Indian Classic Dance Forms IAS Culture

Notes 2016 PDF Download

Dance is of Divine Origin it was a ritual form of Worship at the temples .

The principles of indian classical dance is Derived from Natya Shashtra By Bharat
Muni.

Natya Shashtra includes Dance , Music and Drama

Bharat Muni Traces its origin from Brahma .

Brahama Created a 5th Veda known As Natya Veda representing the Essence of
existing 4 vedas.

1. Intellectual Content of the Rigveda

2. Abhinaya (Gestures) from the yajurveda
3. Geet ( Music from the Samveda
4. Rasa (n Emotions ) from the Athavaveda

Dance was performed as a pass time for the Gods

Nataraja the Dancing Shiva Represents the Destruction, creation ,

Preservation , release from Bondage and the cycle of life and death

Dance is considered as the complete art because it enfolds in its range other art
form too Music ,sculpture ,Drama , Poetry.

There are two aspects of Dance

1. Tandava
2. Lasya
Tandava Tandava Denotes movement on Rhythm

It Emphasis on Male characteristics

Strength and Firm Aspects

Lasya On the other Hand Lasya denotes Grace , Bhawa , Rasa and Abhinaya

these features are More Feminine in Nature

In every dance the Presence of Mudra and Rasa is a must .There are 108 Fundamental
Poses or we can say Mudras . whereas There are 9 Rasa ( Emotional Responses )
sorrow , Happiness , Anger , fear , disgust , Wonder ,Peace ,courage and Compassion.
Nritta Nritta consists of dance Movements in their Basic form

Nritta is Expressional ,enacting the sentiments of Particular Theme.

Natya Includes facial Expressions , Expressions through Eye ,hand And Facial
Movements
The Combination of both Nritta and Natya Become Nritya .
Earliest Evidence Bronze Dancing girl , Bhimbetaka Caves , Ajanta Elora caves.
Indian Classic Dance

The Classic dance Are Governed By the Rules of Natya Shashtra .

These Rules are Based on the Guru Shishya Parampara

Sangeet Natak Academy Has given the

status of Classical dance to the Following
8 Dance Forms
1 -BharatNatyam

Bharata Natyam also spelled Bharatanatyam, is a classical Indian dance form

that originated in the temples of Tamil Nadu.

A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra.

The word Bharatnatyam combines Bhavam meaning expression, ragam

meaning music, thalam meaning rhythm and natyam meaning dance.

This dance form is the product of various 19th- and 20th-century reconstructions
of Sadir, the art of temple dancers called Devadasis.

It was described in the treatise Natya Shastra by Bharata around the beginning of
the common era.

Bharata Natyam is known for its grace, purity, tenderness, expression and
sculpturesque poses.

Lord Shiva is considered the God of this dance form.

It is practiced by male and female dancers all over the world.

it evolved from Devdasis System from Temples

It was previously referred to as Sadir ,Dasiattam and Tanjore natyam in the native
of the Tamilnadu

It is a high style Solo Dance Performed by female , male and Even group .

but this Dance is Dominated by Female Dancers in India And World

Main Features Of Bharatnatyam

1. Considered to be a Fire Dance
2. The movements of Bharatnatyam also resembles movements of Dancing flame
3. Both Aspects of Dance Tandava and Lasya are Equally important here
4. Major Emphasis is given on Hand Movements to convey different kind of
emotions or Rasa
5. The artists visualises his or her body as made up of triangles
Elements of BhartnatyamAlaripu

A presentation of the Tala punctuated by simple syllables spoken by the dancer.

This really is sort of an invocation to the gods to bless the performance.

Alaripu is performed in different jatis.

Tishra, Mishra, Chatushra, Sankirna are the different types of jatis.

Kautuvam

Ancient temple dance item performed in the beginning of the recital, containing
rhythmic syllables sung for jathis.

Ganapati Vandana

A traditional opening prayer to the Hindu god Ganesh, who removes obstacles.
See also Pushpanjali

Todayamangalam

a starting dance in which we show respect towards the god.

This item was adopted from the karnatic music margam.

A beautiful example of a todayamangalam is jayajankaki Ramana

Jatiswaram or Jathiswaram

An abstract dance where the drums set the beat.

