Art & Culture

Set 5: Block 4 Indian Performing Arts
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
3
4
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:
5
With reference to Dhrupad, one of the In the context of cultural history of India, With reference to the famous Sattriya
major traditions of India that has been a pose in dance and dramatics called dance, consider the following
kept alive for centuries, which of the ‘Tribhanga’ has been a favourite of Indian statements: (2014)
following statements are correct?(2012) artists from ancient times till today.
Which one of the following statements 1. Sattriya is a combination of music,
1. Dhrupad originated and developed in best describes this pose? (2013) dance and drama.
the Rajput kingdoms during the (a) One leg is bent and the body is slightly 2. It is a centuries-old living tradition of
Mughal period. but oppositely curved at waist and neck Vaishnavites of Assam.
2. Dhrupad is primarily a devotional and 3. It is based on classical Ragas and Talas
spiritual music. (b) Facial expressions, hand gestures and of devotional songs composed by
3. Dhrupad Alap uses Sanskrit syllables make-up are combined to symbolize Tulsidas, Kabir and Mirabai.
from Mantras. certain epic or historic characters
Which of the statements given above is
(c) Movements of body, face and hands
Select the correct answer using the codes /are correct?
are used to express oneself or to tell a
given below :
story
1. 1 only
(a) 1 and 2 only
(d) A little smile, slightly curved waist and 2. 1 and 2 only
(b) 2 and 3 only certain hand gestures are emphasized to 3. 2 and 3 only
express the feelings of love or eroticism 4. 1, 2 and 3
(c) 1, 2 and 3
(d) None of the above is correct
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Consider following pairs (2014) With reference to India’s culture and

tradition, what is ‘Kalaripayattu’? (2014)
1. Garba : Gujarat
2. Mohiniattam : Odisha 1. It is an ancient Bhakti cult of Shaivism
3. Yakshagana : Karnataka still prevalent in some parts of South
India
Which of the pairs given above is/are 2. It is an ancient style bronze and
correctly matched? brasswork still found in southern part
of Coromandel area
1. 1 only 3. It is an ancient form of dance-drama
2. 2 and 3 only and a living tradition in the northern
3. 1 and 3 only part of Malabar
4. 1, 2 and 3 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)
8
CLASSICAL DANCE OF I NDIA
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
 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
Thang – Ta (Martial Art) 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) This dance is performed by the inhabitants of the Umji and Indravelli
ANDHRA PRADESH 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 Ghoomar is a dance performed by the girls of border areas of
Haryana 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 A typical folk dance of Madhya Pradesh, Badhai is performed to thank
PRADESH 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
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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.
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,
KADAGAM/Karakattam
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
Factors Hindustani Music Carnatic Music

Raga System Based on 10 Thaats and 32 Ragang Based on 72 Melakarta or Janak Raga
Ragas
24-hr Time-Cycle of Ragas Yes No
Taal Popular 10-12 Taal(also 10-12 Rare Popular 35 Taal(108 total)
Taal)
Composition or Kriti Forms Khayal, Dhrupad, Tarana, Thumri, Varnam, Kriti divided into parts like-Pallavi, Anupallavi
Dhamaar divide into parts like -Sthayi, and Charnam
Antara, Snachari and Abhog
Composers Stalwarts from many 'Gharana' or Saint Purnadardas, Tyagraja, Dikshitar and Shyama
Schools in different regions of Shastri
Northern India
Demography Popular in North, central, West and Popular in South India (Tamilnadu, Karnataka, Andhra
Eastern India. Also in Pakistan and Pradesh and Kerala)
Bangladesh
Shuddha Swara Saptaka Raga Bilawal (Similar to Carnatic Raga Raga Maya Malav Gaula (Similar to Hindustani Raga
(Primary Notes Scale) Dheer Shankarbharnam) Bhairav)
Rendition Improvisation given more importance Composition given more importance
Some Basic Differences:
Similarities:
 Both the styles give prime importance to melody. Unlike western music Harmony is not given much 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.
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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  Made of light wood,  Puppets - styled and  combine the techniques
piece of wood  have no legs but wear designed like the of both rod and string
 large dolls - colourfully long flowing skirts. characters of puppets.
dressed.  have more joints and Yakshagana  made of wood and the
 costumes and are, therefore, more  highly stylized and strings for
headgears are versatile, articulate and have joints at the legs, manipulation are tied to
designed in the easy to manipulate. shoulders, elbows, hips an iron ring which the
medieval Rajasthani  Use a triangle shape and knees. puppeteer wears like a
wooden prop, to which  manipulated by five to crown on his head.
style of dress, which is
strings are attached for seven strings tied to a  few puppets have
prevalent even today.
manipulation. prop. jointed arms and hands,
 accompanied by a 
 costumes resemble complicated which are manipulated
highly dramatised those worn by actors of movements are by rods.
version of the regional the Jatra traditional manipulated by two to  This puppets are the
music. theatre. three puppeteers at a largest, heaviest and
 Oval faces, large eyes,  music – regional music time. the most articulate of
arched eyebrows and & Odissi dance’s  music - beautifully all traditional Indian
large lips - distinct music. blends folk and marionettes.
facial features. classical elements.
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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
 also known as sleeve, hand or palm puppets.
together with thick cloth, cut and stitched into a
 head is made of either papier mache, cloth or wood,
small bag.
 hands emerges from just below the neck.
 face of the puppets are
 rest of the figure consists of a long flowing skirt. decorated with paints,
 controlled by the human hand - first finger inserted in the small and thin pieces of
head and middle finger and thumb are the two arms of the gilded tin, the feathers of
puppet. the peacock, etc.
 In Orissa, the puppeteer plays on the dholak with one hand  manipulator puts his
and manipulates the puppet with the other. hand into the bag and
 delivery of the dialogues, the movement of the puppet and moves the hands and
the beat of the dholak are well synchronised and create a head of the puppet.
dramatic atmosphere.  musical instruments - Chenda, Chengiloa,
Ilathalam and Shankha the conch.
theme - based on the episodes from either the
Ramayana or the Mahabharata
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ROD PUPPETS: (EXTENSION OF GLOVE-PUPPETS)
Putul Nautch, West Bengal Orissa Rod puppets Yampuri, Bihar
 carved from wood  mostly three joints, but the hands  made of wood.
 costumed like the actors of Jatra, are tied to strings instead of rods.  puppets are in one piece and have
a traditional theatre  elements of rod and string no joints.
 puppets have mostly three joints. puppets are combined in this form  requires greater dexterity.
 heads, supported by the main rod, of puppetry.
is joined at the neck and both  Most of the dialogues are sung.
hands attached to rods are joined  music blends folk tunes with
at the shoulders. classical Odissi tunes.
 bamboo-made hub is tied firmly  puppets of Orissa are smaller than
to the waist of the puppeteer on those from Bengal or Andhra
which the rod holding the puppet Pradesh.
is placed.  more operatic and prose
 puppeteers each holding one dialogues are seldom used
puppet, stand behind a head-high
curtain and while manipulating
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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 are large in size and have  Puppets are in one piece and have
 puppets however differ in size jointed waist, shoulders, elbows no joints.
according to their social status, for and knees.  not coloured, hence throw
instance, large size for kings and  coloured on both sides, throwing opaque shadows on the screen.
religious characters and smaller coloured shadows on the screen.  manipulation requires great
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size for common people or  music - influenced by the classical dexterity, since there are no
servants. regional music joints.
 theme are drawn from the  puppets are made of deer skin
Ramayana, Mahabharata and and are conceived in bold
Puranas. 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
GI
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 Silk+cotton fabric, unique to Mah
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 Grasscraft
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
Koraput
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,
GI Bomkai Saree & Fabrics, Gopalpur Tussr Fabrics, Dhalkapathar Parda & Fabrics
Khatwa is the name given to appliqué works in Bihar, India.

