History & Culture Performing Arts, Literature and Philosophy GS Paper I

Classical Dance, Music and Theatre

Indian performing arts for UPSC — Natya Shastra, the eight classical dances, Hindustani and Carnatic music, folk theatre, puppetry and UNESCO intangible heritage.

SyllabusGS I · Indian culture — salient aspects of art forms, literature and architecture from ancient to modern times

By 10 min read Updated Oct 2026 #history#culture#performing-arts

Prerequisites: Performing Arts, Literature and Philosophy — overview · Bhakti and Sufi Movements

The Hook: When a Folk Dance Becomes World Heritage

Connect: In the News → Concept

In December 2023, UNESCO inscribed the Garba of Gujarat on its Representative List of the Intangible Cultural Heritage of Humanity. Garba is not a “classical” dance; it is a community dance performed around a lamp during Navratri. Yet it joined Koodiyattam, Chhau, Kalbelia and others on a global list.

That raises the questions UPSC keeps asking: what makes a dance “classical”, how do the classical forms differ from one another, and where do folk, theatre and puppet traditions fit?

The Core Concept

The foundation: the Natya Shastra

The Natya Shastra, attributed to Bharata Muni (composed roughly between 200 BCE and 200 CE), is the oldest surviving Indian treatise on drama, dance and music. It is sometimes called the “fifth Veda”.

ConceptMeaning
NrittaPure dance — rhythm and movement, no story
NrityaExpressive dance — conveys meaning and emotion (bhava)
NatyaDrama — dance with dialogue and story
Tandava / LasyaVigorous (“masculine”) / graceful (“feminine”) modes
Abhinaya (four kinds)Angika (body), Vachika (speech and song), Aharya (costume and make-up), Sattvika (inner emotional states)
RasaAesthetic flavour evoked in the audience — the Natya Shastra lists eight; shanta (peace) was added later
Instruments (four classes)Tata (stringed), Sushira (wind), Avanaddha (membrane drums), Ghana (solid — cymbals, bells)

Nandikeshvara’s Abhinaya Darpana is another important text on gesture and expression.

The eight classical dances

The Sangeet Natak Akademi recognises eight classical dance forms. (Some government listings also name Chhau; UPSC questions generally work with the eight.)

DanceStateOrigin and featuresAssociated names
BharatanatyamTamil NaduTemple tradition of devadasis (earlier Sadir or Dasiattam); codified by the Tanjore Quartet; geometrical lines, ekaharya (one dancer plays many roles)Revival by Rukmini Devi Arundale (Kalakshetra, 1936) and E. Krishna Iyer
KathakaliKeralaDance-drama from Ramanattam and Krishnanattam; elaborate make-up colour-coded by character (green pacha for noble heroes); traditionally male; eyes and eyebrows centralRevival by poet Vallathol Narayana Menon (Kerala Kalamandalam, 1930)
MohiniyattamKeralaSolo female dance, lasya-dominant; white and gold costume; swaying movementsRevived at Kerala Kalamandalam
KuchipudiAndhra PradeshNamed after a village in Krishna district; dance-drama tradition linked to Siddhendra Yogi; Bhama Kalapam; Tarangam — dancing on the rim of a brass plateVempati Chinna Satyam
OdissiOdishaFrom the maharis (temple dancers) and gotipuas (boys dressed as girls); key postures tribhanga and chowk; early evidence in Udayagiri–Khandagiri carvingsKelucharan Mohapatra
KathakNorth India (UP, Rajasthan)From the kathakars (storytellers); flourished in Mughal and later courts; fast footwork (tatkar) and spins (chakkar); gharanas of Lucknow, Jaipur, BanarasBirju Maharaj (Lucknow gharana)
ManipuriManipurRooted in the ritual Lai Haraoba and Vaishnava Ras Lila; gentle movements; no ankle bells; barrel-shaped skirt; Pung cholom (drum dance)Popularised by Rabindranath Tagore at Santiniketan
SattriyaAssamCreated by Srimanta Sankardeva (15th–16th c.) in the Vaishnava monasteries (sattras); recognised as classical in 2000—

Hindustani and Carnatic music

Indian art music traces itself to the chanting of the Sama Veda. Sarangadeva’s Sangita Ratnakara (13th century) is often treated as the last major text before the two traditions diverged.

