashmir (union territory)|Jammu and Kashmir]], [[Jhumair]], [[Domkach]] in [[Jharkhand]], [[Bedara Vesha]], [[Dollu Kunitha]] in [[Karnataka]], [[Thirayattam]] and [[Theyyam]] in [[Kerala]], [[Dalkhai]] in [[Odisha]], [[Bhangra (dance)|Bhangra]] & [[Giddha]] in [[Punjab, India|Punjab]], [[Kalbelia]], [[Ghoomar]], [[Rasiya]] in [[Rajasthan]], [[Perini Dance]] in [[Telangana]], [[Chholiya]] dance in [[Uttarakhand]] and likewise for each state and smaller regions in it.<ref>{{cite book|last=Gupta|first=Shobhna|title=Dances of India|year=2005|publisher=Har-Anand Publications|url=https://books.google.com/books?id=7KeAES9dsUcC&q=folk+dance+india&pg=PA29|isbn=9788124108666}}</ref> [[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.<ref>{{Cite book|title=Dance Matters|last1=Chakravorty|first1=Pallabi|last2=Gupta|first2=Nilanjana|publisher=Routledge|year=2010|isbn=978-0-415-55375-9|location=New Delhi|pages=43–44}}</ref>

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, 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 east or west of a river result in a change of dance form even though the over-reaching look of it may seem the same. The religious affiliation affects the content of the songs and hence the actions in a dance sequence. Another major factor affecting their content are 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.<ref>{{Cite book|title=Dance Matters|last=Chakravorty|first=Pallabi|publisher=Routledge|year=2010|location=New Delhi|pages=50–51}}</ref>

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.<ref name=":1">{{Cite book|title=ext Book of Dance|last=Bajpai|first=Gyanendra Dutt|publisher=Neha Publishers & Distributors|year=2014|location=New Delhi}}</ref>

'''Arunachal Pradesh'''

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

'''Assam'''

Dhuliya and Bhawariya, Bihu, Deodhani, Zikirs, Apsara-Sabah.<ref name=":1" />

'''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.<ref name=":1" />

'''Himachal Pradesh'''

Chambyali dance, ghuraiyan, pahadi nati, Dalshone and Cholamba,jhamakda, Jataru Kayang, Jhoori, Ji, Swang Tegi, Rasa.<ref name=":1" />

'''Jharkhand'''

Mundari dance, Santali dance.<ref>{{Cite web|url=http://jharkhandtourism.gov.in/content/explore/art|title=Welcome :: Jharkhand Tourism Development Corporation Ltd.|website=jharkhandtourism.gov.in|language=en|access-date=2018-09-06}}</ref>

'''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,<ref name=":1" /> [[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, panthi,suaa, kaksar, maria, shaila, gondi, gaur,karma,sarhul,raut nacha, danda nacha, gerhi, thiski, bar, relo, muriya,

'''Madhya Pradesh'''

Sugga, Banjaara (Lehangi), Matki Dance, Phul Patti Dance, Grida Dance.<ref name=":1" />

'''Manipur'''

Lie Haraoba Dance, Chanlam, Toonaga Lomna Dance<ref name=":1" />

'''Meghalaya'''

Wiking, Pombalang Nongkrem<ref name=":1" />

'''Mizoram'''

Cheraw, Khuallam, Chheihlam, Chailam, Tlanglam, Sarlamkai, Chawnglaizawn<ref name=":1" />

'''Maharashtra'''

Lavani, Koli, Tamasha, Bala Dindi & Dhangari Gaja<ref name=":1" />

'''Odisha'''

Naga, Ghumri,<ref name=":1" /> Danda Nacha,<ref>{{Cite web|url=https://www.hindustantimes.com/photos/india-news/danda-nacha-folk-dance-of-odisha/photo-fGiZVmNOaMBun9LR3YTUzN.html|title=Danda Nacha: Folk Dance of Odisha|date=2017-04-25|website=Hindustan Times|language=en|access-date=2019-01-15}}</ref>[[Chhau dance|Chhau]], Goti Pua, Dal khai, Baagha Nacha, Keisabadi