Here the dancer displays her versatility in elaborate footwork and graceful
movements of the body.

Here the Dancer displays the Korvai in a rhythmic form.

Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music,

rhythm and movements.

Shabdam

The dancing is accompanied by a poem or song with a devotional or amorous

theme. Shabdam is usually depicting graceful movements in a story or a poem

Varnam

The center piece of the performance.

It is the longest section of the dance punctuated with the most complex and
difficult movements.

Positions of the hands and body tell a story, usually of love and the longing for
the lover.

Padam

Probably the most lyrical section where the dancer speaks of some aspect of
love: devotion to the Supreme Being; or of love of mother for child; or the love of
lovers separated and reunited.

Stuti

Hymn in praise of a deity that may contain a feigned mockery, etc. See also
Stotra

Koothu

Item containing a lot of dramatic elements.

Javali

Javalis are relatively new, pure abhinaya types of compositions of light and
pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa
depicting the Nayaka-Nayaki bhava.

Tillana

The final section is a pure dance (nritta) when the virtuosity of the music is
reflected in the complex footwork and captivating poses of the dancer.

Apart from these items, there are items such as Shlokam, Swarajathi, Krithi etc. The
performance concludes with the chanting of a few religious verses as a form of
benediction. Certain styles include more advanced items, such as Tharanga Nritham
and Suddha Nritham. When a dancer has mastered all the elements of dance, as a
coming out performance, he or she generally performs an Arangetram (debut).
Angikam

This is a devotional song on Lord Shiva and an item dance in Bharata Natyam.

It can also be performed in byapti slow motion.

The words for the shloka are Angikam Bhuvanam Yasya, Vachikam Sarva
Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam

1. Sanskrit ,Tamil , kanada Are Traditional Languages of Bharat Natyam

Tanjore Quartets
1. Tanjore Quartets Were four brother Chinnaiah, Ponniah, Sivanandam and
Vadivel,
2. who lived during the early 19th century and contributed to the development of
Bharatanatyam and Carnatic music.
3. The brothers were employed in the courts of the Maratha King Serfoji II at
Thanjavur.
Exponents
1. Rukmini Arundale
2. Padma Subarmaniyam
3. Yamini Krishanmurthy
4. Sonal Mansingh ( Odissi , Bharat Natyam , And Mohiniattam)

2-Kuchipudi- Andhra Pradesh

Named after village of Birth

Initially performed by the male Artists moving from village to village

The male Artists were called Bhagavathalu

But in present time this dance is mainly performed by the female Artists and that
too in Groups

Theme Based on Bhagawat purana But now a secular theme with Predominance
on sringar rasa .

in this dance each principle character introduce itself with the help of Daaru on
Stage ( Daaru is a small composition of dance and song specially designed for
each character to help him or her to reveal her identity or skill)

Besides Dance drama There Are solo Dance In kuchipudi

Manduka Sabdam Story of the Frog maiden

Balagopala Taranga Involving dancing with the feet on the edges of a brass
plate

Tala chitra Nritya in This dance form Dancers draw pictures on the floor with
their dancing toes

Both Tandava and Lasya Form of dance are involved in Kuchipudi Dance

A prescribed costume and Ornaments to be strictly followed by the Artists

Music Carnatic Music

Instruments Mrindagam and violin

Some Famous kuchipudi Dancers are Following

1. Vampati chinna Satyam
2. Yamini Krishana murthy
3. Swapnsundari
4. Chinta Krishanamurthy
5. Vijaya Parasad

3 Dance Odissi from Odissa

State odissa

Origin Religious Dance patronized by Jain king Kharavela

Theme Radha and krishna love , Dhasavatar ,Jagannath philosophy personified

Over the Time three School of odissi dance Developed

1. Maharis
2. Gotipua
3. Nartaki
1- Maharis

Maharis were Oriya devadasis or temple girls, their name deriving

from Maha (great) and Nari orMahri (chosen) particularly those at the temple of
Jagganath at Puri.

Early Maharis performed mainly Nritta (pure dance) and Abhinaya

(interpretation of poetry) based onMantrasand Slokas.

Later, Maharis especially performed dance sequences based on the lyrics of

Jayadevs Gita Govinda.

Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni
Maharis, though in the temples, were excluded from the sanctum sanctorum

2-Goptiua

Young boy dressed in Female Costume and performed Female role

By the 6th century, the Gotipua tradition was emerging.

One of the reasons given for the emergence of Gotipuas is that Vaishnavas did
not approve of dancing by women.

Gotipuas were boys dressed up as girls and taught the dance by the Maharis.

During this period, Vaishnava poets composed innumerable lyrics in Oriya

dedicated to Radha and Krishna.

Gotipuas danced to these compositions and gradually stepped out of the

precincts of the temples.

The Main theme in this dance is Radha Krishna

Women were not allowed to dance at that time so boys dressed in female
costume and performed dance .

Maharis taught Boys dance

3-Nartaki

Dance in Royal courts

Nartaki dance took place in the royal courts, where it was much cultivated
before the British period.

At that time the misuse of devadasis came under strong attack, so that Odissi
dance withered in the temples and became unfashionable at court.

Only the remnants of the Gotipua school remained, and the reconstruction of the
style required an archaeological and anthropological effort that has tended to
foster a conservative purism.

Main point about Odissi dance is it is similar to Bharatnatyam in terms of Mudras and
Facial Expressions.

Odissi Dance During Mugal and British Period

During Mughal Period Maharis the Temple Dancers were shifted to the royal
courts to entertain royal families and royal courts.

This was the time period when odissi dance started decline.

A decline and degradation occurred in all the Indian Classical dance styles during
the British period, especially when a bill was passed prohibiting temple dancing.

British government passed a bill that bill prohibit temple dancing style.

this was another worse time for Maharis .

Most of these dancers, losing their well-deserved place in society, were forced to
prostitution to survive in the changing climate of political and cultural oppression
of the British.

The major elements include in the Odissi Dance are

1. Mangalacharana
2. Battu Nratya
3. Pallavi
4. Abhinaya
5. Dance Drama
6. Moksha
1-Mangalacharna

An invocation piece.

After paying homage to Lord Jagannath a shloka (hymn) in praise of some God
or Goddess is sung, the meaning of which is brought out through dance.

Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth)

which is offered to Mother Earth as a way of begging forgiveness for stamping on
her

and the Trikhandi Pranam or the three-fold salutation In this form salutation is
performed in front of above the head to the Gods, in front of the face to the
gurus and in front of the chest to the audience.

it is a begning of odissi Dance

2-Battu Nratya

Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance)

it is performed in the honor of Lord Shiva- the cosmic Lord of Dance.

It is one of the 64 furious-aspects of Lord Shiva known.

The origin of dance is believed to be from Tantrism that had flourished in Odisha.

Linga Purana and Mahanirvanatantra give an elaborate description of Batuka

Bhairava in three aspects, and the results of their worship have also been
explained elaborately in the texts.

Battu Nrutya is an item of pure Nrutya (Dance)

It is the most difficult item of Odissi dance.

The dance begins with a series of sculpturesque poses depicting such actions as
the playing of aVeena(Lute),Mardala or Pakhawaj (Drum), Karatala (Cymbals)
and Venu (Flute), that brings out the interrelationships between this dance and
the dance sculptures adorning the temples of Odisha.

3-Pallavi

A pure dance item in which a raga is elaborated through eye movements, body
postures & intricate footwork.

Pallavi literally means blossoming.

This is applicable not only to the dance, but also to the music, which
accompanies it.

Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso &
feet & slowly builds in a crescendo to climax in a fast tempo at the end.

song eloborated through graceful movements and facial expressions

4-Abhinaya

An expressional dance

which is an enactment of a song or poetry, where a story conveyed to the

audience through mudras(hand gestures), bhavas (facial expression), eye
movement and body movement.

The dance is fluid, very graceful, and sensual.

Abhinaya can be performed on verses in Sanskrit or Oriya language.

Most of the Abhinaya compositions are based on the Radha-Krishna theme.

The Astapadis of the kvya Gita Govinda written by the Saint Jayadev are an
integral part of its repertoire.

The beginning pieces are dedicated to Lord Jagannath an incarnation of Lord

Vishnu

5-Dance Drama

It is longer than abhinaya

Usually performed by the Group of Dancers or more than one dancers

hindu Mythologies are chose as the theme

In recent years some new themes are now part of this

6-Moksha

The concluding item of a recital.

