CLASSICAL & FOLK DANCES IN INDIAN CULTURE

CLASSICAL & FOLK DANCES IN INDIAN CULTURE by Dr Ananda and Smt Devasena Bhavanani for the UNMESH: EXPLORE, EVOLVE, REALIZE, A Study Programme in Indian Knowledge Systems and Cultural Heritage by Sri Aurobindo Foundation for Indian Culture (SAFIC), Sri Aurobindo Society (SAS), Puducherry in collaboration with Agastya Gurukulam, USA

1. Yogacharya Dr. ANANDA BALAYOGI BHAVANANI
MBBS, ADY, MD (AM), C-IAYT, DSc (Yoga)
Chairman & Hereditary Trustee
Yogacharini Smt. DEVASENA BHAVANANI
BPA, ADY, MA (Samskrutam)
General Secretary and Head Deptt of Natyam
Yoganjali Natyalayam & ICYER, Pondicherry
www.rishiculture.in

2. INTRODUCTIONINTRODUCTION
Dance in India comprises the varied styles of
dances and as with other aspects of Indian
culture, different forms of dances originated in
different parts of India, developed according to
the local traditions and also imbibed elements
from other parts of the country.
These dance forms emerged from Indian
traditions, epics and historical-mythology.

3. INDIAN CLASSICAL DANCESINDIAN CLASSICAL DANCES
Sangeet Natak AkademiSangeet Natak Akademi, recognizes , recognizes EIGHT EIGHT
distinctive traditional dances as Indian Classical distinctive traditional dances as Indian Classical
Dances. Dances.
These are:These are:
Bharatanatyam- TN
Kathak- UP
Kathakali- Kerala
Kuchipudi- AP
Manipuri-Manipur
Mohiniyattam -Kerala
Odissi –Odisha
Sattriya -Assam

5. OTHERS…OTHERS…
Folk dances are numerous in number and style, and
vary according to the local tradition of the
respective state, ethnic or geographic regions.
Contemporary dances include refined and
experimental fusions of classical, folk and Western
forms.
In modern times, the presentation of Indian dance
styles in films (Bollywood dancing) has exposed the
range of dance in India to a global audience.

7. HISTORY AND MYTHOLOGYHISTORY AND MYTHOLOGY
In India all forms of art have a sacred origin and the
inner experience of the soul finds its highest
expression in music and dance.
Lord Shiva as Nataraja is its manifesting principle.
Shiva manifests Tandava (masculine form)
Parvati manifests Lasya (feminine form).
Natya Shastra and Abhinaya Darpana tells us that,
Lord Brahma created dance upon request of the
Gods and it became known as the fifth Veda, open
to all, irrespective of caste and creed.

8. CREATION OF NATYA VEDACREATION OF NATYA VEDA
Prior to the creation of the Natya Veda, Brahma
entered a Yogic trance and..
He drew literature from the Rig Veda,
Song from the Sama Veda,
Abhinaya or expression from the Yajur Veda and
Rasa or aesthetic experience from Atharva Veda.
These aspects are the four main constituents of
the Natya Veda.

9. SIGNIFICANCE OF NATARAJASIGNIFICANCE OF NATARAJA
Dance of Shiva is the dance of life as it
represents all functions of Shiva as the
creator, preserver and destroyer.
Abhaya & varadha hastham instill
courage and bless with benevolence
Damaru & agni hastam represent
creation & dissolution.
The upraised left foot represents
blessing bestowed by the Lord and
under the right foot is Muyalagan,
which signifies triumph over ego.

10. FOLK DANCES OF INDIAFOLK DANCES OF INDIA
Significant in rural areas as an expression of daily work
and rituals of village communities.
Have their roots in religious and seasonal festivals.
They are mostly performed in groups.
Every state has its own folk dance forms like
Kolattam, khummi, pambattam, puliattam, karagattam,
oyilattam, bommalattam, poikal kudirai attam and
theru koothu in Tamil Nadu;
Bedara Vesha & dollu kunitha in Karnataka;

11. Garba, gagari & ghodakhund in Gujarat;
Kalbelia, ghoomar & rasiya in Rajasthan;
Neyopa & bacha nagma in Jammu and Kashmir;
Bhangra & giddha in Punjab;
Bihu dance in Assam;
Chau, goti pua & ghumura in Odisha;
Lavani in Maharastra
and likewise for each state and smaller regions in it.

