South Asian

• Bharata natyam developed over several centuries in the temples of South India. It was handed down as a living tradition from generation to generation under the devadasi system in which women were dedicated to serve the deity as dancers and musicians. Today bharata natyam is one of the most popular and widely performed dance styles and is practiced by men and women. Due to its wide range of movements and postures, and the mix of rhythmic and mimetic aspects, it lends itself well to experimental and fusion choreography. Degree and postgraduate courses covering the practice and theory of bharata natyam are offered at major Indian universities.
  
  
• Chhau is indigenous to the eastern part of India. It originated as a martial art and contains vigorous movements and leaps. Some chhau dances use large stylized masks, with the depiction of birds and animals as a distinctive feature. There are also heroic dances with sword, bow or shield. In keeping with the martial origins of chhau, some of the themes include the depiction of mythological heroes. Over time, female characters and more diverse themes have been added.
  
  
• Kathak is a classical North Indian dance, now popular around the world. The word kathak is derived from katha, meaning story. The ancient kathakas, or storytellers, were traveling bards who were the first to employ this dance in order to better communicate their tales to the masses. Kathak is characterized by intricate footwork and precise rhythmic patterns that the dancer articulates by controlling ankle bells. Both men and women dance kathak, which often conveys moods of love.
  
  
• Kathakali originated in the South Indian state of Kerala over 500 years ago. It is a spectacular combination of drama, dance, music and ritual. Characters with vividly painted faces and elaborate costumes re-enact stories from the Hindu epics Mahabharata and Ramayana. The name comes from the roots katha, meaning story, and kali, meaning performance or play.
  
  
• Kuchipudi developed in what is now the state of Andhra Pradesh in southern India. Historically it formed the basis of dance-dramas but today it is performed either as a solo or group presentation. Kuchipudi, which features fast, rhythmic footwork and sculptural body movements, includes singing and occasionally spoken dialogue. As well, stylized mime using hand gestures and subtle facial expression is combined with more realistic acting. This blend of techniques makes it unique among Indian classical dance. Another unique feature is the tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns while sometimes also balancing a pot of water on the head.
  
  
• Manipuri, a smooth and graceful form, is named after Manipur, a mountainous region of northeast India. A legend tells of the gods draining a lake in this area in order to find a place to dance. The lai haroba, a ritualistic dance depicting creation that is still alive today, is considered the precursor of Manipuri. Included in the Manipuri repertoire is the raas leela, which depicts the cosmic dance of Krishna and the cowherd maidens. Dancers wear long embroidered skirts and translucent veils as they perform swaying and gliding movements. A tall crown of peacock feathers characterizes Krishna's costume. Another dance is the pung cholam, or drum dance, in which dancers play fast rhythms on a drum while leaping and spinning.
  
  
• Mohiniattam is of similar origin to its traditionally masculine counterpart kathakali, but involves more feminine attributes. The movement is lyrical and very soft with rounded arm and hip movements.
  
  
• Odissi dates back to the first century B.C. Odissi, which originated in the temples of the state of Orissa in Eastern India, is characterized by fluidity of the upper torso and graceful gestures and wristwork, juxtaposed with firm footwork. The rhythmic dances are called batu (foundation), pallavi (flowering) and moksha (liberation). The acting dances are called abhinaya. An important feature of this dance is the tribhangi, which divides the body into three parts: head, bust and torso. This concept has created the very characteristic poses, which are more contorted than those founding other classical Indian dances.
  
  
• Sattriya has its origin in the north-eastern Indian state of Assam. The subject of sattriya is usually mythological stories, and it is accompanied by classical raga-based compositions called borgeets. Traditionally, sattriya was performed by bhokots (male monks) in monasteries as part of their daily rituals or special festivals. Today, in addition to this practice, men and women who are not part of the monasteries perform sattriya on stage.