Classical Dances of India

A Living Legacy of Ancient Arts, Spirit, and Storytelling, Recognized by the Sangeet Natak Akademi.

Explore the Forms

Introduction & Overview

India's classical dance traditions are a living legacy of its ancient performing arts, each a unique blend of Nritta (pure dance), Nritya (interpretive dance), and Natya (dramatic storytelling).

Recognized by the Sangeet Natak Akademi, these eight (or nine, including Chhau) dance forms embody centuries of theoretical development (Natya Shastra, Abhinaya Darpana), spiritual devotion (Bhakti influence), and regional cultural distinctiveness.

This explorer systematically details each classical dance: its origin, key features, costume, music, repertoire, and prominent exponents, providing a comprehensive overview of India's rich classical dance tapestry.

Sangeet Natak Akademi

India's national academy for music, dance and drama, responsible for recognizing and promoting the country's performing arts traditions.

Ancient Roots

Rooted in ancient texts like Natya Shastra (Bharata Muni) and Abhinaya Darpana (Nandikeshvara), providing theoretical foundations.

Bhakti Influence

Many forms found expression and devotion through the Bhakti movement, weaving spiritual narratives into performances.

The Classical Dance Tapestry

Bharatanatyam dancer in traditional attire

Bharatanatyam (Tamil Nadu)

Traced to ancient temple dance traditions of Tamil Nadu, particularly Sadirattam or Dasiattam, performed by Devadasis (temple dancers). It is considered a modern reconstruction and revival, heavily influenced by Natya Shastra.

Traced to ancient temple dance traditions of Tamil Nadu, particularly Sadirattam or Dasiattam, performed by Devadasis (temple dancers). It is considered a modern reconstruction and revival of these ancient forms, heavily influenced by Natya Shastra.

  • Geometric Precision: Characterized by precise, geometric movements, strong linear patterns, and angular poses.
  • Rhythmic Footwork (Adavus): Emphasizes intricate and vigorous rhythmic footwork, based on a system of basic steps called Adavus.
  • Codified Mudras: Extensive use of Mudras (hand gestures) for expressive communication.
  • Balance of Nritta, Nritya, Natya: A harmonious blend of pure dance (rhythm and form), interpretive dance (expression), and dramatic storytelling.
  • Ekaharya Abhinaya: One dancer portrays multiple roles and characters, using expressive techniques.
  • Key Postures: Araimandi (half-seated posture, a hallmark), Muzhumandi (full-seated posture).
  • Lasya and Tandava: Exhibits both feminine grace and masculine vigor.

Brightly colored silk saree with a distinctive fan-pleated front, elaborate temple jewelry (gold, pearls), flower garlands in hair, ghungroos (ankle bells).

Accompanied by Carnatic music. Key musical elements include the Nattuvanar (conductor who recites bols and plays cymbals), Mridangam (drum), Violin, Flute, Veena, and a vocalist.

  • Alarippu: Invocation, pure dance.
  • Jatiswaram: Pure dance, rhythmic patterns.
  • Shabdam: Interpretive, short dramatic pieces.
  • Varnam: The centerpiece of a performance, blending Nritta and Nritya extensively, interpreting lyrics of a kriti.
  • Padam: Pure interpretive, focusing on lyrical and emotional expression (Bhava).
  • Javali: Lighter, romantic.
  • Tillana: Fast-paced, rhythmic, pure dance climax.
  • Shlokam/Viruttam: Recitation without rhythm, for Abhinaya.
  • Rukmini Devi Arundale: Played a pivotal role in the revival and popularization of Bharatanatyam in the 20th century, purifying it and bringing it from temples to stage.
  • T. Balasaraswati: Legendary Devadasi, known for her profound Bhava.
  • Yamini Krishnamurthy: Renowned for her energy and classical perfection.
  • Padma Subrahmanyam: Scholar-dancer, known for her research on Karanas.
  • Alarmel Valli, Malavika Sarukkai, Chitra Visweswaran: Contemporary exponents.
Kathak dancer with ghungroos

Kathak (North India)

Derived from Kathakars (storytellers) in ancient North Indian temples. Later influenced by the Bhakti movement (Radha-Krishna leelas) and by Persian and Mughal court traditions.

Derived from Kathakars (storytellers) in ancient North Indian temples, who recited epic tales with gestures and music. Later heavily influenced by the Bhakti movement (Radha-Krishna leelas) and then by Persian and Mughal court traditions in the medieval period.

