The word Lavani derived from Lavanya, meaning beauty. This form is a combination of dance and music, which is dealt with different and varied topics such as society, religion, politics, romance, etc. Attractive women wearing nine-yard saris typically perform the dance with the captivating rhythm of dholak. These women synchronized sensually to a catching tune and teasing lyrics.

Maharashtra was once a battle torn state, and Lavana dance served as mode of entertainment and morale booster to the tired soldiers during the 18th and 19th century. The dance reached peak popularity during the Peshwai (a dynasty seated in Pune) rule, when it was given royal support by the ruling elite. Marathi poets like Honaji Bala, Ramjoshi, Prabhakar, etc. took Lavani to new heights. In the recent times, Lavani has become passé, mainly confined to sensual entertainment often presented in a stereotyped and cheap form in Marathi films.

Dindi dance is a folk dance that is prevalent in Maharashtra. This dance is performed using a small drum called dindi, which is somewhat like the “Tamate”. This dance is performed usually on the Ekadshi day in the month of Kartik according to the Hindu calendar.

This dance depicts the playful attitude of Lord Krishna and is a religious devotional dance form. The necessary musical background is given by the Mridangam player and a vocalist who constitute a team of musicians. Male dancers perform on this music and rhythm and is characterised by dancing in a circle which is preceded by falling in two rows facing each other.

This form of dance is the most popular folk dance in Assam and is also a part of the life known as Assamese life. The folk dance cuts through all the religious, caste and class barriers of the different kinds of people living in Assam.
Bihu Dance is performed during the festival and the festival is celebrated thrice annually with their respective common name. Rongali , the biggest festival of Assam, is celebrated in the mid of April. Bhogali is celebrated during mid of January and Kangali is done in the mid of October.

When the festival arrives, the young men and girls who are performers gather during day time in the open. These performers dance together but are not paired together and form in lines when they dance. The music played at this dance are drums and pipes and the performers sing of love during the act. The pattern which the performers follow during the dance is the circle or the parallel rows. The dancers sway their hips, take brisk steps and fling and flip their hands when the dance progresses. The traditional dress worn consist of Dhoti, Gamocha, Chadar and Mekhala (Indian clothes).

Manipuri is the classical dance from the Manipur region in the North East. Very much religious and associated to Vaishnav cult of Hinduism, the art form primarily depicts episodes from the life of Lord Vishnu. Manipuri dance style is multifaceted and ranges from the softest feminine to the vigorous masculine. Dignified grace is found in every aspect and the range it offers in technique, rhythmic and tempo, which makes a Manipuri recital an absorbing and exhilarating experience. Originating from a north-eastern state of India, Manipur, the movements of the body, feet and facial expressions in the dance are delicate and aspire to exhibit complete devotion and gracefulness.

History-

The past and origin of Manipuri dance is not clear, as there are many myths and legends that have been associated with it. The Manipuris consider themselves the descendants of the Gandharvas, who were the legendary musicians, and dancers in the celestial courts of Indira. The earliest records of this dance form date back to about 100 AD. It was King Bhagyachandra of 17th century, who established Manipuri dance on a systematic basis. He gave the Rasleelas (dance dramas) and Sankirtan (form of invocation) a new outlook and composed three of the five types of Ras Lilas - the Maha Ras, the Basanta Ras and the Kunja Ras. Apart from codifying the style of Ras Leela, King Bhagyachandra also designed the beautiful Manipuri dance costume. In the 19th century, Maharaja Gambhir Singh composed the two parengs of the tandava type - the Goshtha Bhangi Pareng and the Goshtha Vrindaban Pareng. During this time, Maharaja Chandra Kirti Singh shaped the 64 Pung choloms or drum dances and two parengs of the Lasya type - the Vrindaban Bhangi Pareng and Khrumba Bhangi Pareng. Nitya Ras have also been accredited to him. However, it was the continuous efforts of Rabindranath Tagore and other Gurus that the dance became popular even outside the region. The dance form took a step ahead in 1954 when the Manipur Dance College of Imphal was formed. Today named as, Jawaharlal Nehru Manipur Dance Academy, the institution had started with three great exponents of the genre as its faculty member - Guru Amubi Singh, Guru Amudon Sharma and Guru Atomba Singh. With time, Manipuri dance gained much appreciation and admiration. Later in 1972, Manipuri Nartanalaya was founded in Mumbai, Kolkata and Imphal, while in New Delhi, Manipuri Nrityashram was established.

Dance Form-

The Vaishnava faith brought along with it the origin of the Manipuri dance. The repertoire is dominated by the themes from the Vishnu Puranas, Bhagvata Puranas, and Geeta Govinda. Slow and gracious movements differentiate Manipuri from other dance styles. The delicate arm movements and gentle foot work characterizes this dance form. Any form of jerks, sharp edges or straight lines in the dance is not seen, which is the only reason as to why Manipuri dance is known for its undulating and soft appearance. While the female 'Rasa' dances is based on the Radha-Krishna theme feature group ballets and solos, the male 'Sankirtana' dances are performed to the pulsating rhythm of the Manipuri Dholak and are full of vitality and energy.

