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Set 5: Block 4 Indian Performing Arts

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CONTENTS

Dances of India ............................................................................................................................................................... 8

Classical Dance of India ................................................................................................................................................. 9

BharatNatyam – Tamil Nadu ............................................................................................................................................ 9

Kuchipudi ............................................................................................................................................................... 10

Kathakali ................................................................................................................................................................ 11

Kathak .................................................................................................................................................................. 12

Odissi ................................................................................................................................................................... 13

SATTRIYA ............................................................................................................................................................... 15

Manipuri ................................................................................................................................................................ 16

MOHINIYATTAM ....................................................................................................................................................... 17

Folk Dances of India .................................................................................................................................................... 18

Music in India ............................................................................................................................................................... 26

Hindustani Music ..................................................................................................................................................... 27

Carnatic Music ........................................................................................................................................................ 30

Comparison of Hindustani and Carnatic Music .................................................................................................................. 34

Folk Music ............................................................................................................................................................. 35

Music Instruments of India ......................................................................................................................................... 35

Martial Arts in India ....................................................................................................................................................... 40

Kalarippayattu ........................................................................................................................................................ 40

Silambam .............................................................................................................................................................. 40

Gatka ................................................................................................................................................................... 40

Musti Yuddha ......................................................................................................................................................... 41

Thang Ta ................................................................................................................................................................ 41


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Lathi .................................................................................................................................................................... 42

Mardani Khel ........................................................................................................................................................... 42

Pari-Khanda ............................................................................................................................................................ 42

Kathi Samu ............................................................................................................................................................. 42

Theatre Form of India .................................................................................................................................................... 43

BHAND PATHER(JASHIN) - KASHMIR.................................................................................................................................. 43

SWANG - HARYANA ..................................................................................................................................................... 43

NAUTANKI - UTTAR PRADESH ......................................................................................................................................... 44

RAASLEELA ............................................................................................................................................................... 44

BHAVAI - GUJARAT ..................................................................................................................................................... 44

JATRA - BENGAL ........................................................................................................................................................ 44

BHAONA (ANKIA NAAT) - ASSAM. ..................................................................................................................................... 45

MAACH - MADHYA PRADESH ........................................................................................................................................... 45

TAMAASHA - MAHARASHTRA .......................................................................................................................................... 45

DASHAVATAR - KONKAN AND GOA ................................................................................................................................... 45

KRISHNATTAM - KERALA ............................................................................................................................................... 46

MUDIYETTU - KERALA .................................................................................................................................................. 46

THEYYAM - KERALA ..................................................................................................................................................... 46

KOODIYAATTAM - KERALA ............................................................................................................................................. 47

YAKSHAGAANA - KARNATAKA ......................................................................................................................................... 47

THERUKOOTHU - TAMIL NADU ........................................................................................................................................ 47

KARYALA- HIMACHAL PRADESH ....................................................................................................................................... 48

Puppet Forms of India .................................................................................................................................................... 49

STRING PUPPETS ........................................................................................................................................................ 51

GLOVE PUPPETS .......................................................................................................................................................... 52


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ROD PUPPETS: (extension of glove-puppets) ...................................................................................................................... 53

Shadow Puppet .......................................................................................................................................................... 54

Institutions Related to Performing Arts in India ..................................................................................................................... 55

Sahitya Akademi ........................................................................................................................................................ 55

Sangeet Natak Academy ............................................................................................................................................... 56

Lalit Kala Akademi ..................................................................................................................................................... 56

Centre for Cultural Resources & Training .......................................................................................................................... 56

Arts, Crafts, Music, Monuments in States: Ready Reference ...................................................................................................... 57


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In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and

ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining

the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the

complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something

apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it.

(Source: CCRT)

In this section we are going to deal with Dances of India, Music and Musical Instruments of India, Theatre and Puppetry

in India. As per the questions asked in previous year Prelims and Mains papers, the basic focus of questions is on the

fundamentals. Though UPSC doesn’t asked the terminologies used in Dance / Music yet (in detail) but we cannot take it

for granted. So we are providing the detailed Notes. Samples of few previous year questions are as follows:


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With reference to Dhrupad, one of the

major traditions of India that has been

kept alive for centuries, which of the

following statements are correct?(2012)

1. Dhrupad originated and developed in

the Rajput kingdoms during the

Mughal period.

2. Dhrupad is primarily a devotional and

spiritual music.

3. Dhrupad Alap uses Sanskrit syllables

from Mantras.

Select the correct answer using the codes

given below :

(a) 1 and 2 only

(b) 2 and 3 only

(c) 1, 2 and 3

(d) None of the above is correct

In the context of cultural history of India,

a pose in dance and dramatics called

‘Tribhanga’ has been a favourite of Indian

artists from ancient times till today.

Which one of the following statements

best describes this pose? (2013)

(a) One leg is bent and the body is slightly

but oppositely curved at waist and neck

(b) Facial expressions, hand gestures and

make-up are combined to symbolize

certain epic or historic characters

(c) Movements of body, face and hands

are used to express oneself or to tell a

story

(d) A little smile, slightly curved waist and

certain hand gestures are emphasized to

express the feelings of love or eroticism

With reference to the famous Sattriya

dance, consider the following

statements: (2014)

1. Sattriya is a combination of music,

dance and drama.

2. It is a centuries-old living tradition of

Vaishnavites of Assam.

3. It is based on classical Ragas and Talas

of devotional songs composed by

Tulsidas, Kabir and Mirabai.

Which of the statements given above is

/are correct?

1. 1 only

2. 1 and 2 only

3. 2 and 3 only

4. 1, 2 and 3


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Consider following pairs (2014)

1. Garba : Gujarat

2. Mohiniattam : Odisha

3. Yakshagana : Karnataka

Which of the pairs given above is/are

correctly matched?

1. 1 only

2. 2 and 3 only

3. 1 and 3 only

4. 1, 2 and 3

With reference to India’s culture and

tradition, what is ‘Kalaripayattu’? (2014)

1. It is an ancient Bhakti cult of Shaivism

still prevalent in some parts of South

India

2. It is an ancient style bronze and

brasswork still found in southern part

of Coromandel area

3. It is an ancient form of dance-drama

and a living tradition in the northern

part of Malabar

4. It is an ancient martial art and a living

tradition in some parts of South India

You can see here that most of the questions need the basic understanding. So don’t focus much on mugging all the

steps and names mentioned in the notes. You are required to know the core part of any topic. Rest is given for

reference but that doesn’t mean that you should ignore them totally. The point we are trying to make here is at least

know the essential items, if more, then better.


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DANCES OF INDIA

In terms of the classical tradition formulated in the Natyashastra, dance and music are an inextricable part of drama. The art of natya carries in it all these constituents and the actor is himself the dancer and the singer, the performer combined all the three functions. With the passage of time the status of an independent and specialised art, marked the beginning of the 'art' dance in India.

As per the ancient treatises, dance is considered as having three aspects: natya, nritya and nritta.

Natya highlights the dramatic element and most dance forms do not give emphasis to this aspect today with the exception of dance-drama forms like Kathakali.

Nrityais essentially expressional, performed specifically to convey the meaning of a theme or idea.

Nritta on the other hand, is pure dance where body movements do not express any mood (bhava), nor do they convey any meaning. To present nritya and natya effectively, a dancer should be trained to communicate the navarasas. These are: love (shringaara), mirth (haasya), compassion (karuna), valour(veera), anger (roudra), fear (bhayanak), disgust (bibhatsa), wonder (adbhuta) and peace (shaanta).

(Source: CCRT)


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CLASSICAL DANCE OF INDIA

This classification depends on the source. The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi,

Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. The Culture Ministry of the Government of India includes Chhau in its

classical list. We will use Sangeet Natak academy’s list and deal with chhau in Folk dances of India

BHARATNATYAM – TAMIL NADU

One of the most ancient forms of dance art is Bharatnatyam, with its origins in an unbounded faith

in God. The dance flourished in Tamil Nadu, but its influence is not limited to that state.

Bharatnatyam derives its name from Bharata Muni and ‘natyam’ means dance in Tamil.

The style was kept alive by the devadasis, who were young girls 'gifted' by their parents to the

temples and who were married to the gods.

DEVADASIS performed music and dance as offerings to the deities, in the temple courtyards.

As a solo dance, Bharatnatyam leans heavily on the abhinaya or mime aspect of dance - the nritya,

where the dancer expresses the SAHITYA through movement and mime

In modern era, credit of reviving Bharatnatyam goes to E. Krishna Iyer; while Rukmi Devi Arundale

gave it the global recognition.

Tanjor Quartet defined the elements of a Bharatnatyam recital as 1. Alarippu, 2.) Jatiswaram, 3.)

Shabdam, 4.)Varnam, 5. Padam, 6.) Jawali, 7.) Thilana

The four Thanjavur teachers, known as the Tanjor Quartet are Chiniah, Ponniah, Vadivelu and

Shivanandam

In the thirties of the twentieth century, Rukmini Devi Arundale, a champion of Bharatnatyam,

brought about radical changes in the costumes of the dancers

Kataka mukha hasta is one of the principal mudras of Bharatnatyam

Apart from Tanjor Quartet, other famous proponents of Bharatnatyam were/are: Yamini

Krishnamurthy, Padma Subramaniam, Mrinalini Sarabhai, Mallika Sarabhai.


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KUCHIPUDI

Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram

Kuchipudi matured into an independent dance form during the days of the Bhakti movements,

when it started depicting Krishna’s life through music and drama

The Kuchipudi dance consists of a few divisions such as Adavus, Jatis, Jatiswaras, Tirmanas and

Tilanas. These features are also found in Bharatnatyam, but what makes Kuchipudi unique is

Karnnakole is not to be found in any other southern dance style.

Karnnakole is the superb, quick and rhythmic footwork of the dancer.

Modern form of Kuchipudi gives more prominence to solo items

The dance also expresses itself through padas, varnas, shabdas and slokas

In twentieth century, Balasarswati and Ragini Devi revived Kuchipudi dance, when the traditional

male bastion became popular with female dancers as well.

Stories of Bhagwata purana form the basis of most of the Kuchipudi recitals.

In Kuchipudi, there is a predominance of Shringaar ras.

Both Lasya and Tandava elements are important in the Kuchipudi dance form

Famous Proponents of Kuchipudi: Radha Reddy, Raja Reddy, Yamini Krishnamurthy, Indrani

Rehman


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KATHAKALI

A mixture of Dravidian and Aryan dance concepts, Kathakali is the classical dance of Kerala

The Nairs of Kerala, who formed a warrior caste, practiced martial dances in order to perpetuate

in society the memory of their racial equalities.

Malayalam, with many Sanskrit words, became the language of the Kathkali songs.

Kathkali is dance-drama and not drama bacause the actors do not speak their lines. The dramatic

story is carried forward through a highly evolved vocabulary of body movements, and gestures and

eye movements.

Most Kathkali recitals are a grand representation of the eternal conflict between good and evil.

