BHARATHANATYAM

Bharatanatyam or Bharathanatiyam (Tamil: ) is a major genre of Indian classical

dance that originated in the Hindu temples of Tamil Nadu and neighboring regions.[1][2][3] Traditionally,
Bharatanatyam has been a solo dance that was performed exclusively by women, [4][5] and
expressed Hindu religious themes and spiritual ideas, particularly of Shaivism, but also
of Vaishnavism andShaktism.[1][6][7] The term Bharatanatyam is a compound of two
words, Bharata and Natyam.[8]The term Bharata in Bharatanaytam, in the Hindu tradition, is not
named after the famous performance art sage to whom the ancient Natya Shastra is attributedThe
theoretical foundations of Bharatanatyam are found in Natya Shastra, the ancient Hindu text of

performa nce arts.. (Indian classical dance, Tamil Nadu, south india)

DANDHIYA

Raas or Dandiya Raas is the traditional folk dance form of Gujarat, India, and is associated with
scenes of Holi, and lila of Krishna andRadha at Vrindavan. Along with Garba, it is the
featured dance of Navratri evenings in Western India. During Navratri festival, in most of the cities
of Gujarat people gather and perform Garba dance - an event that is becoming increasingly popular
in countries with large Gujarati-speaking communities around the world, such as Canada, the United
States and the United KingdomThe word "Raas" comes from the Sanskrit word "Rasa". The origins
of Raas can be traced to ancient times. Lord Krishna performed Rasa lila" (Lila means Lord
Krishna's playful dance. The word "Laika" also refers to things that God does that we fully
understand). The Dandiya Raas dance originated as devotional Garba dances, which were
performed in Goddess Durgas honor. This dance form is actually the staging of a mock-fight
between Goddess Durga and Mahishasura, the mighty demon-king. This dance is also nicknamed
The Sword Dance. The sticks of the dance represent the sword of Goddess Durga..The origin of
these dances can be traced back to the life of Lord Krishna. [1] Today, Raas is not only an important
part of Navaratri in Gujarat but extends itself to other festivals related to harvest and crops as well.

Folk dance of Gujarat, West India.

KATAK

Kathak (Sanskrit: ) is one of the ten major forms of Indian classical dance.[1] The origin of
Kathak is traditionally attributed to the traveling bards of ancient northern India, known as Kathakars
or storytellers.[2] The term Kathak is derived from the Vedic Sanskrit wordKatha meaning "story",
and kathaka in Sanskrit means "he who tells a story", or "to do with stories."Kathak evolved during
the Bhakti movement, particularly by incorporating childhood and stories of Hindu god Krishna, as
well as independently in the courts of north Indian kingdoms.[2][4]Kathak is found in three distinct
forms, named after the cities where the Kathak dance tradition evolved
Jaipur, Benares and Lucknow.[5]Stylistically, the Kathak dance form emphasizes rhythmic foot
movements, adorned with small bells (Ghungroo), and the movement harmonized to the music. The
term Kathak is rooted in the Vedic term Katha (Sanskrit: ) which means "story, conversation,
traditional tale".[2][4] Kathak refers to one of the major classical dance form primarily found in northern
India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and
other major classical dances found in South Asia.[4][10]It differs from the numerous folk dance forms
found in north and other parts of the Indian subcontinent.[10]

The Kathak dancers, in the ancient India, were traveling bards and were known as Kathakas,
[2]
or Kathakar.[11][12]

