Indian classical dance, or Shastriya Nritya, is an umbrella term for different regionally-specific Indian classical dance traditions, rooted in predominantly Hindu musical theatre performance, the theory and practice of which can be traced to the Sanskrit text Natya Shastra. The number of Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source and scholar; the main organisation for Indian arts preservation, the Sangeet Natak Academy recognizes eight: Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. Additionally, the Indian Ministry of Culture includes Chhau in its list, recognising nine total styles. Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. Each dance tradition originates and comes from a different state and/or region of India; for example, Bharatanatyam is from Tamil Nadu in the south of India, Odissi is from the east coast state of Odisha, and Manipuri is from the northeastern state of Manipur. The music associated with these different dance performances consists many compositions in Hindi, Malayalam, Meitei (Manipuri), Sanskrit, Tamil, Odia, Telugu, and many other Indian-Subcontinent languages; they represent a unity of core ideas, and a diversity of styles, costumes and expression.
Guru Mani Madhava Chakyar (15 February 1899 – 14 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Koodiyattam artist and authority of modern times. He was considered as the authority of Abhinaya and Nātyaśāstra.
Sangeet Natak Akademi is the national level academy for performing arts set up by the Government of India.
Nātyakalpadrumam is a book written by Guru Māni Mādhava Chākyār, considered the greatest exponent of Koodiyattam and Abhinaya in Kerala, about all aspects of ancient Sanskrit drama theatre tradition of Kerala—Kutiyattam. It was first published in Malayalam (1975) by Kerala Kalamandalam, with financial assistance of Sangeet Natak Academi, New Delhi. This work serves as a reference to both scholars and students. The entire book is written in the old Sanskrit text style closely following Nātyaśāstra. The structure and content of the book alike illustrate the knowledge of the author in both Sanskrit and Nātyaśāstra. The work received the Kerala Sahitya Academy Award in the year 1975. A Hindi translation has been published by the Sangeet Natak Akademi, New Delhi.
Sunanda Nair is an Indian dancer trained in Mohiniattam. She did her master's degree in this dance form from Nalanda Nritya Kala Mahavidyalaya affiliated to the University of Mumbai. She has completed her PhD from University of Mumbai for her thesis "Intrinsic Lyrical Feminism in Mohiniattam". She was born in Mumbai, India.
Kalanidhi Narayanan was an Indian dancer and teacher of Indian classical dance form of Bharatnatyam, who was the early non-devadasi girl to learn the dance form and perform it on stage in the 1930s and 1940s. After a brief career in the 1940s, she returned to dance in 1973 and became a notable teacher of abhinaya.
Guru Mayadhar Raut is an Indian classical Odissi dancer, choreographer and Guru.
Kalamandalam Kshemavathy is a Mohiniyattam dancer from Thrissur, Kerala. She is an alumna of the Kerala Kalamandalam. She joined the institute when she was ten. After completion of the course, she undertook advanced training in Bharata Natyam under Muthuswamy Pillai and Chitra Visweswaran, and in Kuchipudi under Vempati Chinna Satyam, but chose to remain within the Mohiniyattam tradition.
Saroja Vaidyanathan was an Indian choreographer, guru, and notable proponent of Bharatanatyam. She was conferred the Padma Shri in 2002 and the Padma Bhushan in 2013 by the Government of India.
Rohini Bhate was among the senior most Kathak dance exponents in India, who developed as a performer, teacher, writer, researcher and critic this Indian classical dance. During her career, she was awarded with several recognitions, such as the Sangeet Natak Akademi Award, and the Kalidas Samman.
Parshwanath Upadhye is an Indian classical dancer, choreographer and teacher. He is trained in the traditional Mysore style of Bharatanatyam.
Sucheta Bhide Chapekar is an Indian classical dancer and choreographer. She is an exponent of Bharatnatyam. She is the founder of "Kalavardhini", a trust supporting the teaching and propagation activities in classical dance, where she also teaches Bharatnatyam. She has been a recipient of the Sangeet Natak Akademi Award (2007).
Madras Kadiravelu Saroja, known as Puliyur Saroja, was an Indian classical dancer, known for her expertise, as an exponent and as a teacher, in the classical dance form of Bharatanatyam. The Government of India honored her, in 2011, with the Padma Shri, the fourth highest civilian award, for her services to the field of art and culture.
Minati Mishra was an Indian classical dancer and actress, known for her expertise in the Indian classical dance form of Odissi. She was reported in 2011 to be the oldest-living Odissi performer. The Government of India honored Mishra in 2012, with the fourth-highest civilian award of Padma Shri.
Geeta Chandran is an Indian Bharatanatyam dancer and vocalist. Trained in Carnatic music, she is a visionary and celebrated artist in Indian classical Bharatanatyam, recognized for her work in theatre, dance, education, videos and films.
Acharya Parvati Kumar or Parvatikumar was an Indian classical dancer, classical dance choreographer and scholar as well as Bharata Natyam guru.
Meenakshi Srinivasan is an Indian classical dancer and choreographer, and an exponent of the Pandanallur style of Bharatnatyam. She trained under Alarmel Valli and is considered among the most promising soloists of the younger generation of dancers in this traditional style.
Gopika Varma is a Kerala born Mohiniyattam dancer and dance teacher who is settled in Chennai, Tamil Nadu, India. She received several awards including Sangeet Natak Akademi Award, Kerala Sangeetha Nataka Akademi Award and Kalaimamani.
Based on the study of Natya Shastra text, the common Indian grammar of performing arts and literature is referred to as Marga in the post-Natyashastra period. Deshis are regional forms of performing arts, many of which are developed based on regional taste.
Piyal Bhattacharya is an Indian theatre director and Natyashastra scholar from Kolkata, West Bengal. He is proficient in Sanskrit, English, Bengali, Hindi and Malayalam. He has founded the Spanda Art Space near Garia, Kolkata.
