# Indian classical dance

Indian classical dance is an umbrella term for various performance arts rooted in musical theatre styles, whose theory and practice can be traced to the Sanskrit text, Natyashastra. The number of classical dances range from eight to more, depending on the source and scholar. The w:Sangeet Natak Academy recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. Additionally, the Indian Ministry of Culture includes Chhau in its classical list. These dances are traditionally regional. They consist of compositions in Telugu, Tamil, Sanskrit, Kannada, Hindi, or any other Indian language and they represent a unity of core ideas in a diversity of styles, costumes and expression. At present officially there are 9 classical dances in India.

## Quotes

* Actually, dance forms an intrinsic part of worship in the temples. . . . India alone has a concept of a God who dances. Siva is Nataraja, Lord of dancers, who dances in the Hall of Consciousness and weaves into it the rhythm of the Universe. Within His Cosmic Dance are included the Divine prerogatives of Creation, Preservation, Regeneration, Veiling and Benediction . . . Dance in India has been so closely linked with religion, that today it is impossible to think of it divorced from this essential background.
** – Rukmini Devi Arundale quoted in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines
* It is the spirit of Purusha and Prakriti, an expression of evolution of movement, a truly creative force that is handed down the ages. This embodiment of sound and rhythm creating spiritual poetry is called dance or Natya. . . . The first glimpse of the dance comes to us from Siva Himself, a Yogi of Yogis. He shows us the Cosmic Dance and portrays to us he unity of Being. . . . The Cosmic Rhythm of His dance draws around Him ensouled matter, which manifests itself into the variety of this infinite and beautiful universe.
** Rukmini Arundale quoted in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines
* For the modern physicists, then, Shiva's dance is the dance of subatomic matter.
** Fritjof Capra quoted in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines
* In the night of Brahma, Nature is inert, and cannot dance till Shiva wills it: He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fullness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry; but none the less, science.
** Dr Ananda Coomaraswamy: quoted in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines
* In Hinduism, classical dance is conceived as an internalized spiritual practice: using movement, sound and emotion to internalize the cosmology and epistemology within the dancer's body. It is the only major world religion to have been successfully transmitted through such embodiment for so long. This is exemplified by the iconographic depiction of Shiva-Nataraja, which is a stylized projection of Shiva manifested as the ascetic master of sacred dance. Similarly, the narratives and iconography of Krishna dancing with his devotees exemplifies, evokes and reinforces the 'rasa' (inner emotional states) of the devotees as they attempt to unite inwardly with their 'ishta-devata' (personal deity). Such expressions are not reserved for use by a spiritual elite; rather, they inform and engage the entire culture and are part of the folk narratives known to every Hindu.
** Malhotra, R., & Infinity Foundation (Princeton, N.J.). (2018). Being different: An Indian challenge to western universalism.
* Muslim rulers and nobles always patronised music throughout the medieval times... Indian classical music survived throughout the Sultanate period, although classical Indian dancing almost died out in northern India because it had drifted from the aesthetic sphere into that of the courtesans and the dancing girls.
** K.S. Lal, Twilight of the Sultanate (1963) 242
* Music in India has a history of at least three thousand years. The Vedic hymns, like all Hindu poetry, were written to be sung; poetry and song, music and dance, were made one art in the ancient ritual.
** Will Durant, Our Oriental heritage
* Then there are ragas and raginis designated for dance. Dance in its art form is as elaborate as music, and is based on Hindu natya-shastra. Sculptures of dancers and musicians carved on ancient and medieval temples, now mostly surviving in south India, bear testimony to their excellence, popularity and widespread practice.
** Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 8 (quoting Gaurishankar Hirachand Ojha, Madhya Kalin Bharatiya Sanskriti, pp. 193-94. )
* From the seventeenth century onwards, Christian missionaries made scathing attacks on the Indian classical dance-forms, seeing them as a heathen practice. This was often expressed by attacking the devadasi system on the grounds of human rights. The devadasis were temple dancers, dedicated in childhood to a particular deity. The system was at its peak in the tenth and eleventh centuries, but a few hundred years later, the traditional system of temples protected by powerful kings had faded away under Mughal rule, especially since the Mughals turned it into popular entertainment, devoid of spirituality. The devadasi system degenerated in some cases into temple dancers used for prostitution, although the extent of this was exaggerated by the colonialists.
** About the devadasi. in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines
* Many of the English-educated elites of India accepted the colonial condemnation of their heritage and apologized for its 'primitiveness'. Some of them turned into Hindu reformers, and found the devadasi system detestable for moral and even social-hygienic reasons. However, the devadasis saw their very existence threatened and sent handwritten pleas to the colonial government, explaining the spiritual foundation of Bharata Natyam. They quoted Siva from the Saiva Agamas, saying, 'To please me during my puja, arrangements must be made daily for shudda nritta (dance). This should be danced by females born of such families and the five acharyas should form the accompaniments'. Since these Agamas are revered by every Hindu, the devadasis asked, 'What reason can there be for our community not to thrive and exist as necessary adjuncts of temple service?' They opposed the proposed draconian punishment for performing their tradition, calling the legislation 'unparalleled in the civilized world'. Instead of abolition of their traditional profession, they demanded better education to restore their historical status. They wanted the religious, literary and artistic education as in the past, saying, 'Instill into us the Gita and the beauty of the Ramayana and explain to us the Agamas and the rites of worship'. This would inspire devadasi girls to model themselves after female saints like Maitreyi, Gargi and Manimekalai, and the women singers of the Vedas, such that:. . . we might once again become the preachers of morality and religion. . . . You who boast of your tender love for small communities, we pray that you may allow us to live and work out our salvation and manifest ourselves in jnana and bhakti and keep alight the torch of India's religion amidst the fogs and storms of increasing materialism and interpret the message of India to the world.
** About the devadasi. in Malhotra, R., Nīlakantan, A. (2011). Breaking India: Western interventions in Dravidian and Dalit faultlines