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
Prerequisites: Performing Arts, Literature and Philosophy — overview · Bhakti and Sufi Movements
The Hook: When a Folk Dance Becomes World Heritage
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”.
| Concept | Meaning |
|---|---|
| Nritta | Pure dance — rhythm and movement, no story |
| Nritya | Expressive dance — conveys meaning and emotion (bhava) |
| Natya | Drama — dance with dialogue and story |
| Tandava / Lasya | Vigorous (“masculine”) / graceful (“feminine”) modes |
| Abhinaya (four kinds) | Angika (body), Vachika (speech and song), Aharya (costume and make-up), Sattvika (inner emotional states) |
| Rasa | Aesthetic 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.)
| Dance | State | Origin and features | Associated names |
|---|---|---|---|
| Bharatanatyam | Tamil Nadu | Temple 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 |
| Kathakali | Kerala | Dance-drama from Ramanattam and Krishnanattam; elaborate make-up colour-coded by character (green pacha for noble heroes); traditionally male; eyes and eyebrows central | Revival by poet Vallathol Narayana Menon (Kerala Kalamandalam, 1930) |
| Mohiniyattam | Kerala | Solo female dance, lasya-dominant; white and gold costume; swaying movements | Revived at Kerala Kalamandalam |
| Kuchipudi | Andhra Pradesh | Named after a village in Krishna district; dance-drama tradition linked to Siddhendra Yogi; Bhama Kalapam; Tarangam — dancing on the rim of a brass plate | Vempati Chinna Satyam |
| Odissi | Odisha | From the maharis (temple dancers) and gotipuas (boys dressed as girls); key postures tribhanga and chowk; early evidence in Udayagiri–Khandagiri carvings | Kelucharan Mohapatra |
| Kathak | North India (UP, Rajasthan) | From the kathakars (storytellers); flourished in Mughal and later courts; fast footwork (tatkar) and spins (chakkar); gharanas of Lucknow, Jaipur, Banaras | Birju Maharaj (Lucknow gharana) |
| Manipuri | Manipur | Rooted 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 |
| Sattriya | Assam | Created 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.
| Feature | Hindustani (North) | Carnatic (South) |
|---|---|---|
| Influences | Persian and Central Asian, through Sultanate and Mughal courts | Largely indigenous, devotional |
| Emphasis | Improvisation within a raga | Composition (kriti) — the song is central |
| Raga classification | 10 thaats (V.N. Bhatkhande) | 72 melakartas (Venkatamakhin) |
| Vocal forms | Dhrupad, Dhamar, Khayal, Thumri, Tappa, Tarana | Varnam, Kriti, Padam, Javali, Tillana, Ragam–Tanam–Pallavi |
| Instruments | Sitar, sarod, sarangi, tabla, santoor, shehnai | Veena, mridangam, ghatam, kanjira, nadaswaram, violin |
| Organisation | Gharanas (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
| Dance | State |
|---|---|
| Bihu | Assam |
| Garba, Dandiya Raas | Gujarat |
| Ghoomar, Kalbelia | Rajasthan |
| Lavani | Maharashtra |
| Bhangra, Giddha | Punjab |
| Chhau (Seraikela, Purulia, Mayurbhanj styles) | Jharkhand, West Bengal, Odisha |
| Cheraw (bamboo dance) | Mizoram |
| Hojagiri | Tripura |
| Dollu Kunitha | Karnataka |
| Theyyam (ritual) | Kerala |
Theatre traditions
| Form | State | Note |
|---|---|---|
| Koodiyattam | Kerala | Sanskrit theatre; among the oldest living theatre traditions |
| Yakshagana | Karnataka | Dance-drama with elaborate headgear |
| Jatra | Bengal, Odisha | Open-air musical theatre; spread by Chaitanya’s Vaishnavism |
| Nautanki | Uttar Pradesh | Operatic folk theatre |
| Tamasha | Maharashtra | Female lead performers; Lavani songs |
| Bhavai | Gujarat | Satirical folk theatre |
| Ankiya Naat / Bhaona | Assam | One-act Vaishnava plays of Sankardeva |
| Bhand Pather | Kashmir | Satirical theatre |
| Therukoothu | Tamil Nadu | Street theatre, often Mahabharata themes |
| Mudiyettu | Kerala | Ritual drama of Kali’s battle with the demon Darika |
| Ramman | Uttarakhand (Garhwal) | Religious festival and ritual theatre |
Puppetry
| Type | Examples |
|---|---|
| String | Kathputli (Rajasthan), Gombeyatta (Karnataka), Bommalattam (Tamil Nadu) |
| Shadow | Tholu Bommalata (Andhra Pradesh), Togalu Gombeyatta (Karnataka), Ravanachhaya (Odisha), Tholpavakoothu (Kerala) |
| Rod | Putul Nach (West Bengal) |
| Glove | Pavakoothu (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
- 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
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
Consider the following pairs:
| Dance form | State |
|---|---|
| 1. Sattriya | Manipur |
| 2. Mohiniyattam | Tamil Nadu |
| 3. Kuchipudi | Andhra Pradesh |
| 4. Kathakali | Karnataka |
How many of the pairs given above are correctly matched?
Solution
Only pair 3 is correct. Sattriya is from Assam; Mohiniyattam and Kathakali are both from Kerala.
Answer: A
Consider the following statements:
- In Hindustani music, ragas are classified into ten thaats.
- The scheme of 72 melakartas belongs to Hindustani music.
- Dhrupad is generally regarded as the oldest surviving form of Hindustani vocal music.
Which of the statements given above is/are correct?
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
Which of the following is a shadow-puppet tradition of Andhra Pradesh?
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
Mains
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.
Quick Revision
| Point | One-liner |
|---|---|
| Natya Shastra | Bharata; nritta–nritya–natya; 8 rasas |
| Bharatanatyam | TN; Tanjore Quartet; Rukmini Devi |
| Kathakali / Mohiniyattam | Kerala; Kalamandalam (Vallathol) |
| Kuchipudi | AP; Tarangam |
| Odissi | Tribhanga, chowk |
| Kathak | Lucknow, Jaipur, Banaras gharanas |
| Manipuri | No ankle bells; Ras Lila |
| Sattriya | Assam; Sankardeva; classical since 2000 |
| Thaat / Melakarta | 10 (Hindustani) / 72 (Carnatic) |
| Trinity | Tyagaraja, Dikshitar, Syama Sastri |
Key Takeaways
- The Natya Shastra provides the shared grammar of Indian dance, drama and music.
- Attach every dance, theatre and puppet form to its State — the most common Prelims format.
- For Mains, link performing arts to patronage, social reform, revival and heritage safeguarding.
Related Topics
- Indian Literature and Philosophy
- Performing Arts, Literature and Philosophy — quick revision
- Performing Arts, Literature and Philosophy — practice questions
- Temple Architecture: Nagara, Dravida and Vesara
- Bhakti and Sufi Movements