Giddha is a lively folk-dance of the women in Punjab. It is mainly performed during the gay occasions, especially during marriages. The rhythm of the dance is put up by the clapping of the hands.
Giddha is generally played in a circle in open courtyards. During the performance, one of the performers sings a song called 'bolis'. Giddha is inclusive of simple steps and dancers form a circle while performance. An integral part of this dance is mimicry. One of the performers plays the role of an aged bridegroom and another as a young bride. The various phases of a Punjabi woman are depicted through this play. Dholki or drum is the major musical instrument used in this dance.

The performers wear choli and ghagra or ordinary Punjabi Salwar-Kamiz, rich in color and design. Ornaments such as suggi-phul (worn on head), pazaibs (anklets), haar-hamela, (gem-studded golden necklace), baazu-band (worn around upper-arm) and raani-haar (a long necklace made of solid gold) are also worn.

Music with its entire effervescence transcends all realities whilst lifting the soul. It is an effort of illustrating the truth, of manifesting the eternal feelings of love, bliss, tears and happiness. Indian music amidst its fizz and pulse has thawed a billion hearts since the remote past

Bhangra is a popular genre of the Indian folk music, which with its root deeply associated in the land of Punjab has somewhat, redefined the very structure of Indian folk music to a great level. In its conventional sense Bhangra is a typical dace form. It was much later Bhangra crossing the bar of being just a folk dance of the "harvesting season" called the "Vaisakhi ", gradually became a popular musical expression where the term "harmony" gained a definite articulation.

Among the most virile, vigorous and captivating dances of India, Bhangra includes tricks and acrobatic feats in its performance. It strongly reflects the vigor, the vitality, the leaven of exuberance and the hilarity permeated among the rural folk due to the promise of a coming bumper crop. Bhangra includes the drummer who usually stands in the center of the circle in an open space surrounded by dancers who even recite meaningless `bolis`, words such as "Hoay, Hoay"; or "Balle, Balle", which not only inspire themselves but also others for the dance.

The drummer in this dance, holds two sticks with the help of which he beats the drum, to beckon the dancers to a higher tempo of movement. At the initial stage dance starts with a slow movement of their feet. But as the tempo increases, the entire body comes into action. The dancers whirl round and round bending and straightening their bodies, jumping on one leg, raising their hands and start clapping their hands with their handkerchiefs.

At the intervals, the tempo of the dance becomes slow, dancers stop moving, but continue to beat the rhythm with their feet. One of the dancers from the group come forward near the drummer and covering his left ear with his palm sings a boali or dholla, derived from the traditional folk songs of Punjab. Picking up the last lines of boali, the dancers again start dancing with greater vigor as before.

For powerful music set up, in addition to a drum, chimta-musical tongs and burchu and sound of the beats from earthen vessels are used. The costumes of a Bhangra dancer are unique, which suits the vigor of dance. They are consists of a bright, colored Patka on the head, a lacha or lungi of the same color, a long tunic and a black or blue waistcoat and ghunghroos on the ankles. Some dancers also wear small rings (nuntian) in their ears as an ornament.

The Bhangra season concludes with the fair of Baisakhi when the wheat crop is harvested. There are several styles of performing Bhangra like Sialkoti, Sheikhupuri, Tribal, Malwa, Majha etc. One of the step or move of Bhangra is also similar to the moves of Shiv-Tandav dance, which is danced on one leg by Shiva. Damru i.e. hand-drum is also used in Bhangra.

It was during the later part of the 80s Bhangra for the very first time crossing the bars of the "secluded halls " entered into the glamorous world of the clubs of England which offered an international diction to this folk art form whilst making it all the more contemporary. Bhangra then became the mainstream music in the international market, which further contoured the status of Indian music in the global arena. Artsit like Gurdaas Maan, Malkit Sing and troupes like Bhujungy Group, Apna and Alaap contoured Bhangra whilst offering a comprehensive outline.

It is during the 90s amongst the Indian youths Bhangra became somewhat a mainstream music. It was then pop, Jazz and brass music all united with the beats of Bhangra to form that special kind of music, which revives even the most tired soul.

Now days Bhangra is just not a typical form of folk music but has became a particular form of Indian music, which has, broke the barriers of stage, pits and galleries and has become the accepted form of expression of the mass.

Rajasthan resonates with the thumping beats of dandiya during the colorful celebrations of Navratri. An idolization of nari-shakti, the dandiya epitomizes the victory of good over evil. It reincarnates the slaying of Mahishasura by Devi Durga.

Varicolored sticks, beautiful traditional costumes comprising ballooning skirts and ornate blouses embellished with lovely embroidery and mirror craft, eye-catching accessories, foot tapping music, electrifying atmosphere- dandiya is marked by verve and celebration of life. The dhol, in accompaniment with several other musical instruments, jazzes up a dandiya ceremony.

This popular dance form, that has undergone massive metamorphosis in the twenty first century, thanks to the media boom, dates back to the era of the Blue God Krishna. It is no wonder then that romance is an integral part of the celebrations.

In the land of sands and forts, dandiya is also celebrated as the harvest festival. The thumping beats of the 'meddale', is an integral part of the dandiya jubilations in Rajasthan.

Though ‘garba’ and 'dandiya' have several points in common, minor differences lend them distinctive characteristics. While the dandiya celebrations ensue after the performance of the ritual of ‘aarti’, garba is performed prior to it.

