SATTRIYA

Sattriya is a classical dance form of Assam which was included among the principal classical dances of India in the year 2000 by Sahitya Nataka Akademi.

Sattriya, or Sattriya Nritya, is one among eight principal classical Indian dance traditions. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the Assamese Vaishnav saint Srimanta Sankardeva, in 15th century Assam.[1]Sankardeva created Sattriya Nritya as an accompaniment to the Ankiya Naat (a form of Assamese one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called. As the tradition developed and grew within the sattras, the dance form came to be called Sattriya Nritya.[2] Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago.

MOHINIYATTAM

The distinctive style of MOHINIYATTAM is the complete absence of heavy stamping and rhythmical tension . The stamping of the feet is a very substantial element in most of the other dance forms except MANIPURI.In Mohiniyattam the footwork is gentle , soft and sliding. The movements are never abrupt , they are dignified easy and natural , but the vertical line of the body is never disrupted.Graceful gentle bobbing movements are very special of MOHINIYATTAM. We can say that this dance form has some resemblence to Bharatanatyam , but it is quite distinct in its execution of movements , usage of hand gestures and its stark simple costume.

KATHAKALI

Kathakali is a harmonious combination of 5 forms of fine art. 1.Literature {Sahithyam} 2.Music {Sangeetham} 3.Painting {Chitram} 4.Acting {Natyam} 5.Dance {Nritham} The role of each of these artforms is very vital in the making of Kathakali , the king of performing arts , particularly theatre. As we have seen in almost all the prior mentioned dance forms it is LASYA { the graceful feminine expression } that is the predominant style , but in Kathakali it is THANDAVA {masculine expression of vigour } that is the predominant style.Hence the movements are often explosive .Delicate movements are rare.Kathakali follows the language of Mudras as described in HASTHALAKSHANADEEPIKA.

MODERN JAZZ

Any modern dance takes styles from various forms of other dances. It is very difficult to categorise them strictly , based on certain techniques like Indian classical dances.In the 18th century Jazz dance was often referred to as Tap dance , because tap dancing set to Jazz music was one of the predominant dances of the era.The dance styles originated from the African American vernacular dance. In the 1950's a new genre of Jazz dance - modern Jazz dance emerged with roots in Caribbean traditional dance ,which has a very smooth style. Tap dance branched off to follow its own separate evolutionary path.

MANIPURI

As mentioned hitherto , it was the Bhakti cult which brought about a drastic change , and Krishna Bhakti led to Rasalilas. Maharaja BHAGYACHANDRA {who ruled between 1759-1798 AD} codified the style , and composed three of the five types of Rasalilas. They can be named as Maharas ; the Basantaras ; and Kunjaras.This was performed at the Sri Sri Govindaji Temple in Imphal , and also Achouba Bhangi Pareng dance . He designed an elaborate costume known as " KUMIL ".The "GOVINDA SANGEET LILA VILASA" ,an important text detailing the fundamentals of the dance , is also attributed to him.

KATHAK

Kathak was primarily associated with an institution known as "TAWAIF". This was very popular during the 16th century which was patronized by the Mughal rulers.This is a much misunderstood institution of female entertainers , very much like the "Geisha" tradition of Japan.It was a profession which demanded the highest standards of training , intelligence and most important civility.It is said that it was common for royalty to send their children to the TAWAIFS for instruction in etiquette.Young girls were taken at a tender age and trained in both performing arts{kathak and hindustani classical music} as well as literature{ghazal and thumri} to a very high standard.Once they had matured and possessed a sufficient command over dancing and singing , they became TAWAIF. As the saying goes , young Nawabs were sent to TAWAIF to learn "Tameez" and "Tehzeeb" , which includes the ability to differentiate and appreciate good music and literature and also the art of Ghazal writing.

ODISSI

As we all know GITAGOVINDAM is a lyrical treatise in which Poet Saint Jaidev has shown his mastery in music and dance along with his dauntless devotion to VISHNU.He has portrayed the science of LOVE at a totally different plane.It lends itself to be adapted to the different musical versions and dance performance.Because of its religious fervour , it was adapted by temple dancers.Originating in Orissa it has travelled to Bengal , Gujarat ,South India and even Nepal.Raga and Tala came to be assigned to these lyrics and are used for different occasions to be sung or danced.