Different colours are used in Kathkali dance for different purposes: green indicates nobility, divinity

and virtue; red patches beside the nose indicate royalty; black colour is used to indicate evil and

wickedness

Famous proponents: Guru Kunchu Kurup, Gopi Nath, Rita Ganguly


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KATHAK

Tracing its origins from the Ras Leela of Brajbhoomi, Kathak is the traditional dance form of Uttar

Pradesh.

Kathak derived its name from the ‘kathika’ or the story-tellers who recited verses from the epics,

with gestures and music.

During the Mughal era, Kathak incorporated some secular features so as not to offend Muslims;

thus Kathak incorporated into itself certain Islamic features notably in its costumes.

Features

- Intricate footwork.

- Usage of facial expressions & hastas.

- No bending of knees unlike Bharatnatayam.

- Indian and Persian costumes.

Format

- Ganesh vandana.

- Aamad (dancer enters stage with its item).

- Thaat (soft & varied movements).

- Gat Nikaas (brief outlines of mytho stories).

- Pradhant (recitation of complicated bols & demonstration).

- Tatkar (conclusion-intricate footwork & complex).

The classical style of Kathak was revived by Lady Leela Sokhey in the twentieth century.

Since Kathak is based on Hindustani style of music, it also branched off to different gharanas:

Lucknow,Jaipur, Raigarh, Banaras

The fame of Kathak spread far and wide as the dance was performed at different places. Gurus

like Lachhu Maharaj, Shambhu Maharaj and Birju Maharaj established Kathak as a dance art of

great merit.


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ODISSI

• Archaeological evidence of this dance form dating back to the 2nd century B.C. is found in the

caves of Udayagiri and Khandagiri near Bhubaneshwar.

• With Hinduism taking roots in Orissa by about the 7th century A.D., many imposing temples

were erected. The Sun Temple at Konarak, built in the 13th century, with its Natya mandap or Hall

of dance, marks the culmination of the temple building activity in Orissa. These dance

movements, frozen in stone, continue to inspire Odissi dancers even today.

• The maharis, who were originally temple dancers came to be employed in royal courts which

resulted in the degeneration of the art form. Around this time, a class of boys called gotipuas

were trained in the art, they danced in the temples and also for general entertainment. Many of

today's gurus of this style belong to the gotipua tradition.

• Facial expressions, hand gestures and body movements are used to suggest a certain feeling, an

emotion or one of the nine rasas.

• The techniques of movement are built around the two basic postures of the Chowk(above) and

the Tribhanga(left). The chowk is a position imitating a square - a very masculine stance with the

weight of the body equally balanced. The tribhanga is a very feminine stance where the body is

deflected at the neck, torso and the knees.

• With the lower half of the body remaining static, the torso moves from one side to the other

along the axis passing through the centre of the upper half of the body. Great training is required

for this control so as to avoid any shoulder or hip movement.

• There are certain foot positions with flat, toe or heel contact. These are used in a variety of

intricate combinations.

• Almost all leg movements are spiral/circular


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• Hand gestures play an important role both in nritta where they are used only as decorative

embellishments and in nritya where they are used for communication.

Format

- Mangalcharan. - Batunritya. - Pallavi. - Tharijham. - Moksha (final dance of liberation)

Exponents

- Madhavi Mudgal. - Rani Karna.

• orchestra - pakhawaj , flute, sitar / violin and manjira

• In each performance, even a modern Odissi dancer still reaffirms the faith of the devadasis or

maharis where they sought liberation or moksha through the medium of dance.


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SATTRIYA

It is introduced in the 15th century A.D by the great Vaishnava saint and reformer of

Assam, Mahapurusha Sankaradeva as a powerful medium for propagation of the

Vaishnava faith.

This neo-Vaishnava treasure of Assamese dance and drama has been, for centuries,

nurtured and preserved with great commitment by the Sattras

(Vaishnava maths/monasteries). Because of its religious character & association with

the Sattras, it has been aptly named Sattriya.

There were two dance forms prevalent in Assam before the neo-Vaishnava movement

such as Ojapali and Devadasi with many classical elements.

2 varieties of Ojapali still prevalent in Assam:

1) Sukananni/ Maroi Goa Ojah- Shakti Cult.

2) Vyah Goa Ojah- Vaishnava Cult.

Sankaradeva included Vyah Goa Ojah into his daily rituals in Sattra. Till now Vyah Goa

Ojah is a part of rituals of the Sattras of Assam. The dancers in a Oja paali chorus not

only sing and dance but also explain the narration by gestures and stylized

movements.

As far as Devadasi dance is concerned, resemblance of a good number of rhythmic

syllables and dance postures along with footwork with Sattriya dance is a clear

indication of the influence of the former on the latter.

Other visible influences on Sattriya dance are those from Assamese folk dances

namely Bihu, Bodos etc.

Sattriya dance tradition is governed by strictly laid down principles in respect

of hastamudras, footworks, aharyas, music etc


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MANIPURI

Thang – Ta (Martial Art)

Because of its geographical location, the people of Manipur have been protected from outside

influences, and this region has been able to retain its unique traditional culture.

Lai Haraoba(merrymaking of the gods) is one of the main festivals still performed in Manipur

which has its roots in the pre-Vaishnavite period. The principal performers are the maibas and

maibis (priests and priestesses) who re-enact the theme of the creation of the world.

With the arrival of Vaishnavism in the 15th century A.D., new compositions based on episodes

from the life of Radha and Krishna were gradually introduced.

Manipur dance has a large repertoire, however, the most popular forms are the Ras, the

Sankirtana and the Thang-Ta.

There are five principal Ras dances of which four are linked with specific seasons, while the fifth

can be presented at any time of the year. In Manipuri Ras, the main characters are Radha,

Krishna and the gopis.

A short fine white muslin skirt is worn over it. A dark coloured velvet blouse covers the upper

part of the body and a traditional white veil is worn over a special hair-do which falls gracefully

over the face. Krishna wears a yellow dhoti, a dark velvet jacket and a crown of peacock

feathers.

The Kirtan form of congregational singing accompanies the dance which is known as Sankirtana

in Manipur. The male dancers play the Pung and Kartal while dancing. The masculine aspect of

dance - the Choloms are a part of the Sankirtana tradition. The Pung and Kartal choloms are

performed at all social and religious festivals.

The martial dancers of Manipur - the Thang-ta - have their origins in the days when man's

survival depended on his ability to defend himself from wild animals.

The Manipuri classical style of singing is called Nat - very different from both north and south

Indian music, this style is immediately recognizable with its high pitched open throated

rendering with particular type of trills and modulations.

The main musical instrument is the Pung or the Manipuri classical drum.


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MOHINIYATTAM

Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of the Hindu mythology, is the classical solo dance form of Kerala.

Literally meaning the Dance of the Enchantress, it is deeply rooted in femininity, GRACE (Lasya) and BEAUTY (Sringara) forming the quintessence of this dance form.

Of all the classical South Indian styles, Mohiniyattam can be singled out with admirable distinction, for its characteristic body movements, marked by the graceful sway of the torso.

What is unique is the easy going rise and fall of the body, with emphasis mainly on the torso. The movements are never abrupt, but dignified, easy, natural, restrained and yet subtle. The glances, postures, gait employed are so subtle and graceful that they convey the infinite suggestiveness of radiant love.

The traditional costume worn in Mohiniyattam is white with a gold border, and gold ornaments are worn.

The unique coiffure with hair gathered on the left side of the head reflect its aesthetic appeal, making it distinct from the other dance forms of India.

The regional system of music that Mohiniyattam follows is the SOPANA style which in its lyricism is evocative of the spiritual element.


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FOLK DANCES OF INDIA

Name of the Dance Area (Geographical) Special feature

MATHURI (KOPPU)

ANDHRA PRADESH

This dance is performed by the inhabitants of the Umji and Indravelli

forest areas of Utnoor Tehsil in Adilabad district of Andhra Pradesh. It

is traditionally performed during Krishna Janmashtami celebrations

and the themes are taken from the Mahabharata. Though both men

and women perform this dance, the pace is different. Women dance in

slow rhythmic movements, while the men dance at a more vigorous

pace. The Nagara is the main instrument used.

BIHU

ASSAM Bihu is one of the most colourful folk dances of India. The dance is an

integral part of the Bihu Festival celebrated to mark the advent of

Spring and the Assamese New Year. Bihu ushers in the sowing time

and also the season of marriage. he dance has been noted for

maintaining authenticity and at the same time displaying the

traditional Assamese handlooms and handicrafts in their glory and

beauty by the dancers.

GAUR MADIA

CHHATTISGARH Basically performed on the occasion of marriage by Gaur Madia of

Abhujmar plateau of Bastar in Chhattisgarh and is called Gaur after

Bison. It may appear to be a hunt-dance with only the imitation of the

frisking, jerking movements of the animals. However, a sense of ritual

and deep sanctity underlies the perfect synchronization of the dance.


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CHHOLIYA

UTTARAKHAND Prevalent in the Kumaun region of Uttarakhand, the Chholiya dance

has elements of martial craft and is associated with the Kirji Kumbh

celebrations; Kirji Kumbh is a poisonous flower which blossoms every

12 years. Villagers march in a procession to destroy the flower before

it sheds its poison into the mountain streams.

GARBA

GUJARAT Garba is one of the most popular dance form of Gujarat, which is

linked with the worship of “Shakti”. The word “Garbo” has originated

from Sanskrit word “Garbhdeep”, an earthen pot with circular holes is

popularly known as “Garbo”. The pot is the symbol of the body and

the lighted lamp inside the pot signifies the divine soul. Garba is

performed during Navratri and during weddings. It is essentially

performed by women, dancing in circular motion clapping their hands

to the beats of the Dhol.

DAANG

GUJARAT Daangis hail from South Gujarat on the border of Maharashtra. This

dance is usually performed during Holi and other festivals. Daang

dance centers around the social life, feasts, fairs, festivals, ceremonies

and rituals connected to worship. It is vigorous, as most tribal dances

are, and highly rhythmic. Interesting circular formation is created

centering around the accompanists who stand in the middle of an

open space. The men hold their arms round the women’s shoulders

and women clasp the men by their waists. The dance builds up

gradually and acquires a fast tempo in the end. The women climb on

the shoulders of men and form a human pyramid. The two and three

tier formation moves clockwise and anti clockwise.


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GHOOMAR

Rajasthan and

Haryana

Ghoomar is a dance performed by the girls of border areas of

Rajasthan and Haryana at various festivals like Holi, Gangaur Puja and

Teej. The girls form semi-circles and start singing and clapping.The

dancers then form a circle and the tempo of the dance is accelerated.

The movements are made by holding body weight on one foot and

moving forward. as the tempo increases towards the end, the dancers

whirl around in pairs. The accompanying songs are full of satire and

humour and refer to contemporary events.

KINNAURI NATTI

HIMACHAL PRADESH This dance is in the veins of the Kinnauris. Their movements of the

natural world around them and their music echoes the sound of the

breeze blowing through forests. Important amongst the dances of the

Kinauris is LOSAR SHONA CHUKSAM. It takes its name from LOSAI

meaning new year. The dancers recreate movements of all the

agricultural operations of sowing and reaping ogla (barley) and

phaphar (a local grain). Slow movements with soft knee dips with

accentuation of torso is the key step of this dance.