Kathak has inspired simplified regional variants, such as the Bhavai a form of rural theatre
focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is
presently found in Gujarat, Rajasthan and Madhya Pradesh.[13] Another variant that emerged from
ancient Kathak is Thumri.[14] Classical Indian Dance. According to Mary Snodgrass, the Kathak
tradition of India is traceable to 400 BCE.[17] The earliest surviving text with Kathak roots is the Natya
Shastra,[17] attributed to sage Bharata, and its first complete compilation is dated to between
200 BCE and 200 CE,[18][19] but estimates vary between 500 BCE and 500 CE.[20]
The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36
chapters.[18][21] The text, states Natalia Lidova, describes the theory of Tnd ava dance (Shiva), the
theory of rasa, of bhva, expression, gestures, acting techniques, basic steps, standing postures
all of which are part of Indian classical dances including Kathak.[18][22][23]Dance and performance arts,
states this ancient Hindu text,[24] are a form of expression of spiritual ideas, virtues and the essence
of scriptures.[16][25]
The 2nd century BC panels found in Bharhut show the dancers in a vertical stance with their arms'
positions already suggesting today's Kathak movements. Most of the dancers have one arm near the
ear in a ''pataka hasta'' (Mudra). In subsequent years, the hasta was lowered to the bust level. [26]
The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as
the Mahabharata:[27]

KATHAKALI

Kathakali (Malayalam: , kathakal i) is one of the major forms of classical Indian dance.[1] It 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. [2][3][note 1] Kathakali
primarily developed as a Hindu performance art in the Malayalam-speaking southwestern region of
India (Kerala).[2][3][5]

Kathakali's roots are unclear. The fully developed style of Kathakali originated around the 17th
century, but its roots are in temple and folk arts such as Kutiyattam and religious drama of
southwestern Indian peninsula, which are traceable to at least the 1st millennium CE. [2][6] A Kathakali
performance, like all classical dance arts of India, includes music, vocal performers, hand and facial
gestures to express ideas, and footwork. However, Kathakali differs in its style and incorporates
movements from the ancient martial arts and athletic traditions of south India. [2][3][5] Kathakali is also
different in that the structure and details of its art developed in the courts and theatres of Hindu
principalities, unlike other classical Indian dances which primarily developed in Hindu temples and
monastic schools.The term Kathakali is derived from Katha (Sanskrit: "") which means "story, or
a conversation, or a traditional tale", and Kali (from Kala, "") which means "performance and art".
[9][10]
According to Phillip Zarrilli, elements and aspects of Kathakali can be found in ancient Sanskrit
texts such as the Natya Shastra.[11] The Natya Shastra is attributed to sageBharata, and its first
complete compilation is dated to between 200 BCE and 200 CE,[12][13] but estimates vary between
500 BCE and 500 CE.[14]

The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36
chapters.[12][15] The text, states Natalia Lidova, describes the theory of Tnd ava dance (Shiva), the
theory of rasa, of bhva, expression, gestures, acting techniques, basic steps, standing postures
all of which are part of Indian classical dances including Kathakali. [11][12][16] Dance and performance
arts, states this ancient Hindu text,[17] are a form of expression of spiritual ideas, virtues and the
essence of scriptures.[18]
The roots of Kathakali are unclear. Jones and Ryan state it is more than 500 years old. According to
Phillip Zarrilli, Kathakali emerged as a distinct genre of performance art during the 16th and 17th
centuries in a coastal population of south India that spoke Malayalam (now Kerala).[19] The roots of
Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. [20] Kerala, India,
Incorporates dance

KRISHNANATAM
Krishnanattam (Malayalam: , IAST: Kr s n ant t am ) orKrishnattam is a temple art in Kerala,
India. It is a dance drama and presents the story of Krishna in a series of eight plays and was
created by Manaveda (15851658 AD), the then Zamorin Raja of Calicutin northern Kerala.[1] The
eight plays are: Avataram, Kaliyamardanam, Rasakrida, Kamsavadham, Swayamvaram,
Banayuddham, Vividavadham and Swargarohanam.[2] It survives in its glory at the Guruvayur Sri

