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DANCE
Salient facts:
• The Rig Veda mentions dance (nrti) and danseuse (nrtu).
• The discovery of the bronze statue of a dancing girl in Harappan culture testifies to the fact that some
women in Harappa performed dances.
• The figure of Lord Shiva as Nataraja represents the creation and destruction of the cosmic cycle.
• Dances performed inside the sanctum of the temple according to the rituals were called Agama
Nartanam.

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• Dances performed in royal courts to the accompaniment of classical music were called Carnatakam.
CLASSICAL DANCE

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The term “classical” was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing
art styles. These are described as below:
Bharata Natyam (Tamil Nadu) • The Abhinaya Darpana by Nandikesvara is textual source for
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it.
• The dance movements are characterized by bent legs, while feet
keep rhythm. Hands may be used in a series of mudra.
Kathakali (Kerala) • The dancers wear large head dresses, and the different colours of
the face are extended with moulded lime.
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• Kathakali dance presents themes derived from the Ramayana,

the Mahabharata and other Hindu epics, mythologies and legends. 
Mohini Attam (Kerala) • Mohiniattyam is characterized by swaying movements of the
upper body with legs placed in a stance similar to the plie position.
The eyes play an important role in the direction of the movement.
• The performer wear The white and gold costume.
Kathak (Uttar Pradesh) • The movements include intricate footwork accented by bells
worn around the ankles and stylized gestures adapted from normal
body language.
• Lucknow, Banaras and Jaipur are recognized as the three schools
of it.
Odissi (Orissa) • The technique of Odissi includes repeated use of the tribhangi,
(thrice deflected posture) in which the body is bent in three
places, the shape of a helix. This posture and the characteristic
shifting of the torso from side to side, make Odissi a difficult
style to execute. 
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Kuchipudi (Andhra Pradesh) • Kuchipudi exhibits scenes from the Hindu Epics, legends and
mythological tales through a combination of music, dance and
acting.
• Taranagam is the main unique piece of kuchpudi repertoire, also
known as plate (made by brass) dance. In that the dancer must
dance upon a brass plate, placing the feet upon the raised edges.
Manipuri (Manipur) • It has two major streams. One is the sankeertana which is the
devotional aspect and the other is raasa. 
Sattriya (Assam) • Dressed in white costumes and turbans, head gears, they include
khol playing, performing dance, creating soundscapes, floor
patterns and choreographic designs.
FOLK DANCES OF INDIA
S. No. Dance form State

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1. Chhau dance Odisha, Jharkhand and West Bengal
2. Kalbella Rajasthan
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3. Dumhal Jammu and Kashmir
4. Hikat & Namagen Himachal Pradesh
5. Chholiya Uttarakhand
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6. Bangra Punjab
7. Gaur Madhya Pradesh
8. Karma Dance Chattisgarh
9. Padayani Kerala
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10. Kummi and Kolattam Tamil Nadu

11. Naga Dances Nagaland
12. Bihu Assam
13. Nongkrem Meghalaya
14. Thang-ta & Dhol-Cholom Manipur
15. Lahoor Haryana
16. DolluKunitha Karnataka
17. Lava Dance Lakshadweep
18. Lavani Maharashtra
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MUSIC
Music in Indian subcontinent is the reflection of the diverse elements — racial, linguistic and cultural. It plays
a vital role in the religious, social and artistic life of the heterogeneous population of the country.

The oldest music, which possessed a grammar was the vedic. Of course, the Rig-Veda is said to be the oldest:
nearly 5000 years old. The psalms of the Rig-Veda were called the richas. The Yajur Veda was also a religious
chant. Natya Shastra of Bharata is another important landmark in the history of Indian music. It is supposed
to have been written sometime between the 2nd century B.C. and the 2nd century A.D. Some scholars are even
doubtful whether it is the work of one author and the work might well have been a compendium - at least,
the version which is available to us. The Natya Shastra is a comprehensive work mainly dealing with dramaturgy.

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But a few chapters of this deal with music. Therein we get information on scales, melodic forms, tala and
musical instruments.
CLASSICAL MUSIC
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Classical music tradition, including Carnatic and Hindustani music has a history spanning millennia and has
developed over several eras. It remains fundamental to the lives of Indians today as sources of spiritual
inspiration, cultural expression and pure entertainment.
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Today there are two systems of classical music: the Hindustani and the Carnatic. Carnatic music is confined
to Karnataka, Andhra Pradesh, Tamil Nadu and Kerala. The classical music of the rest of the country goes
under the name, Hindustani Classical Music. Of course, there are some areas in Karnataka and Andhra where
the Hindustani Classical system is also practiced. Karnataka has given us in the recent past some very
distinguished musicians of the Hindustani style.
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The development of two distinct streams is usually attributed to the fact that northern India absorbed the
impact of Muslim rule in its culture while South India did not. Hindustani classical music was greatly patronised
by the Muslim rulers of northern India, particularly by the Mughal and Awadhi (Lucknow) courts.

Classical music in India is elevated to the states of science and this can be gauged from the description of it
as Shastriya Sangeet, or ‘scientific music’. Central to the classical music tradition in India is what is known as
the guru-shishya parampara, literally the teacher-pupil tradition. The gurus are entitled Pandit if they are Hindu
or Ustaad if they are Muslim.

