Bharatanatyam

Dating back to 1000 BCE, Bharatanatyam is a classical dance from the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music.Its inspirations come from the sculptures of the ancient temple of Chidambaram. It was codified and documented as a performing art in the 19th century by four brothers known as the Thanjavur Quartet whose musical compositions for dance form the bulk of the Bharatanatya repertoire even today.
The name Bharata Natyam is of relatively recent origin when performers like Rukmini Devi revived the dance in the 20th century. The original names of Bharata Natyam were Sadir, Chinnamelan and most commonly Dasi Attam. A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. The word Bharatnatyam combines "Bhavam" meaning expression, "ragam" meaning music, "thalam" meaning rhythm and natyam meaning dance.
Surviving texts of the golden age of Tamil literature and poetry known during the Sangam period of ca. 3rd century BCE to c. 4th century CE, such as the Tolkappiyam (தொல்காப்பியம்), as well as the later Silappadikaram (சிலப்பதிகாரம்), testify to a variety of dance traditions which flourished in these times.

Mohiniyattam

Mohiniyattam, also spelled Mohiniattam (Malayalam: മോഹിനിയാട്ടം), is a classical dance from Kerala, India. Believed to have originated in 16th century CE,[1] it is one of the eight Indian classical dance forms recognised by the Sangeet Natak Akademi. It is considered a very graceful form of dance meant to be performed as solo recitals by women. Mohiniyattam was popularised as a popular dance form in the nineteenth century by Swathi Thirunal, the Maharaja of the state of Travancore (Southern Kerala), and Vadivelu, one of the Thanjavur Quartet. Swathi Thirunal promoted the study of Mohiniyattam during his reign, and is credited with the composition of many music arrangements and vocal accompaniments that provide musical background for modern Mohiniyattam dancers. The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school in 1930, played an important role in popularizing Mohiniattam in the 20th century.
The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "[{aattam}]" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras away from the amrita (nectar of immortality) obtained during the churning of the palazhi (ocean of milk and salt water).

Kathakali

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकेळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

Kathak

Kathak (Hindi: कथक) is one of the eight forms of Indian classical dance. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathakars or storytellers. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and central Asian dance which were imported by the royal courts of the Mughal era.
The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly कत्थक katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day कथक kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, she/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak'.
There are three major schools or gharana of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow and Varanasi (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

Kuchipudi

Kuchipudi /kuːtʃiˈpuːdi/ (Telugu: కూచిపూడి) is a Classical Indian dance from Andhra Pradesh, India. It is also popular all over South India. Kuchipudi is the name of a village in the Divi Taluka of Krishna district that borders the Bay of Bengal and also the surname of the resident Brahmins practicing this traditional dance form, it acquired the present name.
The performance usually begins with some stage rites, after which each of the characters come on to the stage and introduces him/herself with a dharavu (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a lightweight wood called Boorugu. It originated in the seventh century.
Bharata Muni who wrote the Natya Shastra about 3000 years ago had explained various aspects of this dance form. Later sometime in the 13th century, the impetus to kuchipudi was given by Sidhendra Yogi. Siddhendra Yogi redefined the dance form. Siddhendra Yogi’s former name was Siddhappa who was an orphan Brahmin.

Odissi

Odissi, also known as Orissi (Oriya: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences.The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.

Sattriya

Sattriya or Sattriya Nritya (Assamese: সত্ৰীয়া নৃত্য), is one among the eight principal classical Indian dance traditions. In the year 2000, the Sattriya dances of Assam received recognition as one of the eight classical dance forms of India. Where as some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the founder of Vaishnavism in Assam, the great saint Srimanta Sankardev, in 15th century Assam.
Srimanta Sankardev and Madhavdev created Sattriya Nritya as an accompaniment to the Ankia Naat (a form of Assamese one-act plays devised by them), which were usually performed in the sattras, monasteries associated with the Ekasarana dharma. As the tradition developed and grew within the sattras, the dance form came to be known as Sattriya Nritya, a name first coined by Maheswar Neog.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.
The core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members of the sattras, on themes not merely mythological.