PAIKA

JHARKHAND ‘Paika’ is a typical dance of the Munda community of Jharkhand, and

thematically represents rituals connected with preparations for war.

With chest blades, multi-coloured headgear, anklets, bows, arrows,

spears, swords and shields the dancers enact battle scenes,

symbolizing the great war of the Mundas against the British. The fast

beat of the madal, along with the use of other musical instruments like

dhol, nagara, shehnai, and ranbheri make Paika dance performaces

truly captivating. Though performed on various occasions, the Paika

dance is most readily associated with the Dussehra celebrations.

ROUF JAMMU & KASHMIR Rouf is the most popular dance in the Kashmir Valley and is performed

by the women folk. The dance is performed during harvesting season


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but the most essential occasion is the month of Ramzan when every

street and corner in Kashmir resounds with the Rouf songs and dance.

The girls wear colourful Phirans-Kashmir cloaks and Kasaba-the head

gear. The girls form two rows facing each other and putting their arms

around the waist of the next dancer. They start with rhythmic

movements of the feet and weave a few patterns swaying and

swinging backward. Traditionally, no musical accompaniment is used

with Rouff songs as they are sung while doing the daily chores. The

folk instruments like noot, tumbaknari, rabab etc are used when it is

performed on the stage or in some gathering.

JABRO

JAMMU & KASHMIR Jabro is a community dance of the nomadic people of Tibetan origin

living in Ladakh. Jabro is performed by both men and women during

Losar- the Tibetan new year celebrations- and also on other festive

occasions. Because of the extreme cold, the dancers wear heavy

gowns made of sheep skin, lamb skin caps and long leather shoes.

Performers stand in two facing rows, holding each other’s hands, and

dance gracefully with slow, gentle movements as Jabro songs are sung

to the accompaniment of the Damien-a stringed guitar-like instrument

and flute.

VEERBHADRA

KARNATAKA The exotic cultural tradition of Veerbhadra was brought to Karnataka

by the South Indian rulers. This ritual is equally popular in some parts

of Karnataka. Veerbhadra is performed on Chaitra Purnima and the

Dhalo festival. The person enacting the role of Veerbhadra is dressed

in a warrior’s costume. He wields swords as he dances. According to

legend, Veerbhadra is supposed to get possessed by a divine spirit. The

invocation of Veerbhadra is recited in Kannada even today.


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OPPANA

KERALA This is a bridal dance performed by Muslim girls of North Kerala and

Lakshadweep on wedding occasions. There are separate dancers for

the bride and bridegroom. Brides and grooms are mentally prepared

for marriage and the nuptial night by their close friend through a

sequence of dance and music. This is an occasion of great celebration

and merriment and all arrive attired in gorgeous costumes.

PURULIA CHHAU

WEST BENGAL Chhau dance of Purulia in West Bengal is one of the most vibrant and

colourful folk art forms. Emanating from martial practice, Purulia

Chhau is a vigorous form of dance-drama drawing its themes from the

two great Indian epics, Ramayana and Mahabharata. Masks and

elaborate head gears are the ornamental apparels of the Chhau

dancers. The dance commences with an invocation of Lord Ganesha

before movements begin as per the story. In Chhau dance, the fight

between good and evil always culminates in the triumph of good over

destructive evil. Powerful movements, immense concentration, the

dazzling costumes, the rhythmic drum beating and the shehnai

characterize the Chhau dance form. This dance is popular in Jharkhand

also.

BADHAI

MADHYA

PRADESH

A typical folk dance of Madhya Pradesh, Badhai is performed to thank

Goddess Sheetala for safeguarding people from natural calamities and

ailments and to seek her blessings on happy occasions like weddings

and childbirth. Accompanied by folk musical instruments, the

performers dance gracefully to a rhythm, creating a lively and a

colourful spectacle. This particular rhythm is known as Badhai from

which this folk dance has acquired its name. Animals also take part in

Badhai Nritya and in many villages, mares (female horses) are seen at


23

such performances.

LAVANI

MAHARASHTRA Traditionally an integral part of the Tamasha folk theatre of

Maharashtra, Lavani is the most popular and best known folk dance

form of the state. Although, there is no restriction regarding the choice

of themes for a Lavani performance, this art form is at its best when

dealing with themes of bravery, pathos, love and devotion, Music,

poetry, dance and drama intermingle with such perfection in the

rendering of Lavani, that it is almost impossible to separate their

various components

DHOL CHOLOM

MANIPUR ‘Dhol Cholom’, traditional folk dance of Manipur, is performed usually

on religious occasions to the accompaniment of songs and dhol (large

drum)-the most important component of this dance form. Usually

performed during the Yaoshand festival (or the festival of colours), the

dance expresses love and creativity, with an intricate interplay of dhols

and fireplay. Dhol Cholom belongs to the Manipur sankirtan traditions.

LEWATANA

MEGHALAYA Lewatana is a folk song and dance of Hajong tribe of Meghalaya.

Hajongs observe various festivities of the Hindus. The Lewatana is

usually performed by the Hajong during the Diwali festival. In this

dance, the young men and women form a group and while dancing

and singing various folk songs, they compare man with nature.

GOTIPUA ODISHA Gotipuas, the young boys dressed up as girls sing devotional love songs

of Radha-Krishna and perform Gotipua dance. In the present form, the

Gotipua dance is more precise and systematic in its conception. The


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repertoire of the dance includes vandana-prayer to God or Guru,

sarigama-a pure dance number, abhinaya-enactment of a song, and

Bandhya Nritya-rhythms of acrobatic postures, a unique presentation

where Gotipuas dance and compose themselves in different acrobatic

yogic postures creating the images of Radha-Krishna. Musical

accompaniment is provided by mardala-a pakhawaj, gini-small

cymbals, harmonium, violin and flute.

BHANGRA

PUNJAB Bhangra is the most popular folk dance of Punjab, performed by men

on festive occasions, at weddings and fairs and to celebrate Baisakhi or

the harvest festival. Dressed in brightly coloured plumed turbans,

traditional tehmats, kurtas and waistcoats, the dancers perform to the

robust rhythms of dhols, bolis-typically rustic Punjabi folk songs and

other traditional instruments. Energetic and infectiously lively,

Bhangra is a spectacular dance, the popularity of which has crossed

the borders of Punjab.

GIDDHA

PUNJAB Giddha is the favourite dance of Punjab in which women dance at

weddings, at the time of birth of a child, the Teej festival and other

happy occasions. The dance consists of singing, clapping, enacting the

Boli as well as pure dance. The dancers form a circle and participating

in pairs, take turns to come centre stage and perform a Boli. Towards

the end of the Boli they dance vigorously in sheer abandon, while

those in the circle sing and clap in unison. The refrain is sung 3-4 times,

then the performers withdraw to be replaced by another pair and a

new Boli. The Boli deals with the day–to–day life situations of rural

folk. Giddha is accompanied by the dholak (drum) or gharah (earthen

pot).


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KALBELIA

RAJASTHAN

This fascinating dance is performed by the women of the nomadic

Kalbelia community whose primary occupation is rearing snakes and

trading in snake venom. On festive occasions, as traditional songs are

sung to the plaintive notes of the ‘been’ and the ‘daf’, the dancers

belonging to the ‘Nath’ sect dressed in their traditional black swirling

skirts perform this dance. The dance highlights the unparalleled

virtuosity of the dancers often reminiscent of the graceful and supple

movements of the snake.

TAMANG SELO

SIKKIM Tamang Selo is a Sikkimese folk dance of the Tamang community. It is

also known as Damphu as it is performed to the accompaniment of a

native musical instrument called damphu. Usually performed during

Dasain or Dussehra, it depicts the colourful lifestyle of the hill people,

amply reflected through their lavish festive celebration and dances full

of fun and vigour. Tamang Selo is performed by traditionally attired

young men and women.

KADAGAM/Karakattam

TAMIL NADU A folk dance of Tamil Nadu, Kadagam originated as a ritual dedicated

to the worship of Mariamman, the Goddess of rain and health. The

ritual is performed during the month of August when the idol of

Mariamman is carried in procession. A ritual pot filled with water is

adorned with beautiful decorations, several feet high, and is carried by

the priest. The colourfully attired performers carry decorated vessels

vertically on their heads and dance to the tune of nagaswaram, thavil,

muni, udukkai and pambai and also perform acrobatic feats as they

follow the procession. The Kadagam dance is very popular in Tamil

Nadu, Puducherry, Karnataka and Andhra Pradesh.


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MUSIC IN INDIA

The first work that clarified and elaborated on the subject of musicology was Bharata’s Natyashastra.

The book identified 22 keys related to the octave; these 22 keys were later known as shrutis or srutis.

Sarangdeva, a 13th century musicologists wrote the classic text on music, the Sangeet Ratnakara. Sangeet Ratnakara

identified and described the various microtones and classified them into different categories.

Matanga’s Brihaddeshi focussed on the definition of the word ‘raga’

Sangeeta Makaranda, composed by Nanda, enumerated 93 ragas and classified them into feminine and masculine forms.

Another important book on musicology was Chaturdandi-prakssika. This 17th century book was

written by Venkatamakhi.

Swaramela-Kalanidhi was written by Ramamatya in the 16th century.

The seven notes that form the basic scale in music aresa (sadja), re (rsabha), ga (gandhara), ma (madhyama), pa (panchama),

dha (dhaivata) and ni (nisada).

Besides the scale, there is the basic classification of the ragas (the tunes), which is a series of five or more notes that create a

perfect melody. There are six basic ragas: Bhairava, Kaushika, Deepaka, Hindola, Sriraga and Megha.

Others are known as raginis (the wives of the ragas which are known as masculine). The ragas are

classified depending on the particular time of the day or the night when they are used.

The tala (rhythm) is an essential system in the line of melody.

According to the number of notes in the raga, Raga could be classified into three main categories: Audav/

Odava Raga, Shadava Raga, Sampurna Raga.

Raga Bhed or Raga has three types, namely Shudha Raag, Chayalag Raag, Sankeerna Raag.

Shuddha Raag’s nature and form does not change; Chhayalag Raag’s nature and form changes while Sankeerna Raag is a

combination of two or more ragas.

Audav Raga is the ‘pentatonic’ raga, which contains five notes; Shadava Raga is the ‘hexatonic’ raga,

which contains 6 notes, while ‘Sampurna Raga’ is a ‘heptatonic’ raga which contains seven notes.


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It is believed to have more than hundred talas, but only thirty talas are currently known, and even within that only 10 to 12

talas are actually used.

Different kinds of recognised and used talas are dadra, rupak, ektal, jhaptal, teen-tal and Adha-chautal.

Indian Music is further classified in Hindustani, Carnatic and Regional Music.

HINDUSTANI MUSIC

T

here

are 10

main

forms

of

styles

of

singing

and

compo

sitions:

DHRUP

AD

o D

hrupad

is the

oldest

and


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perhaps the grandest form of Hindustani vocal music. Dhrupad is essentially a poetic form incorporated into an

extended presentation style marked by precise and orderly elaboration of a raga. The exposition preceding the

composed verses is called alap, and is usually the longest portion of the performance. Dhrupad is in decline since the

18th century.