While the basics remain constant among the Hindustani and Carnatic Music, there are differences in style and
flourish that distinguish one gharana from another; gharana literally means ‘household’. The major gharanas are
those of Kirana, Gwalior, Agra, Lucknow, Jaipur and Patiala. While the guru-shishya paramapara is common
to the teaching of classical music all over the country, the tradition of gharanas is unique to the north Indian
form of Hindustani classical music.
PILLARS OF INDIAN MUSICAL SYSTEMS-

• Swara - In general sense, Swara means pitch or tone. In total there are 7 basic notes of scale:

Sa, Re, Ga, Ma, Pa, Dha, Ni

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Collectively, these 7 swaras are called – SARGAM:

• Raga - It forms the basis of melody. Raga is a combination of tones or swaras which, with beautiful
illuminating graces, pleases the people is general.
• Tala - It focus the basis of rhythm. It is a time measure. It is an arrangement of beats a cyclical manner.
The range of taal is from 3 beats to 108 beats. As per natyashastra, the one 32 kinds of taal but presently,
there are more than 100 taals derived by musicians. The most popular taal is – Teen Taal (16 beats)
Hindustani Music
• Hindustani Sangeet is usually considered to be a mixture of traditional Hindu musical concepts and
Persian performance practice.
• Hindustani music is based on the raga system.
• A raga is a melodic scale, consisting of notes from the basic seven known as sa, re, ga, ma pa, dha, and
ni.

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• Formal compositions (songs or instrumental compositions in a fixed meter) are juxtaposed with the
improvised portion.
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• Khyal and Dhrupad are two major types of compositions within the Hindustani genre.
• There are many musical instruments that are associated with Hindustani sangeet. The most famous are
the tabla and sitar. Other less well known instruments are the sarangi, santur, and the sarod.
• North Indian Music offers a variety of forms of music like the Dhrupad, Khayal (classical North Indian
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music), Thumri (emotional music), Qawwali (songs from the Pakistani sufi’s), and Ghazal (Panjabi romantic
music).
Gharanas of Hindustani Music
In Hindustani music, a gharânâ is a system of social organization linking musicians or dancers by lineage or
apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive
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musicological ideology. This ideology sometimes changes substantially from one gharana to another.
Some popular gharanas are:
Gharanas Place of Origin
Gwalior Gharana Gwalior
Agra Gharana Agra
Kirana Gharana Avadh
Jaipur Gharana Jaipur
Rampur Sahaswan Gharana Rampur
Patiala Gharana Patiala
Delhi Gharana Delhi
Benaras Gharana  Benaras
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Types of Hindustani Music and its meaning

Dhrupad - Effort from vocal chords and lungs

Dhamar - Play of Krishna during holy

Khayal - Delicate, romantic and based on imagination.

Thumr i - Romantic religious literature

Tappa - Quick turn of phase

Bhajan - Religious devotional songs

Tarana - Syllables stung together to set a rhythm

Sabadas - Sikh religious songs

Qawali - Indo- Muslim repertories of songs in groups.

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Ghazal - Independent couplets on love and devotion

Carnatic Music

•
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Carnatic sangeet (karnatik sangit), is the South Indian system of classical music.

It has a rich history and a very sophisticated system of theory. 

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• Carnatic Sangeet is found in the south Indian states of Kerala, Tamil Nadu, Karnataka, and Andhra
Pradesh.

• Purandardas is considered as the father of Carnatic Music

• Carnatic music acquired its present form in the 18th century under the “trinity” of Carnatic music,
Thyagaraja, Shamashastri, and Muthuswami Dikshitar composed their famous songs. 
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• It is also based upon a system of ragam (rag) and thalam (tal).

• There are a number of musical instruments used in South Indian classical music. The most common ones
are the veena (vina), violin, mridangam, nadaswaram, and the tavil.

• The dominant element of Karnatic music is the ‘Kriti’; a form of composition with three parts.

Types of Carnatic Music and its meaning Ragam

Tanam- Pallavi - Elaborate rhythmic and melodic variation in unmeasured sense.

Kriti-Kirthanai - Most popular type which refers to devotional music laced with poetic beauty.

Varnam - Performed at the beginning of a concert; a completely composed piece.

Pa dam - Slower tempoed love songs referring to the human yearning for the adored god head.

Javalis - Faster tempoed love songs with direct description of human love.

Tillana - Meaningful phrases are interspersed with variety of meaningless syllables.

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FOLK MUSIC OF INDIA

1. Rasiya Geet: Uttar Pradesh:
2. Pankhida: Rajasthan
3. Lotia: Rajasthan
4. Pandavani: Chhattisgarh
5. Mando: Goa
6. Hori: Uttar Pradesh
7. Kajri: Uttar Pradesh
8. Tappa: Punjab
9. Daskathia: Odisha
10. Bihu songs: Assam

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MUSICAL INSTRUMENTS
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In the Natya Shastra, compiled by Bharat Muni dated 200 B.C.-200 A.D., musical instruments have been
divided into four main categories on the basis of how sound is produced.
Tata Vadya - Stringed Instruments • Sound is produced by the vibration of a string or chord. These
vibrations are caused by plucking or by bowing on the string
which has been pulled taut.
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• It is divided as the plucked and the bowed.