The dandiya jubilations have undergone a complete overhaul in the hey days of marketing and packaging. Colorful advertisements are splashed all across the newspapers and websites. Dandiya has been rechristened as dandiya night. Bollywood chartbusters, top o f the line singers, the latest western wear clad gyrating bodies, disco dandiya, media frenzy- dandiya has indeed come a long way since the days of Lord Krishna. Rajasthan is no exception to this mood of euphoria. Dandiya in Rajasthan is an affair to remember. It is the perfect fodder for your shutterbugs, that is guaranteed to leave an indelible impression on your minds.

Originated in Gujarat, garba is similar to Social Dancing. The literal meaning of Graba is inside the earthenware lamp. It comes from the Sanskrit word Garba Deep.

It is performed during Navratris - the nine auspicious nights - wherein the Goddess Ambaji is worshipped. Goddess Amba is the one of the nine forms of Goddess Durga - the main diety.For the dance the Ambajis Idol is placed in the middle of the circle of boys and gils. The entire dance goes round and round the Goddess Idol. The modern Garba is a reflection of the Ras Dance.

The Garbo or the earthen pots has holes in it all around. Light within signifies Knowledge. The Concept of Garbo is linked to microcosm and macro- cosm. Moving around in circle signifies the never ending cicle of creation, maintenanace and destruction of the human body and things around it. The songs used in the dance are the traditional Gujarati songs sung by Gujarat Singers.

The Dance Form of Garba:

Garba dance is the one which hails from Saurashtra - one part out of the four parts of Gujarat. Garba songs are in prais e of the Goddess Amba describing her Strenth, power and her beauty. Social Themes and seasons also make a part of the Garba Songs.Damru, Tabla, Nagara, pot drum, percussion, Ektaro, Ravan hattho, Jantar, Pavo, shehani, murli, turi, and taturi are the musical instruments used in Garba Dance.

Modern Garba also includes Ras Dance. Dancing in Circle by men and women is the main feature of the Garba Dance. Three variety of Garba Dance are described -

• Dandia Ras - In this sticks or dandas are used for dance.

• Mandala - Clapping is used in this dance form.

• Lata Rasaka - Dancers cling to each other and dance like a creeper to a tree.

Dress used in Garba:

Kamkha - Traditional blouse with embroidery in the front and the back open.

Chudla - The bangle sworn by the dancers are known as Chudla.

Kedia - High waist tops with Dhotis make this a festive dress for men.

Mojdee - Hand made pure leather shoes worn with the traditional dress.

The centuries of history that has piled up behind Rajasthan has resulted, among other things, in the accumulation of a very rich folk culture. The Kachhi Ghodi Dance Rajasthan is one of the most popular Folk Dances In Rajasthan.

The Kachhi Ghodi Dance In Rajasthan India is performed on dummy horses. Men in elaborate costumes- red turbans and dhotis and kurtas ride the well decorated dummy horses. With naked swords in their hands, these dancers move rhythmically to the beating of drums and fifes while a singer narrates the exploits of the Bavaria bandits of Shekhawati. This dance is always performed by men.

Originated from the bandit regions of Shekhawati, the dance is performed for the entertainment of the bridegroom's party. Dancers while elaborate costumes that resemble them riding on dummy horse. A vigorous dance, it uses mock fights and the brandishing of swords, nimble sidestepping and pirouetting to the music of fifes and drums. A ballad singer usually sings the exploits of the bandit Robin Hoods of Rajasthan.

The performing arts of Rajasthan mostly hail from the tribes of Rajasthan and are reflective of the socio historical scenario peculiar to the time or race they depict. Horses have always been a very important part of warfare and transportation in Rajasthan. The legend of the valiant Rana Pratap Singh goes untold without the mention of his loyal vehicle- Chetak. Horses, as much as they were the symbol of royal power, were also used by the bandits and highwaymen who found it easy to stop people traveling on elephants of bullock carts with their horses.

Kacchi Ghodi of Rajasthan is performed by men on dummy horses. Men wear elaborate costumes embellished with brilliant mirror-work and ride the dummy horses. The dummy horses used as prop are equally adorned with meticulous embroidery and mirrored-work. The dancers ride the dummy horses with swords in their hands. These dancers with swords move to the beats of drums and fifes. In Kacchi Ghodi dance of Rajasthan, a singer narrates the tales of Bavaria bandits of Shekhawati region.

Kacchi Ghodi dance of Rajasthan is performed on the bridegroom's party. On the ballad song, the dancers riding on fake horses uses mock fight to dramatize the scenes of the exploits of the bandit. Brandishing of swords and pirouetting to the beats of drums holds the attention of viewers. Kacchi Godi of Rajasthan is a famous folk dance full of zest and colors.

Specially, notorious were the bandits of the Shekhawati region, owing mostly to the high concentration of businessmen and traders in that part of Rajasthan. And traders meant money; and traders meant long overnight journeys on caravans laden with expensive wares. The Kachhi Ghodi Dance Rajasthan depicts the confrontation of the bandits of the Bavaria clan of tribes with the passing commoners.