FeatureHindustani (North)Carnatic (South)
InfluencesPersian and Central Asian, through Sultanate and Mughal courtsLargely indigenous, devotional
EmphasisImprovisation within a ragaComposition (kriti) — the song is central
Raga classification10 thaats (V.N. Bhatkhande)72 melakartas (Venkatamakhin)
Vocal formsDhrupad, Dhamar, Khayal, Thumri, Tappa, TaranaVarnam, Kriti, Padam, Javali, Tillana, Ragam–Tanam–Pallavi
InstrumentsSitar, sarod, sarangi, tabla, santoor, shehnaiVeena, mridangam, ghatam, kanjira, nadaswaram, violin
OrganisationGharanas (lineages)Composer-centred tradition

Hindustani forms:

  • Dhrupad — oldest surviving form; austere, devotional; patronised by Raja Man Singh Tomar of Gwalior; Tansen sang in this style; the Dagar family keeps it alive.
  • Khayal (“imagination”) — more ornamented and improvisatory; shaped in the 18th-century Mughal court by Sadarang and Adarang.
  • Thumri — romantic, light-classical; associated with Lucknow (court of Wajid Ali Shah) and Banaras.
  • Tappa — fast, intricate; from the songs of Punjabi camel drivers, refined by Shori Miyan.
  • Tarana — sung with rhythmic syllables; traditionally credited to Amir Khusrau, also credited with shaping the qawwali.

Carnatic composers:

  • Purandara Dasa (15th–16th c.) — the “Pitamaha” (grandfather) of Carnatic music; composed in Kannada and systematised teaching.
  • The Trinity (18th–19th c.), all born in Thiruvarur: Tyagaraja (Telugu kritis; the Tyagaraja Aradhana at Thiruvaiyaru), Muthuswami Dikshitar (mostly Sanskrit), Syama Sastri.

Folk and community dances

DanceState
BihuAssam
Garba, Dandiya RaasGujarat
Ghoomar, KalbeliaRajasthan
LavaniMaharashtra
Bhangra, GiddhaPunjab
Chhau (Seraikela, Purulia, Mayurbhanj styles)Jharkhand, West Bengal, Odisha
Cheraw (bamboo dance)Mizoram
HojagiriTripura
Dollu KunithaKarnataka
Theyyam (ritual)Kerala

Theatre traditions

FormStateNote
KoodiyattamKeralaSanskrit theatre; among the oldest living theatre traditions
YakshaganaKarnatakaDance-drama with elaborate headgear
JatraBengal, OdishaOpen-air musical theatre; spread by Chaitanya’s Vaishnavism
NautankiUttar PradeshOperatic folk theatre
TamashaMaharashtraFemale lead performers; Lavani songs
BhavaiGujaratSatirical folk theatre
Ankiya Naat / BhaonaAssamOne-act Vaishnava plays of Sankardeva
Bhand PatherKashmirSatirical theatre
TherukoothuTamil NaduStreet theatre, often Mahabharata themes
MudiyettuKeralaRitual drama of Kali’s battle with the demon Darika
RammanUttarakhand (Garhwal)Religious festival and ritual theatre

Puppetry

TypeExamples
StringKathputli (Rajasthan), Gombeyatta (Karnataka), Bommalattam (Tamil Nadu)
ShadowTholu Bommalata (Andhra Pradesh), Togalu Gombeyatta (Karnataka), Ravanachhaya (Odisha), Tholpavakoothu (Kerala)
RodPutul Nach (West Bengal)
GlovePavakoothu (Kerala)

