indian dance culture essay

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Essay on “Dances of India” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Dances of India

Essay No.01

Dance is a series of movements and steps that match the speed and rhythm of music. It is an artistic accompanied by gestures and expressions which explain the theme contained in the music. One can dance alone or with a partner or in a group. Rhythm and movements are basic to dance.

India has rich cultural tradition. Dance is a part of our rich cultural heritage. It is as varied as the land itself. it has an underlying unity which binds the people of the country to gather. The dances of India are an expression of an ancient civilization.

Dance in India has an unbroken tradition of over 2000 years. Its themes are derived from mythology legends and classical literature. There are two main forms of dances in India. These are folk dance and classical dance. They are not simply them movement of legs and arms but of the whole body.

Most of the classical dances were first conceived and nurtured in the temples. They attained their full stature there. Classical dance forms are based on ancient dance discipline. They have rigid rules of presentation.

Indian classical dances follow the principles and rules laid down by Bharat Muni n his Natyashastra many ages ago. There are 180 styles of Indian temples. Music dance and drama have been an integral part of Indian religious and secular life.

Of the classical dances of India five are famous all over the world. These are Bharat Natyam, Kathakali , Manipuri, Kathak and Moiniattam of Kerala. The concept of rasa holds the central place in dance. While dancing rasa is conveyed through bhava and abhinaya.

Bharat Natyam has derived its roots from Tamil Nandu. It has developed into an all India form. This dance is associated with lord shiva. Kathakali is a dance form of Kerala. The theme for the dance is drawn either from the Ramayana the Mahabharata the Puranas or the Vedas. Manipuri is a delicate lyrical style of dance of Manipur. It is based on the romance of the divine Krishna and Radha. Kathak is a major classical dance form of North India. This forks dance is revitalized as a result of Mughal influence on Indian culture. Orissa a dance form of Orissa was once practiced as a temple dances. Only dedanses could perform this dance in front of lord jagannath. Today It has developed into an all Indian form.

Folk dance is a traditional dance of the common people of a region. Indian folk dances have relatively greater free play expression of feelings emotions and sentiments than classical forms. The theme is connected with the performer life daily activities and the environment. The theme is also derived from nature in its various moods and seasons. Folk dances imbibe new influence and at the same maintain tradition and continuity.

The classical dances of India are usually spiritual in content whereas the main force behind the folk dances of India is the celebratory mood. Dances are a form of coherent expression of human feelings .these dances are not only the exclusive art of a particular community but an asset to India cultural heritage.

Both classical and folk dances owe their present popularity to institutions like sangeet natak academy and other training institutes and cultural organizations. Sangeet natak akademi gives financial assistance o f culture institutions. It also aware fellowships to scholars performers a teachers. This is to promotes advanced study an training in different forms of dances and music.

Some western dance forms are also in vogue in India. The young generation has their bent of mind towards these forms. For young people dance is only a bodily expression of joy and happiness. Weston dance forms are very popular in many late night clubs dance bars and pubs which have been opened in cities. However such dance forms cannot claim to be a part of Indian art or culture.

Dance is a highly developed art which needs immense Discipline and years of training. Many people have adopted various forms of dance as their profession and have earned great fame in their chosen field. many dance troupes exhibit this skill in India and abroad and win laurels. We should consider dance as an art and a part of our cultural heritage.

Essay No. 02

Indian Dances

When man’s soul urges and inner drives are expressed in rhythmic body movements, it is called dance. Man is destined to dance his way to higher and still higher levels of consciousness and evolution. The aesthetic foundations of Indian dances are laid on the rock foundations of spiritual sadhana. Lord Shiva, the Natraj, is said to be originator of dance. He is also the Supreme Dancer. His cosmic dance is very famous. His Tandava reflects his violent nature as a stern judge and upholder of justice and righteousness. He dances, both in sorrow and joy, as the god of rhythm and movement. He performs his Cosmic Tandava dance at the termination of the age.

Indian dances are famous all over the world. They have changed little through all these centuries and the dancers perform their dance recitals according to the traditional precepts enshrined in Bharata’s Natyashasta a There are said to be 180 styles of dancing, and 101 of these are described in the Natyashastra. Many of these dance styles can be seen depicted on the walls and pillars of some of the famous Indian Temples. Music, dance and drama have been an integral part of Indian religion and secular life. Indian dances are not simply a things of legs and limbs but of the whole body and soul. They are highly developed and stylised and so have changed little in technique. They strictly adhere to the principles and rules laid down by Bharat Muni’ s Natyashastra, they along with variegated folk forms, present a panoramic and spectacular view of splendid and continuous dance tradition in India. Their history, sprawling from the pre-historic antiquity down to our own days, makes a fascinating reading. Indian dances, a proud and magnificent heritage of India, are a phenomenon to be enjoyed, seen and to be participated.

Of the classical Indian dances the five are very famous. They are Bharata Natyam, Kathakali, Kathak, Manipuri and Odissi. In the subtle Bharata Natyam, popular in the south India, feeling (bhava), raga (melody) and rhythm (tala) play the most vital role. It is the oldest dance style and is associated with Lord Shiva. It is a solo dance and most complicated to be understood fully by a lay man. Preserved in its prestine glory and unalloyed purity in Tamil Nadu, it enjoys today a very wide currency and popularity. For centuries in medieval India it was performed by Devadasis or handmaids of gods in the exquisite temples of South India.

Bharat Natyarn’s three components—movement, music and mime contribute equally in its performance. Basically it is a solo lasya, that is, tender and erotic dance, generally per-formed by a danseuse and occasionally by a danseur. No doubt it is based on the theme of love, but it is invariably devotional in essence and never sensual. During its performance it evolves like a bud into a blossom gradually through many stages. The final stage is very fine example of pure and abstract dance full of fascinating movements and rhythms accompanied and governed by the scintillating music. It presents a complex pattern of pure dance. The dancer conjures up intricate images of dance and footwork with statusque poses. It concludes with the chanting of a Sloka. In short, no other dance form can surpass Bharata Natyam and a few can equal it in its delicacy, grace, consummation and richness.

Kathakali is fundamentally of epic dimensions. Its universal appeal and popularity is an established fact. Its epic dimensions finally merge into cosmic ones, It is performed in an open air in a temple compound or a village courtyard. The only lighting used is a tall and massive brass lamp fed with coconut oil and set in front of the actors at the centre of the stage. It is accompanied by continuous thundering of the drums. It begins with the invocation of gods and lowering of a curtain held by two men. The themes of the dance are generally from the Ramayana, the Mahabharata, the Puranas or the Vedas. This dance-play continue all through the night. The facial vocabulary plays a very significant role in the portrayal of the subtlest passions with such perfection as transport the spectators to the magic world of myths, legends and fairies. Traditionally, young boys perform female roles. Kathakali costumes are traditional, gorgeous, spectacular, varied, ostentatious, and ornamental.

