THE GRACE OF DANCE

Echoes of the 'Ghungroo': A journey of India’s timeless dance legacy

~Megha Galagali

Yesterday marked World Dance Day, but the story of dance stretches far beyond a single date. It begins in ancient temple courtyards, where the sound of ankle bells blended with chants, and continues today on global stages and digital platforms.

Long before auditoriums and competitions, dance in India was an offering. In temple complexes, it was performed as devotion. In royal courts, it became a refined art, supported by kings and patrons who recognised its cultural and aesthetic value. Dancers were not merely performers; they were storytellers, carrying forward mythology, philosophy, and emotion through movement.

The foundation of this vast tradition lies in the Natya Shastra, written by Bharata Muni. This ancient text is often described as the backbone of Indian performing arts. It systematically explains how dance and drama should be performed, detailing hand gestures, body movements, expressions, stage design, and music. More importantly, it introduces the concept of rasa, the emotional essence that connects the performer with the audience, and abhinaya, the art of expression. Through this framework, dance was not just entertainment but a medium to educate, engage, and elevate. 

From this strong theoretical and cultural base emerged India’s eight recognised classical dance forms, acknowledged by the Sangeet Natak Akademi, each rooted in a specific region yet connected through shared principles.

India’s classical repertoire

Bharatanatyam from Tamil Nadu reflects its temple origins through precise geometry and expressive storytelling. It is one of the most structured dance forms, built on a strong foundation of adavus (basic steps), araimandi posture, and a clear division between pure dance (nritta) and expressive storytelling (abhinaya). The performance format often follows a traditional margam sequence, moving from invocation to more complex pieces. While Tamil Nadu remains its core, Bharatanatyam is widely practiced in Karnataka as well, especially in cities like Bengaluru and Mysuru, where it has grown through institutions and individual gurus. The costume is distinctive, featuring a pleated fan that opens beautifully during leg movements, temple jewellery, expressive eye makeup, and ankle bells (ghungroo) that accentuate rhythm.

Kathak from North India evolved from storytelling traditions into a dance form known for its intricate footwork and rapid spins (chakkars), later shaped by courtly influences during the Mughal period. Unlike Bharatanatyam’s grounded geometry, Kathak is more fluid and upright in posture. It places strong emphasis on rhythm (laya), improvisation, and interaction with live music, especially the tabla. The storytelling aspect remains central, often depicting episodes from mythology as well as abstract rhythmic compositions. Costumes vary depending on tradition, with female dancers often wearing flowing lehenga-choli or Anarkali-style outfits, while male dancers wear angarkha and churidar, allowing freedom of movement and highlighting spins.

Kerala contributes two distinct styles. Kathakali is dramatic and elaborate, more a dance-drama than a solo performance style. It is characterised by highly codified facial expressions, powerful body movements, and an intense physical training system. Performers undergo rigorous preparation, including eye exercises and facial muscle control. The costumes are grand and symbolic, with heavy layered skirts, ornate headgear, and vividly painted faces using natural pigments, each colour representing a character type from mythology. Mohiniyattam offers a softer contrast, marked by gentle, swaying movements and a focus on feminine grace. The style is lasya-dominant, meaning it emphasises softness and elegance. The costume is simple yet elegant, typically an off-white or ivory saree with a gold border, complemented by minimal jewellery and a distinctive side bun hairstyle adorned with flowers.

Odissi from Odisha is known for its sculptural quality, often resembling the poses found in temple carvings. Its defining feature is the tribhangi posture, where the body is bent at three points, creating a lyrical, curved silhouette. The dance combines fluid torso movements with precise footwork and expressive storytelling. Odissi performances often draw from themes of devotion, particularly dedicated to Lord Jagannath. The costume includes a brightly coloured silk saree draped in a unique style, silver jewellery, and a distinctive headpiece made of flowers, representing temple architecture.

Kuchipudi from Andhra Pradesh combines dance with drama, retaining elements of its origin as a dance-drama tradition performed by groups. It is more dynamic and theatrical compared to some other classical forms, with brisk movements, expressive dialogue delivery in certain pieces, and dramatic storytelling. A unique feature includes dancing on a brass plate in some performances, showcasing balance and control. The costume is similar to Bharatanatyam but lighter and more flexible, allowing for quick movements and expressive gestures.

Manipuri from the Northeast is devotional and fluid, reflecting spiritual traditions through subtle, graceful movements. Unlike other classical forms that emphasise strong footwork, Manipuri focuses on soft, rounded movements where the feet often do not strike the ground forcefully. It is deeply associated with Vaishnavite traditions and themes of Krishna and Radha. The costume is one of its most striking elements, especially for female dancers who wear a cylindrical skirt (kumil) decorated with delicate embroidery, along with translucent veils and minimalistic jewellery, creating an ethereal visual effect.

Sattriya from Assam, introduced by Srimanta Sankardev, originated in monasteries and continues as a classical form rooted in faith and storytelling. Initially performed by male monks, it has now expanded into a widely practiced stage art. Sattriya combines dance, drama, and music, often depicting episodes from the life of Krishna. The movements are rhythmic yet graceful, balancing both masculine and feminine elements. Costumes are inspired by Assamese traditional attire, typically made from silk such as paat, featuring elegant motifs and natural colours, along with traditional jewellery.

Shift to folk

While classical dance represents structure and codification, India’s folk dances reflect the vibrancy of everyday life and community traditions across regions.

Across India, forms such as Bhangra from Punjab, Garba and Dandiya Raas from Gujarat, Bihu from Assam, and Ghoomar from Rajasthan highlight celebration, harvest, and cultural identity. In Karnataka, rich folk traditions continue through forms like Kolata, Dollu Kunitha, Veeragase, Yakshagana, and Kamsale, each deeply connected to local customs, spirituality, and collective expression.

In the present day, dance continues to evolve without losing its connection to the past. It has moved from temple courtyards and royal courts to proscenium stages, studios, and digital spaces. Contemporary dancers are experimenting with form and content, blending classical techniques with modern themes and global influences.

Platforms such as YouTube and Instagram have expanded the reach of dance, making it more accessible and interactive. Performances are no longer limited by geography; they travel instantly, connecting artists and audiences across the world.

Yet, despite these changes, the essence of dance remains consistent. It continues to be a medium of expression, storytelling, and cultural continuity.

Yesterday’s observance of World Dance Day serves as a reminder of this enduring legacy. From temple rituals to contemporary choreography, dance in India has adapted to changing times while retaining its core identity. It lives on in tradition, in innovation, and in the rhythm of everyday life.