How the eight Indian classical dance forms evolve with time
Published: 13 Nov 2024
Time taken : >15mins
India’s classical dance forms embody the nation’s rich cultural heritage, blending history, spirituality, and artistic expression. Each style, as recognised by the Sangeet Natak Akademi in New Delhi, hails from a specific region, reflecting its cultural roots. Bharatanatyam from Tamil Nadu, kathak from Uttar Pradesh, kathakali and mohiniyattam from Kerala, odissi from Odisha, kuchipudi from Andhra Pradesh, manipuri from Manipur, and sattriya from Assam, each carry unique storytelling traditions through movement, music, literature, and symbolism. These forms serve as windows into India’s diverse cultural landscapes, preserving stories and traditions passed down through centuries.
The roots of Indian classical dance trace back to the Nāṭya Śāstra, an ancient treatise on the performing arts by the sage Bharata Muni. This treatise doesn’t just cover dance; it provides detailed guidelines on drama, music, acting techniques, hand gestures (mudras), facial expressions, costumes, stage design, and even musical accompaniment. It introduces the concept of rasa—the nine essential emotions dancers convey: love, laughter, compassion, anger, courage, fear, disgust, wonder, and tranquillity. Dancers express these rasas using bhava, or expressions, which together bring stories and emotions to life for audiences.
Each Indian classical dance form is marked by intricate movements, expressive gestures, and masterful storytelling, with a unique repertoire, music, costumes, and aesthetics shaped by regional influences. These dance forms are not merely performances but living traditions, embodying an intangible cultural heritage sustained by generations of dedicated artists.
Read on to explore what makes each of these eight dance forms unique, and learn about their history, significance, and the people who have worked tirelessly to bring them to the world stage.
Bharatanatyam, one of India's oldest classical dance forms, originated in Tamil Nadu. Its roots lie in ancient Hindu temples, where devadasis, or temple dancers, performed it as an offering to the deities. The dance flourished during the Chola period, often considered bharatanatyam's 'Golden Era’. This era was marked by the Chola dynasty's extensive patronage, during which hundreds of temple dancers were employed and granted titles, land deeds, and regular salaries.
In the 20th century, bharatanatyam experienced a remarkable revival, evolving from its roots in temple rituals to become a celebrated art form on the proscenium stage. This transformation was primarily driven by visionary pioneers, particularly Rukmini Devi Arundale, who redefined bharatanatyam’s presentation and ethos. She founded the renowned institution Kalakshetra in Chennai, India, which became a pivotal force in the reformation and popularisation of bharatanatyam.
Bharatanatyam is a rich storytelling medium that combines music, rhythm, and expressive hand gestures to narrate mythological and epic tales. Its movement structure and techniques are characterised by precise geometric lines and formations, a distinctive feature that enhances the dance’s visual impact. Accompanied by classical Carnatic music, bharatanatyam's structured repertoire emphasises different aspects of rhythm, expressiveness and narratives.
In Singapore, distinguished dance luminaries, including the late Santha Bhaskar and the late Neila Sathyalingam, further enriched the legacy of this dance form through collaborations with Southeast Asian classical dancers. In recent decades, companies like Apsaras Dance Company and Bhaskar’s Arts Academy have also responded to contemporary social issues in Singapore and Southeast Asia through this dance form. Today, bharatanatyam is celebrated worldwide for its versatility, captivating audiences while maintaining its traditional roots.
South Indian cinema significantly boosted bharatanatyam's popularity among the public. Actresses like Vaijeyanthi Mala Bali and Hema Malini excelled in bharatanatyam, especially in 1960s and 1970s films, inspiring many to learn the dance.
Kathak originated in northern India and seamlessly blended Hindu and Muslim cultures. The name "kathak" is derived from "katha," meaning story, and "kathakar," meaning storyteller. Initially performed by temple priests to narrate Hindu mythology, the dance evolved during the Mughal era, adopting Persian influences that refined its courtly style.
Renowned for its intricate footwork, fast spins, graceful hand gestures, and expressive facial movements, kathak showcases the dancer's artistry. Ankle bells accentuate rhythmic foot patterns, and the interplay with the tabla, a key percussion instrument, is essential to the performance. Accompanied by Hindustani classical music, which features instruments like the tabla, sarangi, and harmonium, kathak captivates audiences with its dynamic storytelling.