KHAYAL

o Khayal literally means ‘a stray thought’, ‘a lyric’ and 'an imagination'.

o This is the most prominent genre of Hindustani vocal music depicting a romantic style of singing. Khayal is

dependent to a large extent on the imagination of the performer and the improvisations he is able to incorporate.

A Khayal is also composed in a particular raga and tala and has a brief text. The Khayal texts range from praise of

kings or seasons, description of seasons to the pranks of Lord Krishna, divine love and sorrow of separation.

o There are six main gharanas in khayal: Delhi, Patiala, Agra, Gwalior, Kirana and Atrauli-Jaipur. Gwalior Gharana is the

oldest and is also considered the mother of all other gharanas.

THUMRI

o Thumri originated in the Eastern part of Uttar Pradesh, mainly in Lucknow and Benares, around the 18th century AD

o It is believed to have been influenced by hori, kajri and dadra. Thumri is supposed to be a romantic and erotic style

of singing and is also called “the lyric of Indian classical music”. The song compositions are mostly of love,

separation and devotion. Its most distinct feature is the erotic subject matter picturesquely portraying the various

episodes from the lives of Lord Krishna and Radha.

o A Thumri is usually performed as the last item of a Khayal concert. There are three main gharanas of thumri --

Benaras, Lucknow and Patiala.

DADRA

o Dadra bears a close resemblance to the Thumri. The texts are as amorous as those of Thumris. The major difference

is that dadras have more than one antara and are in dadra tala. Singers usually sing a dadra after a thumri.

DHAMAR-HORI


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o These compositions are similar to Dhrupad but are chiefly associated with the festival of Holi. Here the compositions

are specifically in praise of Lord Krishna. This music, sung in the dhamar tala, is chiefly used in festivals like

Janmashthami, Ramnavami and Holi. The compositions here describe the spring season. These compositions are

mainly based on the love pranks of Radha-Krishna.

TAPPA

o The tappa is said to have developed in the late 18th Century AD from the folk songs of camel drivers. Tappa literally

means 'jump' in Persian. They are essentially folklore of love and passion and are written in Punjabi.

RAGASAGAR

o Ragasagar consists of different parts of musical passages in different ragas as one song composition. These

compositions have 8 to 12 different ragas and the lyrics indicate the change of the ragas. The peculiarity of this style

depends on how smoothly the musical passages change along with the change of ragas.

TARANA

o Tarana is a style consisting of peculiar syllables woven into rhythmical patterns as a song. It is usually sung in faster

tempo.

CHATURANG

o Chaturang denotes four colours or a composition of a song in four parts: Fast Khayal, Tarana, Sargam and a "Paran"

of Tabla or Pakhwaj.

GHAZAL

o The ghazal is mainly a poetic form than a musical form, but it is more song-like than the thumri. The ghazal is

described as the "pride of Urdu poetry". The ghazal originated in Iran in the 10th Century AD. The ghazal never

exceeds 12 shers (couplets) and on an average, ghazals usually have about 7 shers. The ghazal found an opportunity

to grow and develop in India around 12th Century AD when the Mughal influences came to India, and Persian gave

way to Urdu as the language of poetry and literature. It developed and evolved in the courts of Golconda and Bijapur


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under the patronage of Muslim rulers. The 18th and 19th centuries are regarded as the golden period of

the ghazal with Delhi and Lucknow being its main centres.

CARNATIC MUSIC

The Tamil classic of the 2nd century A.D. titled the Silappadhikaram contains a vivid description of the music of that

period. The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite saints of the 7th and 8th

centuries A.D. also serve as resource material for studying musical history.

It is said, that South Indian Music, as known today, flourished in Deogiri the capital city of the Yadavas in the middle

ages, and that after the invasion and plunder of the city by the Muslims, the entire cultural life of the city took shelter

in the Carnatic Empire of Vijayanagar under the reign of Krishnadevaraya. Thereafter, the music of South India came

to be known as Carnatic Music.

In the field of practical music, South India had a succession of brilliant and prolific composers who enriched the art

with thousands of compositions. After Purandaradasa, Tallapakam Annamacharya Narayana Tirtha, Bhadra-chalam

Ramdasa and Kshetranja made contributions to the wealth of compositions

The birth of the Musical Trinity - Tyagaraja, Muthuswami Dikshitar and Syama Sastri - at Tiruvarur between the

years 1750 to 1850 A.D. ushered in an era of dynamic development in Carnatic music.

Outstanding feature of Carnatic music is its raga system & highly developed and intricate tala system. Though clear

cut demarcations in the style of musical presentation, similar to the gharanas of Hindustani music are not seen in

Carnatic music, yet, we do come across different styles in rendering compositions.

The ancient musical forms like Prabandhas, etc. gradually gave away to the different musicals forms that are in use in

present day music, though the basic elements of the ancient Prabandhas are still retained in the modern forms. The

following musical forms offer interesting study:


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GITAM

o Gitam is the simplest type of composition. Taught to beginners of music, the gitam is very simple in construction, with

an easy and melodious flow of music.

SULADI

o Very much like the gitam in musical structure and arrangement, the Suladis are of a higher standard than the gitam.

VARNAM

o The Varnam is a beautiful creation of musical craftsmanship of a high order, combining in itself all the characteristic

features of the raga in which it is composed. Practice in Varnam singing helps a musician to attain mastery in

presentation and command over raga, tala and bhava.

SVARAJATI

o This is learnt after a course in gitams. More complicated than the gitas, the Svarajati paves the way for the learning of

the Varnams. The theme is either devotional, heroic or amorous.

JATISVARAM

o Very similar to the svarajati in musical structure, this form- Jatisvaram-has no sahitya or words. The piece is sung with

solfa syllables only.

KIRTANAM

o The Kirtanam had its birth about the latter half of the 14th century. It is valued for the devotional content of the

sahitya. Clothed in simple music, the kirtanam abounds in Bhakti bhava. It is suited for congregational singing as well

as individual presentation.

KRITI


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o The Kriti is a development from the Kirtana. It is a highly evolved musical form. The highest limit of aesthetic

excellence is reached in the Kriti composition. The raga bhava is brought out in all the rich and varied colours in this

form.

PADA

o Padas are scholarly compositions in Telegu and Tamil. Though they are composed mainly as dance forms, they are

also sung in concerts, on account of their musical excellence and aesthetic appeal. The music is slow-moving and

dignified.

JAVALI

o A javali is a composition belonging to the sphere of light classical music. Sung both in concert programmes and dance

concerts, the javalis are popular because of the attractive melodies in which they are composed. In contrast to the

padas which portray divine love, javalis are songs which are sensuous in concept and spirit.

TILLANA

o The Tillana, corresponding to the Tarana of Hindustani music, is a short and crisp form. It is mainly a dance form, but

on account of its brisk and attractive music, it sometimes finds a place in music concerts as a conclusion piece.

PALLAVI

o This is the most important branch of creative music. It is in this branch of manodharma sangeeta, that the musician

has ample opportunities of displaying his or her creative talents, imaginative skill, and musical intelligence.

TANAM

o This is a branch of raga alapana. It is raga alapana in Madhyamakala or medium speed. There is perceptible rhythm in

this. The rhythmical flow of music, flowing in fascinating patterns, makes tanam singing the most captivating part of

raga exposition


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COMPARISON OF HINDUSTANI AND CARNATIC MUSIC

Some Basic Differences:

Similarities:

Both the styles give prime importance to melody. Unlike western music Harmony is not given much importance.

Factors Hindustani Music Carnatic Music

Raga System Based on 10 Thaats and 32 Ragang Ragas

Based on 72 Melakarta or Janak Raga

24-hr Time-Cycle of Ragas Yes No

Taal Popular 10-12 Taal(also 10-12 Rare Taal)

Popular 35 Taal(108 total)

Composition or Kriti Forms Khayal, Dhrupad, Tarana, Thumri, Dhamaar divide into parts like -Sthayi, Antara, Snachari and Abhog

Varnam, Kriti divided into parts like-Pallavi, Anupallavi and Charnam

Composers Stalwarts from many 'Gharana' or Schools in different regions of Northern India

Saint Purnadardas, Tyagraja, Dikshitar and Shyama Shastri

Demography Popular in North, central, West and Eastern India. Also in Pakistan and Bangladesh

Popular in South India (Tamilnadu, Karnataka, Andhra Pradesh and Kerala)

Shuddha Swara Saptaka (Primary Notes Scale)

Raga Bilawal (Similar to Carnatic Raga Dheer Shankarbharnam)

Raga Maya Malav Gaula (Similar to Hindustani Raga Bhairav)

Rendition Improvisation given more importance Composition given more importance


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Both has one dominant swara or Vadi swar in each Raga Both uses Sampoorna Scale(with all 7 notes) to define Janak Thaat or Raga to create Janya Raga. Both uses a Tanpura or Drone with one or two notes to represent Pitch and base in Raga rendition.

FOLK MUSIC

Baul, Wanawan, Pandwani, Alha, Paani Hari, Ovi, Pari Song, Lavani, Maand, Dandiya,Powada, Khongjom Parva are some of the

popular folk music of India.

o Baul is not a type of music, but a Bengali religious sect.

o Wanawan is the folk music which is sung at wedding ceremonies in Kashmir.

o Pandwani is based on the religious scripture Mahabharata.

o Alha is sung in different languages like Braj, Awadhi and Bhojpuri, and is most popular in Madhya Pradesh.

o Paani Hari is a Rajasthani folk music which is about women fetching water from the neartby well and

carrying the water back to their homes.

o Ovi, too, is the songs of women, and originated in the states of Maharashtra and Goa.

o Pari Songs are mostly from Madhya Pradesh.

o Bhagwati are emotion songs that are very popular amongst the masses in Karnataka and Maharashtra.

o Sugam Sangeet, which brings classical and folk together, has many sub categories. Prominent subcategories are:

Bhajan, Shabad and Qawwali.

o Mirabai, Tulsida, Surdas, Kabir were the major exponents of Bhajan. Musical intruments used in Bhajan include

chimta, dholak, dhapli, manjira.

o Devotional songs dedicated to the Sikh religious gurus in the Gurudwaras are known as Shabad.

o Qawwali is also a kind of devotional music as the lyrics are in praise of Allah or the Prophet Muhammad or

any other major Sufi or Islamic saint.

(You can read about other folk songs on CCRT. We have dealt with only few of them)

MUSIC INSTRUMENTS OF INDIA


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Natya Shastra, compiled by Bharat Muni, divides musical instruments into four main categories on the basis of how sound is

produced.

1. Tata Vadya / Chordophones- Stringed instruments

2. Sushira Vadya / Aerophones- Wind instruments

3. Avanaddha Vadya / Membranophones- Percussion instruments

4. Ghana Vadya / Idiophones- Solid instruments

Few of the important Music instruments are as follows:

SITAR

o Sitar is of the most popular music instruments of North India. The Sitar has a long neck with

twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings

which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the

lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous

Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar

Khan, Ustad Rais Khan and Pt Debu Chowdhury.

SAROD

o Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod

does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd

acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod

are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij

Narayan.


