Popular Folk Dances Of India

Bharat Muni was inspired by Brahma to write the book Natya Shastra, which codified dance and theatre. Natya combines dance, theatre, and music.
In line with this, he blended some elements of the four Vedas (Pathya, or words, from the Rig Veda, Abhinaya, from the Yajurveda, Geet, from the Samveda, and Rasa, or feelings, from the Atharva Veda) to create the fifth Veda, known as Natya Veda. There are two fundamental ideas in Indian classical dance, according to Natya Shastra.

Lasya, which stands for grace, bhava, rasa, abhinaya, and is a representation of the feminine aspect of dance. Tandava, which symbolise the male component of dance and denotes rhythm and movement. 

Components of Dance 

• The act is divided into three main aspects, according to Nandikeshwara’s treatise on dance, the Abhinaya Darpana. The fundamental dancing moves, or nritta, are executed rhythmically but without emotion. Dance’s expressive element known as nritta includes mudra. Tandava is an example of Nritta. Natya is an example of a dramatic representation in which the performance follows a plot. 
• A successful performance should have all three elements with the only goal of “Rasa,” which is not pleasure but rather a healthy method of taking pleasure in one’s world.

9 Rasa or emotion expressed through dance 

• Shringara (love) 
• Rudra(fury) 
• Bibhatsa (disgust)
• Veer (heroism) 
• Shaanta (peace)
• Haasya (laughter) 
• Karunya(tragedy)
• Bhayanak (horror) 
• Adbhuta (Wonder) 

Such expressions are expressed through different mudras (108) which is a combination of hand gestures and body posture. 

There are 4 aspects of Dance Performance 

• Angika for Body gestures. 
• Vachika for Song or music. 
• Aharya for stage, costume, and make-up. 
• Sattvika for emotional connection of artist with story and audience. 

Indian Classical Dance 

The term “classical dance” refers to all dance genres that have their origins in Natya Shastra’s tenets. Eight classical dance styles were so categorized by Sangeet Natak Akademi.

Bharatnatyam — TamilNadu 

• Its name is a combination of Bharat Muni and Natyam. Bhav, Raga, and Taal are credited with creating Bharat. Devadasis (women temple dancers), the artist, performed solo in this format. E. Krishna Iyer and Rukmini Devi Arundale brought the revival movement and grab international attention. Tanjore Natyam is another name for the basic Bharatnatyam dance moves that the Tanjore Quartet organized into a progressive series called Adavus.
• The rhythmic syllable “alarippu” is intended to invoke God’s blessing. Jatiswaram contains a variety of poses and movements. It Includes abhinaya in a song of adoration for God as part of the dramatic element of shabdam. Varnam is the fusion of dance and feelings in time with taal and raga. Padam represents control over Abhinaya. Jawali are fast-paced short-love song lyrics. The performance’s last phase is called Thillana.

Features 

• It is also known as Fire Dance because it causes the human body to manifest fire. Tandava and Lasya are given equal weight. The subjects include Vaishnavism as well as Shaivism.
• The posture is one of a fixed upper body, bowed knees, and extended hands. There is music and a singer to go with the dancing. The importance of facial expressions in this form is paramount. 
• Its primary mudras are three fingers are linked to form the Om in the Kataka Mukha Hasta. Dancers play a variety of roles in Ekaharya Lasyam.

Kuchipudi — Andhra Pradesh

• Kusilava, a group of actors who double as traveling bards, plays it in several villages. The topic is based on a passage from the Bhagavat Purana where a dancer is referred to as Bhagavathalus. The rulers of Vijaynagara and Golconda supported this dance form. It was restricted to the village, but Ragini Devi and Balasaraswati brought it back to life. 

Features 

• The performance starts with a prayer or supplication to God, then the actors are introduced. Stories based on the Bhagavata Purana (Vaishnavism) have a secular subject. The Shringaar Ras is in domination in the dance. The main characters introduce themselves on stage with a composition of dance and song called “darus”. Prior to Nritya is conducted Nritta (faster) (slower & expressive). Natya, if included played in the end. 
• It is the human body’s manifestation of planetary components. The men participate in this dance while the women wear saris and minimal makeup. It combines components from Lasya and Tandava. Carnatic music served as the soundtrack in this dance. Instruments like the violin and mridangam make up the most elaborate ensemble. 