Kathak is a major classical dance form of North India dance both by men and women. It is well known for its spontaneity, freedom from uniformity and a lot of room for innovations and improvisations. It enjoys a fair amount of individuality and autonomy. A kathak dancer can change his or her sequence of stages to suit individual style and aptitude. Kathak makes a great use of a number of Hindustani musical compositions like Dhrupad, Hori, Dhama, Pad, Bhajan, Thumari, Ghazal, Dadra, etc. It also begins with invocation to gods. There is a rich variety in its repertoire as far as expression of feelings and passions is concerned. In an expressional dance the performer combines mime with music and dance and interprets the song to the accompaniment of soft music of the sarangi or a sitar. The song either in Braj, Hindi or Hindustani may be sacred, secular, devotional or erotic.

Manipur, bordering Burma, is a picturesque Indian state. Its famous dance form is called Manipuri. Rasa-dance which is full of devotional favour, and is performed to the singing of songs and kirtans and to the accompaniment of such musical instruments as khol or mridange (drum), manjira (cymbals) and a bamboo flute. Its liquid beauty, lyrical quality, re-strained but rhythmic swaying, swinging and spinning, coupled with soft vocal and instrumental devotional music, defies description. The text or songs accompanying Manipuri dance are from great saint, lyricists like Jayadeva, Vidyapati, Chandidas or the Bhagavatapuran. The costume of the Manipur dancers is always rich, ornamented and extremely captivating. Odissi, the dance form of Orissa, is the highly inspired, impassioned, ecstatic and sensuous. In medieval times this dance was performed by the Devadasis called Maharis in the temples. Rooted deeply in traditions and rituals, the dance is very old though its name is new. It commences with invocation to gods to the accompaniment of rhythmic vocal syllables blended into drum beats. The chant of the musician, the beat of the drum and the lilting and measured feet movements of the danseuse are so harmonized and produce a fine balance between the danseuse and the dancer, and the spectators are ushered into a fascinating world of mime, music and motifs reflecting sculpture stances. It represents a fine synthesis of Lasya and Tandava styles of Indian classical dances. It is an idiom which transcends all the limits of communication leading to rich aesthetic and spiritual experience.

Indian folk and tribal dances are fine examples of creative creations. They lack stylisation, refinement and artificiality. Folk and tribal dance forms cover various styles and forms originated, developed and maintained by the villagers, farmers, peasants, fishermen, and shepherds, nomads and tribals. These are out and out for pleasure and enjoyment. They are characterized most by their spontaneity, collective impulse and participation, simplicity, freshness and lack of restraint. Their richness, multiplicity diversity and variety is a thing of great wonder and no less admiration. They are at once thoroughly social, religious, ceremonial, seasonal, martial and ritual, always inspired by mythology, legends, religion and primitive instincts.

Essay No. 03

Man’s spiritual urge and inner drive manifested in rhythmic body movement constitute an art form called dance. Thus, rhythm and movements are basic to dance, creation and existence. Men, birds, beasts, plants, and the earth, all are engaged in a ceaseless cosmic dance-recital. Rhythm and movement is life, and its cessation stagnation, decay and death. Dance symbolizes both evolution and involution. Recent researches have revealed that distant galaxies are dancing away from us at an immense speed, some of them at the rate of about 144,000 km per second. Man is destined to dance his way to higher levels of consciousness and evolution till he achieves fullness, fulfillment and perfection.

It is in this background that Indian dances can be best appreciated and understood. The aesthetic foundations of the Indian dances and other art-forms are laid on the rocks of spiritual sadhana and rigorous mental and physical discipline leading to liberation, however, fleeting and momentary in the beginning. In essence, Indian dances are deeply religious in their origin. They do not simply involve legs and limbs, but the whole body and soul.

Indian classical dances are highly developed and stylised and have changed little in their technique, and yet they are innovative. By and large, they strictly adhere to the principles and rules laid down by Bharat Muni in his Natyashastra many ages ago. They, along with no less fascinating and variegated folk-forms, present a panoramic and spectacular view of splendid and continuous dance tradition of the country. Their history, spanning from the prehistoric times to the present, makes a fascinating study and reading. Indian dances, particularly the classical dances, are famous all over the world. There are said to be 180 styles of Indian dancing, and 101 of these are described in the Natyashastra. Most of these dance-styles can be seen depicted on the walls and pillars of some of the famous Indian temples. Music; dance and drama have been integral parts of Indian religion and life.

Of the classical dances, the five very famous ones are:

(i) Bharat Natyam

(ii) Kathakali

(iii) Manipuri

(iv) Kathak

Bharat Natyam is popular in south India. Feeling, raga and rhythm play a most crucial role in this dance form. It is the oldest dance-form and is associated with Lord Shiva. It is a solo dance, and most complicated and subtle to be understood and appreciated by a layman. Preserved in its pristine glory and unalloyed purity in Tamil Nadu, it enjoys very wide currency and popularity in India. For centuries in medieval India, it was performed by Devadasis or handmaids of gods in the exquisite temples of south India. The Devadasis were then held in high esteem as repositories of culture and performing arts.

Bharat Natyam’s three components—movement, mime and music—contribute equally in performance and recital. It is also a tender and erotic dance, generally performed by a female dancer and sometimes by a male dancer as well. No doubt it is based on the theme of love, romance and heroism but it is invariably devotional in essence and never sensual. It is equally and evenly divided into nritta (abstract dance) and nritya (expressive dance). It is presented in such a way that it upholds itself in a sequence of stages like a bud bursting into a blossom of unmatched beauty, colour, fascination and splendor. The artist performing Bharat Natyam wears a costume which is both traditional as well as functional. A wide variety of beautiful ornaments are also used.

Kathakali, the traditional story-play of kaleidoscopic Kerala, was evolved and nurtured in temples, just like Bharat Natyam. It is also known as Attakatha (dance-play) and is fundamentally of epic dimensions. Its journey from temples to courts and then to streets, courtyards and public places in Kerala tell its ever-increasing universal appeal and popularity. Kathakali is performed in open air, on a square stage with a tall and massive brass lamp, fed with coconut oil, set in front of the dancers at the centre of the stage. This is the only lighting used. The continuous thundering of the drum called chenda heralds the performance of the Kathakali dance-drama. The theme to be enacted and danced may either be from the Ramayana, the Mahabharata, the Puranas, or the Vedas. It continues all through the night, to the accompaniment of singing, drumming and playing on the large bronze cymbals. Traditionally, young boys perform female roles, but now girls and women also perform female roles. The prospective Kathakali dancers are caught young and initiated ritually in the art at the tender age of 10-12 and made to undergo a rigorous and intensive training and discipline under a skilled guru or master. The costumes are traditional, gorgeous, spectacular, varied, ostentatious, ornamental and yet functional. Eyes play an exceptional role in this style of dance.