KUCHIPUDI

Delving deep into the history of KUCHIPUDI ,Kakatiyas came in the 12th century. They subjugated Jayappa of the Ayya dyansty , and made him a commander.An ardent lover of dance , in all its many slandered forms , Jayappa wrote "NRITTARATNAVALI". Palkuriki Somanatha, an eminent poet of the Kakatiya court listed all these dance forms in his book "Pandittaradhyacharita" , in Telugu.

BHARATA NATYAM

Alarippu is a very traditional part of Bharatanatyam repertoire.After the ADAVUS it is the first item that is taught to a student.It is a uniquely styled full length item with its own identity and is perhaps one of the most beautiful presentations . I still remember fondly my own ARANGETRAM where I had performed ALARIPPU with much enthusiasm at a very young age ! It is clear uncluttered and graceful.It has some interesting numerical facts.It is performed in 3 stages : standing , full-sitting , half-sitting using the same rhythmic syllables.Each stage is performed in 3 speeds.5 types of ALARIPPU is possible based on 5 basic counts. Accordingly , the respective ALARIPPUS are known TISRA ,CHATURASRA ,KHANDA ,MISRA and SANKEERNA alarippu.

MOHINIYATTAM

Mohiniyattam known as the dance of the celestial female , since it has an extremely slow seductive quality. It is essentially a solo dance performed by women ,and now-a-days it is also performed in groups. The basis of this dance is not seductiion alone , it also signifies the transformation of Lord Vishnu into a female form and also the concept of ARDHANAREESHWARA ie. male and female as one.Mohiniyattam signifies the dance of the enchantress that causes destruction of the wicked and brings delight and pleasure to the good.This dance form draws upon secular and social themes rather than religious themes.Most of the themes of Mohiniyattam are dealt with love , union and failure , of men and women.

KATHAKALI

In old days , Kathakali was presented in the temple precints after dusk falls. Kathakali is heralded by the kelikottu or the beating of drums in accompaniment of the chengila{gong}. The richness of a happy blending of colour , expressions , music, drama and dance is unparallaled in any other art form.Now a days it is performed on stage world over for the convenience of audience.

MODERN DANCE

Modern dance is a more relaxed , free style of dance , in which choreographers use emotions and moods to design their steps.It has a deliberate use of gravity , whereas ballet strives to be light and airy.It has also embraced Carribean influences along with African American contributiions.The essence of MODERN DANCE is to look forward , and not back.It is impossible to predict what directions MODERN DANCE will take in the future.Each style will go in so many different directions and are usually very radical. If this trend keeps up, future audiences can look forward to an interesting dance forum!!!

KATHAK

The 19th century saw the golden age of KATHAK under the patronage of Wajid Ali Shah , the last Nawab of Oudh.He established the LUCKNOW gharana with its strong accent on "BHAVA" , the expression of NATYA{moods} and ABHINAYA{emotions}. The Nawab himself used to dance taught by Durga Prasad. The JAIPUR gharana is known for LAYAKARI {rhythmic virtuosity with complex footwork} and it was born in the courts of KACHWAHA RAJPUT KINGS. The BANARAS gharana also was formed at the same time in the courts of VARANASI.

ODISSI

GITA GOVINDA is a lyrical poetry organised in 12 chapters. Each chapter into 24 divisions{prabhandas}. The PRABHANDAS contain COUPLETS grouped into eights called ASHTAPADIS {Ashta means EIGHT}.In this lyrical treatise, Saint Jideva has shown his mastery in music and dance along with his dauntless devotion to LORD VISHNU.It lends itself to be adapted to the different musical versions and dance performance.It is because of its religious fervour , that it was adapted by the temple dancers.JAIDEVA was instrumental in popularising DASAVATHARAM , the TEN incarantions of Lord Vishnu in another compositiion DASAKRITIKRITA. The classic "TRIBHANGI" {three-fold} posture of KRISHNA playing the flute gained popularity due to him.

KUCHIPUDI

Devadasi system was the most prevalent in Andhra Pradesh.Hence we shouldn't doubt about the deeprooted origin of KUCHIPUDI dance form too.As i've already mentioned , Devadasies became victims of feudal abuse . Buddhism and Jainism flourished later on.Jainism was propagated by the Chalukyas. They exploited this dance forms and liberally patronized both classical and Margi style. MARGI is a style that is supposed to follow the text { Natyasastra } in toto. MARGI can also be termed as the GUIDING FACTOR. As a big controversy lies between the margi and desi style let us just take NATYASASTRA as a great work in DRAMATOLOGY.The Devadasies were degenerated to Rajanartakies or court dancers.