Popular elements of Kuchipudi: 

• Manduk Shabdam is the story of a frog. 
• Tarangam, feet on edges of brass plate & balancing water pot on the head. 
• Jala Chitra Nrityam, in which artists draw pictures on the floor with toes while dancing. 

Kathakali — Kerala 

• It was originated as a temple dance,  which over the time borrowed from the folk arts like Kutiyattam. It literally means, the art of story-telling. Katha means story and Kali means art. It is also known as the Ballad of the east. It was patronized by Mukunda Raja. It was revived by VN Menon and its famous Proponent were Kunchu Kurup, Gopi Nath, and Rita Ganguly. 

Features: 

• The majority are male as it required great strength which performs both Purusha & Stree bangi. Its signature feature is that it elaborate face mask. It represents an eternal conflict between good & evil. Dushasana Vadh by Bhima is a beautiful act of this form. Navarasa denote 9 facial expressions. The beginning & end of the dance is called Chhenda and Maddala. It symbolizes the element of the sky. 
• The Themes are folk mythologies, religious legends, stories from epics & Purana.  It elaborates facial makeup along with headgear in which Green indicates nobility, Red for royalty, and Black for evil.  The brass lamp is used for lighting. 

Mohiniyattam — Kerala 

• Mohini was Vishnu’s feminine avatar. It is the Enchantress dance. It is a solitary dance. Under the tenure of Travancore’s [Thirumal], it rose to prominence. V.N. Menon and Kalyani Amma brought it back to life. Sunanda Nair, Jayaprabha Menon, and other well-known individuals were responsible for popularising this dancing style. 

Features 

• This dance combines grace and elegance. Throughout the performance, the artist tells the story of Vishnu’s feminine dance. Lasya aspect is dominant (Stree Bhangi), so performed primarily by females. During the performance, the artist wears a white Sari with a gold border, minimal jewellery, and a flower gajra on her head, Ghungroo on her feet, too. 
• Carnatic music was used to perform it. Mani Pravala refers to the songs performed in Malayalam and Sanskrit. Its basic posture is performed on bent knees, with an erect torso and a gentle swaying of the upper body in the shape of an 8. This is known as Ati Bhangi (infinite turns). Atavukal denotes 40 basic movements, and chollu is Mohiniyattam vocal music.

Odissi — ORISSA

• It is the oldest dance form in India. The caves of Khandagiri-Udaigiri provide the earliest example of this dance form. It is primarily practiced by ‘Mahari’s’, Oriya devadasis, or temple girls. It was patronized by Jain King Kheravela. After the advent of Vaishnavism, the Mahari system became extinct, and it was later revived by young boys dressed as females known as gotipuas. Nartala,  another variant of dance continued in royal courts. This dance form gained recognition due to the efforts of Charles Fabri and Indrani Rahman. The famous  Personalities related to this dance are Guru Pankaj Charan Das, Sonal Mansingh, etc. 

Features 

• It is similar to Bharatnatyam in terms of emotional expression through mudras and postures. It has two fundamental postures (Chowk and Tribhanga posture). It symbolizes grace, sensuality, and beauty. It is usually done by women and children. Vaishnavism (Jagannatha), Shiva, and Shakti are the themes. It is also known as a mobile sculpture because dancers use their bodies to create geometrical shapes and patterns. Hindustani music was played in the background. It represents the element of water. The performance concludes with moksha, also performed by Trikhanda (taking leave of God and the audience). 

  It has 3 major styles 

• Mahari: temple dance performed by women [defunct]. 
• Gotipua: a dance by boys dressed as girls. 
• Nartaki: a dance performed in royal courts by women. 