64 KATAB Applique in Gujrat
Khandua (Also Maniabandi or Kataki) is a traditional "bandha" or ikat sari produced from Odisha worn by women during wedding and a special type of
which is worn by Jagannath. The clothes contain texts of Gita Govinda on them
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
65
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 Mat carpet cotton saree
Festivals: Pongal,Thiruvalluvar Day, Mahamaham, Puthandu, Aadi Perukku

Classical Dance: Bhartanatyam
Puppetry: Bommalattam
Martial Arts: Silambam
66
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
67
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
68
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
69

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Set 5: Block 4 Indian Performing Arts

(d) None of the above is correct

Consider following pairs (2014) With reference to India’s culture and

CLASSICAL DANCE OF I NDIA

BHARATNATYAM – TAMIL NADU

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

 Mohiniyattam literally interpreted as the dance of ‘Mohini’, the celestial enchantress of

FOLK DANCES OF INDIA

Name of the Dance Area (Geographical) Special feature

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

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

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

COMPARISON OF HINDUSTANI AND CARNATIC MUSIC

Factors Hindustani Music Carnatic Music

Some Basic Differences:

 Both has one dominant swara or Vadi swar in each Raga

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

MUSIC INSTRUMENTS OF INDIA

1. Tata Vadya / Chordophones- Stringed instruments

Few of the important Music instruments are as follows:

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

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

MARTIAL ARTS IN INDIA

THEATRE FORM OF INDIA

BHAND PATHER(JASHIN) - KASHMIR

 unique combination of dance, music and acting.

NAUTANKI - UTTAR PRADESH

 most popular centres - Kanpur, Lucknow and Haathras.

 based exclusively on Lord Krishna legends

 Main centers of - Kutch and Kathiawar.

BHAONA (ANKIA NAAT) - ASSAM.

MAACH - MADHYA PRADESH

DASHAVATAR - KONKAN AND GOA

 celebrated in the month of Vrischikam (November-December). performed only in the

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

 based on Sanskrit theatre traditions.

 based on mythological stories and Puranas.

THERUKOOTHU - TAMIL NADU

 literally means "street play".

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

KARYALA- HIMACHAL PRADESH

PUPPET FORMS OF INDIA

Kathputli, Rajasthan Kundhei, Orissa Gombeyatta, Karnataka Bommalattam, Tamil Nadu

 wear long trailing skirts

GLOVE PUPPETS Pavakoothu, Kerala

ROD PUPPETS: (EXTENSION OF GLOVE-PUPPETS)

Putul Nautch, West Bengal Orissa Rod puppets Yampuri, Bihar

the rods also move and dance

Togalu Gombeyatta, Karnataka Tholu Bommalata, Andhra Pradesh Ravanachhaya, Orissa

INSTITUTIONS RELATED TO PERFORMING ARTS IN INDIA

SANGEET NATAK ACADEMY

LALIT KALA AKADEMI

CENTRE FOR CULTURAL RESOURCES & TRAINING

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

Architectural Heritage: Group of monuments at Pattadakal, Hoysala Architecture

Khatwa is the name given to appliqué works in Bihar, India.

Classical Dance: Odissi

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

Archaeological Heritage: Taj Mahal, Agra Fort, Fatehpur Sikri

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