Fire Dance is a vigorous dance form, performed by the Jasnaiths of Bikaner and Churu districts of Rajasthan. It is performed bare footed on a bed of burning coal with the dancers swaying to the rhythmic beat of a drum. The pace of the dance increases to the tune of drumbeat and finally ends with the dancers dancing on brightly glowing ambers - both an awe-inspiring and a breath-taking sight indeed!.
Most noteworthy feature is that the dancer never develops even a blister on his foot.

Fire Dance is usually performed during the winter nights.

Rajasthani folk dances are graceful, colorful and lively saltations and reflect the vivid, rich culture of the state. The ubiquitous Ghoomar, a premier Rajasthani dance form, encapsulates the true spirit of the state’s vivacious culture.

Born among the Bhils and nurtured by the Rajput womenfolk, Ghoomar is a dance performed on ceremonious occasions and festive days such as like the Holi, Gangaur, Teej celebrations etc. As part of the nuptial festivities, the bride is asked to perform the Ghoomar in Rajput households. The newly wed is soon joined by the women of the household, both old and young alike and they dance into the wee hours of the night.

This ritual is, however, held in the inner seclusion of the household called the Rawala. The dance derives its name from ghoomna, meaning pirouette or the beats to which these women whirl. Set to fast rhythm and striking beats, the women start to display their individual performances but with the increasing crescendo they dance together and display a rare coordination of footwork and hand gestures as they gyrate to the impassioned song.

The themes of the Ghoomar songs are generally episode of valor and the brave exploits of the Rajput men. The highlight of the dance is the costume adorned by the women especially to bring out the effect of their spin. The long embroidered skirts, ghagras, flare up and twirl and their colors flash brilliantly as they dance. They wear many amulets with laces dripping with also sway as they perform this art.

Gair Ghoomar is a variant of the dance form and is performed by men and women on the occasion of Holi, the festival of colors. The Walar, performed mainly by the Garasia tribe which inhabits parts of the Sirohi, Udaipur and Pali districts is considered a prototype of this famous Rajasthani folk dance. In case of these tribes, the Ghoomar is performed to the beat of percussion instruments such as the mandal and chang.

The fast moving veiled women in colorful robes, the rising tempo, the gay melody and the brilliant play of colors-Ghoomar is truly a spectacle to behold.

Kalbelia Dance is very famous dance in Rajasthan India. Kalbelia dance is of the kalbelia tribe of rajasthan, the snake charmers. Kalbelia community’s occupation being catching snakes and trading snake venom in Rajasthan. Dancers dress traditional black swirling skirts during Kalbelia Dance. Kalbelia Women and Girls dance on the rajasthani folk music during this dance. The rajasthani folk music plays in background and the Kalbelia women and girls dance.

The Kalbelia Dance perform in the time of any big festival or any cultural dance programme in rajasthan India. Kalbelia Dance of rajasthan is a unique dance of kalbelias. Two or three women sings traditional rajasthani songs and others plays the musical instruments.

During Bhavai dance there are some of musical instruments play with folk music like pakhwaja, dholak, jhanjhar, sarangi, harmonium and plaintive notes of the ‘been’ which is the wooden instrument of the snake charmers. During the Kalbelia Dance of rajasthan we can see the flexibility of the dancers body.

The traditions of Indian dance and dance dramas are among the most perplexingly complex and varied theatrical cultures of the world. The geographical vastness, different ecological conditions, multiplicity of races and their languages, the complex religious beliefs and ritual practices and equally intricate social structure have all contributed in creating the most colorful panorama of dance and dance drama traditions.

Among the neo classical dance and dance dramas like Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali and a few more, Chau, the rare mask dances of eastern India are quite unique.

It is difficult to ascertain the antiquity of these three major forms of Chau but surely this region, as noted by several ancient scriptures, was one of the most arduous area to penetrate by an outsider. The thick forests and the hilly region inhabited by the "hostile tribals" made it impossible for anyone to trespass. The near paucity of written record or incomplete historical account compels us to accept some 'reconstructed' notes that mention about the local and a few Hindu chieftains who gradually established their sovereignty within the small pockets of this region after 12-14 century A.D. and slowly influenced the life and customs of the native tribals. Today layers of these influences accumulated over centuries are discernible in the cultural activities of these tribals. Today layers of these influences accumulated over centuries are discernible in the cultural activities of these tribals.

The tribal belt where the tribals and other common people perform Chau dances is distributed into three adjoining states, Bengal, Bihar and Orissa, after the dissolution of the princely states in 1950.

The three forms of Chau are named after the district or village where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Bihar and the Mayurbhanj Chau of Orissa. Surprisingly the earlier writers have exercised considerably to understand the origin of the word Chau and to ascertain its classical origin as also they have tried to establish the origin of the word Chau from Sanskrit root word ''Chaya'', while others have tried to justify its martial base and the derivation of the word by suggesting that the word Chau is derived from the local dialect meaning an army camp. However, they have overlooked the outcries of the performers or the drummers during performance. Particularly in Purilia, the singer drummer often rushes to the new characters "by shouting "cho... cho...cho..." with excitement, before they enter into the arena. By doing this he infuses the same enthusiasm in the dancer. During the course of the performance also such excitement and outburst of joy are expressed by the singers and other members of orchestra. Similarly this author heard the same utterances by the hunters who assemble at a particular hill top during the annual hunting expeditions on the full moon day in the month of May. While chasing the game exclaim they exclaim "cho... cho...cho..." (a broader pronunciation of Chau), in order to fright the animals or invoke the spirit of animal for easier gain of the game. Most likely it is this word associated with the natives' earliest hunting occupation that is now associated with their dances to express joy and excitement .