Moksha means spiritual liberation

it is dance of liberation

some Exponents of the Odissi Dance are

1. Kali charan Patanayak
2. sonal mansingh
3. sharon lowen from USA

4 Kathakali from Kerala state

popular belief that Kathakali dance form was originated from Krishanattam

Main theme is Conflict between god and Evil

Katha means Story

Kali Drama

Story narrated in form of Drama

Main Sources of Kathakali Dance Ramayana and Mahabharata

Kathakali called as the Ballot of the East

origin temple dance

Movements Eye and Eye Brows movements to reflect Rasas

No use of the Props in dance / minimum use of props

control of body and emotions are required

Generally performed in open air stage covered with coarse mats.

lighting is done through brass lamp

the Dance start and end with arrival of dawn

at the start of dance there is a continuous sound of drums ,chendda and Maddala

Make up and Meaning of make up in kathakali dance

Green Facial Makeup indicates Nobility ,Divinity

Red patches besides the Nose indicate Royalty

Black Facial Make up Evil and Witched females are represented through this
black facial Makeup

Styles of Kathakali are

1. Vettathu Sampradayam
2. Kalladikkodan Sampradyam
3. Kaplingadu Sampradayam
Exponents Of Kathakali dance

1. Kalamandalam gori
2. Kalamandalam Murli

5 Dance Mohiniyattam (Kerala)

Mohini Means a Beautiful Womn

yattam means Dance

Mohiniyattam Believed to have originated in 16th century CE,

mohiniyattam is one of the eight Indian classical dance forms recognised by the
Sangeet Natak Akademi.

It is considered a very graceful form of dance meant to be performed as solo

recitals by women.

Essentially it is a solo dance And performed By Female Artists .

But Now Even performed in group also

There are two stories of the Lord Vishnu disguised as a Mohini.

In one, he appears as Mohini to lure the asuras away from the amrita (nectar of
immortality) obtained during the churning of the palazhi (ocean of milk and salt
water).

In the second story Vishnu appears as Mohini to save Lord Shiva from the demon
Bhasmasura.

The name Mohiniyattam may have been coined after Lord Vishnu; the main
theme of the dance is love and devotion to God, with usually Vishnu or Krishna
being the hero.

Devadasis used to perform this in temples.

It also has elements of Koothu and Kottiyattom.

Mohiniyattam is a drama in dance and verse.

The dance involves the swaying of broad hips and the gentle movements of erect
posture from side to side.

This is reminiscent of the swinging of the palm leaves and the gently flowing
rivers which abound Kerala, the land of Mohiniyattam.

There are approximately 40 basic movements, known as atavukal.

here Lasya Aspects Dominates , the main focus is on Feminism Moods and
Expressions.

The dance follows the classical text of Hastha Lakshana deepika, which has
elaborate description of mudras (gestural expressions by the hand palm and
fingers).

Theme of Mohiniyattam Dance

Love and Devotion towards Lord Krishna And Lord vishnu

Music Of MohiniYattam

Carnatic Music

What color Costume Are used By Dancers In Mohiniyattam?

White color Or Off white color dress Used by dancers

The costume includes white sari embroidered with bright golden brocade (known
as kasavu) at the edges.

Mohiniyattam Borrows Some Features from Other classic dance also1. Grace And Elegance from Bharatnatyam
2. Vigour From Kathakali
Major Exponents
1. Madhair amma
2. chinnami amma
3. Sunanda nair

6 Manipuri Dance From Manipur

Manipuri, one of the main styles of Indian Art or Classical Dances originated in
the picturesque and secluded state of Manipur in the north-eastern corner of
India.

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.

The origin of Manipuri dance can be traced back to ancient times that go beyond
recorded history.

The dance in Manipur is associated with rituals and traditional festivals, there are
legendary references to the dances of Shiva and Parvati and other gods and
goddesses who created the universe.

Lord Shiva Danced with parvati in the valley of Manipur accompanied by local
peoples Gandharavas to the Celestial Light of the Money on the Head of
a Serpent Atishesha.