Manipuri dances are based on the romance of divine Krishna and Radha. It was Maharaja Jai Singh, also known as Bhagy Chandra, who helped to develop and patronise this dance form. His daughter Princess Bimba-manjari was a dancer par excellence of. this style. It was subsequently formalised, codified and stylised on classical lines by great gurus of the art. The Rasa-dances are always related to Krishna legends and the movements of the neck, the breasts and hips are not allowed in this dance as they are considered vulgar and below the dignity and grandeur of these devotional forms of dance. The text of the accompanying songs is always from great saint-poets like Jayadeva, Vidyapati, Chandidas or from the Bhaguat Purana. The costume is always rich, ornamental and captivating. Rich in emotional content and sentiment of love, Manipuri dances require arduous training and discipline of the artist from a very tender age under the guidance of expert gurus. Truly classical, devotional and religious in spirit, these are performed to the singing of songs and kirtans and to the accompaniment of khol, niridanga, manjira and bamboo flutes. Their liquid beauty, lyrical quality, restrained and rhythmic swaying, swinging and spinning, with hands close to the body, coupled with soft music, lend the performance a uniqueness and divinity which defy description.

Kathak, a major classical dance form of north India, is performed both by men and women. It is well-known for its spontaneity, freedom from uniformity, and has a lot of room for innovation and improvisation. It enjoys a fair amount of individuality and autonomy. A kathak dancer can change his or her sequence of stages to suit individual style and aptitude. Kathak makes a great use of a number of Hindustani musical compositions like Dhrupad, Hori, Dhamal, Pad, Bhajan, Thumri, Ghazal, and Dadra, etc. It may also begin with an invocation of gods. There is a rich variety in repertoire as far as expression of feelings and passions are concerned. In an expressional dance, the artist combines mime with music and dance and interprets the song to the accompaniment of soft music of the sarangi or a sitar. The songs, either in Hindi, Braj or Hindustani, may be sacred, secular, devotional or erotic.

Odissi, the classical dance form of Orissa is highly inspired, impassioned, ecstatic and sensuous. In medieval days, this dance was performed by the Devadasis, called Maharis, in the temples. Rooted deeply in traditions and rituals, the dance is very old though its name is new. It commences with an invocation of gods to the accompaniment of rhythmic vocal syllables blended into drum-beats. The chant of the musician, the beat of the drum and the lilting and measured foot movements of the danseuse are so harmonised as to produce a delicate balance between the danseuse and the dance. The audience is ushered into a fascinating world of mime, music and motifs, reflecting sculpture stances. It represents a fine synthesis of Lasya and Tandaua styles of Indian classical dances. It has an idiom that transcends all the limits of communication, leading to a rich, aesthetic and spiritual experience.

Indian folk dances have relatively far greater free play, expression of feelings, emotions and sentiments than classical forms. The folk people are born dancers. Their gait, movements and various activities, especially those of women, betray their rhythmic tempo and sculpturesque poses and postures. Folk dance-forms are intimately connected with the performer’s life, daily activities, environment and other physical surroundings and nature in its various moods and season. Indian folk dances are ever fresh, fragrant and imbued with a wonderful capacity to renew and to imbibe new influences and yet to maintain tradition and continuity. Indian folk dances are part and parcel of the country’s rich cultural heritage and immense artistic wealth. Their staggering variety and richness inspires wonder and admiration. They are at once thoroughly religious, social, ceremonial, seasonal, material, ritual, romantic and erotic and always inspired by mythology, legends. scriptures, folk tales and, above all, by the most primitive instinct to express pain and pleasure through linear and statuesque stances and rhythmic movements.

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Classical Dance of India: Reflecting the Rich Heritage and Cultural Diversity

Indian Culture
Traditional Dance of india

Bharatanatyam, mohiniyattam, bhangra/gidda.

The theory and origin of classical dances of India or ‘Shastriya Devesh’ can be traced back to the Sanskrit text of Natya Shastra. The various forms of dance that come under the umbrella have their roots in Hindu religious musical theatres. The Sangeet Natak Academy recognises eight classical dance forms in India, namely, Bharatnatyam, Kathak, Kuchipudi, Kathakali, Odissi, Mohiniyattam , Manipuri and Satriya. Folk dance , on the other hand, is part of the indeginous tradition of a region. Performed during occassions, festivities, and ceremonies, the folk and classical dances of India exhibit the unique culture of India in its true essence.

India is replete with an ancient history that gave rise to the forms of classical and folk dances that are still performed today. Here, we dive into some of these classical dance forms that enrich our cultural practices.

Bharatanatyam originated sometime around 1000 BC, in the ancient temples of Tamil Nadu . This elegant form of dance is performed by women, to the tunes of Carnatic music. Through the performance, the dancers showcase Hindu mythological themes and spiritual concepts, especially the teachings of Shaivism, Vaishnavism, and Shaktism. It is enriched with graceful hand gestures, limb movements, and facial expressions, all of which contrive a story. These gestures are called ‘ Mudras ‘. Bharatnatyam was a prevalent dance form which faced stringent oppression during the colonial period. Today, it is recognised as one of the most respectable art forms in India, kept alive despite all the repercussions. In the Southern region of the country, it is a matter of pride for a dancer to learn this renowned classical dance form.

The name ‘Kathak’ is derived from the Hindi word ‘Katha’, meaning “story”. Originated in the northern region of India, from the state of Uttar Pradesh , the classical dance form of Kathak tells a story through the body movements of the performer. It is performed by both women and men, often together. At times referred to as the dance of love, Kathak emphasizes the movements of the ankle that fall in sync with the rhythm of the music. Ghungroos or ankle bells pose as indispensable accompaniments to the performer’s charm and are iconic to the dance. There are distinctions that can be witnessed in Kathak as it is performed in various places in the country, including its three gharanas: Jaipur, Benaras, and Lucknow.

The dance form originating in Kerala , Kathakali, narrates mythological tales just through gestures and facial expressions. Kathakali , meaning ‘storyteller’, is a religious dance form of high esteem. It derives its movements from athletic traditions, religious drama and folk arts of the South. The stories that are embodied in the performances are mainly inspired by the epic of Ramayana and the mythological legends of Lord Shiva. The music includes only the vocals and is called Soppanam. Kathakali dancers are adorned in heavy, traditional costumes , ornate face masks and body paint. The makeup, or ‘Vesham’, is significant to the character being portrayed, and hence, is done with painstaking details.

The dance form of Manipuri represents the culture that thrives in the north-eastern state of Manipur. The dances narrate the popular ‘Raasleela’, which are stories of Radha and Krishna, deities of Hindu mythology. The performances are arranged as a team. Narrative chanting and the music of Indian classical instruments accompany the dance performances..

The performance of this classical dance form is regarded as a ritualistic procedure dedicated to God. Tracing its roots to the state of Andhra Pradesh, this difficult dance form demands dedication to master the skills. In the early years, Kuchipudi was only performed by the male dancers in the temples, specifically the upper caste Brahmins. Today, however, it is more prevalent among women.