BHARATA NATYAM

The Tanjore QUARTETS were well informed about SADIR , the dance form which was much popular in the temples and courts. They codified and systematized the dance and designed the MARGAM {solo repertoire} , standardized the body technique {Adavu} and made a syllabus for the dance.The term MARGAM means "The Way".In this context it can be construed as the route of a traditional Bharatanatyam dancer. In todays scenario , A Margam denotes PUSHPANJALI/ALARIPPU ,JATHISWARAM ,SHABDAM , VARNAM ,PADAM AND THILLANA.Most performances follow more or less the same scheme with little changes here and there.The torch bearers also composed a large music collection ,and translated the temple and court presentation for the modern stage. A solo Bharatanatyam repertoire unfolds gradually with a balanced representation of Nritta{rhythmic performance of combined Adavu} and Abhinaya{harmonic interpretation of the lyrics through mind and body expression}.

MOHINIYATTAM

Once again delving into the historical background of Mohiniyattam , the first reference of MOHINIYATTAM is found in VYAVAHARAMALA composed by Mazhamangalam Narayana Namboodiri , who lived in the 16th century.This artform is considered to be older than KATHAKALI the much acclaimed dance drama of Kerala.Another reference on MOHINIYATTAM can be found in the Ottanthullal {a semi-classical semi-folk dramatic artform ok Kerala} script Ghoshayatra authored by Kunjan Nambiar , during the second half of 18th century.Though Maharaja Swati Thirunnal was the torch bearer of this dance form , there was a sudden decline in the propagation of this after his period due to the feudalism prevalent in Kerala during the onset of British raaj.It was during the 1930 's when Kerala Kalamamdalam was instituted by the great poet Vallathol Narayana Menon that the art form gained some facelift under his patronage.

KATHAKALI

Kathakali is thus said to have evolved from other performing arts like Kootiyattam , Krishnanattam and Klaripayattu.This most sacred DANCE DRAMA of Kerala requires lenghty and rigorous training to attain complete control of the body and a sensitivity to emotion so aas to be able to render all its nuances through facial expressions and hand gestures.Kerala owes its transnational fame to this nearly 300 years old classical dance form which combines facets of ballet , opera ,masque and the pantomime.Kathakali too like the other dances explicates ideas and stories from the Indian epics and Puranas.

THE MODERN DANCE

Modern dance is a dance form which developed during the early 20th century.This was initiated , as a rebellious group of people felt that the classical ballet had features too restricting , not giving any space for outlet of emotions and feelings.
Isadora Duncan and Ruth st Denis of America and Mary wigman of Germany can be considered as the torchbearers of this great move.These dancers used emotions and moods to design steps instead of techniques.Thus this dance form focuses on the serious expression of inner emotions , using a free flowing interpretive style.
Later on it embraced contributiions of African-American dancers too.The founders of the modern dance composed their dances entirely on spirit ,heart and mind as opposed to todays modern dance which has more of a technical aspect too. To name a few SALSA , BREAK DANCE , HIP-HOP, JIVE , TAP DANCE, LYRICAL OR CONTEMPORARY , etc.Hence modern dance can be anything from HIP-HOP to break dancing to Jazz.

KATHAK

As we have already seen the origin of KATHAK DANCE goes back to 3rd and 4th B.C when professional story tellers or Kathakas were very popular.In Bana Bhatta's HARSHACHARITA there is mention about the same.Though its emergence was just like a dramatic form , by the 13th century a definite style had emerged , and also technical features like mnemonic syllables and BOL developed."BOLS" are a group of rhythmic words { eg:dha, ge ,na, tirakiTa or ta , thei , tat , tata , tigda .} which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance.This recitation is known as "PADHANT".

MANIPURI

Let us take a look into the origins of this dance form.As we know , there are an array of this dance.The copper plate inscriptions tell us that the king Khuoyi Tompole of 2nd century , had introduced drums and cymbals into Manipuri dance. But it is unlikely it had any resemblance to the present day dance style.It was again the Bhakti movement during the 15th century which brought about drastic changes , and Krishna Bhakti led to Rasalila's.

ODISSI

Saint Jaidev was a great poet, who lived in Orissa during the 12th century AD.He learned sanskrit with such passion and became one of the greatest poet in the same language.He was born in Kenduli Sasan {formerely Kendubilva}.This is very near to Puri.Even today , the village of Kenduli Sasan is replete with images of Madhava{Krishna}.Undoubtedly the great poet must have been influenced , by the devotional milieu in that area when he composed his magnum opus, THE GITA GOVINDA.It became very popular throughout India during a brief period of its compositiion ,perhaps it was regularly performed in the Jagannath temple of PURI.