• Examples: veena, rudraveena, gotuvadyam, sitar, sarod, guitar,
mandolin, etc.
Sushira Vadya •  Sound is produced by blowing air into an hollow column.
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• Examples: Flute,  Shehnai, Nadaswaram, etc.

Avanaddha Vadya • sound is produced by striking the animal skin which has been
stretched across an earthern or metal pot or a wooden barrel or
frame.
• Examples: Drums, table, nagada, etc.
Ghana Vadya • Played with a striker or hammer.
• Examples: Chipli, Taal, sticks, clappers, etc.
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DRAMA
Bharata’s Natya Shastra was the earliest and most elaborate treatise on drama written anywhere in the world.
India has a longest and richest tradition in theatre going back to at least 5000 years. The origin of Indian theatre
is closely related to ancient rituals and seasonal festivities of the country. The growth in drama took place with
the introduction of “curtain” in the kushanas era.

The first millennium was also characterized by the great harvest of Sanskrit drama by pre-eminent play-wrights
like Bhasa, Kalidasa, Shudraka, Vishakadatta, Bhavabhuti and Harsha. This body of works compares in its
range and power with the dramatic output of other rich theatre traditions of the world ancient Greek theatre
and Elizabethan theatre. The glory of ancient Sanskrit drama ended with the first millennium.

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Traditionally the theatre consisted of the auditorium, stage and the backstage which is behind the stage. Curtain
separates the stage and backstage. The drama was performed without scenery and decorations. It was more of

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acting and gestures by the actors. Costume and make-up was regulated by convention so that roles were
immediately recognizable. Most type of drama had a hero , a heroine, a villain and a “vidushaka” as a
comedian. Themes were mainly based on love.

The drama generally opened with a benediction song followed by a prologue in the form of a dialogue/
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discussion between the chief actor and his actress giving the title , nature and occasion of the play. Violence
and death were forbidden to be performed in the stage. At the end of the play came a concluding verse- a
virtual vote of thanks.

FOLK THEATRE

1. BHAND PATHER(JASHIN) - KASHMIR

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• 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.

2. 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.

• In the style belonging to Rohtak, the language used is Haryanvi (Bangru) and in Haathras, it is
Brajbhasha.
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3. 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
4. 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.
5. BHAVAI - GUJARAT
• Main centers of - Kutch and Kathiawar.
• instruments used are: bhungal, tabla, flute, pakhaawaj, rabaab, sarangi, manjeera, etc.

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• there is a rare synthesis of devotional and romantic sentiments.
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6. 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.
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• earlier form of Jatra has been musical & dialogues were added at later stage.
• The actors themselves describe the change of scene, the place of action, etc.
7. BHAONA(ANKIA NAAT) - ASSAM
• cultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan can be seen.
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• The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese.
8. 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.
9. 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.
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10. DASHAVATAR - KONKAN AND GOA

• 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.
11. 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

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depicting victory of good over evil.
12. MUDIYETTU - KERALA
•

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

depicts the triumph of goddess Bhadrakali over the asura Darika.

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• seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar
(Nandikeshvara) are all heavily made-up.
13. THEYYAM - KERALA
• ‘Theyyam’ derived from the Sanskrit word ‘Daivam’ meaning God.
• Hence it is called God’s dance.
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• performed by various castes to appease and worship spirits.

• 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.
14. 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.
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15. 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.
16. THERUKOOTHU - TAMIL NADU
• literally means “street play”.
• mostly performed at the time of annual temple festivals of Mariamman (Rain goddess) to achieve
rich harvest.
• 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.

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17. KARYALA- HIMACHAL PRADESH
• Deals with serious question of life & death briefly and with simplicity of expression & diction, all
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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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INDIAN POTTERY
The art of handling of clay called Pottery was one of the earliest skills known to the Indians. From time
immemorial, lumps of clay were hand -moulded to form toys and deities of worship. The advent of the Potter’s
wheel gave man the task of making beautifully shaped pots for his personal use. The movement of the wheel
and the pressure exerted by the hands on the clay gives new shapes and forms.
Pottery is an art that has evolved since time immemorial. The origins of pottery date back to the Neolithic
Era; however in India it began with the Indus Valley Civilization and was developed as a response to the needs
of mankind.
UNGLAZED POTTERY