Seraikella Chau

Seraikella, a small town in the Singhbhum district Bihar, is an arid flat land surrounded by low lying hills, which have protected her from external threats and saved her from subjugating to any foreign rule. Only as late as 1820 the princely state signed a treaty with British but continued to enjoy freedom including celebration of religious rites. Probably this free state from external influence enabled Seraikella to preserve its uniqueness. It is said that a former king apprehensive about inevitable inflow of outsiders, did not accept the proposal to connect Seraikella with a railway. Today to reach Seraikella one has to arrive at the steel city Tatanagar by taking six hour train ride from Calcutta and then proceed to the town by bus.

The Chau dance in Seraikella and the surrounding villages, including Purulia and Mayurbhanj, are performed as part of the annual festival Chaitra Parva. Throughout India several religious festivities, often followed by dance and dance dramas, are related to the agricultural cycle that coincides with the phase of moon and transition of sun from equinox or one constellation to the next. The completion of one agricultural cycle is marked by the beginning of a new cycle and it is this continuous rhythm of life and creation is celebrated in several ways. The month of Chaitra (March-April) heralds Spring and the new cycle of agriculture. The next 15 days or more, till mid May, the most import time of the year is celebrated as the New Year in many regions, particularly Seraikella, neighboring regions and several parts of India.

In Seraikella, as also in Purulia and Mayurbhanj , minimum a week before the sun's transition on 14th April, elaborate rituals are offered to lord Shiva and His consort Shakti. Unfortunately, due to political and economic situation and the dissolution of princely state, the king who was the chief patron of the rituals, is now unable to carryout the traditional rituals with the traditional pomp and show. At the same time, people's faith in these rituals is diluted due to modernization and education. Such socio-economic and political reasons have reduced the duration of ritual-celebration from 26 to 13 days or just last four days. Three days prior to the sun's transition, i.e. on 10th April, the first ritual Jatraghat is performed. Prior to this day on Tuesday (if 10th April happens to fall on Tuesday itself then on the same afternoon) an auspicious pitcher- Mangalaghat is propitiated by only women. They observe fast and other austerities throughout the day and fall into trance while carrying the pitcher on their heads. Several devotees offer sacrifices of fowls. Remarkably enough after this initiation of the rituals by women, men folk take over completely. Women are avoided in rituals as well as in dance.

Thirteen devotees belonging to socio economically deprived classes and who have been traditionally carrying out these rituals observe fast during the festival days. One of them, who has been regularly carrying this first ritual is dressed in red clothes as woman. His face and the exposed body limbs are also painted with vermilion. 'She' along with a bamboo staff with 13 nodes are sanctified by a priest at the banks of the river Kharkai that flows on north of the town. An earthen pitcher symbolizing womb and fertility, is filled with river water and its mouth is plugged with plantain flower to suggest union of Shiva and Shakti, or the male and female power for the procreation of life. Utmost care is taken while fixing it on the devotee's head. The devotee carrying the auspicious picture is now regarded as Ardhanarishwar, the composite of the two procreative forces. The jubilant crowd follows the staff and the 'ghatavali' (the devotee with the pitcher) in procession, they are accompanied by the strong beating on big kettle drum and Mahuri, a wind instrument and another drum. Before reaching to the main Shiva temple the procession often stops at various junctures where the devotees offer sacrifices for propitiation or as thanks giving. When the procession reaches the palace the king too offers sacrifice while the 'ghatavali' with renewed spirits dances almost in trance. The staff is installed at the Raghunath temple in the palace courtyard and the procession then proceeds to the Shiva temple.

On the next day for the ritual called Vrindavani another devotee is dressed in white and his face is camouflaged with mango leaves and he whisks mango twigs in his hands and pranks around. Children enjoy to play with this devotee who represents Hanuman, the monkey god who sets out to damage Ravan's orchard where Sita, Rama's wife is kept captive by the demon king. On the third day, after Vrindavani , the ritual Gariyabhar is conducted. A devotee dressed in dark clothes carry two pitchers of milk and butter on her shoulder. Accompanied by two other devotees, also dressed as cowherdess, the chief devotee comes in procession with the staff.

On the last day, on 13th April, at late night another devotee dressed completely in black, brings Kalikaghat which is considered inauspicious for the royal members to witness. Since this ritual symbolizes dissolution of life and the end of life cycle, the king who is believed to be the incarnation of, or the representative of life sustainer lord Vishnu, avoids witnessing it. By organizing the Chau performance at the palace arena people's attention is also diverted. The devotee submits the pitcher and the staff at the Shiva temple. The new pitcher is kept at the base of the phallus. the level and condition of the water in the last year's pitcher foretells the nature of the rain fall, crop and general health of people. After this submission the king is invited the temple where a man lies on a wooden plank like a corpse. By mere touch of the king who is considered the sustainer and protector of his subjects, the man comes to life once again. The rhythm of life continues to perpetuate for ever.