The Manipuri dance Emphasis On Shakti

But Both Dance form lasya And Tandava Aspects Are Involved but Lasya
predominates Limited use of Mudras.

Raasleela is inseparable from this dance

Manipuri Dance Involves slow and Gracious movements .

The main Focus In Manipuri Dance is on hand And Knee Position, Not on facial
Expressions

The musical accompaniment for Manipuri dance comes from a percussion

instrument called the Pung, a singer, small cymbals, a stringed instrument called
the pena and wind instrument such as a flute.

The drummers are always male artistes and, after learning to play the pung,
students are trained to dance with it while drumming.

This dance is known as Pung cholom.

The lyrics used in Manipuri are usually from the classical poetry of Jayadeva,
Vidyapati, Chandidas, Govindadas or Gyandas and may be in Sanskrit, Maithili,
Brij Bhasha or others.

Special Features Of Manipuri Dance

1. In manipuri Dance it attempts to connect body through curves with a pose in the
shape of Figure 8 .
2. this Mudra is called Nagabhanda Mudra

Theme of Dance On Life Of Vishnu

In Manipuri dance Spreading feet is no longer possible which can be found in

other classic dance forms.

Rabindranath tagore promoted it in shantiniketan

father Of Manipuri Dance karta Maharaj

Major Exponents Of Manipuri dance

1. Jhaveri sisters ( Nayana, Swarna , Ranjana, darshana).Mainly perform Group
Dance

7 Kathak Indian Classics dance from uttar

pradesh

Kathak is one of the eight forms of Indian classical dance.

This dance form traces its origins to the nomadic bards of ancient northern India,
known as Kathakars or storytellers.

Kathak was primarily associated with an institution known as the tawaif.

Its form today contains traces of temple and ritual dances, and the influence of
the bhakti movement.

From the 16th century onwards it absorbed certain features of Persian dance and
central Asian dance which were imported by the royal courts of the Mughal era.

The name Kathak is derived from the Sanskrit word katha meaning story.

The structure of a conventional Kathak performance tends to follow a progression

in tempo from slow to fast, ending with a dramatic climax.

A short dance composition is known as a tukra, a longer one as a toda.

With the coming of the Mughals, this dance form received a new impetus. A
transition from the temple courtyard to the palace durbar took place which
necessitated changes in presentation.

In both Hindu and Muslim courts, Kathak became highly stylised and came to be
regarded as a sophisticated form of entertainment.

Under the Muslims there was a greater stress on nritya and bhava giving the
dance graceful, expressive and sensuous dimensions.

Music In kathak Dance

1. Hindustani style
Special Features
1. Sponatanity
2. Freedom from Uniformity
3. Room For improvisation and Innovation in Kathak Dance
4. There Enjoy Fair amount Of Individuality and autonomy .
5. Hence Various Gharanas originated ( Jaipur Gharana, Lucknow Gharana, Banaras
Gharana )

Kathak Dance Mainly Based on Bhava , Raga , Jaal

Main Focus is on Intricate Footwork

Dancers usually do the Singing Themselves

Theme Radha Krishana

Initially Kathak Dance Was Formed As a Solo Dance , but Now it Is performed in
Group Also

Main Events In Kathak dance

Vandana,

the dancer begins with an invocation to the divinity. Vandana means prayer, a
dance item which is performed as prayer.

Before Mughal influence kathak was mostly performed in temple and the form
was totally devoted to God.

So in those times vandana was too important and it reserved a large part of
dance.

These days performances generally have Vishnu or Ganesh Vandana, invocation

of Ganesha, the Hindu god of beginnings and good fortune.

Thaat

the first composition of a traditional performance; It is the style of standing.

The dancer performs short plays with the time-cycle, finishing on sam in a
statuesque standing (thaat) pose.

Aamad

Anand word from the Persian word meaning entry; the first introduction of
spoken rhythmic pattern or bol into the performance

Salaami,

related to Ar. salaam a salutation to the audience in the Muslim style.

Kavitt

Kavitt a poem set on a time-cycle; the dancer will perform movements that echo
the meaning of the poem.

Paran

Paran a composition using bols from the pakhawaj instead of only dance or tabla
bols.

Gat

Lari

Gat from the word for gait (walk) showing abstract visually beautiful gaits or
scenes from daily life.