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Although the art of glazing pottery was known in India from ancient times, the finest pottery in India is of
the unglazed variety. This unglazed pottery has a wide range. Very fine paper-thin pottery is produced in Kutch,
Kanpur and Alwar. Alwar is known for paper-thin pottery called Kagzi.
There are three different styles in unglazed pottery.
1.
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Paper thin, biscuit colored pottery with incised patterns.
2. Here the pot is polished, painted with red and white slips into intricate patterns while the outline is incised.
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The scrafito technique is used here.
3. In this style, highly polished pottery is given strong, deeply incised, stylized patterns of arabesques. The rest
of the area is covered with rows of black dots and the contrast in color and texture gives the incised area
greater prominence.
Kangra in Himachal Pradesh, Pokhran in Rajasthan, Meerut and Harpur in Uttar Pradesh, Kanpur in Maharastra,
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Kutch in Gujarat, Jahjjar in Haryana, Birbhum in Bengal and Manipur are famous for their special styles in
pottery. Each region has its own specialty.
Kangra is noted for black pottery, which resembles the Harappan pottery style.Pokhran has stylized forms with
incised decorative patterns. Kanpur makes thin pottery with incised designs. Meerut and Jhajjar make slim
necked water containers called surahis. These are half -turned and half -moulded and have a variety of patterns
and designs. Kutch is famous for pots, terracotta horses and elephants. The pots are made for different
occasions like marriages, death, etc.Nizamabad in Uttar Pradesh is noted for black pottery with silver patterns
worked in it. This is similar to the Bidar work of Andhra where oxidized gunmetal is inlaid with silver wire.
GLAZED POTTERY
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In India, the making of Glazed pottery came into being with the advent of the Arab influence in India. Only
a few centers in India are known for its production. Glazed pottery with white background and blue and green
patterns is developed in Delhi, Amritsar, Jaipur, Khurja, Chunar and Rampur in Uttar Pradesh, and Karigari
in Tamilnadu.
Delhi, Khurja and Jaipur are known for the famed Blue Pottery. This does not involve the usage of clay. First,
the basic forms are created and then they are painted on the surface.

Ceramic pots of Jaipur put up for sale

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OR
Then it is covered with finely ground glass and fired. Jaipur and Delhi follow this method whereas Khurja and
Rampur prepare the base from red clay and then fire it.
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Marble inlay works

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In Chunar, the raised designs in Surahis are adapted for glazed pottery. A brown slip is given finally.In Karigari
in Tamilnadu, biscuit ware is created with incised patterns and given a blue or green glaze.
TERRACOTTA
The rural parts of India commonly display terracotta animal figures in places of worship or under the mango
or pipal trees in the vicinity of temples. The potters mostly do the terracotta figures. In some parts of Indian
villages, the women folk create their own forms of Gods for worship and other decorative pieces for adorning
their houses.
In Bihar, Bengal and Gujarat, during festivals, the women prepare clay figures to propitiate their Gods and
Goddesses.
The relief- worked plague of Moela in Rajasthan has a distinct style. Here on flat surface local deities are
created with moulded clay. They are then fired and then painted brilliant colors.
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Terracotta works used for decorations

Gorakhpur in Uttar Pradesh has villages where clay figures of animals are done. The potter creates the basic
form by throwing separate pieces on the wheel and then joining them.

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Tanjore doll
OR Clay toys common in India.
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Tamilnadu is famous for the terracotta figures of the Aiyanar Deity. The figures are huge and they are found
standing guard at the entrances of villages protecting the insiders from evil spirits.Gujarat also has votive
figures like horses with riders, etc.  
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PAPIER-MACHE
In the year 1398, when India was invaded by Tamur Lane, Sultan Sikander sent his son to pay tribute to the
invader. Tamur lane betrayed the agreement of his alliance with the Sultan and made his son a hostage in
Samarkhand for seven years. Many craftsmen from Central Asia and Persia had accompanied Tamur Lane to
India and were placed in Samarkhand as well. There this young dynamic Prince saw the strange craft made of
paper pulp. He learnt the art and later when he became the king after his father’s death, spread this art among
the craftsmen of his region. 

A Fish pattern made of Papier Mache

The base of this craft is paper pulp coarsely mashed and mixed with copper sulphate and rice-flour paste. Then
moulded by covering the mould with a thin paper and then with layers of this mixture. The designers then
sketch the designs intricately and finally it is laquered and polished in bright colors. A touch of golden color
is always found on all papier-mache products owing its root to the Persian design.
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PUPPET FORMS OF INDIA

The puppets are believed to be around since the time of Harappa and Mohenjodaro civilisation dating back
to 2300 BC. Several dolls with strings are found in some of the harappan cities.
The Mahabharata refers to popular entertainment in India including art of puppetry and shadow theatre. There
is reference in Gita where the three qualities found in men (Satta, Rajah and Tamah) are said to be the three
strings pulled by the Divine to lead man in life.
Silappadikaaram - earliest reference to the art of puppetry is found in Sangam literature.
Puppetry throughout the ages has held an important place in traditional entertainment. Puppetry has been
successfully used to motivate emotionally and physically handicapped students to develop their mental and
physical faculties. Awareness programmes about the conservation of the natural and cultural environment have