Thus from propitiation and installation of the staff till the last rituals, the entire process suggests layers of influences from primitive tribal rites of more refined Hindu beliefs. The rituals also suggests the evolution of life from 'chaos' of the primordial waters to money -primate stage to pastoral or shift cultivation age and the last culmination of life cycle, because according to the Hindu philosophy anything that is born must come to an end only to be resurrected in order to continue the cycle of life. It is this rhythm of life that is celebrated by Chau dances. Unfortunately, their significance or relation to these rituals are now so removed that they have lost the due relevance altogether. Before the royal members took active interest in modifying the Chau dance during 20's and 30's there only existed simple dances that represented wild animals, ghosts (chirkuni) or at the most they introduced 'Bai' or woman and man masks and their dances. The princes educated in universities and having been exposed to the new culture of theatre and cinema in Calcutta, introduced epical and poetic themes in the repertoire. Their flair for Sanskrit, Bengali and Oriya literature, and interest in music and poetry enabled them to introduce lyrical themes. Similarly the introduction of more refined instruments like sitar and Sarangi and others instruments embellished the romantic themes further. The basic dance technique believed to be based on martial art, known as Parikhanda, was also modified gradually. The masks too received complete transformation from its rustic appearance. The king Aditya Pratap Singh Deo after studying the world famous frescoes of Ajanta guided the master craftsman Prasanna Kumar Mohapatra to refashion the masks. On the gentle pastel color of the masks delicate and elongated lines of eyebrows and eyes were marked to match the lyrical body kinetics of this dance. When a well trained dancer adorns these masks that at once become eloquent with emotions transmitted by every twist and turn of the dancer's body.

Though the martial art is believed to be the base of the Chau dance, more than two third of its technique is derived from the gaits and flights of birds and animals, only a few others describe the daily chores of a woman. These two sections signify the early primitive hunting occupation of the native inhabitants and their gradual settled life as they learnt land cultivation. Indeed, it was the choreographic genius of the prince Vijay Pratap Singh Deo who introduced highly suggestive themes and stylized body movements that matched the poet's imagination. The new repairer can be classified into three categories; the first consisting of simple and primary dances, second the solo or duet dances depicting birds, animals, Night ,sea and even human beings of humble origins, like fisherman, boatman, or hunter. beyond the surface meaning these numbers with their unique choreographic concepts and body kinetics convey the deeper and allegorical meanings which may echo higher philosophy of life. For instance, Banabiddha, a short but one of the most poetic dances of the Seraikella Chau repertoire , may provide a glimpse into the high degree of suggestive potential of this form. Apparently it depicts plight of a young deer pierced by an arrow . With the arrow struck into her heart she limps with agonizing pain in the forest. A t a distance she spots the one who has given her this unredeemable sorrows and plunges into deep anguish. She wreathes in pain and drags herself along with unendurable and inexpressible pain of her pierced heart. Beyond this plightful story of a young deer it conveys in figure of dance the languishing pain of a young maiden, who is inexperienced in the ways of the world or uninitiated in the game of love. She is been deceived at the very first encounter, however, she blames no one but herself and her misfortune. Yet another message of non violence towards mute and innocent animals is conveyed through this dance. This unique and matched way of conveying several layers of allegorical meanings with highly sophisticated and stylized body language with face masked have elevated the level of the Seraikella Chau a span above the 'classical' dances.

The last category comprises of more dramatic dances which are inspired by Sanskrit classics like 'Meghdoot'-The Cloud Messenger, written by the great poet dramatist Kalidas, or Bengali poems like 'Bandir Swapna'- Captive's Dream, penned by Rabindranath Tagore. The introduction of several characters and their brief but suggestive 'dialogue' have added element of dream into these dances.

Purulia Chau

Due to lack of sustained patronage and guidance the Purulia Chau show very little evolvement since its hunting or warfare origin. Performed by the early inhabitants of this arid region, it is almost an antithesis of sophisticated and stylized Seraikella form.

Brief and simple rituals precede the dance performed that are conducted in front of a Shiva temple or the village square. The village head is the patron and he carries a brass pitcher on his head to his house where his wife sprinkles the water of the pitcher on the newly harvested crop. Later, in the month, around 14th of May more elaborate rituals are offered to the sun god. Many devotees observe austerities including piercing their bodies with iron hook. On a high poll they are suspended and whirled round on 'chadak' to suggest the progression of the sun in different constellations throughout the year. Till the early decades of this century these dancers and the form were patronized by the Bagmundi ruler, but due to unproductive land and ever failing rains the ruler could hardly provide necessary support. The performers too were forced to migrate to nearby urban city like Calcutta in search of living.

Since 1961, when this form was first witnessed by an anthropologist in a remote village of Purulia district and their subsequent visits in major cities world over, the locals have formed their own 'parties' in anticipation of a sponsored trip abroad. They have added more 'exciting' combat scenes with more skillful pirouettes and summersault. The costumes specially the headgears have acquired enormous size and jazzy decorations.

Influenced by the more respected Hindu culture the natives adopted the epical themes but they naturally opted for the warfare scenes that would reflect their life of perpetual hardships and conflict with nature itself. Even the characters the noble and heroic characters like Rama and Sita are depicted with forceful gestures.