Mahapurusha Sankaradeva, a Bhakti saint and reformer of Assam, introduced the Sattriya dance form during the 15th century AD. This dance form was preserved in the Sattras or the Vaishnava Maths. It is an artistic way of imparting teachings through mythological themes, with a combination of dance, ballad and enactment. Today, the Sattras do not limit the themes and the performances. It includes the popular romantic tales of Radha-Krishna and Ram-Sita. It is one of the most graceful classical dances of India

Mohiniyattam , the popular dance form of Kerala, has its roots in the ancient Sanskrit text of Natya Shastra. The word “Attam” in Malayalam means rhythmic motion, while Mohini is the only female avatar of Lord Vishnu. Thus, taking inspiration from the divine enchantress, the performance of Mohiniyattam showcases her dance. To the accompaniment of Carnatic music, singing and acting, the dance is traditionally performed by women. The recited song is composed in a language called Manipravalam, a hybrid of Sanskrit and Malayalam. The repertoire of instruments that produces the heavenly ragas and other melodies include the Mridangam, Madhalam, flute, Idakka, Veena, and Kuzhitalam.

The traditional dance form of Odissi originated in the temples of Odisha. The sculptures of deities of ancient temples have inspired the gestures or Mudras of this intricate dance form that explore the mythological tales. The melody of the music accompanies the Hindi poetry recital, in this ancient dance form. Performed mostly by women, there are more than fifty forms of Mudras incorporated in the performance. It is one of the most melodious classical dances of India.

India has many other traditional dance forms below are some of the famous ones.

classical dance of India, Bhangra and Gidda

Bhangra belongs to the state of Punjab and is traditionally associated with the harvest festival of Baisakhi. It is an enthusiastic form of dance that is performed during ceremonies and occasions. The vibrancy of Bhangra dance and the beats of the dhol brings brilliant energy and gaiety to the celebrations.

Dance of colours and uplifting music, the Garba originated in Gujarat and is performed during the Navratri festival. It is performed in groups, mainly by women, who move around a statue of goddess Shakti. The pairs of sticks which the dancers use as props, exhibit the musical beats with a luminous spirit. Garba dancers wear traditional dresses of Gujarat called Chorno, and Chaniya Choli during the performances.

Lavani boasts its origin in the state of Maharashtra , where it played a pivotal role in the upliftment of Marathi folk theatre. The name Lavani is derived from the word ‘Lavanya’ which means beauty. Lavani is a dance centered around female performers where the mythological tales are depicted against a repertoire of traditional Marathi music with the beats of Dholak. Two forms of Lavani are the philosophical Nirguni Lavani and the sensual Shringar Lavani. However, Padachi Lavani is performed in a theatrical setting with a large audience while Baithakichi Lavani is for a select audience of fewer numbers. The exciting and quick tempo paired with the powerful foot movements are characteristic of the Lavani dance form.

The themes and subjects of the performance revolve around religion, politics, society and romance. Dancers are dressed in the traditional nine-yard long saree of Maharashtra and adorned with gold jewelry. It is a sensual dance with erotic elements that serve to enhance the socio-political satire of the performance.

Originally performed by the Bhil tribe to worship goddess Saraswati, the Ghoomar dance is an integral part of the Rajasthani culture . The performers adorn themselves in heavy jewellery and gorgeous dresses. The dance incorporates intricate circular or twirling movements, complemented with hand gestures.

During the Rongali Bihu festival of Assam, young dancers perform a joyful folk dance . The Bihu dance combines rapid hand movements, quick steps and rhythmic swaying to present a brilliant performance of merry-making. It marks the beginning of the spring season, and through the Bihu dance, people take pride in the heritage and culture of Assam . The dancers wear traditional Assamese clothing along with beautiful accessories. The Dhol , Xutuli, Baanhi, Toka, and Gogona are the instruments which are used to bring to life the traditional tunes for the performance. The Bihu dance originated from the Bisu dance performed by communities of Upper Assam, like the Sonowal Kacharis, Deoris, Moran, and Borahis. This popular Indian Dance was performed at the London Olympics in 2012.

Chhau dance is an iconic cultural art form of Mayurbhanj, Odisha. Dressed in elegant costumes of bright colors, contrasting designs, and face masks, the performers of Chhau incorporate martial arts into their dance.

Performed by the women of Kashmir , Rouf is a light and cheerful form of dance. It is performed during occasions and ceremonies with soothing music and singing. The simple footwork that is characteristic of Rouf is called Chakri in the local language.

The folk and classical dance forms of India are diverse and each a gem on its own. The performers incorporate the style and nuances of the form to deliver a show that represents the culture in its full artistic essence. These classical dances of India are a pageant of the talent, skill, and the rich heritage that exists in the country.

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Classical Dances of India: Everything you need to know about

Last updated on November 9, 2023 by ClearIAS Team

Table of Contents

Origin of classical dances

Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text – ‘Natya Shastra’ . The first compilation of Natya Shastra is dated between 200BCE and 200CE.

As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular dance all over the world.

Rasanubhuti: The 8 Rasas

The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas . They are as following:

Shringar: Love
Hasya: Humorous
Karuna: Sorrow
Raudra: Anger
Veer: Heroism
Bhayanak: Fear
Bibhats: Disgust
Adbhoot: Wonder

Note: Later Abhinav Gupta added a ninth one to it, Shanta: Peace.

What are classical dances?

Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc).

There are Nine Classical Dances as recognized by Ministry of Culture, Government of India . Let’s have a look at these classical dances – one by one.

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Bharatnatyam

A dance that encompasses Bhav, Rag, Ras and Taal is ‘Bharatanatyam’. Also called as ‘Sadir’ , it was conventionally performed by Devadasis (girls offered to God in the temple) in Hindu Temples of South India. Thus, also known as ‘Dasiattam’ . Developed in the Tanjore and other regions of South India prominently Tamil Nadu, this could possibly be the Oldest Classical Dance form of India (around 2000 years old). It follows the convention of Natya Shastra in true spirit. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movements.

The word meaning of Bharatnatyam

Bha: Bhava which means emotions
Ra: Rag meaning musical notes.
Ta: Taal meaning the Rhythm.
Natyam: The Sanskrit word for Drama .

The evidence of Bharatanatyam

Silappatikaram (where its existence was mentioned in this ancient Tamil epic).
Brihaddeshwara temple was a major center for Bharatnatyam since 1000CE.
The Gopurams of Chidambaram display the poses of Bharatnatyam, chaaris, and Karanas that are carved in the stones.

The makeup used for Bharatanatyam

Immense and charismatic makeup (hair as a single bun is tied just before the plaits).
The eye-catching costume (bright colored Sari- today the costume comes in 7 pieces that are worn simply, for men – dhoti).
Glowing ornaments.

The repertoire of Bharatanatyam

Alarippu – Invocation
Jatiswaram – Nritta part
Shabdam – Short compositions with word
Varnam – a story, that includes both Nritta and Nritya
Padam – Religious prayer, Bhajan, Keertanam.
Thillana – Origin in the Tarana of Hindustani Music
Ends with Mangalam.