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SARANGI

o Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and

made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty-seven are sympathetic. The

Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of

the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and

Ustad Sultan Khan.

FLUTE

o Flute is a simple cylindrical tube of uniform bore and associated with Indian music since time

immemorial. Flutes vary in size. Flute is held horizontally and is inclined downwards when it is played. To

produce sound or melody one has to cover the finger holes with the fingers of the left and right hand.

Variations in pitch are produced by altering the effective length of the air column. Notable flute

exponents are Pt Pannalal Ghosh and Pt Hari Prashad Chaurasia.

SHEHNAI

o Shehnai is a traditional musical instrument, associated with auspicious occasions like

marriages and temple processions. Shehnai is a double reed instrument with a tapering bore

which progressively increases towards the lower side. The Shehnai has finger-holes to

produce semi, quarter and micro-tones. Ustad Bismillah Khan is the unrivalled maestro of the

Shehnai.

TABLA


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o The most popular musical instrument used in North India is the Tabla. The Tabla consists of a pair of drums- the Tabla and

the Bayan. The Tabla is made of wood and whereas its head is made of stretched animal skin. Finer tuning of Tabla is done by

striking the rim of the Tabla with a small hammer. The Bayan is the bass drum and is usually made of metal with a stretched

skin head. Both drums have a black spot in the center made of manganese or iron dust.

PAKHAWAJ

o It is believed that the Tabla was derived from Pakhawaj. Pakhawaj usually accompanies Dhrupad

style of singing. Pakhawaj is a barrel-shaped drum with two heads which are made of layers of skin. The

heads of Pakhawaj are expanded by leather straps which run along the sides of the body over small

cylindrical wooden blocks that are used for tuning.

HARMONIUM

o The harmonium is a traditional and popular musical instrument of India. The harmonium has a

keyboard of over two and one- half octaves and works on a system of bellows. The keyboard is played

with the right hand while the left hand is used to operate the bellows. Harmonium is more popular in

North India than in the South.

JALTARANGAM

o Jaltarangam consists of a set of eighteen porcelain cups of varying sizes. The

cups are arranged in a semi-circle before the performer, in decreasing order of size.

The largest cup is to the left of the performer whereas the smallest to his right.


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Water is poured into the cups and the pitch is changed by adjusting the amount of water in the cup. The cups are struck with

two thin bamboo sticks.

MRIDANGAM

o The mridangam is one of the most popular classical instruments of South India. Mridangam

accompanies vocal, instrumental and dance performances. The present day mridangam is

made of a single block of wood. It is a barrel-shaped double-headed drum, the right head

being smaller than the left. The two heads are made of layers of skin. The mridangam is

played with hands, palms and fingers.

GHATAM

o The Ghatam is one oldest percussion instruments of South India. The Ghatam is a mud pan with a narrow

mouth. From its mouth, it slopes outwards to form a ridge. Ghatam is made mainly of clay baked with brass or

copper filings with a small amount of iron filings. The Ghatam produces fast rhythmic patterns. Ghatam is generally

a secondary percussion instrument accompanying mridangam.


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MARTIAL ARTS IN INDIA

KALARIPPAYATTU

Kalarippayattu is a famous Indian martial art from Kerala and one of the oldest fighting

systems in existence. It is practiced in most of the part of south India. A kalari is the school or

training hall where martial arts are taught. It includes strikes, kicks and some weapon based

practiced, Footwork patterns is most important key in Kalarippayattu. It is the best Indian

martial art that has been used in many movies to make it popular, like Ashoka and The myth.

SILAMBAM

Silambamis a weapon-based Indian martial art from Tamil Nadu. Every states have its own

style of martial arts. A wide variety of weapons are used in silamban, some of which are not

found anywhere else in the world. Silambam art also used animal movements of snake, tiger,

eagle forms and footwork patterns is play a key role here as well. Another part of Silambam is

Kuttu varisai, it is the unarmed kind of martial art.

GATKA


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Gatkais weapon-based Indian martial art basically created by the Sikhs of Punjab. There

are many weapons used in Gatka like, Stick, Talwar, kirpan and kataar. The attacking

and defense methods are based upon the positions of the hands feet and nature of

weapons used. It is also displayed during the different celebrations or at fairs in Punjab.

MUSTI YUDDHA

It is unarmed martial art from the oldest city of India “Varanasi“. Technique used in this

martial arts are punches, kicks, knees and elbow strikes. This style is a complete art of

physical, mental and spiritual development. This art is very rarely visible but was very popular

in middle age.

THANG TA

Thang Ta is popular term for the ancient Manipuri Martial Art also known as HUYEN LALLONG.

Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art.

http://www.walkthroughindia.com/attraction/the-5-oldest-living-cities-of-india/


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LATHI

Lathi is an ancient armed martial art of India. It also refers one of the world’s oldest weapons

used in martial arts. Lathi or stick martial arts practiced in Punjab and Bengal region of India.

Lathi still remains a popular sport in Indian villages.

MARDANI KHEL

Mardani Khel is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra

is practiced in kolhapur.

PARI-KHANDA

Pari-khandaa style of sword and shield fighting from Bihar. This art is created by the rajputs. Pari-

khanda steps and techniques are also used in Chau dance.

KATHI SAMU

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Kathi Samu is very old Indian martial art originated in Andhra Pradesh and was used by mastered of the royal armies of Andhra

Pradesh. The martial art is also known as Sword Fight or Daal Fariya.

THEATRE FORM OF INDIA

Living traditions occupy a prominent place in the Indian social system. Any living tradition has a natural flow. There can be no doubt

about the fact that traditional art forms reflect the ideals of the society, its determination to survive, its ethos, emotions, fellow-

feelings, and so on. Drama in itself is a complete form of arts. It includes in its framework acting, dialogue, poetry, music, etc.

In community living, the art of singing has its own importance. In all the traditional theatre-forms, songs and the art of singing have

an important role to play. Traditional music of the theatre is an expression of the feelings of the community.

(Source: CCRT)

BHAND PATHER(JASHIN) - KASHMIR

unique combination of dance, music and acting.

Satire, wit and parody are preferred for inducing laughter.

music is provided with surnai, nagaara and dhol.

Since the actors are mainly from the farming community, the impact of their way of living, ideals and sensitivity is noticable.

SWANG - HARYANA

mainly music-based.

Gradually, prose too, played its role in the dialogues.

softness of emotions, accomplishment of rasa along with the development of character can be seen

two important styles are from Rohtak and Haathras.


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In the style belonging to Rohtak, the language used is Haryanvi (Bangru) and in Haathras, it is Brajbhasha.

NAUTANKI - UTTAR PRADESH

most popular centres - Kanpur, Lucknow and Haathras.

The meters used in the verses are: Doha, Chaubola, Chhappai, Behar-e-tabeel.

nowadays, women have also started taking part

RAASLEELA

based exclusively on Lord Krishna legends

believed that Nand Das wrote the initial plays based on the life of Krishna.

dialogues in prose combined beautifully with songs and scenes from Krishna's pranks.

BHAVAI - GUJARAT

Main centers of - Kutch and Kathiawar.

instruments used are: bhungal, tabla, flute, pakhaawaj, rabaab, sarangi, manjeera, etc.

there is a rare synthesis of devotional and romantic sentiments.

JATRA - BENGAL

Fairs in honour of gods, or religious rituals and ceremonies have within their framework musical plays are known as Jatra.

Krishna Jatra became popular due to Chaitanya prabhu's influence.

earlier form of Jatra has been musical & dialogues were added at later stage.


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The actors themselves describe the change of scene, the place of action, etc.

BHAONA (ANKIA NAAT) - ASSAM.

cultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan can be seen.

The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese.

MAACH - MADHYA PRADESH

Maach is used for the stage itself as also for the play.

songs are given prominence in between the dialogues.

The term for dialogue in this form is bol and rhyme in narration is termed vanag.

The tunes of this theatre form are known as rangat.

TAMAASHA - MAHARASHTRA

evolved from the folk forms such as Gondhal, Jagran and Kirtan.

female actress is the chief exponent of dance movements in the play. She is known as Murki.

Classical music, footwork at lightning-speed, and vivid gestures make it possible to portray all the emotions through dance.

DASHAVATAR - KONKAN AND GOA


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personify the ten incarnations of Lord Vishnu-the god of preservation and creativity. The ten incarnations are Matsya (fish), Kurma (tortoise), Varaha (boar), Narsimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or Balram), Buddha and Kalki.

Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mache.

KRISHNATTAM - KERALA

came into existence in the middle of 17th century A.D. under the patronage of King Manavada of Calicut.

Krishnattam is a cycle of eight plays performed for eight consecutive days.

The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha, Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana.

episodes are based on the theme of Lord Krishna - his birth, childhood pranks and various deeds depicting victory of good over evil.

MUDIYETTU - KERALA

celebrated in the month of Vrischikam (November-December). performed only in the Kali temples of Kerala, as an oblation to the Goddess.

depicts the triumph of goddess Bhadrakali over the asura Darika.

seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar (Nandikeshvara) are all heavily made-up.

THEYYAM - KERALA

'Theyyam' derived from the Sanskrit word 'Daivam' meaning God.

Hence it is called God's dance.

performed by various castes to appease and worship spirits.


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distinguishing features - colourful costume and awe-inspiring headgears (mudi) nearly 5 to 6 feet high made of arecanut splices, bamboos, leaf sheaths of arecanut and wooden planks and dyed into different strong colours using turmeric, wax and arac.

KOODIYAATTAM - KERALA

based on Sanskrit theatre traditions.

characters of this theatre form are:

Chakyaar or actor,

Naambiyaar, the instrumentalists and

Naangyaar, those taking on women's roles.

The Sutradhar or narrator and the Vidushak or jesters are the protagonists.

Vidushak alone delivers the dialogues.

Emphasis on hand gestures and eye movements makes this dance and theatre form unique.

YAKSHAGAANA - KARNATAKA

based on mythological stories and Puranas.

most popular episodes are from the Mahabharata i.e. Draupadi swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and from Ramayana i.e. Raajyaabhishek, Lav-kush Yuddh, Baali-Sugreeva yuddha and Panchavati.

THERUKOOTHU - TAMIL NADU

literally means "street play".

mostly performed at the time of annual temple festivals of Mariamman (Rain goddess) to achieve rich harvest.


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there is a cycle of eight plays based on the life of Draupadi.

Kattiakaran, the Sutradhara gives the gist of the play to the audience

Komali entertains the audience with his buffoonery.

KARYALA- HIMACHAL PRADESH

deals with serious question of life & death briefly and with simplicity of expression & diction, all enveloped in humour.

Indeed, audience is given essence of our cultural heritage of viewing the world as a stage and as an unsubstantial pageant which is to be negotiated and lived by rising above it.

There is often stylistic diversity, which strengthens their identity from Swang, Nautanki, Bhagat, etc..


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PUPPET FORMS OF INDIA

A puppet is one of the most remarkable and ingenious inventions of the man. It has been said that a puppet has to be more than his

live counterpart for it is definitely the suggestive element that is more captivating and enduring in a puppet.