12. TAMILNADU FOLK DANCETAMILNADU FOLK DANCE

18. YAKSHAGANA - A FORM OF OPERA YAKSHAGANA - A FORM OF OPERA
A classical dance drama popular in
Karnataka. Traditionally start late and
run all night.
Has music, songs, dance, acting, dialogue
& unique costumes.
The tala patterns are similar to classical
forms while acting & dialogues are
created spontaneously on stage.
This combination of classical & folk
elements makes it unique.

19. BHARATANATYAMBHARATANATYAM
Seamless blend of nritta & nritya (natyam)
Nritta is rhythmic movement of the body in
dance. It does not express any emotion.
Nritya comprises Abhinaya, depicting Rasa
(sentimental) and Bhava (mood) expressed
through the eyes, hands and facial
movements.
BH, RA, TA = Bhava – Raaga - Taala

20. ABHINAYAABHINAYA

21. “Abhi” means “towards” – with the root “Ni”
meaning “to lead”- (audience and performer)
towards a particular state of being or feeling.
Four aspects namely:
Aangika: expression through body (sharira),
face (mukha) and movement (cheshta).
Vachika: through words, literature and drama;
Aahaarya: through decorations of make-up,
jewellery & costumes
Saathvika: acting out and manifesting different
state of the mind & feelings.

22. “angikam bhuvanam yasya vachicam
sarva vangmayam aharyam chandra
taradi tam vande satvikam shivam”
We bow to Him the benevolent One, whose limbs
are the world, whose song and poetry are the
essence of all language, and who is adorned with the
moon and the stars.

23. POSTURES - POSTURES - BHANGABHANGA
There are four types of body depicted in Shilpa
Shastra with artistic deviations of the body from the
central erect position:
Abhanga: a slightly askew standing position.
Samabhanga : equal distribution of body limbs on a
central line, whether standing or sitting.
Atibhanga: great bend with torso diagonally inclined
and knees bent.
Tribhanga: triple bend with one hip raised, torso
curved to opposite side and head tilted at an angle.

25. MUDRAS - GESTURES OF INTER, INTRA AND MUDRAS - GESTURES OF INTER, INTRA AND
TRANSPERSONAL COMMUNICATIONTRANSPERSONAL COMMUNICATION
Hastha Mudras - hand gestures are a very highly
developed aspect of the art and are a science of
communication with the Divine.
They mime meaning of songs, convey deeper feelings,
bring out inherent qualities and invoke the Divine
Classified as
Asamyutha Hastha (single hand gestures)- 28 and
Samyutha Hastha (double hand gestures)- 24.
Each Hastha has defined usage called Viniyoga as
codified in the Natyashastra.

26. Asamyutha Hastha
(Single Hand Gestures)
pataka tripatakordhapataka kartareemukhaha
mayurakyordhachandrashcha arala shukatundakaha
mushtishcha shikarakyashcha kapitha
katakamukhaha suchee chandrakala padmakosha
sarpashirastata mrugasheersha simhamukho
langulasolapadmakaha chaturo bramarashchiva
hamsasyo hamsapakshakaha samdamsho
mukulashchiva tamrachooda trishoolakaha

28. Samyutha Hastha
(Double Hand Gestures)
anjalishcha kapotashcha karkata swastikastatha
dolahastha pushpaputaha utsanga shivalingakaha
katakavardhanashchiva kartaree swatikastata
shakata shankha chakrecha samputa pasha keelakau
matsya koorma varahashcha garudonagabandakaha
khatwa bherundakakhyashcha avahitastathivacha

30. NAVARASA- EVOKING THE NINE EMOTIONAL NAVARASA- EVOKING THE NINE EMOTIONAL
ATTITUDESATTITUDES
Shringara (erotic love),
Haasya (humour &
laughter),
Karuna (compassion),
Roudra (anger),
•Veera (heroism),
•Bhaya (fearful terror),
•Bheebatsa (disgust),
•Adbhuta (awe) and
•Shanta (peacefulness).
•Emotional catharsis – cleansing negative aspects of emotions
and sublimation for higher emotions of Divine Bhakti.
•A type of psychological preventive therapy – helps develop
positive emotional intelligence.