  • Intricate Footwork (Tatkar): Extremely fast and intricate rhythmic footwork, with ghungroos (ankle bells) making clear sounds.
  • Fast Pirouettes (Chakkars): Rapid and graceful spins.
  • Expressive Abhinaya: Strong emphasis on facial expressions and gestures for storytelling.
  • Storytelling (Katha): Retains its narrative essence.
  • Rhythmic Interplay (Jugalbandi): Sophisticated rhythmic dialogue between dancer's footwork and Tabla drummer.
  • Blend of Tandava & Lasya: Powerful rhythmic sections and graceful expressive portions.

Gharanas (Distinct Schools):

  • Lucknow Gharana: Emphasis on grace, elegance, Bhava (expression), subtle movements.
  • Jaipur Gharana: Focus on rhythmic virtuosity, intricate footwork patterns, powerful movements.
  • Benaras Gharana: Blends spiritual elements with technical virtuosity.
  • Raigarh Gharana: Lesser-known, confluence of styles.

Varies. Lehenga-Choli for women, or Angarkha-Churidar and cap (Mughal influence). Ghungroos (ankle bells) are essential and can have 100-200 bells.

Accompanied by Hindustani classical music. Tabla (primary percussion), Pakhawaj, Sitar/Sarod, Sarangi, Harmonium, and vocal accompaniment (often Thumri, Ghazal, Tarana).

  • Vandana: Invocation.
  • Thaat: Abstract, slow, graceful movements.
  • Aamad: Entry piece, pure dance.
  • Paran, Tukda, Tora: Rhythmic compositions.
  • Gat Nikas: Pure dance, stylized walks.
  • Gat Bhava: Interpretive dance without music.
  • Lari, Tatkar: Footwork patterns.
  • Kavit: Poetic compositions.
  • Tarana: Rhythmic, fast-paced pure dance.
  • Birju Maharaj: Legendary maestro of Lucknow Gharana, known for his Bhava and creative choreography.
  • Sitara Devi: Renowned for her energy and rhythmic brilliance.
  • Shambhu Maharaj, Lachhu Maharaj: Maestros of Lucknow Gharana.
  • Gopi Krishna, Kumudini Lakhia, Roshan Kumari, Rajendra Gangani: Other prominent figures.
Kathakali dancer with elaborate make-up

Kathakali (Kerala)

A highly stylized classical Indian dance-drama from Kerala, influenced by ancient temple arts like Koodiyattam. Evolved in the 17th century.

A highly stylized classical Indian dance-drama from Kerala. Influenced by ancient temple arts like Koodiyattam (Sanskrit theatre), Krishnanattam, and Ramanattam (Vaishnava dance-dramas). It evolved in the 17th century.

  • Highly Stylized & Dramatic: Elaborate, dramatic, and larger-than-life portrayal.
  • Elaborate Make-up (Aharya Pradhan): Most striking feature. Highly stylized, takes hours to apply. Colors define character types (e.g., green for noble, red for evil).
  • Elaborate Costumes: Voluminous skirts, huge headgear (Kireetam), and intricate ornaments.
  • Codified Gestures (Mudras): Extensive use of Mudras from Hasthalakshana Deepika.
  • Powerful Facial Expressions (Navarasas): Emphasis on exaggerated eye and eyebrow movements.
  • Stories from Epics: Narrates stories from Hindu epics (Ramayana, Mahabharata) and Puranas.
  • Male Performers: Traditionally performed by male actors, portraying all roles.
  • Tandava focus: Predominantly vigorous and masculine movements.

Make-up (Vesham) types:

  • Pacha (Green): Noble, virtuous, heroic characters.
  • Kathi (Knife): Arrogant, evil but valiant characters.
  • Thadi (Beard): Red (fierce), White (noble), Black (hunters).
  • Kari (Black): Demonesses, destructive characters.
  • Minukku (Radiant): Heroines, sages, Brahmins, simple makeup.

Large, brightly colored voluminous skirts, heavy jackets, and massive headgear.

Accompanied by Sopana Sangeetham (Kerala's traditional temple music). Instruments: Chenda, Maddalam, Chengila, Ilathalam, Shankhu. Two vocalists narrate.

  • Kalamandalam Gopi, Kottakkal Sivaraman, Kalamandalam Krishnan Nair, Guru Kunchu Kurup, Vazhenkada Kunchu Nair.
Kuchipudi dancer performing on a brass plate

Kuchipudi (Andhra Pradesh)

Named after Kuchipudi village. Evolved from the ancient Bhagavatamela tradition of dance-drama, systematized by Siddhendra Yogi.