Puppetry is perhaps the most outstanding traditional medium which requires patronage and trial. The Indian traditional puppet art,

as envisaged in the Orissi puppets was principally meant to highlight the achievements of our ancestors and all those distinguished

personalities who had contributed to the growth of the human society. The puppets were carved in most fantastic and interesting

figures. Their limitations and deficiencies in the sizes, action, movements and autonomy have a science of their own and are

governed by principles based on experience and study on the part of the Indian traditional puppeteer.

The puppetry theatre in many forms- string puppets, rod puppets, glove puppets, leather puppets – are found in different parts of

the country


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STRING PUPPETS

Kathputli, Rajasthan

Kundhei, Orissa

Gombeyatta, Karnataka

Bommalattam, Tamil Nadu

Carved from a single piece of wood

large dolls - colourfully dressed.

costumes and headgears are designed in the medieval Rajasthani style of dress, which is prevalent even today.

accompanied by a highly dramatised version of the regional music.

Oval faces, large eyes, arched eyebrows and large lips - distinct facial features.

Made of light wood,

have no legs but wear

long flowing skirts.

have more joints and

are, therefore, more

versatile, articulate and

easy to manipulate.

Use a triangle shape

wooden prop, to which

strings are attached for

manipulation.

costumes resemble

those worn by actors of

the Jatra traditional

theatre.

music – regional music

& Odissi dance’s

music.

Puppets - styled and

designed like the

characters of

Yakshagana

highly stylized and

have joints at the legs,

shoulders, elbows, hips

and knees.

manipulated by five to

seven strings tied to a

prop.

complicated

movements are

manipulated by two to

three puppeteers at a

time.

music - beautifully

blends folk and

classical elements.

combine the techniques

of both rod and string

puppets.

made of wood and the

strings for

manipulation are tied to

an iron ring which the

puppeteer wears like a

crown on his head.

few puppets have

jointed arms and hands,

which are manipulated

by rods.

This puppets are the

largest, heaviest and

the most articulate of

all traditional Indian

marionettes.


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wear long trailing skirts and do not have legs.

Puppeteers manipulate them with two to five strings which are normally tied to their fingers and not to a prop or a support.

GLOVE PUPPETS Pavakoothu, Kerala

head and the arms are carved of wood and joined together with thick cloth, cut and stitched into a small bag.

face of the puppets are decorated with paints, small and thin pieces of gilded tin, the feathers of the peacock, etc.

manipulator puts his hand into the bag and moves the hands and head of the puppet.

musical instruments - Chenda, Chengiloa, Ilathalam and Shankha the conch. theme - based on the episodes from either the Ramayana or the Mahabharata

also known as sleeve, hand or palm puppets.

head is made of either papier mache, cloth or wood,

hands emerges from just below the neck.

rest of the figure consists of a long flowing skirt.

controlled by the human hand - first finger inserted in the head and middle finger and thumb are the two arms of the puppet.

In Orissa, the puppeteer plays on the dholak with one hand and manipulates the puppet with the other.

delivery of the dialogues, the movement of the puppet and the beat of the dholak are well synchronised and create a dramatic atmosphere.


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ROD PUPPETS: (EXTENSION OF GLOVE-PUPPETS)

Putul Nautch, West Bengal

Orissa Rod puppets

Yampuri, Bihar

carved from wood

costumed like the actors of Jatra,

a traditional theatre

puppets have mostly three joints.

heads, supported by the main rod,

is joined at the neck and both

hands attached to rods are joined

at the shoulders.

bamboo-made hub is tied firmly

to the waist of the puppeteer on

which the rod holding the puppet

is placed.

puppeteers each holding one

puppet, stand behind a head-high

curtain and while manipulating

mostly three joints, but the hands

are tied to strings instead of rods.

elements of rod and string

puppets are combined in this form

of puppetry.

Most of the dialogues are sung.

music blends folk tunes with

classical Odissi tunes.

puppets of Orissa are smaller than

those from Bengal or Andhra

Pradesh.

more operatic and prose

dialogues are seldom used

made of wood.

puppets are in one piece and have

no joints.

requires greater dexterity.


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the rods also move and dance

imparting corresponding

movements to the puppets.

puppeteers themselves sing and

deliver the stylized prose

dialogues & a group of musicians

provide the accompanying music

with a drum, harmonium and

cymbals.

music and verbal text have close

similarity with the Jatra theatre.

SHADOW PUPPET

Togalu Gombeyatta, Karnataka

Tholu Bommalata, Andhra Pradesh

Ravanachhaya, Orissa

puppets are mostly small in size.

puppets however differ in size

according to their social status, for

instance, large size for kings and

religious characters and smaller

puppets are large in size and have

jointed waist, shoulders, elbows

and knees.

coloured on both sides, throwing

coloured shadows on the screen.

Puppets are in one piece and have

no joints.

not coloured, hence throw

opaque shadows on the screen.

manipulation requires great


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size for common people or

servants.

music - influenced by the classical

regional music

theme are drawn from the

Ramayana, Mahabharata and

Puranas.

dexterity, since there are no

joints.

puppets are made of deer skin

and are conceived in bold

dramatic poses.

Apart from human and animal

characters, many props such as

trees, mountains, chariots, etc.

are also used.

puppets are smaller in size

create very sensitive and lyrical

shadows.

INSTITUTIONS RELATED TO PERFORMING ARTS IN INDIA

SAHITYA AKADEMI

India’s premier institution of letters is devoted to the preservation and promotion of Indian Literature in all the 24 languages

recognized by it. The core of the Akademi’s work is translation among various Indian languages including minor languages and

dialects with the objective of promoting cultural unity in India and enhancing regional co-operation in a vastly diverse country with

so many languages, traditions and cultures. The Sahitya Akademi also promotes Indian folk literature in all possible ways – by giving

awards to folk literature; by holding conventions and giving awards in minor languages, languages without scripts and tribal dialects;

publishing folk stories in its journals in the form of second tradition; publishing folk literature books and has centres to preserve and

promote oral traditions within India.


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SANGEET NATAK ACADEMY

The Sangeet Natak Akademi - India's national academy for music, dance and drama - is the first National Academy of the arts set-up

by the Republic of India. It was created on 31st of May 1952.As the apex body specializing in the performing arts of the country, the

Akademi also renders advice and assistance to the Government of India in the task of formulating and implementing policies and

programmes in the field. Additionally, the Akademi carries a part of the responsibilities of the state for fostering cultural contacts

between various regions in India, and between India and the world.

LALIT KALA AKADEMI

The Lalit Kala Akademi was inaugurated in New Delhi on August 5th, 1954, by the then Minister for Education, Maulana Abul Kalam

Azad. The youngest of the three Akademies founded by the Government of India, the Lalit Kala Akademi was established in

pursuance of the dream of the first Prime Minister of independent India, Pandit Jawaharlal Nehru for a cultural and national identity.

Thus the Lalit Kala Akademi as one among three such national organizations, that emerged. The LKA was the principal establishment

to direct its focus on activities in the field of visual arts. In his inaugural speech, Maulana Abul Kalam had stated:“…The Akademi

must work to preserve the glorious traditions of the past and enrich them by the work of our modern artists. It must also seek to

improve standards and refine public taste.

CENTRE FOR CULTURAL RESOURCES & TRAINING

The Centre for Cultural Resources and Training (CCRT) is one of the premier institutions working in the field of linking education with

culture. Established in 1979, pioneered by Smt. Kamaladevi Chattopadhyay and Dr. Kapila Vatsyayan, it functions as an

autonomous organization under the aegis of Ministry of Culture, Government of India. CCRT has been contributing to the

strengthening of the foundation of the nation by making education culture based and meaningful. The CCRT has its headquarters in

New Delhi and three Regional Centers at Udaipur in the west, Hyderabad in the south and Guwahati in the northeast to facilitate the

widespread dissemination of Indian art and culture. The CCRT revitalizes the education system by creating an understanding and

awareness among teachers, students and educational administrators about the plurality of the regional cultures of India and

integrating this knowledge with education.


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ARTS, CRAFTS, MUSIC, MONUMENTS IN STATES: READY REFERENCE

Andhra Pradesh

Famous Temples: Tirupati Temple, Sisailam Temple, Kanaka Durga Temple, Simachalam Temple, Annavaram Temple, Nagarjunkonda Island, Mazartbal Mosque, Amaravathi Maha Stupa

Arts & Crafts: Srikalahsthi Kalamkari, Kondapalli Bommallu, Budithi Bell & Brass Craft, Uppada Jamdani Sarees, Venktagiri Sarees, Bobbile Veena, Guntur Sannam Chilli, Tirupathi Laddu, Ponduru Khadi, Etikoppaka Toys

Festivals: Udagi, Varalaxmi Vratam, Vinayaka Chavithi

Dance Forms: Kuchipudi, Butta Bommalu, Veeranatyam, Tappetagullu, Kolattam

Arunachal Pradesh

Festivals: Si-Donyi, Losar, Khan/Chindung, Reh, Boor-Boot, Tamladu, Ali-Aye-Ligang, Oriah, Nyokum, Mopin, Dree, Sanken, Pongtu, Moh, Dree, Solung, Rengnlo Loku, Chalo Loku

Religious Institution: Tawang Monastry

Arts & Craft: Carpets, religious images, toys, bamboo & cane crafts, arrowheads, knives, iron bracelets

Assam


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Festivals: Bihu, Baishagu, Ali-Ai-Ligang, Baikho, Rongker, Rajini Gabra Harni Gabra, Bohaggiyo Bishu, Ambubashi Mela, Jonbil Mela

Religious Institutes: Kamakhya Temple, Nabagraha Temple, Poa-Mecca, Gurudwara Sri Guru Tegh Bahadur Sahib

Arts & Crafts: Cane & Bamboo producs, Jappi, silk fabrics, Muga, pottery, woodcraft, Muga Silk, Assam Orthodox logo

Bihar

Religious Institutes: Mahabodhi Temple, Kesaria Stupa, Barabar Vaves, Sun Temple, Mundeshwari Temple, Vishnupadh Temple, Pawapuri Mandir

Arts & Craft: Madhubani Paintings, AppliqueKhatwa Patch Work, Sujini Embrodery Work, Sikki Grass Work, Yampuri Puppetry, Tikuli Work, Kasida Work

Festivals: Chhath Pooja, Janaki Navmi, Bishahari Puja

Folk Dances: Bidesia Dance, Jat-Jatin Dance, Jhumari Dance, Kajari, Jhijhain Dance, Sohar-Khilouna Dance, Paika Dance

Chhattisgarh

Tribes: Gonds, Muria, Garaba, Korba,

Minor Tribes: Abujhmaria, Baiga, Bhaina, Bhatra,Bhunjia, Binjwar, Dhanwar, Dhurvaa, Doria, Halba, Kamar, Kol, Maria, Munda, Oraon, Parghi, Rajgond, Savra

Religious Institutes: Lakshman temple, Gandheswar temple, Danteshwari temple

Arts & Crafts: Bastar Dhokra, Bastar Wooden Craft, Bastar Iron Craft, Sisal fibre, Cowrie craft, Bamboo craft, Stone Carving