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also proved to be useful. These programmes aim at sensitising the students to the beauty in word, sound, form,
colour and movement. The aesthetic satisfaction derived from making of puppets and communicating through
them helps in the all round development of the personality of the child.
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Stories adapted from puranic literature, local myths and legends usually form the content of traditional puppet
theatre in India which, in turn, imbibes elements of all creative expressions like painting, sculpture, music,
dance, drama, etc. The presentation of puppet programmes involves the creative efforts of many people
working together.
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Several types of Puppet forms are available in our diverse culture of India:
• String Puppets
Characteristics:
a) It has jointed body and limbs that allow movement.
b) Puppets are made of wood, or wire, or cloth stuffed with cotton, rags or saw dust. T
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c) The puppet is suspended from a hand held control strings that are attached to different parts of the
puppet’s body.
d) The puppet is manipulated by operating the control as well as by loosening or pulling the relevant string(s).
e) For the convenience of manipulation and support, two rods are attached to the hands of the puppets.
Examples:
i. Kathputli (Rajasthan)
ii. Kundhei (Orissa)
iii. Gombeyatta (Karnataka)
iv. Bommalattam (TN)
• Shadow Puppets
Characteristics
a) Shadow puppets are flat puppets that are operated against the rear of a tightly stretched white cloth
screen. 
b) They are cut out of leather, which has been treated to make it translucent.
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c) Shadow puppets are pressed against the screen with a strong source of light behind it.
d) The manipulation between the light and the screen make silhouettes or colourful shadows for the viewers
who sit in front of the screen.
e) The puppet shapes or cutouts are perforated and split bamboo or cane sticks are attached vertically to the
puppet for handling and manipulation.
Examples:
i. Togalu Gombeyatta (Karnataka)
ii. Tholu Bommalata (AP)
iii. Ravanachhaya (Orissa)
iv. Tolpavakoothu (Kerala)
v. Chamadyache Bahulya (Maharashtra)

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• Rod Puppets
Characteristics
a)

b)
OR
These puppets have mostly three joints. The heads, supported by the main rod, is joined at the neck and
both hands attached to rods are joined at the shoulders.
The main holding rod that supports the puppet may be hidden by a robe or costume of the puppet.
c) The action rods are usually connected to the hands of the puppet and manipulated by the puppeteer to
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show action.
d) The body and hands have a bamboo base covered and plastered with hay and rice husk mixed and
moulded into required shape.
e) Due to the absence of legs the puppets are draped in a sari or dhoti as per the character.
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f) The puppet movements are highly dramatic.

Examples:
i. Putul Nautch (WB)
ii. Yampuri (Bihar)
iii. Kathi Kandhe (Orissa)
• Glove Puppets
Characteristics
a) The glove puppets are worn on hands just like a glove.
b) The middle finger and thumb act as hands of the puppet and the index finger acts as the head. 
c) Head is made of either papier mache, cloth or wood, with two hands emerging from just below the neck.
Examples:
1. Pava-kathakali (Kerala)
2. Kundhei nach (Orissa)
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In the past, traditional puppet shows were used to convey religious messages in villages. Today, due to the
influence of modern communication methods, the traditional puppetry is at the cross roads in many states of
India with most puppeteers taking to alternate source of livelihood. However, contemporary puppetry has a
tremendous scope in the field of education, entertainment and awareness generation. 
Pavai (Centre for Puppetry) explores and uses the art of puppetry for communication at various levels and
works towards its promotion and preservation with the help of children, youth and the teaching community. 

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INDIAN PAINTING
The origin of Indian painting goes back to 8000 years and an account of its development is inextricably
meshed with the development of Indian civilization.
• Prehistoric painting: Theme of painting were Hunting theme (group Hunting scenes); Figures of animals
& birds; Battle Scenes; Dancing Scenes. Example; Bhibetka Caves (MP).
• Mural paintings: Indian Mural Paintings are paintings made on walls of caves and palaces. The caves of
Ajanta, Ellora and Elephanta also on the Bagh caves and Sittanvasal are examples of it.

Paintings Themes

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Ajanta paintings The themes of most of these paintings revolve around the life and teachings of

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Lord Buddha. This includes the Jataka stories related to the various lives and
incarnations of Buddha. 
Ellora Paintings The rock paintings of Ellora were painted in two different series. The first series,
which were done when the caves were carved, revolve around Lord Vishnu and
Goddess Lakshmi. The second series, painted centuries later, illustrate procession
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of Shaiva holy men, Apsaras, etc. It also included Jataka tales and Jain text.
Bagh Paintings Paintings are both secular and religious  ( Buddhism is main inspiration ). Painting
style is influenced by Ajanta.
Sittanavasal Paintings The themes of these paintings include animals, fish, ducks, people collecting lotuses
from a pond, two dancing figures, etc. Apart from that, one can also find inscriptions
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dating back to the 9th and 10th century. Jainism is main inspiration.

Badami Paintings Petronised by Chalukyas. It was inspired by Vaishaivism. Paintings in this cave
depict palace scenes.
Pandyas paintings Jains texts, female figures, etc.
Pallavas paintings Beautiful lotus pond and flowers, dancing figures, lilies, fish, geese, buffaloes and
elephants.
Chola paintings The paintings celebrate Lord Œiva.
Vijayanagara Paintings The paintings about the life and times of the Vijayanagara court.
Nayaka Paintings Depicting the story of Mucukunda, a legendary Chola king.