Kathak has three main styles: Lucknow, Jaipur, and Banaras. The Lucknow gharana emphasizes expressive storytelling, while the Jaipur style is known for its dynamic footwork. Legendary artists like the late Birju Maharaj and contemporary dancers like Aditi Mangaldas and Akram Khan have expanded kathak’s reach, making it the second-most popular Indian classical dance globally. In Singapore, the Singapore Indian Fine Arts Society (SIFAS) has been promoting kathak for decades, contributing to its growing appeal.
Odissi, originating in Odisha, is deeply rooted in temple rituals. Its signature tribhangi posture, which divides the body into three curves (head, torso, and hips), gives odissi a fluid, sculptural beauty, echoing the temple carvings of Odisha, such as those at the Konark Sun Temple.
The dance is known for its graceful, lyrical movements, contrasting with the sharper lines of other classical forms.
Odissi’s repertoire includes several elements: the mangalacharan, an invocatory piece seeking the blessings of the gods; batu, a pure dance featuring physical movement without facial expressions or narrative; and abhinaya, where dancers enact mythological tales, often highlighting themes of divine love, especially stories of Lord Jagannath and Radha-Krishna. Accompanied by classical odissi music, this dance form elegantly blends intricate footwork with expressive storytelling.
In the 20th century, gurus like Kelucharan Mohapatra revived odissi, transitioning it from temple rituals to performance art on the global stage. In Singapore, odissi has been significantly nurtured by artists like Raka Maitra, founder of CHOWK, who explores contemporary expressions within the classical form.
Kuchipudi is an Indian classical dance form that originated in the village of Kuchipudi in Andhra Pradesh. Traditionally performed by male Brahmin troupes or Bhagavathalu, it narrates stories from Hindu epics, particularly those focused on Lord Krishna. It is known for its vibrant dance, drama, and storytelling, which sets it apart from other classical forms.
Kuchipudi’s signature features include intricate footwork, graceful movements, and expressive hand gestures. It seamlessly integrates pure dance with expressive dance, blending rhythm and emotion. Accompanied by Carnatic music, kuchipudi performances often feature invocatory pieces (opening dance numbers), solos, and dramatic enactments that incorporate humour and vivid storytelling.
Vempati Chinna Satyam revived kuchipudi in the 20th century, gaining international exposure as he performed in the West. This transition from village performances to a global stage was significant. In Singapore, Shanta Ratii, a pioneering kuchipudi dancer and founder of Shanta Ratii Initiatives, has been instrumental in promoting the dance.
A hallmark of the kuchipudi repertoire is the tarangam, where dancers showcase agility and control by balancing on a brass plate.
Mohiniyattam, a classical dance from Kerala, India, is named after Mohini, the mythical enchantress believed to be an avatar of Lord Vishnu. Known for its graceful, flowing movements, this dance form emphasises soft, feminine beauty.
The form evolved in the temples of Kerala and is often performed to express themes of love and devotion. With slow, swaying movements and subtle facial expressions, the dancers use gentle hand gestures and eye movements to tell stories, often focused on Lord Vishnu or Lord Krishna. The dance integrates pure dance and the expressive art of storytelling.
Accompanied by Carnatic music, mohiniyattam also integrates Kerala's sopana music—a traditional temple style characterised by slow, meditative rhythms that enhance the dance's contemplative quality.
Pioneers like Vallathol Narayana Menon and Kalamandalam Kalyanikutty Amma, are credited with working tirelessly to bring this dance form back to prominence in the 20th century. Today, mohiniyattam is celebrated globally for its elegance and meditative quality, embodying Kerala's rich cultural heritage.
Kathakali is a classical dance-drama from Kerala, India, known for its elaborate costumes, intricate makeup, and expressive storytelling. It originated in the 17th century and draws its narratives from Hindu epics such as the Ramayana, Mahabharata and Puranas. Traditionally performed in temple courtyards, it has since expanded to the proscenium stage.