Sattriya — Assam   

• In the 15th century, Vaishnava Saint Shankaradeva introduced it. Its name comes from Vaishnava monasteries called Sattras. Its foundation is Krishna Bhakti. Maniram Datta Moktar and Indira PP Bora are two of its proponents. 

Features 

• This dance form amalgamates various dance forms of Assam like Ojapali. The theme is based on Radha-Krishna & other avatars – Sita-Ram. It is performed in groups by male monks known as Bhokots. Khol and flute are the musical instruments used in this dance. It combines both Lasya and Tandava elements. It emphasizes hand gestures and footwork. 
• The dance form is divided into 2 streams: Gayan-Bhayanar Nach & Kharmanar Nach. Ankiya Nat, also known as Bhoona is an act of Sattriya having a single play performance. It contains both Purush bhangi  (Anger/Tandav) and Stree Bhangi (Lasya]) as it has nothing to do with gender. In this dance Male wear Dhoti & Pagadi & females wear Ghuri.

Manipuri — Manipur 

• Locals also refer to it as Jagoi. Its roots are in the Manipur heavenly dance of Shiva and Parvati (Gandharvas – dance experts mentioned in epics). Vasihnavism’s emergence helped it acquire popularity. By introducing it in Shantiniketan, Rabindranath Tagore brought it to public attention. Nayana, Survena, Ranjana, and Darshana are some of its well-known characters.

Features 

• Devotion, not sensuality, is required in the Manipuri dancing form. Both Tandava and Lasya are played but it focuses on the latter more. Nagabhanda Mudra, in which the body bends in the position of 8, is one of the fundamental mudras. Along with Shaivism and Shaktism, Ras Leela serves as this form’s primary theme. The musical instruments include the pung drum, the kartals, and the dhol. 
• It is a fusion of various dance styles, including South East Asian dance elements alongside Indian dance, which is the only dance that has been affected by other dance styles. Here, a team dance was performed. Both male and female dancers wear distinctive kumil. Male dancers play the Pung and Kartal while dancing; Choloms is a component of this heritage. The dance is accompanied by the Kirtan style of communal singing. Thang-ta are the martial dancers of Manipur. 

Kathak — UP (North & Western India) 

• Its source is Ras-Leela of Brajbhoomi, which is described in the Mahabharata. Its name comes from Kathika, or storytellers who performed epic poetry. During the Mughal Empire, it evolved into a sensuous form by becoming a court dance. The dance and dress of the Persians have an impact on the form. In the 20th century, Lady Leela Sokhey brought it back to life. Birju Maharaj, Lacchu Maharaj, Sitara Devi, and others are well-known dancers of this style. 

Features 

• This dance style is performed by many Gharanas from Lucknow (Wajid Ali Khan), Jaipur (Bhanuji), Raigarh, and Banaras. This dancing style employs intricate footwork. The main draw of this style is jugalbandi, which is a game of competition between a dancer and a tabla musician. 
• There is no music or shouting during the Gat Bhaav dance. Dhrupada music was playing in the background. During the Mughal era, the Taranas, Thumri, and Ghazal are first introduced. Legs and body are kept straight during this dance style. Unlike Kathakali, it does not contain intricate Natya; the only movements are the feet and the nritya component.

Yakshagana — Karnataka

Yakshagana is a traditional form of dance drama that originated in the Indian state of Karnataka. The word “Yakshagana” is derived from the Sanskrit words “yaksha” (spirit or supernatural being) and “gana” (music), and refers to a style of performance that combines music, dance, dialogue, and elaborate costumes and makeup to tell stories from Hindu mythology and folklore.

Features

• Performances take place in open-air stages or village squares, with musicians and performers sitting on opposite sides.
• The lead performer, called the “bhagavata,” narrates the story while the actors, who wear elaborate and colorful costumes and makeup, act out the roles. The dance movements are stylized and energetic, and the facial expressions are often exaggerated to convey emotions and convey the story to the audience.
• Today, Yakshagana is recognized as an important part of India’s cultural heritage and is performed at festivals, religious ceremonies, and cultural events throughout the country.