• Miniature Paintings: Miniature paintings are executed on books and albums, and on perishable material
such as paper and cloth. The Palas of Bengal were the pioneers of miniature painting in India. The art
reached its zenith during the Mughal period and was pursued by the painters of different Rajasthani
Schools of painting, like Bundi, Kishangarh, Jaipur, Marwar and Mewar. The Ragamala paintings also
belong to this school, as do the Company paintings produced during the British Raj.
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Pala School • They are representations of Buddhist yantras, graphic symbols which were
visual aids to the mantras and the dharanis (types of ritual speech).
• The Buddhist monasteries (mahaviharas) of Nalanda, Odantapuri, Vikramsila
and Somarupa were great centres of Buddhist learning and art.
Mughal School • It is synthesis of the indigenous Indian style of painting and the Safavid
school of Persian painting.
• The subjects depicted were scenes of warfare, hunting and trials of strength.
Rajasthani school • The themes of the paintings were mostly religious and love subjects, based on
Lord Rama and Lord Krishna. Court scenes were depicted as also royal
portraits.
• The Rajput painting developed individual styles in Bundi, Kota, Jaipur, Jodhpur
and Kishangarh.

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Pahari school • The Pahari School was lively and romantic, technically superior with soft
tonal shading, exquisitely created backgrounds that merged with the theme,
and attitudes and postures highly evocative of the moods they were to convey.
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• The important centres of the Pahari School were at Basholi, Jammu, Guler
and Kangra.
Deccani school • Deccani painting developed at Bijapur, Ahmadnagar, Golkonda and
Hyderabad, the former states that formed the region known as Deccan.
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• Tanjore paintings are of popular Hindu deities and scenes from Hindu epics.
The painting are done on cloth stretched over wood, style is decorative and
is marked by the use of bright colours and ornamental details.
Company school of • European artists also brought with them the technique of oil painting.
painting • One popular imperial tradition was that of picturesque landscape painting.
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• Another tradition of art that became immensely popular in colonial India

was portrait painting.
• There was a third category of imperial art, called "history painting".

• Folk paintings: The rural folk paintings of India bear distinctive colorful designs, which are treated with
religious and mystical motifs. These are:
Madhubani Painting Mithila region of Bihar
Phad Scroll painting of Rajasthan
Warli paintings Thane, Maharashtra
Patachitra Orissa
Kalighat paintings Kolkatta
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GOVERNMENT INSTITUTIONS RELATED

TO ART AND CULTURE
• Lalit Kala Akademi
To promote and propagate understanding of Indian art, both within and outside the country, the Lalit Kala
Akademi was established in 1954 at New Delhi for pursuance of the dream of the first Prime Minister of
independent India, Pandit Jawaharlal Nehru for a cultural and national identity.
The Akademi has regional centres called Rashtriya Lalit Kala Kendras at Lucknow, Kolkata, Chennai, Garhi
in New Delhi and Bhubaneswar with workshop facilities in painting, sculpture, print-making and ceramics.
Broadly the objectives of the Akademi are - to encourage the exchange of ideas between various schools of
art by organizing conferences, seminars, exhibitions etc. on all India basis involving scholars and educationists

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and State Academies, Zonal cultural Centers and Art Organizations like faculties of art in universities, art
colleges and schools, art museums, art galleries and art associations; To publish and to promote publication of

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literature on art including monographs, journals etc (The Akademi also brings out bi-annual art journals, Lalit
Kala Contemporary (English), Lalit Kala Ancient (English) and Samkaleen Kala (Hindi)); To foster cultural contacts
within the country and also with other countries, through art exhibition, exchange of personal and art objects;
To award scholarships and prizes to deserving artists; To create a Reserve Fund, Sinking Fund, or any other
special fund, whether for depreciation or for repairs, improving , extending or maintaining any of the properties
or rights of the Akademi.
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The National Exhibition of Art is the most prestigious annual event of the Lalit kala Akademi begun in 1955;
it is directed towards showcasing and representing visual advances in the year. The Akademi honours eminent
artists and art historians every year by electing them as Fellows of the Akademi.
Lalit Kala Akademi was basically set up to serve as a medium to provide recognition to the unknown
unrecognized mediocre artists. By organizing exhibitions it acts as a platform for artists to get the suitable
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rewards for their hard work. The Akademi also organises Triennial India, an International exhibition of
contemporary art in New Delhi.
The main objective of the Triennale, an international Exhibition of Contemporary art, is to provide a platform
for sharing old experiences and sharing better understanding of art practices among the artists of participating
countries. This event is organised once in every three years.
• Sangeet Natak Akademi
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 by a resolution of the Ministry of
Education, Government of India, dated 31 May 1952.
Since its inception the Akademi has been functioning as the apex body of the performing arts in the country,
preserving and promoting the vast intangible heritage of India’s diverse culture expressed in the forms of
music, dance and drama. In furtherance of its objectives the Akademi coordinates and collaborates with the
governments and art academies of different States and Territories of the Union of India as also with major
cultural institutions in the country. The Akademi establishes and looks after institutions and projects of
national importance in the field of the performing arts. The National School of Drama, set up in 1959, was
the first of their two national institutions of dance — Jawaharlal Nehru Manipur Dance Academy in Imphal
and Kathak Kendra (National Institute of Kathak Dance) in New Delhi - were set up in 1964 respectively.
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National Projects of Support to Kuttiyattam - the age-old Sanskrit theatre of Kerala - Chhau dances of eastern
India and Sattriya traditions of Assam have been lauched subsequently. After ten years of intensive work under
the Kutiyattam project, the UNESCO declared Kutiyattam as a Masterpiece of Oral and Intangible Heritage
of Humanity in May 2001.It organizes performances of music, dance, and theatre.
The Akademi Awards are the highest national recognition conferred on eminent artistes. The Akademi also
confers Fellowships and Scholarship, their numbers being restricted to 30 living recipients.
To subsidize the work of institutions engaged in teaching, performing or promoting music, dance, or theatre;
the Akademi gives grants-in-aid for research, documentation, and publishing in the performing arts; organizes
and subsidizes seminars and conferences of subject specialists; documents and records the performing arts for
its audio-visual archive. 
The Sangeet Natak Akademi is at present an autonomous body of the Ministry of Tourism and Culture,
Government of India and is fully funded by the Government for implementation of its schemes and programmes.
• Sahitya Akademi
Sahitya Akademi is the Indian National Academy of Letters meant to promote the cause of Indian literature