Festivals: Danteshwari/Dusshera of Bastar, Madai, Meghnad, Kamar Chhat, Pittar/Pitra Moksha, Harelli, Pola, Akti, Rath Yatra

Folk Dances: Sua Dance, Karma Dance, Saila Dance, Sarhul dance, Danda/Rahas Dance, Raut Dance

Goa


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Religious Institutions: Churches & Convents of Goa, Church of Bom Jesus, Chapel of St. Catherine, Shantadurga Temple, Mahalakshmi Temple

Arts & Crafts: Shell Craft, Sea Shell Craft, Tortoise Shell Craft, Conch Shell Craft, Crochet Embroidery Work, Azulejos, Brass Artefacts, Woodcraft

Festivals: Feast of St. Francis Xavier, Sao Joao, Ganesh Chaturthi/Chovoth, Sangodd, Tirupati Purnima, Vasco Saptah, Chihalkhala, Shigmo/Shigmotsav

Folk Dance: Dashavtara, Dekhni, Dhalo, Fugdi, Ghoemodni, Goff, Divlyan nach/Lamp Dance

Gujarat

Archaeological Heritage: Champaner-Pavagadh Archeological Park, Dholavira

Religious Institutes: Somnath Mahadev Temple, Nageshwar Temple, Dwarkadhish Temple, Ambaji Temple, Mt. Girnar, Ashoka Edicts (Junagadh), Modhera Sun Temple, Narayan Sarovar, Pavagadh Hill Kalika Mata Temple, Jain Temples at Patan, Ranchhodrai Dakor Temple, Hatkeshwar Temple, Swaminarayan Temple, Mosques of Champaner, Jama Masjid, Nagina Masjid, Kevada Masjid, Angar Pir

Festivals & Fairs: Navratri Festival, International Kite Festival, Ratyh Yatra, Kutch Mahotsava, Chitra Vichitra Fair

Arts & Crafts: Patola Weaving, Kite Making, Ajrakh Printing, Katab Work, Rogan Painting, Kutch embroidery, Terracota, Clay relief work, Stone Carving

Folk Dances: Garba Dance, Dandiya-Ras, Tippani Dance

Haryana

Archaeological Heritage: Banawali, Rakhigarhi

Religious Institutions: Kurukshetra, Rehowa, Shiva, Thanesar

Festivals & Fairs: Teej, Geeta Jayanti, Guga Navami, Mango Festival, Festival of Gardens

Arts & Crafts: Phulkarian Embroidery, Sculpture, Pottery

Performing Arts: Swang, Khoria Dance, Dhamal Dance, Phag


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Himachal Pradesh

Religious Institutions: Jwalaji Temple, Chintpurni Temple, Prashar Temple, Prashar Mela, Bajreshwari Temple, Baba Balak Nath Temple, Naina Devi Temple, Kye Monastery, Rewalsar Monastery, Guru Ghantal Monastery, Tabo Monastery, Paonta Sahib

Festivals & Fairs: Kullu Dussehra, Pori Festival, Manimahes Yatra, Renuka Fair, Minjar Fair, Lavi Fair

Arts & Crafts: Kinnauri Shawl, Kullu Shawl, Chamba Rumaal, Kangra Tea

Folk Dances: Nati Dance, Kayang Mala Dance, Cholaba & Kayang Dances, Nagas Kayang, Shan & Shabu Dance, Nuala Dance, Demon Dance, Khayadayat Dance, Ghooghati Dance

Jammu & Kashmir

Architectural Heritage: Mughal Gardens of Kashmir

Religious Institutions: Vashno Devi Mandir, Amarnath Temple, Bahu Fort, Bahu Mela, Raghunath Temple, Hari Parvat, Kheer Bhawani, Shankracharya Temple, Ranbireshar Temple, Hazratbal Mosque, Jamia MAsjid, Charar-i-Sharief, Aichi Buddhist Monastery Complex, Hemis Gompa, Thikse Monastery, Shanti Stupa, Spituk Monastery, Gurudwara Pather Sahib

Festivals & Crafts: Ramzan, Lohri, Hemis Festival, Chaitra Chandesh, Stok Guru Teschu Festival, Purmandal Fair, Jhiri Fair

Arts & Crafts: Kashmiri Pashmina, Kashmiri Sozani Craft, Papier Mache, Kani Shawls, Wainut Wood Carving, Khatamand

Folk Arts: Dhumhal Dance, Kud Dance, Dhamali, Hikkat, Rouf, Bacha Nagma

Jharkhand


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Religious Institutions: Deogarh, Rajrappa, Shikharji, Jagannathpur Temple, Bhadra Kali Temple

Festivals & Fairs: Bhagta Parab, Bandana, Karam, Kunda Mela, Hal Punhya, Kolhua Mela

Arts & Crafts: Paitkar Paintings, Toy Making, Wooden ToysBamboo Craft, Metal Work

Performing Arts: Chhau Dance, Seraikela Chhau Dance, Jhumar Dance

Folk Arts: Damkach Dance, Phagua Dance, Hunta Dance, Mundari Dance

Karnataka

Architectural Heritage: Group of monuments at Pattadakal, Hoysala Architecture

Religious Institutions: Virupaksha Temple, Cheluvanarayana Swamy Temple, Sringeri, Amruthapura, Murudeshwar Temple, Talakaveri, Jwalamalini Atishaya Ksetra, Kollur Mookambika Temple, Manjunath Temple, Holy Trinity Church, Jama Masjid Bijapur, Solah Khanmba Mosque, Shravanabelagola

Festivals: Udagi/Yudagi, Ugadi Pachhadi, Maha Mastakabhisheka, Mysore Dasara, Bengaluru Karaga, Kaveri Sankramana, Kambala, Kadalekayi Parishe

Arts & Crafts: Mysore Traditional Paintings, Ganjifa Card of Mysore, Mysore Rosewood Inlay, Mysore Silk, Bidriware, Channapatna Toys & Dolls, Kasuti Embroidery, Ilkal Sarees, Molakalmuru Sarees, Navalgund Durries, Karnataka Bronze Ware, Sandur Lambani Embroidery, Kinhal Toys

Folk Arts: Dollu Kunhita, Gorava Kunitha, Puja Kunitha, Sugi Kunitha, Somana Kunitha, Pata Kunitha, Bhoot Aradhane, Veeragase Kunitha, Nagmandala

Kerala


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Religious Institutions: Sabarimala Hill Temple of Lord Ayyappa, Makara Vilakku, Sree Padmanabhaswamy, Vadakkumnathan Temple, Parasurama Temple, Kodungallore Sree Bhagawati Temple, Bharani, Chettkulangara Shree Bhagavathi Temple, Guruvayoor Temple, Shree Poornathrayesa Temple, Cheraman Juma Masjid, Malayatoor Church, Edathua Church, Manarkad Church, St. Francis

Church, Mattancherry Synagogue

Festivals & Crafts: Onam, Vishu, Pooram Festival, Marmon Convention of Christians, Vallam Kali

Arts & Crafts: Screw Pine Craft of Kerala, Brass Broidered Coconut Shell Crafts of Kerala, Aranamula Kannadi, Alleppey Coir, Maddalam of Palakkad, Cannaore Home Furnishings, Balaramapuram Sarees and Fine Cotton Fabrics, Kasaragod Sarees, Kuthampully Sarees, Chendamangalam Dhotis & Set Mundu, Payyannur Pavithra Ring, Nettur Petti, Bell Metal Utensils

Classical Dance: Kathakali

Puppetry: Nangyar Koothu, Nool Pavakoothu

Marital Arts: Kalaripayattu

Traditional Theatre: Kutiyattam, Mudiyettu, KoothuChavittunatakom, Kakkarissi Natakam, Krishnattam

Folk Arts: Thllal, Theyyam, Oppana, Kolkkali, Duff Muttu

Madhya Pradesh

Architectural Heritage: Rock Shelters of Bhimbetika, Buddhist Monuments at Sanchi, Khajuraho Group of Monuments

Religious Institutions: Mahakaleshwar Temple, Omkar Mandhata Temple, Cave Temples at Udayagiri, Teli ka Mandir, Kalbhairav Temple, Pahupatinath Temple, Taj-ul-Masjid

Festivals: All Indian Kalidasa Festival, Tansen Music Festival, Bhagoria Festival, Madai

Arts & Crafts: Leather toys of Indore, Bagh Paints of Madhya Pradesh, Chanderi Fabrics, Bell Metal Ware of Datia, Maheshwar Sarees and Fabrics, Pithora Paintings

Folk Dances: Girda, Matki, Phulpati

Maharashtra


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Architectural Heritage: Elephanta Caves, Ellora Caves, Chhatrapati Shivaji Railway Station, Biwi Ka Maqbara, The Victorian & Art Deco Ensemble of Mumbai

Religious Institutions: Shirdi, Bhimashankar Temple, Triyamakeshwar Temple, Grishneshwar Temple, Pandharpur, Hingula, Mahalakshmi Temple, Jwalamukhi/Sapta Shringi Mata Temple, Siddhi Vinayak Temple, Shanti Shignapur, Mangi-Tungi Giri, Laxmi (Amba Bai) Temple, Ayyappa Temple, Haji Ali Dargah, Afghan Church, Mount Mary Church

Festivals & Fairs: Nasik Kumbh Mela, Ganesh Chaturthi, Palkhi Festival, Janmashtami, Narali Poornima, Khulabad Urs Fairs, Banganga Festival, Wat Pournima

Arts & Crafts: Paithani Sarees, Puneri Pagadi, Solapur Terry Towels, Kolhapuri Jewellery, Kolhapuri Chappals, Mashroo & Himroo, Narayan Peth Saree, Sawantwandi Crafts

Dance: Povadas Dance, Dindi & Kala, Lavani Dance, Koli Dance, Pavri Dance

Manipur

Religious Institutions: Jorebangla Temple, Sanamahi Temple, Lord Krishna Temple, Gopinath Mandir, Leimapokpam Keirungba Temple, St. Joseph’s Cathedra

Festivals & Fairs: Cheiraoba (Manipur New Year), Lai Haraoba, Kang, Yaoshang, Kut Festival, Ningol Chakouba

Arts & Crafts: Handloom, Hand Block Printing, Wood Carving, Cane & Bamboo Craft, Kauna

Dance: Raslila, Pung Cholom Dance, Khamba Thoibi Dance, Maibi Dance

Folk Arts: Dhol Cholom, Nupa Pala, Thang-Ta

Meghalaya

Religious Institutions: Cathedral of Mary, Mahadev Khola Temple, Nartiang Durga Temple, Matri Temple, Borghat Temple, Hazrat Shah Kamal Baba Dargah

Festivals & Fairs: Behdienkhlam Festival, Nongkrem Festival, Shad Suk Mynsiem, Wangala Festival

Arts & Crafts: Cane & Bamboo craft, textiles

Folk Dances: Shyngwiang Thangiap Dance, Chad Aideit Dance, Chambil Mesara Dance, Nongkrem Dance, Lah-ho Dance, Derogata


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Dance

Mizoram

Religious Institutions: Mizoram Presbyterian Church, Baptist Church of Mizoram, Vengelical Church of Maraland