The music and instruments used for the Bharatanatyam

Carnatic Style, Vocalists Called – Nattuvanar (normally Guru).
Verses are usually in Tamil, Telugu, Kannada, Sanskrit.
Mridangam, Nadaswaram, Nattuvangam, Flute, Violin veena etc.

The revival of Bharatanatyam from ancient to modern day platform

Rukmini Devi Arundale created a Renaissance. Before her, this art was almost dead. She raised this art form to a Puritan form.
Also, T.Balasaraswati ‘s efforts helped to uplift this art form to the form known today.
Rukmini Devi founded the Kalakshetra in Adyar and thus gave a new hope to the promotion of this Dance form.
The famous Bharatanatyam dancers are Yamini Krishnamurthy, Meenakshi Sundaram Pillai, Saroja Vaidyanathan, Janaki Rangarajan Etc.

The graceful dance of North India origin ‘ Kathaa’ ‘Kahe’ so ‘Kathak’ ‘Kahave’ , the one who tells stories is Kathakaar or Kathak . Also known as ‘Natwari Nrutya’. Kathak is one of the most charming dance forms of India. The themes of Kathak revolve around Stories of Ramayan, Mahabharat, and Krishna. Apart from this, Kathak encompasses presentations on manifold subjects. Raslila of Braj is quite akin to Kathak. A Solo Dance form but group compositions on themes with perfect synchronization steals the heart.

The specialties of Kathak

Kathak is world famous for its spectacular footwork, amazing spins, Nazakat and Padhant (Chanting of bols, toda, tukdas by dancer himself and then performing). This is the distinctive feature of Kathak.
It creates a nexus between the dancer and audience.
The body movements are quite straight as compared to Bend movements of South Indian Dances.
The heavy ghunghroos are worn by the Dancers – 100/200/250 on one leg.
There is a wide variety of sounds are hidden in these ghunghroos like running train, heavy rains, Sound of Horse riding,( Ghode ki chaal) and much more. This adds more beauty to the performance.

The four main Gharanas, or schools of kathak dance

These are the Jaipur, Lucknow, Raigarh and the Benares gharanas.
These schools are named according to the geographical area in which they developed.
Each has a slight difference in interpretation and repertoire and can be recognized from their presentations.

The Sequence of Kathak dance

Starts with Vandana ( Worshipping God).
Aamad (sequence of That Aamad Uthaan may be different in different gharanas).
Toda Tukdas.
Gatbhaav (Story)
Ladi-Tatkaar(Footwork)
End with a Bhajan, Thumri, Tarana or Ashtapadi, Kajri, Chaiti, Chaturang etc.

The costume, makeup, and ornaments used for Kathak

Traditionally, Sari, Ghagra-Choli, Chudidar Frock – Jacket, Dupatta for women and men can wear Chudidar Kurta and Dupatta tied at the waist.
This dance-drama may have costumes as per the character.
Makeup is not much heavy but is quite sharp and Fine to reflect the expressions. A bun or long plaits with garland looks beautiful.
Mostly white—yellow pearl ornaments are used.

The music and instruments used for Kathak dance form

Hindustani Music: Lyrics may be in Hindi, Brij, Sanskrit or any other regional language.
Instruments like Pakhawaj, Tabla, Sarangi, Sitar, Harmonium, Flute, Sarod, etc. are used.

The revival of Kathak dance forms

The value of this dance form diminished during the Moghul period but still, there were certain good technical changes like inclusion of Thumri in Kathak.
The period of Nawab Wajidali Shah was a golden age for Kathak. He himself was a great artist and extensively promoted Kathak.
The King of Raigarh Raja Chakradhar Singh who himself was a Kathak dancer gave birth to Raigarh Gharana of Kathak—greatest contribution to Kathak.
Achhan Maharaj, Shambhu Maharaj, Gopi Krishna, Pandit Birju Maharaj, Pandit Rajendra Ganagani ji, Sitara Devi, Rohini Bhate, Maya Rao, Mandvi Singh, Shama Bhate, Shovana Narayana and many more artists gave their priceless contribution in Kathak .
Kathak Kendra Delhi, a constituent Body of Sangeet Natak Akademi and many other governments and private institutes all over the world strive hard continuously for the training and promotion of Kathak.

The long-established dance form in the serene surroundings of Shri Jagannath Temple in Odisha is famous as ‘Odissi’ . It has its mention in the oldest Sanskrit Text – Natya Shastra as Audramagdhi . In ancient days this dance form filled with Bhakti ras was a part of worship to God at Jagannath temples . Thus we find many sculptures in dance position inside the temple.

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It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears like waves of the ocean. Odissi is famous for its presentations on poet Jayadev’s fabulous work.

Two styles of traditional Odissi

Maharis (Devadasis or Temple Girls).
Gotipua ( Performed by Boys).

The sequence

Managalacharan (Worshipping Lord Jagannath or other gods, goddesses).
This will be followed by Pushpanjali (Offering of flowers) and salutation to mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas.
The next comes the Batu Nrutya—Fast dance pure dance which we call it as Nritta which is then followed by Nritya which include, Abhinay- Expressions on some devotional poems or songs.
The verses may be in Sanskrit or Odia language. Ashtapadis—Dashavtar, Ardhanari etc. Are quite famous.
Then comes the Dance Drama in sequence. The themes generally relate to the Hindu gods and goddesses. Modern day expressive theme presentations go beyond the horizon.

The costumes used for the Odissi dance forms

It is made up of traditional material (Dhoti for men- Sari for women) from Odisha. Today fully stitched costume is available.
A crown is worn by female dancers which are prepared in Jagannathpuri.
White colored flowers are adorned on the bun.
Like every other dance form, jewelry remains the same but is of silver colored. Ghunghroos too form part of this dance.

The music and instruments used

The South Indian, as well as North Indian Music, is employed for the dance.
The Pakhavaj, Tabla, Swarmandal, Harmonium, Sitar, Flute, Violin, and Cymbals.

The revival of Odissi dance forms

Kelucharan Mahapatra, Gangadhar Pradhan, Pankaj Charan Das etc.revived this dance form in the late forties and early fifties.
Sanjukta Panigrahi, Sonal Mansingh, Kumkum Mohanty, Anita Babu, Sujata Mohapatra etc. contributed to the upliftment and popularization of Odissi.
Recently, the Odissi has now been included in the syllabus of IIT Bhubaneshwar’s B.Tech syllabus since 2015. It became the first national technical institute to introduce any Indian Classical Dance form in their syllabus.

The Kuchipudi was originated from the place named ‘Kuchipudi’ in Krishna district of Andhra Pradesh around 3 rd century BCE, Kuchipudi Dance form is a long-established dance-drama style.