KUCHIPUDI

Srikakulam was the ancient capital of the SATAVAHANA empire {2 BC.}.The rulers of Satavahana were great patrons of art.From the inscriptions found here , on the temples of Andhra Vishnu , which was the most sacred shrine of those days , it is evident many devadasies received royal patronage .The sculptures excavated from this area show the grace of the women , whose dance was an art of worship.

BHARATA NATYAM

At this juncture we need to mention the unparalleled contribution by the four Tamil brothers of Tanjore famously known as the Tanjore Quartets. They are Sri.CHINNAYA {B.1802}, Sri.PONNIAH {B.1804} ,Sri.SIVANANDAM{B.1808}, and Sri.VADIVELU{B.1810}.The PARAMPARAI , artistic family lineage of the Tanjore Quartets goes back to 1638 to Sri.Gopala Nattuvanar {B.1638} who was a great artist. The brothers were groomed in carnatic music by Sri.Muthuswami Dikshitar of the celebrated Trinity of Carnatic music. Thus the dance which was popular only in the temples and courts was designed and codified as a stage art by these four well versed born artists.The QUARTETS thus became court musicians and the early promoters of ART.

MOHINIYATTAM

Mohiniyattam achieved the present identity and a strong stand among the other classical dance forms due to the relentless effort of great artists like Kalyani kutty Amma ,Kalpurattee Kunjukutty Amma and Thottacheri Chinnau Amma. The great poet of Kerala Sri.Vallathol ,in the 20th century established the Kerala Kalamamdalam to promote the arts of Mohiniyattam and Kathakali. The above mentioned three artists were invited by the poet to teach MOhiniyattam at the institution.The song of MOhiniyattam is based on Carnatic music and the language used is Manipravalam {a mix of Malayalam and Sanskrit}.

KATHAKALI

The history of this artform can be traced back almost 1000 years , where the seed lay embedded in the artform called, "KOODIYATTAM".Koodiyattam is the oldest classical artform of Kerala.It is offered as a votive offering to the deity.Koodiyattam literally means "acting together".Kathakali evolved across during the last 400 to 500 years.The contributiion of Maharaja kartika thirunal Rama Varma to kathakali is incomparable.A descendant of the ancient Chera Kings of South India , he encouraged arts and literature in the 18th century.

MANIPURI

RASALILA can be seen as a ubiquitous presence in most of the dance forms.It is a favourite dance in a circle by Krishan with his milkmaids.The dances are presented as a group with Krishna at the helm of the whole show. The dance takes its own style in the different artforms. In Manipuri, it is presented as a group with gorgeous colourful costumes and gentle swaying petal soft movements.

KATHAK

The Vaishnavite cult which swept Northern India in the 15th century and the resultant Bhakti Movement contributed to a whole new range of lyrics and musical forms.The Radha-Krishna theme proved immensely popular along with the works of Mirabai ,Surdas,Nandadas and Krishnadas.The emergence of Rasalila , mainly in the Braj region { Mathura in western U.P.}was an important development.There are three major gharanas { schools } of KATHAK from which performers today generally draw their lineage : The gharanas of JAIPUR ,LUCKNOW and BANARAS.There is also a less prominent RAIGARH GHARANA which is an amalgamation of all the three preceding gharanas , still became famous for its own distinctive style.

ODISSI

The RATHYATHRA festival celebrated annually with much pomp and splendour is the high point of all the festivals, attracting lakhs of devotees and pilgrims from time immemorial.To see the LORD on the chariot on the RATHYATHRA day is to secure salvation from the cycles of birth and death.Thus the grandeur of JAGANNATH PURI must be vivid to anyone from the above description.Early Maharis performed mainly nritta(pure dance) and abhinaya(interpretation of poetry) based on mantras and slokas.Later Maharis performed dance sequences based on the lyrics of Jaidev's "GITAGOVINDA".