Named after Kuchipudi village in Andhra Pradesh. Evolved from the ancient Bhagavatamela tradition of dance-drama, performed by a group of Brahmin male performers. Associated with Siddhendra Yogi (17th CE) who systematized and codified the dance form.

  • Blend of Nritta, Nritya, Natya: Harmonious combination.
  • Graceful Movements & Quicksilver Expressions: Fluid movements, lyrical quality, rapid, expressive facial changes.
  • Drama and Dialogue (Vachika Abhinaya): Unique inclusion of dialogue by the dancer.
  • Tarangam: Famous item where dancer performs on a brass plate, often balancing a pot.
  • Solo and Group: Can be performed solo or in groups.

Similar to Bharatanatyam, often a brightly colored saree with a pleated fan, but sometimes with specific regional variations and lighter jewelry.

Accompanied by Carnatic music. Instruments include Mridangam, Violin, Flute, Tambura, and vocalist.

Similar to Bharatanatyam, including Puja, Rangapravesam, Jatiswaram, Shabdam, Varnam, Padam, Kritis, Tillana. Famous Items: Bhama Kalapam and Usha Parinayam.

  • Vempati Chinna Satyam: Modern revivalist.
  • Vedantam Lakshminarayana Sastri: Pioneer of female solo performances.
  • Yamini Krishnamurthy: Mastered both Bharatanatyam and Kuchipudi.
  • Raja and Radha Reddy, Swapnasundari, Shobha Naidu.
Manipuri dancer with traditional costume

Manipuri (Manipur)

Traced to the ancient Lai Haraoba festival. Deeply influenced by Vaishnavism, focusing on Radha-Krishna Ras Leela themes.

Traced to the ancient Lai Haraoba (festival of gods) ritualistic festival of Manipur. Later deeply influenced by the Vaishnavism of Chaitanya Mahaprabhu (18th century), focusing on Radha-Krishna Ras Leela themes.

  • Lyrical, Graceful, Fluid Movements: Soft, undulating movements of the torso and arms, circular flow, no sharp edges or heavy foot stamping.
  • Gentle Footwork: Soft, subtle, no heavy rhythmic stamping. Ghungroos often tied but not prominently highlighted.
  • Devotional (Bhakti Rasa): Strong emphasis on devotion and emotional expression of love for Krishna.
  • Tandava (Choloms) and Lasya elements: Both aspects distinct. Choloms (vigorous drum dances), Ras Leela (primarily Lasya).
  • Themes: Predominantly Radha-Krishna themes, particularly Ras Leela.

Forms:

  • Ras Leela: Most important form, depicting divine love story of Radha-Krishna and Gopis.
  • Sankirtana: (UNESCO Intangible Cultural Heritage). Ritual singing, drumming, and dancing.
  • Thang-Ta: Traditional Manipuri martial art, influenced dance.
  • Pung Cholom (Drum Dance): Vigorous male drum dance.
  • Kartal Cholom (Cymbal Dance): Energetic male dance.
  • Female (Radha/Gopis): Potloi (cylindrical, stiff, embroidered skirt), Kumil (flared skirt), Koktumbi (delicate headdress with veil).
  • Male (Krishna): Yellow dhoti, dark blue velvet jacket, tall, elaborate crown with peacock feathers.

Accompanied by devotional music with a distinct Manipuri style. Instruments: Pung (Manipuri drum, central), Pena, Flute, Kartal, Shankh.

  • Guru Bipin Singh (modern pioneer), Jhaveri Sisters (Nayana, Ranjana, Suverna, Darshana), Charu Sija Mathur, Guru Amubi Singh, Elam Endira Devi.
Mohiniyattam dancer with white saree and gold border

Mohiniyattam (Kerala)

The "Dance of the Enchantress." Classical solo dance from Kerala, traditionally performed by women. Draws from temple dance traditions and local folk forms, largely following the Lasya style.

The "Dance of the Enchantress (Mohini)." A classical solo dance form from Kerala, traditionally performed by women. It draws from temple dance traditions and local folk forms, largely following the Lasya style.