Tirtha Narayana Yati and his disciple Siddhendra Yogi organized and founded the modern version of Kuchipudi which we see today. Kuchipudi gradually developed as a solo dance form and today we can see both male and female performing it. Kuchipudi are themes related to Vaishnavism, Lord Krishna, Rukmini, Satyabhama and other myths. Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as well.

Kuchipudi vs Bharatanatyam

Bharatnatyam costume has three fans of dissimilar lengths. While Kuchipudi dress has only one frill/fan lengthier than the lengthiest fan in the former.
In Bharatnatyam, there is no side Pallu but in Kuchipudi separate pallu is stitched seen on the left side.
Two buns are used in Kuchipudi while only one in Bharatnatyam.

The repertoire of Kuchipudi

The repertoire of Kuchipudi is similar to that of Bharatanatyam:
Kuchipudi has a specialty called- ‘ Tarangam ’ in which the dancer performs on the top of the brass plates.
And sometimes balances some pot on the head. This makes the dance form extremely unique.

The costume and makeup of Kuchipudi

The makeup is similar to that of Bharatnatnatyam.
A dancer in a female role would wear a Sari with light makeup. Today the stitched costume is available.
The traditional Kuchipudi was performed by all males and their attire was quite simple ‘Angivastra’ also known as Bagalbandi and a dhoti .

The music and instruments used for the Kuchipudi dance

Based on Carnatic music the language is usually Telugu.
Mridangam, cymbals, veena, flute and Tambura.

The famous dancers in Kuchipudi

Raja-Radha Reddy.
Yamini Reddy.
Vaijayanti Kashi.
Uma Rama Rao etc.

Dazzling classical dance of Kerala is Kathakali. ‘Katha’= Story or tale, ‘Kali’= Performance and Art. Its roots are in ancient ‘Kutiyattam’ (Classical Sanskrit Dance Drama) and ‘Krishnattam’ (Dance-Drama depicting Stories of Hindu God Krishna). Movements in Kathakali are influenced by ancient martial arts and athletic tradition. It is basically a Dance-Drama. Kathakali was traditionally a male-dominated dance and now females are too welcomed in this dance form. Kathakali is also famous for its huge elaborate costumes, amazing make-up style, face masks, and ornaments.

Unlike other Classical Dances, Kathakali art form developed in the courts and theaters of Hindu principalities. The traditional performances were used to be as long from Dusk to dawn. Modern day presentations are short as per the time limit of the program. The Kerala Kalamandalam is the main center for Kathakali Artists. Kathakali has similarities with other dance forms like that of the Japanese ‘ Noh’ and ‘Kabuki’ dance forms have similarities with Kathakali.

The main themes used in Kathakali

Mythological themes include Ramayan, Mahabharat, Bhagvat Purana, etc.
Also modern day Kathakali dancers present stories and plays of Shakespeare.

The makeup for Kathakali

According to the role of the dancer, his face is colored/painted.
The colors are made in rice paste with vegetable colors and applied on the face.
The Green for Noble characters.
Tati (Red) for evil like Ravana.
Kari (black) for hunters and monsters.
Yellow for women etc.

The famous artists of Kathakali

Kalamandalam Krishna Prasad.
Kalamandalam Kesavan Namboodiri.
Kalamandalam Gopi etc.

Mohiniattam

Another graceful Classical Dance of Kerala, Mohiniattam is Lasya inspired dance with soft, calm and gentle movements. Characterized as Feminine, usually done by women. The word ‘Mohini’ is related to the charming women avatar of Lord Vishnu – to end the evil powers. Mohiniattam also connotes, beautiful dancing women. The graceful and most beautiful, Mohiniattam is mesmerizing. The text ‘Hastha Lakshanadeepika’ is followed (for hand gestures and facial expressions) that has an elaborate description of mudras.

The costumes for Mohiniyatam

Mohiniyattam has a unique White/Off-White Costume.
the prominent one-sided hairstyle (bun) also called as ‘Kuduma’.
Adorable ornaments make it unique.

The sequence of Mohiniyattam

Invocation.
Jatiswaram.

The revival of Mohiniyattam

In 1930, Nationalist Malayalam poet Vallathol Narayan Menon helped to repeal the ban on temple dancing in Kerala as well as established the Kerala Kalmandalam dance school and gave encouragement for its training and practice.
Mukundraj, Krishna Panicker, Thankamony as well as Guru and Dancer Kalamandalam Kalyanikutty Amma gave their heroic contribution in reviving the traditional art form.

The Manipuri dance form named after its region of origin, ‘Manipur’ is also known as ‘Jogai’ . It was traditionally performed as a dance – drama on devotional songs, Manipuri showcases the love between Radha- Krishna through Raaslila. Manipuri is a combination of two culture- Indian and South-East Asian. The Manipuri dance form is categorized as Tandav or Lasya.

The beautifully soft and graceful dance form, Manipuri has significant movements of hands and upper body. A curvy body structure with a pleasant smile, decorative, shiny costumes, and ornaments, Manipuri is indeed a mesmerizing dance form. Another uniqueness of this dance form is that, while Ghunghroos (Bells) glorify the classical dances of India, they are not worn in Manipuri.

The themes used in Manipuri dance forms

Mostly influenced by Hindu Vaishnavism themes.
It also includes themes related to Shaivism and Shaktism and regional deities.
Tandav Manipuri depicts themes of Shiv, Shakti or Krishna as warrior.
Lasya theme includes Love inspired stories of Radha-Krishna.

The Manipuri Raslila: Three styles

Tal Rasak: It is accompanied by clapping.
Danda Rasak: The synchronous beat of two sticks where dancers position creates geometric patterns.
Mandal Rasak: The Gopis make a circle while Krishna attains the center.

Different types of Manipuri Dance Styles

Nata-Sankirtan.
Pung Cholam.
Dhola Cholam.
Kartal Cholam.
Thang ta ( a Martial art of Manipuri) etc.

The Music and instruments used in Manipuri dance

The expressions used in Manipuri are from the poetry of Jayadev, Vidyapti, Chandidas, Govindadas and Gyandas that may be in Sanskrit, Maithili, Brij or any other language.
Pung ( A barrel Drum ) and small kartals (Cymbals) are employed in dance as well and not restricted to accompaniment alone.
Other instruments include Sembong, Harmonium, Pena (String Instrument), Flute(Wind Instrument), Esraj and Shankh (conch).

The costumes of Manipuri dance

The female dancers wear decorative barrel-shaped drum like long stiff skirt till bottom with decorative embellishments. Dark colored velvet blouse covers the upper part of the body and a traditional veil is worn over hair that falls gracefully over the face.
The male dancers adorn themselves with dhoti kurta white turban, a folded shawl over the left shoulder and the drum strap over the right shoulder.
The costume for the character of Lord Krishna is Yellow dhoti, dark velvet jacket, and crown of peacock feathers.