'''Punjab'''

Bhangra, Gidha, Kikli, Sammi, Karthi

'''Rajasthan'''

Banjaara, Ghoomar, Fire dance, Tera tali, Kachhi Ghori, Geedar<ref name=":1" />

'''Sikkim'''

Pang Toed Chaam (Chaam means dance) performed during the Pang Lhabsol festival in honour of the Guardian deity Khang-Chen-Dzonga, Maruni (Nepali Dance) and Tamak.<ref name=":1" />

'''Tamil Nadu'''
[[File:Santali dance photo.png|thumb|190x190px|Santali Dance]]
Karakam, Puravai Attam, Ariyar Natanam, Podikazhi Attam, Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil Kummi, Pavakkuthu<ref name=":1" />

'''West Bengal'''

[[Chhau dance|Chhau]], Santali dance, Jatra, Gazan<ref name=":1" />

'''Tribal Gypsies'''

Lozen, Gouyen<ref name=":1" />

== Contemporary dance ==
[[File:Dance with Rabindra Sangeet - Kolkata 2011-11-05 6669.JPG|thumb|200px|Dance accompanied by [[Rabindra Sangeet]], a music genre started by Rabindranath Tagore.|alt=Four women wearing saree in different dancing poses.]]
[[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.<ref name="Banerji1983">{{cite book|last=Banerji|first=Projesh|title=Indian ballet dancing|url=https://archive.org/details/indianballetdanc0000bane|url-access=registration|access-date=28 February 2012|date=October 1983|publisher=Abhinav Publications |isbn=978-0-391-02716-9|page=[https://archive.org/details/indianballetdanc0000bane/page/172 172]}}</ref>

[[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.<ref name="Educational2010">{{cite book|author=Kathleen Kuiper|title=The Culture of India|url=https://books.google.com/books?id=c8PJFLeURhsC&pg=PA284|access-date=29 February 2012|date=1 July 2010|publisher=The Rosen Publishing Group|isbn=978-1-61530-203-1|page=284}}</ref>

=== Dance in Bollywood Film ===
{{Main|Hindi dance songs|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.<ref>{{cite book|title=Global Bollywood: travels of Hindi song and dance|year=2008|publisher=U of Minnesota Press|isbn=978-0-8166-4579-4 |url=https://books.google.com/books?id=19JBf6oDOy0C|author=Gopal, Sangita|edition=Illustrated|author2=Moorti, Sujata|access-date=6 February 2012|page=249}}</ref>

Dance and song sequences have been an integral component of films across the country. With the introduction of sound to cinema in the film [[Alam Ara]] in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films.<ref name=Proquest>{{cite book|last=Shreshthova|first=Sangita|title=Between cinema and performance: Globalizing Bollywood dance|year=2008|isbn=978-0-549-90081-8 |page=372 |url=https://books.google.com/books?id=6Kg1SU2NY5IC}}</ref>

[[File:Bollywood dance show in Bristol.jpg|thumb|200px|A Bollywood dance performance in [[Bristol]].]]
Dance in early Hindi films was primarily modelled 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 musical]]s), 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 language|French]] [[ballet]] term, meaning "dance of two") in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation".<ref>{{cite book|last=Gopal|first=Sangita|title=Global Bollywood: travels of Hindi song and dance|year=2008|publisher=University of Minnesota Press|location=Minneapolis|url=https://books.google.com/books?id=19JBf6oDOy0C&q=hindi+movie+dance+style&pg=PA148|isbn=9780816645787}}</ref>
Indian films have often used what are now called "[[item number]]s" where a glamorous female figure performs a [[cameo appearance|cameo]]. The choreography for such item numbers varies depending on the film's genre and situation. The film actress and dancer [[Helen (actress)|Helen]] was famous for her cabaret numbers.<ref name=Poco>{{cite book|last=Meyer|first=Michael|title=Word & image in colonial and postcolonial literatures and cultures|year=2009|publisher=Rodopi|isbn=978-90-420-2743-5 |page=379 |url=https://books.google.com/books?id=xDj68ypOf4kC}}</ref>