32. NATYA KARANASNATYA KARANAS
Part of the traditional Bharatanatyam repertoire.
108 Natya Karanas described in Natya Shastra.
Not only particular poses as is commonly believed,
but also are cadences of movements.
Geometric shapes are created with Angas (limbs)
Evidence of Natya Karanas - sculptures and paintings
in Gopuram walls, ceilings & courtyards of our
ancient temples, especially in Chidambaram,
Kumbakonam, Thanjavur and Tiruvannamalai
These stances are very similar to Yoga Asanas.

33. Extensive research on Natyakaranas by
Padmabhushan Dr Padma Subramaniyam.
In Pondicherry by Ammaji, Kalaimamani Meenakshi
Devi Bhavanani through Yoganjali Natyalayam
Yoga Asanas that are similar include dhanura,
chakra, vriksha, nataraja, trivikrama, ananda
tandava, padma, siddha, kaka & vrishchikasana.
Yoganjali Natyalayam is restoring these acrobatic
Karanas to classical Bharatanatyam performances
and this is possible only by combining sustained
Yogic discipline with training in classical dance from
an early age. www.rishiculture.in

36. BHARATANATYAMBHARATANATYAM
A PLAY OF SUBTLE ENERGIESA PLAY OF SUBTLE ENERGIES
Yatho hasthastato dristhihi, yatho drishthasthato
manaha, yatho manasthato bhaavo, yatho bhavasthato
rasaha -Where hands go, eyes follow; where eyes go
mind follows; where mind goes, there is created
aesthetic expression of emotion and thus the essence is
evoked.
Yoga teaches us –Where the mind goes, Prana flows!
When Prana flows, life manifests and emotion comes
alive. This is indeed the intricate, inner link between the
Pranamaya Kosha and our emotions!

38. IN CONCLUSION….IN CONCLUSION….
Upon creating the Natyaveda, Brahma said,
“This art is not merely for your pleasure, but shall teach
men that the fruit of righteousness will be given to
those who follow Dharma. The spirituality of this art
shall be a restraint for the unruly, a discipline for the
followers of rule. It will create wisdom in the
ignorant, learning in scholars, afford sport to kings
and endurance to the sorrow-stricken. This great art
shall console and elevate the world”.

39. May we strive to keep the purity of our great
cultural heritage intact through the great art of
Natya that enables us to fulfill our Dharma in a
most refined, pleasing, enjoyable, dignified,
beautiful and joyful manner and attain that final
union with the Supreme Self. 

40. REFERENCESREFERENCES
Bhavanani Meenakshi Devi. Yoga: One woman’s view. Satya Press, Ananda Ashram, Pondicherry.
1985
Coomaraswamy Ananda. The Mirror of Gesture: Being the Abhinaya Darpana of Nandikeswara.
Munshiram Manoharlal. New Delhi.1997.
Gitananda Giri Swami. Mudras. Satya Press, Ananda Ashram, Pondichery.1975
Hinduism Today July 1992. Yogi Playwright Infusing Indian Theatre With More Atma and Altruism
Kothari Sunil. Bharata Natyam: Indian classical dance art. Marg Publications. 1979.
Ramanathan Leela. Moving sculpture, frozen dance. Sunday Herald, Deccan Herald, Sundays,
January 18 and 25, 2004
Sudhakar Kanaka. Indian classical dancing: The therapeutic advantages. Sterling Publishers, New
Delhi.1994
http://en.wikipedia.org/wiki/Indian_classical_dance
www.ignca.nic.in/ks_14_cn.htm#KARANA
www.kanakasabha.com/hastas/index
www.nadanam.com/bharatnatyam
www.pir.net/~beth/main
www.shilpkalamart.com/classicaldances