Folk and tribal dance forms

Folk dance in India is a term broadly used to describe all forms of folk and tribal dances in regions across India. While Indian classical dance is considered a higher form of art and was practiced in courts, temples and on special occasions, folk dance forms are practiced in groups in rural areas as an expression of their daily work and rituals. They are performed on religious or seasonal festivals. Some of the popular folk dances that are performed across villages and cities are Bhangra, Garba, Kalbelia and Bihu.

The state-wise distribution of folk dances are

1. Assam: Ankiya Nat, Kirtania Natak, Ojapali,Bihu
2. Bihar: Bidesia, Senkela Chhau, Jat-Jatni Bidpada, Ramkhelia.
3. Gujarat : Bhavai garba .
4. Haryana : Swang, Naqqal
5. Himachal Pradesh : Kariyala, Bhagat, Ras Ihanld, Harnatra Haran or Harin.
6. Jammu and Kashmir: Bhand Pathar or Bhand lashna, Vetal Dhamali.
7. Karnataka: Yakshagana, Bedara Vesha, Dollu Kunitha, Santa, Doddata-Bayalata, Tala Maddle or Prasang. Dasarata, Radhna.
8. Kerala: Kodiyattam, Margam Kali, Mudiattam Therayattam, Chavittu Nadakam, Chakyar koothu.
9. Madhya Pradesh: Maanch, Nacha.
10. Maharashtra: Tamasha, Lalit Bharud, Gondha, Dashavatar, Lavni.
11. Orissa: Pala Jtra, Daskathia, Mayurbhanj Chhau, Mangal Ras, Sowang.
12. Punjab: Naqqal, Swang bhangra .
13. Rajasthan: Khyal, Rasdhari, Rammat, Turra Kilangi, Gauri, Nautanki, Ihamtara.
14. Seemandhra: Veethi Natakam, Burrakatha, lambadi, koya.
15. Tamil Nadu: Therukuttu, Veethi Natakam, Bhagwat Mela Natakam, Kurvaanji, Pagal Vasham, Kavadi Chindu.
16. Telangana: Bathukamma
17. Uttar Pradesh: Bhagat, Sang-Swang, Naqqual.
18. Goa : Dashavatar, Tiyara
19. West Bengal : Chhau (Purulia), Santhali

Contemporary dance

Contemporary dance is a popular form of dance which developed during the middle portion of the twentieth century and has since grown to become one of the dominating performance genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance, but due to its popularity amongst trained dancers and some overlap in movement type, it is often perceived as being closely related to modern dance, ballet and other classical concert dance styles.
In terms of the focus of its technique, contemporary dance tends to utilize both the strong and controlled legwork of ballet and modern dance's stress on the torso, and also employs contact-release, floor work, fall and recovery, and improvisation characteristic of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. It sometimes also incorporates elements of non-western dance cultures such as elements from African dance including bent knees, or movements from the Japanese contemporary dance Butoh.
Contemporary dance draws on both classical ballet and modern dance, whereas postmodern dance was a direct and opposite response to modern dance. Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage, who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting, it is assumed that an element (a movement, a sound, a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies.

Cunningham's key ideas include:

1. Contemporary dance does refuse the classical ballet's leg technique in favor of modern dance's stress on the torso
2. Contemporary dance is not necessarily narrative form of art
3. Choreography that appears disordered, but nevertheless relies on technique
4. Unpredictable changes in rhythm, speed, and direction
5. Multiple and simultaneous actions
6. Suspension of perspective and symmetry in ballet scenic frame perspective such as front, center, and hierarchies
7. Creative freedom
8. "Independence between dance and music"
9. Dance to be danced, not analyzed
10. Innovative lighting, sets, and costumes in collaboration with Andy Warhol, Robert
Rauschenberg, and Jasper Johns

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