During the festival time a special flask shaped dancing arena is prepared where several dancing 'parties' assemble to perform. Two or more 'dhamsa' or kettle drum players and equal or more number of drummers accompany the groups. The tune is provided by an Bo like wind instrument called Marui. Unlike Seraikella Chau here the chief drummer sings the introductory song or renders rhythmic passages during the performance. After introduction of a heroic character when he enters the arena he runs to and fro several times in the narrow passage before commencing his dance or dialogue with other characters. On the other hand a demonic character takes several vigorous turns or summersaults and turns to sections of spectators for recognition and applause for his skill and virility. Such skillful acrobatic feats proliferate every year leaving the researcher completely amused for their innovative skills in improvising such exciting sequences.

As you enter Chorida, a small village in Purulia district during Chau season, the village that provides some of the best masks, practically every house and every member of the household is seen occupied in making masks or assembling decorations for headgears. The process of making mask is nearly the same, however, due to thick layers of clay , paper and mud these masks are heavier than the Seraikella masks. Moreover the eyes on these masks are wide open, although the air passage of nostrils is very narrow. The demonic nature of a character is ascertained by the knitted eyebrows and thick hair growth on the face by pasting jute fibers. Thus the variety of masks in this form is equally or more varied than the Seraikella masks even though the thematic content is limited to epical stories.

Mayurbhanj Chau
The royals of Mayurbhanj district of Orissa maintained long and sustained political and marital relation with the Seriakella royal family, the latter sent a Chau master who influenced the dance style in Baripada and nearby villages.

During the Chaitra Parba celebrations the dances in Baripada villages is preceded by elaborate rituals with some modifications in the rituals observed in Seraikella. the noticeable feature of this form is that since the elimination of masks the body kinetics has changed considerably. The wider leg extensions, the flexion of the torso or the subtle jerks of the shoulders to punctuate the rhythmic cycle have all become more pronounced and strenuous. The basic technique, as repeatedly claimed by the writers and scholars , is believed to be derived from the martial art of sword and shield play; although the complex body movements are derived from the phenomenon in nature or animal world or the household chores of a woman. The combination of these units are then employed in the interpretative dances based on the epics. Yet one of the oldest and the most popular item is Shabar or the hunter dance .And this reiterates the relevance of hunting occupation of the early inhabitants in this tribal belt , irrespective of the refinement of the stylization the dances attained in the due course of time.

The patronizing royal family of this form did not take active interest in the development of this form like their counterparts in Seraikella but they encouraged healthy competition among two groups, Dakshin sahi and Uttar sahi , situated on the either sides of the river bank. Today this competitive spirit attracts several Chau groups and thousands of spectators who sit through the night long performance.

The elimination of mask has encouraged many female dancers of the other styles recently to learn this unique body language with strong body kinetics. They have adopted the rudiments of the form and incorporated in their innovative dance choreographs. Such creative efforts have atlas generated audiences' interest in the Chau forms in general, which were considered tribal, folk or semi classical a decade and a half ago. Now after a few years of regular choreographic introduction they are enjoying the respectable place among the other 'classical ' dance styles of India.

Odissi, the essence of the state of Orissa. Orissa is the highly inspired, impassioned, ecstatic and sensuous form of dance. Odissi was performed in the temples of Orissa as a religious rite and offering by the Devadasis known as 'Maharis'. Odissi is a rich and generous cultural gift of the land, well known for its dedication to religion and arts and known in the past as 'Kalinga Desha'. The people of this land raised magnificent temples, each erected as an act of religious faith and embellished by the skills of master craftsmen, sculptures and architects. These temples became the centre of art and culture and it was here that Odissi, one of India's scintillating dance-forms was born, nurtured and nourished.

In Odissi, the technique, the style, its stages, the repertoire and the finale were almost amorphous. Today Odissi is a well established and codified classical dance form of India, a dance of love, delight and intense passion, lyrical, pure, divine and human all rolled into one.

Kuchipudi is the classical dance form from the South-East Indian state of Andhra Pradesh. It derives its name from the village of Kuchelapuram, a small village about 65 kms from Vijaywada. It is known for its graceful movements and its strong narrative / dramatic character.

There is a legend concerning the origins of Kuchipudi. It is said that there was once an orphan of Srikakulam who was raised by the village. These kind people had him married at childhood as was the custom of the time. However, for his training he went to Udipi for Vedic studies. During his study he acquired the name Sidhendra Yogi.

After a time he returned to Srikakulam. However, the village elders ordered him to go to his wife's house to assume his family responsibilities. On the journey he came upon a river. As he was swimming across the river he suddenly realised that he could swim no further. He then prayed to God to give him the strength to make it across. He did make it, and upon reaching the shore he vowed to become a sanyasi (renunciate) and devote his life to religious affairs.

He then settled in the village of Kuchelapuram and started teaching. Here, he instructed Brahmin boys in devotional dance dramas based upon religious themes. These religious plays were presented as offerings to God in the tradition of the Natya Shastra.

Kuchipudi flourished as a dramatic form of dance for hundreds of years. It was held in high esteem by the rules of the Deccan. For instance Tana Shah in 1678 granted the lands around Kuchipudi to the Brahmins who performed the dance.

At times the dancers could even wield political and social power. One example was a play-cum-social commentary performed in 1502. It seems that a group of artists performed before Immadi Narasa Nayaka. In this play, they indicated that the people were being unfairly treated by a local raja. The dancers succeeded in freeing the people form the abusive practices of the raja, but the artists at one point even required the protection of the army.