The revival and recent developments of Manipuri dance

There are several private institutes as well as few Government aided centers that provide training in Manipuri Dance.
The prominent among them is, Jawaharlal Nehru Manipuri Dance Academy, Imphal which is the constituent body of Sangeet Natak Akademi, Delhi.

Manipuri dancers

Guru Bipin Sinha.
Nirmala Mehta.
Savita Mehta.
Yumlembam Gambhini Devi.
Darshana Jhaveri and many others.

Sattriya is the traditional dance –drama of Assam. Sattriya was recognized in 2000 as Classical Dance by Sangeet Natak Akademi. It is influenced by Vaishnavism and the modern form of Sattriya is attributed to the 15 th century Bhakti Movement Scholar and Saint Srimanta Sankaradev . Since 15 th Century, Sattriya grew as a part of Vaishnav Bhakti Movemen t in Hindu Monasteries called ‘Sattra’ . Sattras are the dance community halls (namghar) of monastery temples. Today it is popular worldwide.

The themes and styles used in Sattriya

The themes performed are mostly on Radha-Krishna and other myths.
Dramas written by Sankardev are typically presented.
Sattriya performance integrated two styles: One Masculine (Paurashik Bhangi — energetic and with jumps) and Feminine (Stri Bhangi—Lasya or delicate).
Both male and female perform this beautiful, expressive dance openly on the modern platform.

The costumes used for Sattriya

Male—Dhoti, chadar, paguri (turban).
Female—Ghuri, chadar, Kanchi (waist cloth) made up of materials manufactured in Assam.
The play and Character specific costumes are also seen in Sattriya.
Masks are used for special characters (like demons) sometimes.
Traditional Assamese jewelry is employed.

The music and instruments used for Sattriya

Borgeet of Sankardev and Madhavdev.
Khol (two faced asymmetrical drum).
Cymbals- Manjira Bhortal.
Flute, Violin, Harmonium etc.

The revival of Sattriya dance

Conventionally, it was only performed by ‘Bhokots’/ ‘ Monks’ as a part of their daily rituals not before the idol but before the copy of Bhagvat Purana placed in the eastern corner of dance community hall (namghar).
After the second half of the 20 th century, this dance form moved from the den of Assam’s Monasteries to the modern day stage.
Sattriya received patronage outside Assam and Outside India too.
Sattriya Kendra Guwahati is a constituent body of Sangeet Natak Akademi established for preserving, promoting and providing training to young aspirants of Sattriya.
Today Sattriya performances are a part of Major Dance Festivals in India and Abroad.

The famous Artists of Sattriya

Guru Indira P.P Bora.
Late Pradip Chaliha.
Jatin Goswami.
Anita Sarma etc.

Chhau Dance

The Chhau is a blend of folk, tribal and martial arts. ‘Chhau’ – is derived from the Sanskrit word ‘Chaaya’, meaning Shadow, image or mask. Also, Chhau is defined by Sitakanta Mahapatra to be derived from Chhauni ( Military Camp) in Odia language. Traditionally performed by Males – Male troupes.

The Chhau has three different types originating from three different regions. Every type has its own unique feature, pattern, and style of performing and ornamentation as well.

Types of Chhau Dances

The themes in chhau.

Vaishnavism.

The costumes used in Chhau

Bright colored costumes.
Huge ornamental headgears.
Masks depend upon the role you play in the story.

The music and instruments used for Chhau

The music is based on folk melodies.
Mohuri, Shehnai, Dhol, Dhumsa, Kharka or Chadchadi are few instruments employed to create the music.

The revival, recognition and recent developments of Chhau

In 2010, Chhau was listed in the UNESCO’S Representative List of the Intangible Cultural Heritage of Humanity.
The Government has established Government Chhau Centre in Seraikella in 1960 and Myurbhanj Chhau Nritya Pratishthan at Baripada in 1962.
The Sangeet Natak Akademi established a National Centre for Chhau Dance at Baripada, Odisha.

Efforts from the government of India to revive Indian Classical Dances

The government of India puts continuous efforts in preserving, promoting the Indian classical dances in India and abroad as well.
The establishment of Sangeet Natak Akademi , Delhi and its allied centers and constituent bodies boosted the development of these classical dances.
The grand Classical dance festivals like Khajuraho, Konark, Dhauli Kalinga, Kalidas, Mukteshwar, Soorya, Ellora, Nishagandhi etc., displays the beautiful representation of Indian Classical Dances.
The classical dances flourished and developed further with the establishment of Music and Dance Universities like Indira Kala Sangeet Vishwavidyalaya , Khairagarh, Raja Mansingh Tomar University, Gwalior etc. and the various Institutions like Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Prayag Sangeet Samiti. They not only added to the development of it but also helped the classical dance forms to reach till common people.

Indian musical instruments
Folk dances of India
Classical music
Folk music of India

Article by: Ruhi Masodkar. The author is a Kathak dancer from Nagpur.

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Reader Interactions

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June 29, 2017 at 1:30 pm

Is chhau dance a classical dance?? It is not yet recognized by sangeet natya academy as classical i think…

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November 4, 2017 at 12:47 pm

Namaskaram,

I would like to give one suggestion in kuchipudi category. Apart from the names given in masters section–mention of names such as –Padmabhushan Dr.Vempati China Satyam, Padmasri Dr.Vedantam Satyanarayana Sharma, Padmasri Dr. Shobhanaidu should find their place as their contribution is also undefinable and inexplicable.

November 28, 2017 at 7:22 am

there r only eigth classiCal dance

January 27, 2018 at 9:59 am

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February 15, 2018 at 4:38 pm

the ornaments that Kuchipudi dancers wear are made of a special light weight wood called “Boorugu”

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May 29, 2018 at 4:26 pm

May 29, 2018 at 4:25 pm

how we can download these on line notes??

June 1, 2018 at 6:34 pm

It’s was a great crux info for revision or to study any part which is being left out…… Boon for revision

July 9, 2018 at 6:35 pm

there are still 8 classical dances and you have mentioned 9. Chhau is a folk dance please correct.

July 9, 2018 at 6:36 pm

though very usefull

July 11, 2018 at 9:59 pm

give more notes for study

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August 18, 2020 at 8:51 am

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April 9, 2021 at 7:30 pm

Diversity in classical Indian dance forms https://thecreativepost.co.in/classical-indian-dance-forms/

September 1, 2021 at 11:17 am

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September 5, 2021 at 2:03 pm

Hi, very informative. I like reading such articles. Just a small doubt, you have mentioned that probably Bharatnatyam is the oldest classical dance but in your article description Odissa was shown by the search engine. Could you put your thoughts on “which form is the oldest classical dance form?”

March 18, 2023 at 3:43 pm

It was vary informative. But, I was wishing more😐

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Indian Culture Essay

India is renowned throughout the world for its tradition and culture. It is a country with many different cultures and traditions. The world's ancient civilisations can be found in this country. Good manners, etiquette, civilised dialogue, customs, beliefs, values, etc., are essential elements of Indian culture . India is a special country because of the ability of its citizens from many cultures and traditions to live together in harmony. Here are a few sample essays on ‘Indian culture’.