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through publications, translations, seminars, workshops, cultural exchange programmes and literary meets organised
all over the country.
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The Akademi was founded in March 1954 as an autonomous body fully funded by the Department of Culture.
It was registered as a Society in 1956 under the Societies Registration Act, 1860.
Over the 56 years of its dynamic existence, it has ceaselessly endeavored to promote good taste and healthy
reading habits, to keep alive the intimate dialogue among the various linguistic and literary zones and groups
through seminars, lectures, symposia, discussions, readings and performances, to increase the pace of mutual
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translations through workshops and individual assignments and to develop a serious literary culture through the
publications of journals, monographs, individual creative works of every genre, anthologies, encyclopedias,
dictionaries, bibliographies, who’s who of writers and histories of literature.
The highest honour conferred by the Akademi on a writer is by electing him its Fellow. This honour is reserved
for the ‘Immortals of Literature’ and limited to 21 at any given time.
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The Akademi has recognised 24 languages. Besides the twenty two languages enumerated in the Constitution
of India, the Sahitya Akademi has recognised English and Rajasthani as languages in which its programme may
be implemented.
It has three journals, Indian Literature (bi-monthly in English), Samkaleena Bharatiya Sahitya (bi-monthly in Hindi)
and Samskrita Pratibha (half-yearly in Sanskrit). Every year the Akademi publishes 250-300 books on an average.
The head office of Sahitya Akademi is situated at New Delhi whereas it has regional centres at:
Kolkata: This Regional Office looks after the publication and programme work in Assamese, Bengali, Bodo,
Manipuri and Oriya, besides a part of publication work in English and Tibetan. It also handles programmes
in the other north-eastern languages. The Regional office maintains a major Library.
Bangalore: Looks after the publication and programme work in Kannada, Malayalam, Tamil and Telugu,
besides a part of publication in English. It is located in Central College Campus. This regional office also has
a major library.
Chennai Office: This office works as sub regional office and looks after the Tamil language and its programmes.
Mumbai: It was set up in 1972. It looks after the publication and programme work in Gujarati. Konkani,
Marathi and Sindhi, besides a part of publication work in English and Hindi.
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The Sahitya Akademi Library is one of the most important and unique multi-lingual libraries in India with a
rich collection of books on literature and allied subjects in the 24 languages recognised by the Sahitya Akademi.
The Library is well-known for its huge collection of books on criticism, of works of translation’ and reference
books including dictionaries.
• Archaeological Survey of India
The  Archaeological Survey of India (ASI), under the Ministry of Culture, is the premier organization for the
archaeological researches and protection of the cultural heritage of the nation. Maintenance of ancient monuments
and archaeological sites and remains of national importance is the prime concern of the ASI. Besides it regulate
all archaeological activities in the country as per the provisions of the Ancient Monuments and Archaeological
Sites and Remains Act, 1958. It also regulates Antiquities and Art Treasure Act, 1972.
For the maintenance of ancient monuments and archaeological sites and remains of national importance the
entire country is divided into 24 Circles. The organization has a large work force of trained archaeologists,
conservators, epigraphist, architects and scientists for conducting archaeological research projects through its

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Circles, Museums, Excavation Branches, Prehistory Branch, Epigraphy Branches, Science Branch, Horticulture
Branch, Building Survey Project, Temple Survey Projects and Underwater Archaeology Wing.
• The Asiatic society, Kolkata
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The Asiatic society was founded in Calcutta in 1784 by Sir William jones, an eminet indologist , with the
objective of inquiring into the history, antiquities, arts , science and literature of Asia. This institution proved
to be the fountain-head of all literary and scientific activities in India and patron of all Asiatic socities in the
world. The society has a rich collection of books , manuscripts , coins , inscriptions and archival material. It
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is also a museum.
• The Centre for Cultural Resources and Training (CCRT)
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
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of India. At the philosophical core of the CCRT lies a commitment to holistic education, encompassing the
cognitive, emotional and spiritual development of children. To this end the CCRT conducts education grounded
in cultural knowledge and understanding as conducive to clarity, creativity, independence of thought, tolerance
and compassion.
• National School of Drama
It is one of the foremost theatre institutions of the World and the only one of its kind in India. It was set
up by Sangeet Natak Academy in 1959, later in 1975 it became an autonomous body, totally financed by
Department of Culture. The objective of NSD is to train students in all aspects of theatre, including Theatre
History Production, Scene Design, Costume Designs, Lighting, Makeup etc. The training course at NSD Art
and Culture is of three years duration. Each year, 20 students are admitted to the course.
• Central Board of Film Certification
The Central Board of Film Certification (CBFC) was set up under the Cinematograph Act 1952. CBFC
certifies films for public exhibition in India. It consists of a chairperson and twenty five other non -official
members. Smt. Sharmila Tagore is the present Chairperson of CBFC. Its headquarters is in Mumbai. It has
nine regional offices in Bangalore, Kolkata, Chennai, Cuttack, Guwahati, Hyderbad, Mumbai, New Delhi and
Thiruvananthapuram.
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• National Film Development Corporation Limited (NFDC)