India on UNESCO’s Intangible Cultural Heritage list (up to 2023)

Koodiyattam, Ramlila, Tradition of Vedic chanting, Ramman, Mudiyettu, Kalbelia, Chhau, Buddhist chanting of Ladakh, Sankirtana of Manipur, Thatheras of Jandiala Guru (brass and copper craft, Punjab), Nawrouz (multinational), Yoga, Kumbh Mela, Durga Puja in Kolkata, and Garba of Gujarat.

graph TD
    A["Natya Shastra: Bharata"] --> B["Classical dance"]
    A --> C["Theatre traditions"]
    A --> D["Music theory"]
    D --> E["Sangita Ratnakara: Sarangadeva"]
    E --> F["Hindustani: thaats, gharanas"]
    E --> G["Carnatic: melakartas, kritis"]
    B --> H["Eight SNA-recognised forms"]

Memory Anchors

Eight classical dances — “Bharat’s Kitchen Makes Kheer On Kind Monday Sundays”: Bharatanatyam, Kathakali, Mohiniyattam, Kuchipudi, Odissi, Kathak, Manipuri, Sattriya.

Two from Kerala: Kathakali (male, make-up, drama) and Mohiniyattam (female, solo, grace) — “Kerala keeps a King and a Queen.”

Carnatic Trinity — “TDS from Thiruvarur”: Tyagaraja, Dikshitar, Syama Sastri.

Raga systems: “Ten thaats in the north, seventy-two melakartas in the south.”

One-line Mains hook: India’s performing arts survived not in museums but in temples, courts, villages and gharanas — living traditions passed from guru to disciple (guru–shishya parampara).

For Prelims

Facts worth a mark
  • Natya Shastra — Bharata Muni; eight rasas (shanta added later); four classes of instruments.
  • Sattriya — Assam, Sankardeva; recognised as classical in 2000.
  • Manipuri — no ankle bells; Ras Lila; Tagore introduced it at Santiniketan.
  • Kuchipudi — Tarangam on a brass plate; Siddhendra Yogi.
  • Odissi — tribhanga and chowk; maharis and gotipuas.
  • Hindustani — 10 thaats (Bhatkhande); Carnatic — 72 melakartas (Venkatamakhin).
  • Purandara Dasa — Pitamaha of Carnatic music; Trinity born in Thiruvarur.
  • Latest Indian ICH inscription in this list: Garba of Gujarat (2023).

For Mains

  • Dimensions: religious roots (temple and Bhakti); patronage (temples, courts, colonial decline, post-independence state support); social history (the devadasi system and its abolition; revival by reformers); identity (regional pride, GI and UNESCO listing); livelihoods of artists; soft power.
  • Keywords: guru–shishya parampara, gharana, rasa, abhinaya, revival, intangible cultural heritage, safeguarding, soft power.
  • Value-addition: the revival of Bharatanatyam and Kathakali in the 1930s as part of cultural nationalism; the Sangeet Natak Akademi (1953) as the national academy for performing arts; UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage.

Common Traps

Trap #1: Kathakali vs Mohiniyattam
Both are from Kerala. Kathakali is a dance-drama, traditionally performed by men in heavy make-up. Mohiniyattam is a graceful solo female dance in white and gold.
Trap #2: Chhau is not one State's dance
Chhau has three styles across three States: Seraikela (Jharkhand), Purulia (West Bengal) and Mayurbhanj (Odisha). Masks are used in Seraikela and Purulia but not in Mayurbhanj.
Trap #3: Rasas in the Natya Shastra
The Natya Shastra lists eight rasas. Shanta (the ninth, peace) was added by later theorists — hence “navarasa” is a later idea.

In the News

  • December 2021 — Durga Puja in Kolkata was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
  • December 2023 — the Garba of Gujarat was inscribed on the same list.