KUCHIPUDI

The storyline goes like this.It is said that there was once an orphan of Srikakulam ,who was raised by the villagers.He was married at childhood as was the custom of the time.Later he was sent to Udipi for vedic studies.There he acquired the name Siddhendra Yogi.He returned to Srikakulam after acquiring mastery in his studies.The knowledge of vedas had inspired him into a different life.But the villagers admonished him to go back to his wife and take up family responsibilities.On the way, he had to cross a river.As he was swimming across ,he realised he could not proceed further.He then called the almighty to save him and upon reaching the shore he renounced worldly life and became a sanyasi.He settled in Kuchelapuram and instructed Brahmin boys in devotional dance drams based upon religious themes.These religious plays were presented as offerings to god in the traditon of Natya Shastra.Kuchipudi was thus nurtured by great scholars and artists and flourished as as a dramatic form of dance for hundreds of years.It was held in high esteem by the rulers of Deccan.

BHARATA NATYAM

The ancient temples were centres of religion ,science and various artistic expressions.They were built by the kings as an expression of devotion to religion and art.As we all know, Bharatanatyam one of the oldest form was nurtured in the temples and courts of South India since ancient times.The art was handed down as a living traditiion from generation to generation by the Devadasi system, under which women were dedicated to temples ,to serve the deity as dancers and musicians forming part of the elaborate rituals.The Devadasies were trained by highly talented artistic male gurus{Nattuvanars} who were the sole repository of the art until the 19th century.

MOHINIYATTAM

Maharaja Swathithirunal of the kingdom of Travancore {Trivandrum},who was a great patron of arts , heard of Sri Vadivelu's experiment with western violin , and a new instrument was added to the realm of carnatic music.The king encouraged the brothers to extend their art. At this juncture on the request of the King Sri Vadivelu formulated the new artform Mohiniyattam.The song of Mohiniyattam is based on carnatic music and the language used is Manipravalam {a mix of Malayalam and Sanskrit }.Instruments used are veena ,maddalam ,flute ,edakka etc.The costume includes white or off white sari with broad golden zari typical of Kerala.The attire is tailored with broad zari done in a pleated style.The hairdo is also a traditional one with white flowers.

KATHAKALI

As a classical art form Kathakali does stand apart from other dances in this category, mainly due to its costume and make-up.It may be totally out of space to a spectator if he doesn't have a proper outline about the story line of the art form being performed on the stage.Whereas any other form will always be appealing to ones senses due to its flawless music and enchanting sways, though different from each other but unique in its own way.Kathakali does share some similarities with various art forms of Kerala.

KATHAK

Before proceeding about the various gharanas {schools} of Kathak ,let us take a look at the most important gadget used by the dancers, called the GHUNGURU or the bells.These are small bells the dancer ties around his or her ankles.The kathak bells are different form those of other Indian styles , as they are not affixed to a pad or strip of leather , they are individually woven along a thick string.The number of bells ranges from 25 for beginners to 150 for experts on each ankle.The scintillating foot works are like fireworks with the accompaniment of these ghungurus.

MANIPURI

Among the classical categories the cult of Radha and Krishna particularly "RASALILA" is a highly evolved dance drama choreographed on vaishnavite padavalis. The song is composed by eminent Bengali poets and some Manipuri gurus.It is the highest expression of artistic genius , devotion and excellence of Manipuris.Sometimes the cymbals {Kartal or Manjira} and double headed drum {Pung or Manipuri mridang} of Sankirtan is incorporated into the visual performance.

ODISSI

The ODISSI tradition existed in three schools : Mahari ; Nartaki and Gotipua.
Maharis were Orissan devadasies or temple girls.Their name deriving from Maha {great} and Nari{Woman}.Thus Mahri means the chosen one.This especially denotes those at the temple of Jagannath Puri.Let us peep into the grandeur of The Lord at puri who is none other than Lord Krishna in company of his brother and sister.The lord is considered as Purushotham , the Lord of the universe or the supreme personality of the universe.Also known as Dham , it is one of the Holy Kshetras of India including temples at Rameshwaram , Dwaraka and Badrinath.

KUCHIPUDI

Another unique feature of Kuchipudi is the Tarangam , in which the performer dances on the edges of a brass plate , executing complicated rhythmic patterns with dexterity , while sometimes also balancing a pot of water on the head.There is a beautiful legend behind the origin of this beautiful dance form.As we know Kuchelapuram is a small town around 65 km from Vijayawada.

BHARATA NATYAM

Without giving an introductiion to "Natyashastra" it may look very incomplete to move forward into the various aspects of this beautiful artform.Bharata Natyashastra is a detailed treatise and handbook on dramatic artform that deals with all aspects of classical sanskrit theatre or Bharatanatyam.It is believed to have been written by the mythic Brahamn sage and priest Bharata sometime between{1st century BCE-3rd century CE.Its many chapters contain detailed summary about all the diverse arts that encompass other Indian classical genres like drama,dance,music ,poetics and general aesthetics.The book exhorts that the indian classical drama is a vehicle for religious enlightenment.