Festivals & Fairs: Chapchar Kut, Mim Kut, Pawl Kut, Thalfavang Kut

Arts & Fairs: Bamboo Art, Toys, Handicrafts

Folk Arts: Khuallam Dance, Sarlamkai/Solakia, Rallu Lam, Chheihlam Dance, Chaiu/Chailam Dance, Cheraw Dance, Chawnglaizawn Dance

Nagaland

Religious Institutions: Catholic Cathedral

Festivals & Fairs: Hornbill Festival, Moatsu Festival, Nazu Festival, Sekrenyi Festival, Tuluni Festival, Yemshe Festival

Arts & Crafts: Basketry, Waving, Pottery, Wood Carving, Blacksmithy

Folk Dance: Naga Dance of the Zeilang Tribe, Naga Dance of the Zemis Tribe, Chang Lo or Sua Lua Dance

Odisha

Religious Institutions: Sun Temple, Jagannath Temple, Vaitala Deula Temple, Lingaraj Temple, Quadam-i-Rasool Mosque

Festivals & Fairs: Rath Yatra, Dhanu Yatra, Beach Festival, Kalinga Mahotsav, Snan Yatra

Arts & Crafts: Kotpad Handloom Fabric, Orissa Ikat, Konark Stone Carving, Pattachitra, Khandua Saree & Fabrics, Ganjam Kewda Flower, Pipli Applique Work, PBehrampur Patta & Joda, Sambalkpuri Bandha Sarees & Fabrics, Habaspuri Sarees & Fabrics,

Bomkai Saree & Fabrics, Gopalpur Tussr Fabrics, Dhalkapathar Parda & Fabrics


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Classical Dance: Odissi

Folk Arts: Ghumura Dance, Dalkhai Dance, Goti Pua Dance, Karma Dance

Punjab

Architectural Heritage: Urban & Architectural Work of Le Corbusier in Chandigarh

Religious Institutions: Shri Harmandir Sahib, Akal Takht, Anandpur Sahib, Tarn Taran Sahib, Dera Baba Nanak Gurudwara, Fatehgarh Sahib, Ram Tirth

Festivals & Crafts: Gurupurabs, Guru Nanank Jayanti, Guru Gobind Singh Jayanti, Guru Tegh Bahadur’s Martyrdom Day, Lohri, Baisakhi, Bandi Chhor Diwas (Diwali), Hola Mohalla

Arts & Crafts: Phulkarian Embroidery, Basketry, Woodworks, Pidhis, Weaving & Embroidery, Dolls, Mud Work.

Traditional Ornaments: Turah-i-Marwarid, Sir Mang, Karnphul, Jhumka, Dhedu, Bala, Nath, Chandanhar

Folk Dance: Bhangra, Jhumar, Kikli, Luddi, Julli, Giddha, Sammi, Jaago, Dankara

Rajasthan

Archeological Heritage: Hill Forts of Rajasthan, Jaisalmer Fort, Amer Fort, Chittorgarh Fort, The Jantar Mantar

Religious Institutions: Ajmer Sharif Dargah, Brahma Temple, Ekligji Temples, Dilwara Temples, Osian Temple, Ramdevji Temple, Galtaji Temple, Mahavirji Temple, Mehandipur Balaji Temple, Rani Sati Temple, Karni Mata Temple, Shrinathji Temple, Ranakpur

Temples

Festivals & Crafts: Desert Festival, Gangaur Festival, Teej Festival, Camel Festival, Pushkar Fair, Marwar Festival, Gogaji Fair

Arts & Crafts: Kota Dorja, Blue Pottery of Jaipur, Votive Terracoita of Molela, Bagru Hand Block Printing, Block Printing of Sanganer, Kathputli of Rajasthan, Bikaneri Bhujia, Bandhani, Zari, Gota, Kinari, Zardoji

Performing Arts: Kathputli, Kalbelia Dance, Ghoomar Dance, Chari Dance, Fire Dance, Terah Thali Dance, Kachchi Ghodi, Bhawai Dance


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Sikkim

Religious Institutions: Rumtek Monastery, Enchey Monastery, Namchiu Monastery, Tashiding Monastery

Festivals & Fairs: Saga Dawa, Drupka Teshi, Phang Lhasbsol, Loosong, Kalchakra Puja

Arts & Crafts: Pedi Wangmo Painting, Yama Wall Painting, Arhat Nagasena Painting, Wooden Carvings, Carpet Weaving

Performing Arts: Mask Dance, Limboo Dance

Folk Arts: Chu Faat Dance, Kinchum Chu Bomsa Dance, Damsang Lyang Dance, Lu Khanthamo, Singhi Chham, Yak Chham, Khukuri Dance, Maruni dance, Tamang Selo Dance, Shelo Dance

TamilNadu

Architectural Heritage: Group of Monuments at Mahabalipuram, Chola Temples

Religious Institutions: Vivekananda Memorial, Sri Ranganatha Swamy Temple, Meenakshi Amman Temple, Nataraja Temple, Annamaliyar Temple, Ekambareswarar Temple, Jamukeswar Templ, Kamakshi Amman Temple, Aruppadai Veedu, Venkatakrishna

Parthasarthy Temple, San Thome Basilica

Arts & Crafts: Thanjavur Paintings, Thanjavur Art Plate, Thanjavur Dolls, Thanjavur Veenai, Swamimalai Bronze Icons, Nachiarkoil Kuthuvilkku, Salem Silk, Chettinad Kottan, Kancheepuram Silk, Arani Silk, Bhavani Jamakkalam, Madurai Sungudi, Kovai Cora Cotton, Pattamadai Pai

Festivals: Pongal,Thiruvalluvar Day, Mahamaham, Puthandu, Aadi Perukku

Classical Dance: Bhartanatyam

Puppetry: Bommalattam

Martial Arts: Silambam


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Folk Arts: Karaga Attam, Kali Attam, Kavadi Attam, Mayil Attam, Puli Attam, Kummi

Telangana

Religious Institutions: Mecca Masjid, Bhadrachalam Temple, Basara Saraswathi Temple, Hayath Bakshi Begum Mosque, Medak Church

Arts & Crafts: Pochampalli Ikat, Silver Filgree of Karimnagar, Nirmal Toya & Craft, Cheriyal Paintings, Pembarthi Metal Craft, Siddipet Gollabama, Hyderabad Haleem, Bidri Art, Dhokra Craft, Hyderabad Pearls, Warangal Carpets

Festivals: Udagi (Telgu New Year), Milad-Un-Nabi

Dance Forms: Dappu, Lambadi

Tripura

Religious Institutions: Tripura Sundari Temple, Kamlasagar Kali Temple, Buddha Temple, Chaturdash Devta Temple, Gedu Mia’s Mosque

Festivals & Fairs: Garia Puja, Ashokashtami, Boat Race, Orange Festival

Arts & Crafts: Handicrafts, Handlooms, Rock Carving, Jewellery

Folk Dances: Garia Dance, Lebang Boomani Dance, Hai-Hak Dance, Sangrai-Mog Dance, Bizu Dance, Wangala Dance, Hozagiri Dance, Cheraw Dance

Uttar Pradesh


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Archaeological Heritage: Taj Mahal, Agra Fort, Fatehpur Sikri

Religious Institutions: Kashi Vishwanath Temple, Katyayani Peeth Temple, Ayodhya, Tomb of Sheikh Salim Chisthi, Sarnath, Kushinagar, Tulsi Manas Temple, Madan Mohan Temple, Bharat Mata Temple, Moti Masjid, Jama Masjid, Chandravati, Banke Bihari

Temple, Augurnath Temple

Festivals & Fairs: Kumbh Mela, Adhra Kumbh Mela, Barsana Holi, Nandgaon Holi, Lucknow Festival, Janmasthmi, Deva Fair, Braj Parikrama, Dadri Mela

Arts & Crafts: Lucknow Chikan Craft, Banaras Brocades & Sarees, Meerut Scissors, Carpet of Bhadohi, Agra Durrie, Farrukhabad Hand Printing, Lucknow Zardozi, Firozabad’s Glassware, Muradabad’s Metalware, Khurja’s Pottery, Rampur’s Surahis (water pots), Mirpur Carpets, Varanasi’s Zari work, Agra’s Zardosi

Classical Dance: Kathak

Traditional Theatre: Ramlila, Raslila, Nautanki, Swang, Naqal

Folk Arts: Charkula Dance, Dadra Dance

Uttarakhand

Religious Institutions: Kedarnath, Badrinath, Gangotri, Yamunotri, Haridwar, Rudraprayag, Ukhi Math, Devpryag, Patal Bhuvaneshwar, Piran Kaliyar Sharif, Hemkund Sahib

Festivals & Fairs: Kumbh Mela, Ramman, Ganga Dussehra, Nanda Devi Fair, Uttarayani Fair, Khatarua, Phool Dei, Jauljibi, Olgia/Ghee Sankranti

Arts & Crafts: Garhwal School of Painting, Aipen, Dekara, Kusumia

Folk Dances: Chholiya Dance, Jhora Dance, Chhapeli Dance, Langvir Nritya, Barada Nati, Pandav Nritya, Shotiya Nritya

West Bengal


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Religious Institutions: Temples of Bishnupur, Kalighat Temple, Dakshineswar Temple, Tarapith, Mayapur, Tarakeshwar, Adyapith, Furfura Sharif, Bandel Sharif, Bandel Church

Festivals & Fairs: Durga Pooja, Gangasagar Mela, Naba Barsha, Vasant Utsav

Arts & Crafts: Nakshi Kantha, Santipur Saree, Dhaniakhali Saree, Baluchar Saree, Shantiniketan Leather Goods, Kalighat Paintings, Muslin, Tussar Brocade Saree, Sholapith Craft, Dhokra Metal Casting, Clay DOlls, Pottery, Jute Products

Traditional Theatre: Jatra

Puppetry: Putul Nautch

Dance: Chhau Dance, Gaudiya Dance, Gambhira Dance

Folk Arts: Santhal Dance, Brita Dance, Lathi Dance, Raibense Dance, Tusu Dance, Rava Dance

Delhi

Architectural Heritage: Qutub Minar & its monuments, Humayun’s Tomb, Red Fort Complex

Religious Institutions: Lal Mandir, Lotus Temple, Kalkaji Mandir, Hanuman Mandir, Jama Masjid, Nizamuddin Dargah, Ashoka Edicts, Firoz Shah Tughlaq, Bangla Saheb Gurudwara, Sis Ganj Sahib Gurudwara

Puducherry

Religious Institutions: Thirunallur Temple, Shri Gokilambal Thirukameswara Temple, Karaikal Ammaiyar Temple, Varadaraja Temple, Masthan Saheb Dargah, Meeran Mosque, Khutbah Mosque, Church of our Lady of Lourdes

Festivals & Fairs: Masi Magam, Fete De Puducherry

Arts & Crafts: Tirukanur Papier Mache, Villianur Terracotta

Folk Dance: Garadi

Documents

Set 5: Block 4 Indian Performing Arts - IASbabailp2017.iasbaba.com/wp-content/uploads/2017/03/Performing-Art.pdf · Set 5: Block 4 Indian Performing Arts 1 ... With reference to the