Often in movies, the actors don't sing the songs themselves that they dance too, 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.<ref>(Campbell, 2007)</ref>

== Dance education ==
Since India's independence from colonial rule, numerous schools have opened to further education, training and socialization through dance classes,<ref>{{cite journal | last=Meduri | first=Avanthi | title=Bharatanatyam as a Global Dance: Some Issues in Research, Teaching, and Practice | journal=Dance Research Journal | volume=36 | issue=2 | pages=11–29 | year=2004 | doi=10.2307/20444589 | jstor=20444589 | s2cid=144784756 | url=https://pure.roehampton.ac.uk/ws/files/455228/Meduri_2004_Bharatanatyam_as_a_Global_Dance_Dance_Research_Journal_36_2_Winter_2004_pp11_29.pdf }}</ref><ref>{{cite journal | last=O'Shea | first=Janet | title=At Home in the World? The Bharatanatyam Dancer As Transnational Interpreter | journal=TDR | volume=47 | issue=1 | year=2003 | pages=176–186 | doi=10.1162/105420403321250071 | s2cid=17824898 | url=http://epubs.surrey.ac.uk/1658/1/fulltext.pdf }}</ref> or simply a means to exercise and fitness.<ref name=Moti>{{cite book|last=Gokulsing|editor=K. Moti|title=Popular culture in a globalised India|year=2009|publisher=Routledge|location=London|isbn=978-0-415-47666-9 |url=https://books.google.com/books?id=5oT-OIKadyoC |pages=125–126 |author2=Dissanayake, Wimal}}</ref>

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.<ref>{{cite book|author=Anne-Marie Gaston|editor=Julia Leslie|title=Roles and Rituals for Hindu Women|url=https://books.google.com/books?id=sKDm8EH2L3kC |year=1992|publisher=Motilal Banarsidass |isbn=978-81-208-1036-5 |pages=150–152 }}</ref><ref>{{cite book|author=Ester Gallo|title=Migration and Religion in Europe: Comparative Perspectives on South Asian Experiences|url=https://books.google.com/books?id=TswFDAAAQBAJ |year=2016|publisher=Routledge|isbn=978-1-317-09637-5 |pages=32–33}}</ref> Dances which were exclusive to one gender, now have participation by both males and females.<ref>{{cite book|last=Sharma|first=Arvind|title=Feminism and world religions|year=1998|publisher=State University of New York Press|location=Albany, N.Y.|isbn=978-0-7914-4023-0 |editor=Katherine K. Young}}</ref> Many innovations and developments in modern practice of classical Indian dances, states Anne-Marie Geston, are of a quasi-religious type.<ref name="Leslie1992p149"/>

== Geographic spread ==
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 significant part in dance forms of countries in [[South East Asia]], an example being the performances based on [[Ramayana]] in [[Javanese dance]]s.<ref>{{cite book|title=Studies in Indo-Asian art and culture, Volume 3|year=1974|publisher=International Academy of Indian Culture|pages=131|url=https://books.google.com/books?id=HrDWAAAAMAAJ&q=Ramayana+in+Javanese+dances}}</ref>

== Festivals ==
[[File:AhirDancersDiwaliCostume.jpg|thumb|200px|A group of [[Ahir]] dancers during diwali]]
[[Sangeet Natak Akademi]] organizes dance festivals around [[India]].<ref name="Shah2000">{{cite book|last=Shah|first=Purnima|title=National dance festivals in India: public culture, social memory and identity|url=https://books.google.com/books?id=DWzTAAAAMAAJ|access-date=20 August 2012|year=2000|publisher=University of Wisconsin--Madison}}</ref>

== See also ==
*[[Mettu Aata]]