The National Film Development Corporation Limited was incorporated in 1975. It was formed by the
Government of India with the primary objective of planning and promoting an organized, efficient and
integrated development of the Indian film industry. NFDC was reincorporated in the year 1980, by merging
the Film Finance Corporation (FFC) and Indian Motion Picture Export Corporation (IMPEC) with NFDC.
The erstwhile Film Finance Corporation was set up in the year 1962. It was formed with the primary objective
of extending finance to young talented film makers for film production. The Indian Motion Picture Export
Corporation was an autonomous body. It was set up to regulate the import and export of films and canalization
of raw stock into the country. The NFDC has so far produced over 200 films. These films in various Indian
languages, have been widely acclaimed and have won many national and international awards. The Corporate
office of NFDC is at Worli, Mumbai. It has three Regional Offices at Chennai, Kolkata and Delhi and a
Branch Office at Thiruvananthapuram

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MISCELLANEOUS INFORMATION
MARTIAL ARTS OF INDIA
Martial arts is a part of India’s ancient culture and a traditional games.Originally a traditional form of martial
art that started in South India, and now it has different names and different forms in the culture of the regions
in India. Khusti The Indian Wrestling is also a part of Indian Martial arts found throughout the India. Indian
martial arts has an important influence in the development of modern Asian martial arts. Nowadays a sense
of self-defense and for fitness lots of people are opting for martial arts.As in other respects of Indian culture,
Indian martial arts can be roughly divided into northern and southern styles.
Martial art State

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Gatka Punjab

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Paika Orissa
Thag Ta Manipur
Kalaripayattu Kerala
Choliya Uttaranchal
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Pang Lhabosol Sikkim
Silambam Tamil Nadu
Musti yuddha Uttar Pradesh
Mardani Khel Maharashtra
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Pari Khanda Bihar

CLASSICAL LANGUAGES
Classical languages are those which are ancient, of an independent nature and not a derivative of any other
tradition.
• The criteria evolved by Government to determine declaration of a language as a Classical language is as
under:-
• High antiquity of its early texts/recorded history over a period of 1500-2000 years;
• A body of ancient literature/texts, which is considered a valuable heritage by generations of speakers;
• The literary tradition be original and not borrowed from another speech community;
• The classical language and literature being distinct from modern, there may also be a discontinuity
between the classical language and its later forms or its offshoots.
Today six languages are included in the list of Classical Languages: Tamil (since 2004) Sanskrit (since 2005)
Telugu (since 2008) Kannada (Since 2008) Malayalam (since 2013) Odiya (since 2014).
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IMPORTANT ANCIENT UNIVERSITIES

Taxila Rawalpindi District of Punjab, Pakistan
Nalanda Near Patna, Bihar
Vikramshila District Bhagalpur, Bihar
Valabhi University Saurashtra, Gujarat
Pushpagiri University Jajpur district, Odisha
Somapura University Naogaon District, Bangladesh
PRINTING, WEAVING AND EMBROIDERY STYLES IN INDIA
The styles depend upon the location of the place, climatic conditions, cultural influences and trade contacts.
Printing, Weaving and Embroidery Styles City/State
Phulkari Punjab
Baluchari

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Murshidabad (West Bengal)
OR
Kantha Embroidery West Bengal and Bihar
Block Printing Rajasthan and Gujarat
Resist Printing Rajasthan, Madhya Pradesh, Tamil Nadu
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Bandhni Gujarat
Bhandej Rajasthan
Pochampalli Andhra Pradesh
Kota Rajasthan
Zardozi Varanasi, Lucknow, Surat, Ajmer, Bhopal and Hyderabad
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Chikankari Lucknow (Uttar Pradesh)

Jamdani Tanda ( Uttar Pradesh)
Ikat Andhra Pradesh and Orissa
Kasuti Karnataka
Kashmiri or Kashida Jammu and Kashmir
Shamilami Manipur
TRADITIONAL SAREES/FABRIC OF INDIA
Sarees/Fabric City/State
Kanjeevaram Kanchipuram (Tamil Nadu)
Zamdani,Tant West Bengal
Paithani Maharashtra
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Pattu Saree Kerala

Pochampally Andhra Pradesh/Telengana
Gota Saree Rajasthan and UP
Chanderi Madhya Pradesh
Bomkai, Kotki, Sambalpuri Orissa
Kota Rajasthan

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OR
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