Lari a footwork composition consisting of variations on a theme, and ending in a

Tihai.

Tihai

Thai usually a footwork composition consisting of a long set of bols repeated

thrice so that the very last bol ends dramatically on sam.

Toda

Toda a dancer performs to the composition of time beats in a rhythmic cycle,

ending with Tehai and arriving on the sam, a concluding beat.

Exponents Of Kathak Dance

1. Sitara Devi
2. Birju Maharaj
3. Lachhu Maharaj

8 -Sattriya Indian Classic Dance

Sattriya or Sattriya Nritya is one among the eight principal classical Indian
dance traditions.

In the year 2000, the Sattriya dances of Assam received recognition as one of the
eight classical dance forms of India

The core of Sattriya Nritya has usually been mythological stories.

Theme Mythological theme , Now Diverse Theme

This was an artistic way of presenting mythological teachings to the people in an

accessible, immediate, and enjoyable manner.

Traditionally, Sattriya was performed only by bhokots (male monks) in

monasteries as a part of their daily rituals or to mark special festivals.

Today, in addition to this practice, Sattriya is also performed on stage by men

and women who are not members of the satras, on themes not merely
mythological.

It Is devotional In Nature and involves Bhakti Rasa ( Spiritual Aspects )

This dance is Accompanied by a Musical Musical Composition Called Bargeets .

This Geet Was composed By Shankar dev

Main Musical Instruments Are -Khol ( Drum ) And Flute

costumes Are Made Up Of Assamese Silk Pat Silk

This Dance Involves both Tandava and Lasya Form Of dance

Initially it was performed by the Men But Now women also Perform This dance ,

Now Sattriya Dance also performed in Group also

Sattriya Nritya is divided into many aspects: Apsara Nritya, Behar Nritya,
Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya,Rasa Nritya,
Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura,
Nadu Bhangi, and Sutradhara, to name but a few these being the counterpart
to items in Bharata Natyam

Exponents
1. Bapuram Baibayan Atai
2. Pradip chaliha

List Of indian Folk Dance in India

Folk dance in India is a term broadly used to describe all forms of folk and
tribal dances in regions across India.

While Indian classical dance is considered a higher form of art and was practiced
in courts, temples and on special occasions, folk dance forms are practiced in
groups in rural areas as an expression of their daily work and rituals.

They are performed on religious or seasonal festivals. Some of the popular folk
dances that are performed across villages and cities are Bhangra, Garba, Kalbelia
and Bihu.

The state-wise distribution of folk dances are

Assam: Ankiya Nat, Kirtania Natak, Ojapali,Bihu

Bihar: Bidesia, Senkela Chhau, Jat-Jatni Bidpada, Ramkhelia.

Gujarat : Bhavai garba .

Haryana : Swang, Naqqal

Himachal Pradesh : Kariyala, Bhagat, Ras Ihanld, Harnatra Haran or Harin.

Jammu and Kashmir: Bhand Pathar or Bhand lashna, Vetal Dhamali.

Karnataka: Yakshagana, Bedara Vesha, Dollu Kunitha, Santa, Doddata-Bayalata,

Tala Maddle or Prasang. Dasarata, Radhna.

Kerala: Kodiyattam, Margam Kali, Mudiattam Therayattam, Chavittu Nadakam,

Chakyar koothu.

Madhya Pradesh: Maanch, Nacha.

Maharashtra: Tamasha, Lalit Bharud, Gondha, Dashavatar, Lavni.

Orissa: Pala Jtra, Daskathia, Mayurbhanj Chhau, Mangal Ras, Sowang.

Punjab: Naqqal, Swang bhangra .

Rajasthan: Khyal, Rasdhari, Rammat, Turra Kilangi, Gauri, Nautanki, Ihamtara.

Andhra Pradesh: Veethi Natakam, Burrakatha, lambadi, koya.

Tamil Nadu: Therukuttu, Veethi Natakam, Bhagwat Mela Natakam, Kurvaanji,

Pagal Vasham, Kavadi Chindu.

Telangana: Bathukamma

Uttar Pradesh: Bhagat, Sang-Swang, Naqqual.

Goa : Dashavatar, Tiyara

West Bengal : Chhau (Purulia), Santhali