  • Graceful, Lyrical, Sensuous: Gentle, flowing, seductive movements, emphasizing beauty and femininity.
  • Gentle Footwork: Soft footwork, less rhythmic stamping.
  • Undulating Torso (Atibhanga): Unique serpentine movements of the body, particularly the torso.
  • Expressive Abhinaya: Strong emphasis on subtle facial expressions and eye movements to convey emotions, particularly Shringara Rasa (love).
  • Solo Female Dance: Primarily a solo dance form performed by women.
  • Themes: Usually devotional, often depicting Krishna themes.

Distinctive white or off-white Kasavu saree (Kerala handloom) with a broad gold border, minimal traditional Kerala jewelry (gold), and hair tied in a neat bun on the side of the head, adorned with jasmine flowers.

Accompanied by Carnatic music, but also incorporates elements of Sopana Sangeetham. Instruments: Edakka (hourglass drum, unique), Mridangam, Violin, Flute, Veena, Kuzhitalam, vocalist.

Similar to Bharatanatyam, including Cholkettu, Jatiswaram, Varnam, Padam, Tillana, Slokam, Saptam.

  • Kalamandalam Kalyanikutty Amma: Considered the "Mother of Mohiniyattam" for her pivotal role in its revival and codification.
  • Sunanda Nair, Bharati Shivaji, Kanak Rele, Smitha Rajan, Gopika Varma.
Odissi dancer in Tribhanga pose

Odissi (Odisha)

One of the oldest surviving classical dance forms, depicted in ancient sculptures. Evolved from traditions of Maharis (temple dancers) and Gotipuas (young boys dressed as girls).

One of the oldest surviving classical dance forms, with origins depicted in ancient sculptures of the Udayagiri-Khandagiri caves (1st century BCE). It evolved from the traditions of Maharis (temple dancers) and Gotipuas (young boys dressed as girls who performed in temples and for the public).

  • Graceful, Lyrical, Sensuous: Fluidity, grace, and sensuous quality.
  • Tribhanga (Three-bend Posture): Most characteristic posture, body deflected at neck, torso, knees – S-shaped curve.
  • Chouka (Square Stance): Fundamental square posture, representing masculine aspect.
  • Emphasis on Bhava and Rasa: Strong focus on expressing emotions, particularly Bhakti Rasa, often through themes of Radha-Krishna and Lord Jagannath.
  • Lasya & Tandava: Beautiful balance of lyrical Lasya and dynamic Tandava elements.

Brightly colored silk saree (Pattasari), often draped in specific Odissi style. Elaborate traditional silver filigree jewelry (Tarakasi) for head, ears, neck, waist. Elaborate headdress (Mukoot) with a Tahia (flower tiara).

Accompanied by Odissi music, a distinct classical tradition blending Hindustani and Carnatic. Instruments: Pakhawaj (or Mardala, central), Flute, Violin (or Sitar), Manjira, Harmonium, vocalist. Lyrics from Gita Govinda prominently used.

  • Mangalacharan: Invocation.
  • Batu Nritya/Sthayi: Pure dance, exploring basic poses.
  • Pallavi: Elaborate pure dance.
  • Abhinaya: Interpretive dance, focusing on Bhava.
  • Moksha: Climax, abstract pure dance.
  • Guru Kelucharan Mohapatra: Modern pioneer, credited with significant revival.
  • Sanjukta Panigrahi: Legendary performer.
  • Sonal Mansingh, Kumkum Mohanty, Guru Pankaj Charan Das, Guru Deba Prasad Das, Mayadhar Raut, Madhavi Mudgal, Sujata Mohapatra.
Sattriya dancer in monastic attire

Sattriya (Assam)

Unique classical dance from Assam, introduced by Vaishnava saint Srimanta Sankaradeva in the 15th century CE. Developed and preserved in Sattras (Vaishnava monasteries).

A unique classical dance form from Assam, introduced by the great Vaishnava saint and reformer Srimanta Sankaradeva in the 15th century CE as a part of his Neo-Vaishnava reform movement. It developed and was preserved in the Sattras (Vaishnava monasteries) of Assam. Recognized as a classical dance by Sangeet Natak Akademi in 2000.

  • Devotional & Narrative: Primarily devotional, narrating stories from the Bhagavata Purana, Ramayana, and Sankaradeva's own compositions (Ankiya Naats, Borgeets).
  • Nritta, Nritya, Natya: Balanced combination.
  • Elements of Ojapali: Draws from the traditional Ojapali (storytelling tradition of Assam).
  • Gestures & Footwork: Specific hand gestures (Hatas), footwork, and facial expressions. Khol (drum) playing and specific rhythmic footwork integrated.
  • Male Emphasis: Historically performed by male monks (Bhokots) in Sattras. Female performers are a recent addition.