KATHAKALI

Kathakali is performed to a live musical accompaniment.The accompanists stand on the stage a little away from the performing artists.The make is elaborate and much stylised along with colourful costumes that it is almost impossible to recognise the artist in normal clothes even if you have watched him perform one whole night.Kathakali's means of communication are very structured.So,one certainly needs to have a clear idea of the form to understand or follow a performance.

MOHINIYATTAM

As we look back to the origin of MOHINIYATTAM , it can also be adjudged as a temple dance performed by the devadasies.I t also has elements of Koothu and Kootiyattam in it.Mohiniyattam is a drama in dance and verse.It also has influence of Bharatanatyam and Kathakali in it.This artform was formulated in the court of Swathithirunal by Vadivelu ,one of the Tanjavur quartet.

KATHAK

Kathak is a dance of communication reflecting the total philosophy of life.It adheres to tradition yet,at the same time it develops in new directions.Kathak is a vehicle for all emotions.It is universal in concept,unlike other Indian classical dances,it absorbs other cultures.It was when the dance reached the Mughal courts after the 16th century that Kathak began to acquire its distinctive shape and features.

MANIPURI

Manipuri dance is claimed to be one of the most modest ,softest and mildest , but one of the most meaningful dances of the world.Its purely religious and its aim is a spiritual experience.The most obliging aspect of Manipuri culture is that it has retained the ancient ritual based dances and folk dances along with the later developed classical Manipuri dance style.

ODISSI

Odissi dance has a long , but broken tradition.Although dance in Odissa{Orissa} may be traced back more than 2000 years,it was brought to near extinction during the colonial period.The modern Odissi dance is actually a reconstruction of the older form.Dancers are found depicted in the hills of Udayagiri{near Bhubaneshwar} dating back to the 1st century BC.Ihe Natya shastra speaks of the dance from this region and refers to it as Odra Magadhi.

KUCHIPUDI

Kuchipudi today is performed either as a solo or group presentation,but historically it was performed as a dance drama ,with several dancers taking different roles.The themes are mostly derived from the scriptures and mythology and the portrayal of certain characters is a central motif of this dance form.One such example is Satyabhama,the colourful second consort of Lord Krishna.

BHARATA NATYAM

An important matter that we have to keep in mind is that "BHARATA NATYAM" is a term just more than half a century old.The original version of the same called "SADIR" has certainly been influenced by the "NATYASAHSTRA" the ancient sanskrit text of dramatology.The "Natyashastra" is believed to have been created in the 2nd century B.C.

MOHINIYATTAM

In the second story the Lord appears as Mohini to save Lord Shivafrom the demon Bhasmasura.Hence we understand that the name Mohini may have been coined after Lord Vishnu . and the main themes of the dance is love{sringara} and devotion{bhakti} to god.The striking feature of this dance form is the much stylish and arresting hairdo along with the white kasavu bordered attire , which elivates the dance to a totally different level.

KATHAKALI

Kathakali is spectacular,colourful,exaggerated and out of the world.The audience sit spell bound at many occasions..!!!The memory lingers on...I still feel the chill of witnessing a "kathakali" repertoire when i was just 8 years old in an open ground.
Kathakali performances narrate many popular portionsfrom Hindu mythology.Most performances are based on Mahabharata,Ramayana,Bhagavatha purana etc.Hence vaishnavite themes occupy a promonent place.There are ofcourse performances based on shaivite themes also.

KATHAK

This dance form traces its origin to the nomadic bards of the ancient northern India.These bards performed mainly in village squares and temple courtyards.They told stories from mythology and moral tales from scripturs embellishing their recitals with hand gestures and facial expressions.The stories were enlivened with instrumental and vocal music along with stylized gestures.

MANIPURI

The state of Manipur is tucked away in the north-eastern corner of India surrounded by mountains and geographically isolated from the mainland India.Hence this dance form developed its own specific aesthetics,values ,conventions and ethics.The cult of Radha and Krishna popularly known as the RASALILA is central to its themes.The attire of Krishna is spectacular with its peacock feathers..

ODISSI

This classical dance form is unique from the other classical dances due to the feature called "Tribhangi"..{literally three parts break}.The independent movement of head,chest and pelvis.Another striking feature is the basic square stance known as "Chauka".