== References ==
{{Reflist}}

== Notes ==
*{{citation|last=Massey|first= Reginald|year= 2004|title= India's Dances: Their History, Technique, and Repertoire|publisher=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}}
*{{cite book|author=Ragini Devi|title=Dance Dialects of India|url=https://archive.org/details/dancedialectsofi0000ragi |url-access=registration|year=1990 |publisher=Motilal Banarsidass |isbn=978-81-208-0674-0}}
*{{cite book|author=Saryu Doshi|title=Dances of Manipur: The Classical Tradition|url=https://books.google.com/books?id=xRbkAAAAMAAJ|year=1989|publisher=Marg Publications|isbn=978-81-85026-09-1}}
*{{cite book|author1=Sunil Kothari|author2=Avinash Pasricha|title=Kuchipudi|url=https://books.google.com/books?id=Xa8FamiJJKgC |year=2001 |publisher=Abhinav Publications|isbn=978-81-7017-359-5}}
*{{cite book|author=Natalia Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }}
*{{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 }}
* {{cite book |title=India's Kathak Dance - Past, Present, Future |last=Massey|first=Reginald|year=1999 |publisher=Abhinav Publications |isbn=978-81-7017-374-8 |url=https://books.google.com/books?id=yFXkPk3zMeYC }}
* {{cite book |author=Tarla Mehta | title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC | year=1995| publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }}
*{{cite book|author= Emmie Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=978-90-04-03978-0 }}
* {{cite journal|last=Williams|first=Drid|title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing|url=http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf|journal=Visual Anthropology|volume=17|issue=1|year=2004|pages=69–98|doi=10.1080/08949460490274013|s2cid=29065670|access-date=5 August 2016|archive-date=4 March 2016|archive-url=https://web.archive.org/web/20160304121105/http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf|url-status=dead}}
*{{cite book|first1=Farley P. |last1=Richmond |first2=Darius L. |last2=Swann |first3=Phillip B. |last3=Zarrilli |title=Indian Theatre: Traditions of Performance |url=https://books.google.com/books?id=OroCOEqkVg4C |year=1993 |publisher=Motilal Banarsidass |isbn=978-81-208-0981-9}}
*{{cite journal | author =Wallace Dace | title=The Concept of "Rasa" in Sanskrit Dramatic Theory | journal=Educational Theatre Journal | volume=15 | issue=3 | pages=249–254 | year=1963 | jstor=3204783 | doi=10.2307/3204783 }}
*{{cite book |author =Maurice Winternitz |author-link= Moriz Winternitz |title=History of Indian Literature Vol 3 (Original in German published in 1922, translated into English by VS Sarma, 1981) |year=2008 |publisher=Motilal Banarsidass |location=New Delhi |isbn= 978-8120800564 }}

== External links ==
{{Commons category|Dance of India}}
* [https://web.archive.org/web/20161027230529/http://www.ncpamumbai.com/arts-dance.html Dance - Indian performing arts], National Centre for the Performing Arts, Mumbai
* [http://www.india-arts.pitt.edu/ Center for the Performance Arts in India], University of Pittsburgh
* [http://www.goethe.de/ins/in/en/lp/kul/mag/foc/kus/tut.html Dance and Theatre in India], Goethe Institut
* [https://web.archive.org/web/20170306062644/http://www.stonybrook.edu/commcms/india/events/artseries.html Center for India Studies, Performance Art Series: Classical Dances], Stony Brook University
* [http://www.hunter.cuny.edu/educationabroad/programs/short-term-programs/all-winter-2014-15-programs/India-performing-arts Dance in India college exchange programs], City University of New York
* [http://www.darpana.com], Darpana Academy of Performing Arts, Ahmedabad
* [http://studyabroad.sit.edu/programs/semester/fall-2016/inr/ Dance in India Study Abroad Programs in the USA] {{Webarchive|url=https://web.archive.org/web/20161128005128/http://studyabroad.sit.edu/programs/semester/fall-2016/inr/ |date=28 November 2016 }}, Schools for International Training
* [https://www.jstor.org/stable/2155853 The Anthropology of Theater and Spectacle] William Beeman (1993)
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