The earliest physical evidence of dance in India is the 2nd century BC bronze figurine of the ‘dancing girl’ found in the ruins of Indus Valley. Elaborate dancing sequences can be seen depicted in numerous structures of subsequent eras, the most extraordinary being the ancient carvings at Sanchi, the murals at Ajanta and Ellora, the sculptures of Khajuraho and on the walls of Hoysala temples.
India’s historical texts define dance as “the embodiment of sound and rhythm which create poetry of spiritual expression”, both that is apparent and obscure. Mythology and folklore often show Lord Shiva in his cosmic dance, Tandava, which is believed to be the source of the cycle of creation, preservation and dissolution of the universe. His graceful dancing pose, Nataraja, is one of the most recognizable symbols of the theological essence of Hinduism.
The other popular facet one is likely to come across while in India is that of Lord Krishna dancing with his Gopis, depicted in the miniature paintings of mediaeval times found in Rajasthan and Himachal.
It is against this backdrop that dance traditions in India developed. Dance was largely used in India as a vehicle of worship and spiritual expression of emotions. The earliest surviving work on dance is the Natya Shashtra written by Sage Bharata in the 4th century AD which encompasses classical Natya (dance) and also music, poetry, drama, theatre and aesthetics.
KATHAKALI man in Cochin
It appears from texts that one unified school of dance held sway all over ancient India. In the course of time, however, each cultural area developed a local idiom of its own. Consequently, India offers a number of dance forms, each of which represent the culture and ethos of a particular region along with a set pattern of rules, costumes and make-up.
Classical dance consists of three genres overlapping each other; Nritta, a pure and simple dance with movements of body and limbs, Nritya which is linked with facial expressions, hand gestures and symbolic body poses and Natya that also has elements of drama. The use of mudras or hand gestures is used to depict different feelings and symbols and the entire body is used to communicate.
Bharatanatyam, from the southern Indian state of Tamil Nadu, is one of the most popular of Indian classical dance forms. It was performed in the temples by devadasis or temple dancers and was part of the religious rituals at the temple. As recent as the early 19th century, the dance was brought out of the temples for private and stage performances. This dance form involves movements conceived in space mostly either along straight lines or triangles and continues to be of spiritual nature.
Kathakali, a story play or a dance drama, originated in the coastal state of Kerala and is traditionally only performed by men. The dancers use a specific, symbolic make-up to portray distinct characters. The movements of the eyebrows, the eyeballs, the cheeks, the nose and the chin are minutely worked out to express “Bhava” or emotion. The Mahabharata and the Ramayana as well as the Puranas constitute popular themes of the Kathakali dance drama, where inevitably the good prevails over the evil.
Our promoter Anduradha doing the Kuchipudi dance
Mohiniattam of Kerala is performed by women dressed in a typical white saree with gold border. Though it is believed to resemble Bharatanatyam it is quite distinct in its lyrical execution of movements, usage of hand gestures and its simpler costume.
Kuchipudi, like Kathakali is also a dance-drama and derives its name from Kuchipudi village in the Southern State of Andhra Pradesh. Performed to classical Carnatic music, it reflects the desire of a devotee to merge with God.
Odissi, from the Eastern state of Odisha, is considered as the oldest classical Indian dance form and probably the most difficult. Its striking feature is its intimate relationship with temple sculpture. It has a vast range of body movements which gives one the illusion of the sculptures coming to life.
Manipuri, from the North-Eastern state of Manipur is intensely devotional in nature. Like most Indian classical dance forms, it is also a temple dance and continues to be a part of the daily life of the Manipuri people. Dedicated to Lord Vishnu and his avatar Lord Krishna, it is presented as a group dance with gorgeous, colourful costumes.
Kathak, practised in Northern parts of India, was initially a temple ritual but very soon moved to the royal courts for entertainment. Patronised by Mughals, Kathak literally means a storyteller and involves a dancer who tells and interprets stories from mythology through body movements and facial expressions.
What sets the classical dance forms apart from the folk and the tribal are their set rules, elaborate techniques and high degree of refinement, followed strictly over the years. Renowned Gurus, however, innovated leading to different schools within a particular dance form. Over the years these dance forms have also begun to present modern themes such as environment and health apart from the primary mythological themes. Exposure to western dance forms and theatre has resulted in various contemporary fusion styles that are rather unique.
There is a large body of unrelated non-classical dance forms in India which is referred to as folk dance. The two things common among these dance forms is their rural origin and cultural nature.
Several forms of folk dance exist in India; each mirrors the culture, custom and tradition of the region it represents. These simpler folk dances of the common people still survive in their virile state all over India to celebrate special occasions such as harvesting, planting, marriages, festivals and sometimes religious ceremonies.
Some of the important folk dances in India include the Bihu of Assam, which is a very brisk dance performed by both men and women during the harvest season. While Bhangra of Punjab is a lively, powerful dance performed by men, Gair of Rajasthan slowly builds its tempo as men move in and out of a circle. Garba of Gujarat is traditionally performed at marriages and Navaratri festival by both men and women. Likewise Ghoomar of Rajasthan is also a community dance performed on auspicious occasions. Giddha in Punjab is performed by women where quick wit and repartee are the hallmark of a verbal dual that goes on during the dance. Similarly, Lavani of Maharashtra is a combination of satire, wit and current issues, performed by women wearing nine-yard saris. Chhau, native to the eastern parts of India, probably originated as a martial art is slow and lyrical. Chiraw on the other hand is a highly colourful dance from Mizoram, employing a grid of bamboo poles and rhythmic hopping over them.
The tribal dances are as diverse as the aboriginal population of India, inimitable examples of communities in inaccessible existence still upholding their customs and traditions. Each of these aboriginal tribes possesses its own distinguishable dance traditions and invariably all of them are interwoven with the daily life of the people who dance it.
In most instances, dancing is extremely simple, heartfelt and comprises little more than mixing of the feet or waving of the hands. At other times, it is just swaying of the body to the clapping of hands or beating of primitive drums. Special indigenous musical instruments are also utilised at times but the drum is almost a requisite feature. The spectacular things are their bright colourful costumes, elaborate hair-styles and genuine smiles.