Modern Kuchipudi acquired its present form in the 20th century. A number of people were responsible for moving it from the villages to the performance stage. One of the most notable was guru Lakshminarayan Shastry. After him, a number of other luminaries would mould it into its present shape. Some notable names are Vempati Chinna Satyam, C.R. Acharyalu, and Dr. Nataraja Ramakrishna.

Kathakali is based on Hinduism and is a highly charged and powerful drama that combines devotion and physical virtuosity with symbolic storytelling, to produce one of the most impressive and vibrant forms of theatre in the world.


KATHAKALI is part of this eternal evolution of Asian theatre and has retained the storytelling heritage of India for the last 600 years.


Through these stories we have a detailed description of how people lived 3,000 years ago.



We are fortunate to have Kathakali as a window into the past, to understand the ancient traditions that have been preserved for centuries through the dedication of the Kathakali artists, the Brahmin families and the people of Kerala, South India.



The traditional stories of India were often told through dance and drama. They were passed from one generation to the next to be performed in the heart of the community.



The stories performed by Kathakali are an integral part of Hinduism and the ancient temple rituals.



In the mid 17th century improvements to the presentation of Kathakali were made by Vettathu Raja, the ruler of an area in Kerala north east of Kochi.



He introduced several important developments into Kathakali:



1] Two singers to invoke the harmonies within the voices.


2] The Chengila [cymbals] - to beat the Tala – rhythm.


3] The Chenda - a powerful drum played with sticks.

[The Chenda was originally played in the outdoor temple
ceremonies to accompany the Thol Pava Kuttu - shaddow puppets].


4] Two singers, Ponni Karan and Sinkidi Karan were introduced to add the '' Thiranukuu'' . A method of introducing the evil characters of the play to the audience from behind a large satin curtain called a tereshiela, held up at the front of the stage.





At the end of the 17thcentury a number of Kathakali troupes called a Kali Yogam - [Kali Yogam means group] - evolved and always had a lead actor called an Adiavasana Karan. He was responsible for the training and the rehearsals that took place during the monsoon season.

He also arranged the performances during the dry season when the outdoor temple celebrations were held throughout Kerala.

Bharatanatyam is a classical dance form of South India, said to be originated in Thanjavoor of Tamil Nadu. It was known as "Daasiyattam" since performed by Devadasies in temples of Tamil Nadu long ago. The name 'Bharatanatyam' is derived from three basic concepts of Bhava, Raga and Thaala. The modern Bharatanatyam was systematically regularized by well known 'Thanjavoor Brothers', Ponnayya, Chinnayya, Sivanandam and Vativelu.
The dance is performed in the stage as Nritham, Nrithyam and Natyam. Bharatanatyam is based on the theories of the books 'Natyasaasthram' and 'Abhinaya Darpanam'. The dance form is based on 'Adavu' (steps) and 'Hasthamudra' (hand gestures). There are 64 basic 'Adavu' and they are divided into 9 parts, on which 'Thattadavu', 'Naatadavu', 'Kuthithumettadavu', 'Mandiadavu', 'Sarikkal' and 'Thattumettu' are very important. Communication is done through 'bhavabhinaya' (facial expression) and 'hasthamudra' (hand gestures). The performance starts with the prayers to God Ganapathi and worship of Nataraja Moorthi.

The sequence of the dance performance is 'Alarippu', 'Jathiswaram', 'Sabdam', 'Varnam', 'Padam' and 'Thillana'. After 'Thillana', with a 'Mangala Slokam' the dance program ends. Normally the performance lasts for two to two and half hours.

The costume is paijama and jacket of Kanchipuram silk and Banaras silk. The dancer wears a lot of ornaments of shining stones on neck, ears, hands, and head, jasmin garland in the hair and foot trinklet with small bells.

The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin. The dance direction is done by 'Nattuvanar' giving the Thaalam using hand symbols and singing 'Vaaythari'. There will be two singers also.

Some of the famous Bharatanatyam performers are Bala Saraswathi, Mrinalini Sarabhai, Rugmini Arundel, Kamala Laxman, Padma Subrahmaniam and Chithra Visweswaran. Panthanalloor Meenakshi Sundaram Pilla, Panthanalloor Chokkalingam Pilla, Padmasree Vazhoor Ramayyan Pilla and Adayar Laxman are some of the famous 'Nattuvar'

Kathak is the major classical dance form of northern India. The word kathak means "to tell a story". It is derived from the dance dramas of ancient India. When the patronage shifted from the temples to the royal court, there was a change in the overall emphasis. The emphasis shifted from the telling of religious stories to one of entertainment. Today, the story-telling aspect has been downgraded and the dance is primarily an abstract exploration of rhythm and movement.

Kathak was primarily associated with an institution known as the tawaif. 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. Unfortunately, when the British consolidated their hold over India during the Victorian era, this great institution was branded as mere prostitution and was outlawed. This set the artform of kathak into a downward spiral that was not reversed until Independence when there was a reawakening in interest in traditional Indian artforms.

There are three main gharanas, or schools of kathak. These schools are named according to the geographical area in which they developed. These are the Jaipur, Lucknow, and the Benares gharanas. Each has a slight difference in interpretation and repertoire.