Dance is not only there for entertainment. It serves to attain the yogi's state, a state of supreme bliss. The aim of all art is to realise reality. The aim of all Indian art is to experience liberation and growth of righteousness as man, through beauty and delight. Naturally this all ends in the final analysis where God is considered to be the only source of beauty and happiness. This is why art forms are at their best when they manifest His glory.

Dance in India has undergone many changes throughout history. Bharata Muni's Natyashastra or the Science of Dramaturgy is a great, comprehensive work on the science and technique of Indian drama, dance and music. He says that Brahma, the creator and the first of the Hindu Triad, was asked to create a past time by the gods. As such, Brahma had created drama. He then took pathya (words) form the Rigveda, abhinaya (gesture) from the Yajurveda, geet (music and chant) from Samaveda and rasa (sentiment and emotional element) from Atharvaveda to form the fifth veda, Natyaveda.

For centuries, dances were performed on a regular basis at temples before the deity as a devotional exercise. This gave rise to the Devadasis, the temple dancing girls who were held in great respect and reverence in those early days. These girls were accomplished artists; they could sing, dance, play many instruments and read and interpret religious texts to perfection. Their first and foremost duty was to sing and dance before the temple deity. They offered their dances and songs as prayer and oblation at His feet. When they danced and sang, they lost consciousness of all else but Him, they danced and sang as if possessed and transported the audience to a high pane of consciousness and ecstasy. Unfortunately, their position deteriorated as time went by.

Since dance is an expression of devotional life, every dance still begins with a prayer. It's stated by Abhinaya Darpana of Nandikeshvara that "Those who are versed in the Science of Dancing say that dancing is vulgar in which the actress does not begin with a prayer".

Indian classical dance was born and bred in the temples and then a few centuries later, reached the royal courts. It took even a few more centuries before it reached the public platforms. These dances have indeed come a very long way from ancient temples and shrines and this is why all Indian classical dances have their roots deep in the religious aspects and thematically depend almost completely on the rich mythological tales of the Hindus.

It's been correctly observed that in Indian classical dance there is no amateur but all are professionals. This is because a dancer has to undergo vigorous, continuous practice and training before he/she can perform before spectators. This also makes Indian dances impersonal and traditional. The dance movements, rhythms and accompanying music all remain the same whoever the dancer might be.

Indian classical dance is an art concealing art, totally impersonal, objective, traditional, deliberate and elaborate in technique and appeal. It breaks a new ground of perception and opens entirely a new vision of reality.

Dances of Gods

Lord Shiva the third god of the Hindu Triad, is Ishvara and Mahadeva in his creative aspect and as Nadaraja, he is the Supreme Lord of Dance and Drama. Tandava reflects his violent nature as a stern judge and upholder of justice and righteousness. He dances both in joy and sorrow as the god of rhythm and movement. He performs his Tandava at the termination of an age. He is shown performing his dance in the cremation ground which symbolises the heart of a devotee, cleansed of ego and illusion by means of fire of knowledge, enlightenment and severe austerities. Usually, he is shown dancing alone or with his consort, Parvati or Devi. Tandava is the form of Ananda or Rudra Tandava.

Kali is the stark naked, dark and fierce goddess of Destruction who receives blood sacrifices. She is also the recreative life-force representing power, without which there is no creativity whether spiritual or physical. As Kali, she represents all the forms and forces, that destroy evil and promotes good and well-being of the world. Her dances are very significant.

The dances of gods and divine beings have inspired many dancers and artists. the scintillating and picturesque dances of Krishna, the incarnation of Vishnu are very important. Krishna is one of the most significant dancing divinities of the Hindus. His supreme divinity finds expression in many works of literature, painting, sculpture and dance recitals. His famous Tandava on top of the evil, hundred-hooded serpent, Kalinga, is a fierce and violent dance of a boy which symbolises that aspect of divinity which controls and destroys all evils forces opposed to dharma (righteousness and upright living). As the manifestation of the Supreme Being, he delivers the message of Bhagavad Gita to Arjuna. In this sacred treatise he explains the circumstances which necessitate the descent of Vishnu-Whenever Dharma declines, and uprighteousness flourishes, then I incarnate Myself, O Bharata.
I Incarnate age after age,
for the protection of the good, and
for the destruction of the wicked, and
for re-establishment of Dharma.

Apsaras are the dancing girls of Indra's court, who live in Amravati, the capital of the gods and goddesses located on Mount Meru. They display their dancing excellence before gods on the occasion of festivities and victories. They're very beautiful and captivating and are called the 'daughters of delight'. As skilled dancers and musicians, they symbolise the delights and joys of heaven. They're also considered as the celestial courtesans. They can also change their shapes at will. Urvasi, Menka, Rambha and Tilottama are the most famous and are well versed in the art of music dancing. Their dance is of the Lasya type which is the feminine version of Tandava.

The Seven types of Indian Classical Dances

Bharatha Natyam

Odissi

Kuchipudi

Kathak

Mohini Attam

Manipuri

Kathakali

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