Krishna temple (Thrissur district, Kera la, India). The troupe of

players,once maintained by Zamorin of Calicut came to Guruvayur Devaswom.[3] in 1958.The only
troupe of artists are well maintained by devaswom till date.
KUCHIPUDI
For the village in Andhra Pradesh, India, see Kuchipudi, Krishna district.
Kuchipudi (/kutipudi/) is one of the ten major Indian classical dances.[2] It originated in a village
of Krishna district in modern Indian state of Andhra Pradesh.[3]
Kuchipudi is a dance-drama performance art, with its roots in the ancient Hindu Sanskrit text
of Natya Shastra.[3][4][5] It developed as a religious art linked to traveling bards, temples and spiritual
beliefs, like all major classical dances of India.[6] Evidence of Kuchipudi's existence in an older
version are found in copper inscriptions of the 10th century, and by the 15th century in texts such as
the Machupalli Kaifat.[ (Classical Indian Dance, Andhra Pradesh
MOHINIYATAM

Mohiniyattam, also spelled Mohiniattam (Malayalam: ), is one of two classical dances of

India that developed and remain popular in the state of Kerala.[1][2] The other classical dance form
from Kerala is Kathakali.[3][4] Mohiniyattam dance gets its name from the word Mohini a mythical
enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her
feminine powers.[1][5]Mohiniyattam's roots, like all classical Indian dances, are in the Natya Shastra
the ancient Hindu Sanskrit text on performance arts.Mohiniyattam, also referred to as Mohini-attam,
is derived from "Mohini" a famous female avatar of the Hindu god Vishnu in Indian mythology.[1]
[2]
Mohini refers to a "divine enchantress, supreme seductress". She appears in Hindu mythologies
during a battle between Devas (good) and Asuras (evil), after the evil had won control
of Amrita (nectar of immortality).[1] Appearing in her youthful bloom, dressed rapturously she uses her
charms to seduce the Asuras, who seeking her favors, give her the Amrita to distribute among the
evil forces. Mohini after gaining the Amrita gives it to the good instead, depriving the evil from
gaining immortality.[1][5]The details of the Mohini story varies by the Purana and region, but she is
consistently an enchantress avatar of the supreme in Vaishnavism. Aattam is a Malayalam language
word, and means rhythmic motion or dance.[11] Mohiniyattam thus connotes "a dance of an
enchantress, a beautiful woman".[12][11][13]Mohiniyattam is a classical Indian dance,[14] which by definition
traces its repertoire to the foundational text Natya Shastra.[6]The Natya Shastra text is attributed to
the ancient scholar Bharata Muni.[15][16][17] Its first complete compilation is dated to between 200 BCE
and 200 CE,[18][19] but estimates vary between 500 BCE and 500 CE.[20] The text describes the basic
elements and the structure of two types of dance: the vigorous, high energy Tnd ava dance (Shiva)
and the gentle, calmingly graceful Lsy dance (Parvati, Shiva's lover).[8] Mohiniyttam follows the
structure and aims of the Lsy dance in Natya Shastra.[2][8]

PULIYATTAM

Puliyattam (Tamil: (means Tiger Dance)) is an old folk art dance of Tamil[1] country.[2] A
highly exuberant and cultural festival, this dance form usually comprises a troupe of 6 performers
aping the movements of the majestic, predatory tigers. Their bodies are painted by the painstaking
efforts of local artists in vibrant yellow and black to resemble an exact replica of a tiger.[3] The
paintings include the ferocious looking fangs and convincing headgear replete with ears paws with
claws and long tail that conjures an accurate picture of the savage beasts graceful movements.

The thunderous roars of drums beating wildly along with several local instruments reproduce the
snarls of the regal predators and complete the picture. Sometimes to incorporate a touch of reality, a
vulnerable goat is tied and the dancers pretend to seize upon the helpless creature and thereby kill
it. Apart from the tiger the dancers are often adorned in the beautiful spots of a leopard or the eerie
dark shades of a black panther.

The art nowadays are very rarely performed in Tamil Nadu but well carried out in Kerala and
Karanataka.In Kerala it is called Pulikali.