A distinctive feature of kathakali is the use of colourful makeup, which symbolises the nature of the characters: green for noble roles, red and black for evil or demonic figures. Dancers don massive headdresses, ornate jewellery, and heavily padded costumes, giving them a grand, larger-than-life appearance.
The dance combines hand gestures, facial expressions and dramatic body movements. Mastering the art's physical and emotional demands require years of rigorous training. Traditional instruments like the chenda and mandala provide the rhythmic foundation, while singers narrate the stories in a mix of Sanskrit and Malayalam.
In Singapore, kathakali has been popularised by Shanta Ratii, the first female kathakali artist, and nurtured for decades by institutions like Bhaskar’s Arts Academy.
A kathakali dancer can take up to four hours to prepare for a performance, applying intricate makeup and costumes that transform them into mythological characters.
Manipuri, a classical dance form from the north-eastern state of Manipur, is rooted in the region's spiritual and ceremonial traditions. Known for its graceful and fluid movements, the dance exudes an ethereal and devotional quality. It focuses primarily on themes from Lord Krishna's life, including the divine love between Krishna and Radha, as well as stories from Hindu epics.
What sets manipuri apart is its delicate, flowing style. Dancers perform in circular patterns using soft footwork and subtle hand gestures. Unlike other classical dance forms, manipuri avoids sharp, abrupt movements, creating a serene, meditative aura. The dance form includes nritta (pure dance movement with no expression) and nritya (expressive dance with facial expression), strongly emphasising facial expressions. Male dancers often perform more vigorous movements, while female dancers embody grace and poise.
Music plays a vital role in manipuri performances, with traditional instruments like the pung (a type of drum), cymbals and flutes accompanying the dance. The dance form is closely associated with the Raas Leela, which depicts Radha-Krishna's divine love, and Sankirtana, a devotional singing and dancing tradition. Celebrated both in India and internationally, manipuri captivates audiences with its spiritual depth and refined elegance.
Sattriya, one of India's eight classical dance forms, originates from Assam and holds deep spiritual and cultural significance. The saint Srimanta Sankardev introduced it in the 15th century as part of the Bhakti movement, aiming to spread devotion to Lord Krishna. Initially performed by male monks in Vaishnavite monasteries, sattriya served as a medium for worship and storytelling, focusing on themes from Hindu mythology, particularly the life of Krishna.
The dance incorporates pure and expressive dance, graceful movements, rhythmic footwork, and expressive hand gestures. Performers narrate stories through borgeet (devotional songs) and ankiya naat (one-act plays), blending devotion with drama. Sattriya performances are accompanied by traditional Assamese music featuring instruments like the dhol (drum), cymbals, flute, and violin. Dancers wear elaborate costumes made of Assamese silk, like pat and mekhela chador.
The Sangeet Natak Akademi recognised sattriya as a classical dance form in 2000. Since then, it has expanded beyond monastic walls to stages worldwide, preserving Assam's cultural and devotional legacy. Until recent years, sattriya was restricted to male performers, with female dancers only gaining recognition in modern times.
These eight Indian classical dance forms continue to be powerful expressions of cultural heritage, spirituality, and artistry, reflecting the essence of its region, its people and their stories. As these art forms evolve on global stages, their cultural significance continue to be celebrated around the world, including Singapore.
Contributed by:
Mohanapriyan Thavarajah is an established bharatanatyam dancer, choreographer, research scholar, author and costume designer, celebrated for his innovative and expressive approach to the art form. Based in Singapore, he serves as the Principal Dancer and Resident Choreographer at Apsaras Arts Dance Company. His work integrates traditional bharatanatyam with unique contemporary concepts, earning him recognition and accolades on international stages.
Enjoy a rich tapestry of dance performances happening at Esplanade from 15 – 24 Nov as part of Kalaa Utsavam – Indian Festival of Arts 2024. Catch GIGENIS – the generation of the Earth by Akram Khan and friends on 15 & 16 Nov, Dances of India by Bhaskar's Arts Academy on 22 Nov, Chi Udaka by Taikoz and Lingalayam on 23 & 24 Nov and more.
Experience the diversity
Feast on the sights and sounds of Indian arts and culture at Kalaa Utsavam!