Practice

Prelims

UPSC Practice · Prelims GS I Qpa-1

Consider the following pairs:

Dance formState
1. SattriyaManipur
2. MohiniyattamTamil Nadu
3. KuchipudiAndhra Pradesh
4. KathakaliKarnataka

How many of the pairs given above are correctly matched?

  1. A Only one
  2. B Only two
  3. C Only three
  4. D All four
Solution

Only pair 3 is correct. Sattriya is from Assam; Mohiniyattam and Kathakali are both from Kerala.

Answer: A

UPSC-pattern practice question
UPSC Practice · Prelims GS I Qpa-2

Consider the following statements:

  1. In Hindustani music, ragas are classified into ten thaats.
  2. The scheme of 72 melakartas belongs to Hindustani music.
  3. Dhrupad is generally regarded as the oldest surviving form of Hindustani vocal music.

Which of the statements given above is/are correct?

  1. A 1 only
  2. B 2 only
  3. C 1 and 3 only
  4. D 1, 2 and 3
Solution

Statements 1 and 3 are correct. Statement 2 is wrong — the 72 melakarta scheme, systematised by Venkatamakhin, belongs to Carnatic music. The ten-thaat system was proposed by V.N. Bhatkhande.

Answer: C

UPSC-pattern practice question
UPSC Practice · Prelims GS I Qpa-3

Which of the following is a shadow-puppet tradition of Andhra Pradesh?

  1. A Kathputli
  2. B Gombeyatta
  3. C Putul Nach
  4. D Tholu Bommalata
Solution

Tholu Bommalata (“dance of leather puppets”) is the shadow-puppet tradition of Andhra Pradesh. Kathputli (Rajasthan) and Gombeyatta (Karnataka) are string puppets; Putul Nach (West Bengal) is a rod-puppet tradition.

Answer: D

UPSC-pattern practice question

Mains

UPSC Practice · Mains GS I 10 marks · 150 words Qpa-m1

How did the revival of classical dance forms in the early twentieth century reshape their social base? Discuss with examples.

Solution

Introduction: Many classical dances were rooted in temple and court traditions — devadasis, maharis, hereditary performers. Colonial-era moral campaigns and the loss of patronage pushed them to the margins until a revival from the 1920s–30s.

Body:

  • Bharatanatyam: reconstructed from Sadir by E. Krishna Iyer and Rukmini Devi Arundale (Kalakshetra, 1936); moved from hereditary communities to urban middle-class stages.
  • Kathakali and Mohiniyattam: Vallathol’s Kerala Kalamandalam (1930) institutionalised training.
  • Odissi: reconstructed in the 1950s from mahari and gotipua traditions.
  • Manipuri: brought to a wider audience at Santiniketan by Tagore.
  • Effects: institutional training, national and global audiences, recognition by the Sangeet Natak Akademi — but also the exclusion of many hereditary performers, a debate scholars continue to examine.

Conclusion: The revival saved the forms and made them national symbols, while changing who performed them; inclusive support for hereditary practitioners remains part of safeguarding.

UPSC-pattern practice question

Quick Revision

PointOne-liner
Natya ShastraBharata; nritta–nritya–natya; 8 rasas
BharatanatyamTN; Tanjore Quartet; Rukmini Devi
Kathakali / MohiniyattamKerala; Kalamandalam (Vallathol)
KuchipudiAP; Tarangam
OdissiTribhanga, chowk
KathakLucknow, Jaipur, Banaras gharanas
ManipuriNo ankle bells; Ras Lila
SattriyaAssam; Sankardeva; classical since 2000
Thaat / Melakarta10 (Hindustani) / 72 (Carnatic)
TrinityTyagaraja, Dikshitar, Syama Sastri

Key Takeaways

Key Takeaways
  1. The Natya Shastra provides the shared grammar of Indian dance, drama and music.
  2. Attach every dance, theatre and puppet form to its State — the most common Prelims format.
  3. For Mains, link performing arts to patronage, social reform, revival and heritage safeguarding.
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