Forms:

  • Mati Akhora: Set of basic exercises and postures.
  • Gayan-Bayan: Musical performance (singing and drumming).
  • Ankiya Naat Bhaona: Full-fledged dance-dramas by Sankaradeva.
  • Male Dancers: White dhoti and paguri (turban), often made of Pat silk (raw silk).
  • Female Dancers: Ghuri (skirt) and Chador (shawl-like drape), often made of Pat silk with traditional Assamese motifs. Traditional Assamese jewellery.

Accompanied by Borgeets (devotional songs by Sankaradeva and Madhavadeva) and other Assamese classical music. Instruments: Khol (Assamese drum, central), Taal (cymbals), Flute, Kshuti.

  • Guru Jatin Goswami, Indira P.P. Bora, Anita Sharma, Sharodi Saikia, Ghanakanta Bora.
Chhau dancer with vibrant mask

Chhau Dance (East India)

A traditional dance form from Eastern India, originating from indigenous martial arts, folk traditions, and tribal dances. Recognized as semi-classical and inscribed on UNESCO's Intangible Cultural Heritage list.

A traditional dance form from Eastern India, originating from indigenous martial arts, folk traditions, and tribal dances. Recognized by the Sangeet Natak Akademi as a semi-classical dance form. Inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2010.

Seraikella Chhau (Jharkhand):

  • Characteristics: Uses stylized masks. Movements are subtle, symbolic, and lyrical.
  • Themes: More abstract and symbolic.

Mayurbhanj Chhau (Odisha):

  • Characteristics: Does not use masks. Focuses on intricate footwork, graceful body movements, and acrobatic maneuvers.
  • Themes: Depicts mythological stories, nature, and everyday life.

Purulia Chhau (West Bengal):

  • Characteristics: Uses large, elaborate, and vibrant masks. Movements are highly energetic, vigorous, and acrobatic.
  • Themes: Primarily depicts stories from Hindu epics (Ramayana, Mahabharata) and Puranas.
  • Vigorous Movements: Strong, vigorous, and often acrobatic movements, derived from martial arts.
  • Mock Combat: Often incorporates mock combat techniques.
  • Depiction of Birds and Animals: Stylized portrayal of animal movements.
  • Stories from Epics and Puranas: Predominantly mythological themes.
  • Male Performers: Traditionally performed by male dancers.

Accompanied by loud and powerful percussive music. Instruments: Dhol, Nagada, Shehnai, Dhamsa.

Classical Dances: At a Glance

Dance Form State/Region Origin/Influence Key Features
Bharatanatyam Tamil Nadu Temple dance (Sadirattam), Devadasis, Natya Shastra. Geometric precision, Araimandi, Ekaharya Abhinaya, Carnatic music.
Kathak North India (UP, Rajasthan) Kathakars (storytellers), Bhakti, Mughal courts. Intricate Tatkar (footwork), Chakkars (pirouettes), Gharanas, Hindustani music.
Kathakali Kerala Koodiyattam, Krishnanattam, Ramanattam. Elaborate make-up (Vesham), Mudras (Hasthalakshana Deepika), powerful expressions, Sopana Sangeetham.
Kuchipudi Andhra Pradesh, Telangana Kuchipudi village, Bhagavatamela, Siddhendra Yogi. Graceful movements, Vachika Abhinaya (dialogue), Tarangam (brass plate dance), Carnatic music.
Manipuri Manipur Lai Haraoba, Vaishnavism (Ras Leela), Sankirtana (UNESCO). Lyrical, fluid movements, gentle footwork, Potloi costume, Pung drum.
Mohiniyattam Kerala Temple dance, folk forms, Lasya style. Graceful, sensuous, undulating torso (Atibhanga), Kasavu saree, Edakka drum.
Odissi Odisha Ancient sculptures, Maharis, Gotipuas. Tribhanga (three-bend posture), Chouka (square stance), silver filigree jewelry, Odissi music.
Sattriya Assam Srimanta Sankaradeva (Neo-Vaishnava), Sattras (monasteries). Devotional, narrative, Mati Akhora, Khol drum, Borgeets, recognized in 2000.
Chhau East India (Jharkhand, Odisha, WB) Martial arts, folk/tribal dances, UNESCO Heritage. Vigorous, acrobatic, mock combat, three styles (Seraikella, Mayurbhanj, Purulia), Dhol & Nagada.