100 Words Essay on Indian Culture

India's culture is the oldest in the world and dates back over 5,000 years. The first and greatest cultures in the world are regarded as being those of India. The phrase "Unity in Diversity" refers to India as a diverse nation where people of many religions coexist while maintaining their distinct customs. People of different religions have different languages, culinary customs, ceremonies, etc and yet they all live in harmony.

Hindi is India's official language. However, there are 400 other languages regularly spoken in India's many states and territories, in addition to the country's nearly 22 recognised languages. History has established India as the country where religions like Buddhism and Hinduism first emerged.

200 Words Essay on Indian Culture

India is a land of diverse cultures, religions, languages, and traditions. The rich cultural heritage of India is a result of its long history and the various invasions and settlements that have occurred in the country. Indian culture is a melting pot of various customs and traditions, which have been passed down from generation to generation.

Religion | Religion plays a significant role in Indian culture. The major religions practiced in India are Hinduism, Islam, Buddhism, Sikhism, and Jainism. Each religion has its own set of beliefs, customs, and practices. Hinduism, the oldest religion in India, is the dominant religion and has a vast array of gods and goddesses. Islam, Buddhism, Sikhism, and Jainism are also widely practiced and have a significant number of followers in the country.

Food | Indian cuisine is known for its diverse range of flavors and spices. Each region in India has its own unique style of cooking and distinct dishes. Indian cuisine is known for its use of spices, herbs, and a variety of cooking techniques. Some of the most famous Indian dishes include biryani, curry, tandoori chicken, and dal makhani. Indian cuisine is also famous for its street food, which is a popular and affordable way to experience the diverse range of flavors that Indian food has to offer.

500 Words Essay on Indian Culture

Indian culture is known for its rich art and architecture. The ancient Indus Valley Civilization, which existed around 2500 BCE, had a sophisticated system of town planning and impressive architectural structures. Indian art is diverse and includes painting, sculpture, and architecture. The most famous form of Indian art is the cave paintings of Ajanta and Ellora, which date back to the 2nd century BCE. Indian architecture is also famous for its temples, palaces, and forts, which are a reflection of the rich cultural heritage of the country.

Music and dance are an integral part of Indian culture . Indian music is diverse and ranges from classical to folk to modern. The classical music of India is known for its use of ragas, which are a set of musical notes that are used to create a melody. The traditional Indian dance forms include Kathak, Bharatanatyam, and Kathakali. These dance forms are known for their elaborate costumes, expressive gestures, and intricate footwork.

My Experience

I had always been fascinated by the rich culture and history of India. So, when I finally got the opportunity to visit the country, I was beyond excited. I had heard so much about the diverse customs and traditions of India, and I couldn't wait to experience them firsthand. The moment I stepped off the plane and hit the streets, I was greeted by the overwhelming smell of spices and the hustle and bustle of the streets. I knew right away that I was in for an unforgettable journey.

My first stop was the ancient city of Varanasi, also known as Banaras. As I walked through the streets, I was struck by the vibrant colors and the sound of temple bells and chants. I visited the famous Kashi Vishwanath Temple and was amazed by the intricate architecture and the devotion of the devotees.

From Varanasi, I traveled to Jaipur, also known as the Pink City . Here, I visited the famous Amber Fort, which was built in the 16th century. The fort was a perfect example of the rich architecture of India and the level of craftsmanship that existed in ancient India.

As I continued my journey, I also had the opportunity to experience the food of India. From the spicy curries of the south to the tandoori dishes of the north, I was blown away by the range of flavors and the use of spices.

I also had the chance to experience the music and dance of India. I attended a Kathak dance performance and was mesmerized by the intricate footwork and the expressiveness of the dancers. I also had the opportunity to attend a classical music concert and was struck by the beauty of the ragas and the skill of the musicians.

My journey through India was truly an unforgettable experience. I had the chance to experience the diverse customs and traditions of India and was struck by the richness of the culture. From the ancient temples to the vibrant street markets, India is a treasure trove of history and culture. I knew that this would not be my last trip to India, as there is so much more to explore and experience.

Explore Career Options (By Industry)

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Entertainment
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Information Technology

Data Administrator

Database professionals use software to store and organise data such as financial information, and customer shipping records. Individuals who opt for a career as data administrators ensure that data is available for users and secured from unauthorised sales. DB administrators may work in various types of industries. It may involve computer systems design, service firms, insurance companies, banks and hospitals.

Bio Medical Engineer

The field of biomedical engineering opens up a universe of expert chances. An Individual in the biomedical engineering career path work in the field of engineering as well as medicine, in order to find out solutions to common problems of the two fields. The biomedical engineering job opportunities are to collaborate with doctors and researchers to develop medical systems, equipment, or devices that can solve clinical problems. Here we will be discussing jobs after biomedical engineering, how to get a job in biomedical engineering, biomedical engineering scope, and salary.

Ethical Hacker

A career as ethical hacker involves various challenges and provides lucrative opportunities in the digital era where every giant business and startup owns its cyberspace on the world wide web. Individuals in the ethical hacker career path try to find the vulnerabilities in the cyber system to get its authority. If he or she succeeds in it then he or she gets its illegal authority. Individuals in the ethical hacker career path then steal information or delete the file that could affect the business, functioning, or services of the organization.

GIS officer work on various GIS software to conduct a study and gather spatial and non-spatial information. GIS experts update the GIS data and maintain it. The databases include aerial or satellite imagery, latitudinal and longitudinal coordinates, and manually digitized images of maps. In a career as GIS expert, one is responsible for creating online and mobile maps.

Data Analyst

The invention of the database has given fresh breath to the people involved in the data analytics career path. Analysis refers to splitting up a whole into its individual components for individual analysis. Data analysis is a method through which raw data are processed and transformed into information that would be beneficial for user strategic thinking.

Data are collected and examined to respond to questions, evaluate hypotheses or contradict theories. It is a tool for analyzing, transforming, modeling, and arranging data with useful knowledge, to assist in decision-making and methods, encompassing various strategies, and is used in different fields of business, research, and social science.

Geothermal Engineer

Individuals who opt for a career as geothermal engineers are the professionals involved in the processing of geothermal energy. The responsibilities of geothermal engineers may vary depending on the workplace location. Those who work in fields design facilities to process and distribute geothermal energy. They oversee the functioning of machinery used in the field.

Database Architect

If you are intrigued by the programming world and are interested in developing communications networks then a career as database architect may be a good option for you. Data architect roles and responsibilities include building design models for data communication networks. Wide Area Networks (WANs), local area networks (LANs), and intranets are included in the database networks. It is expected that database architects will have in-depth knowledge of a company's business to develop a network to fulfil the requirements of the organisation. Stay tuned as we look at the larger picture and give you more information on what is db architecture, why you should pursue database architecture, what to expect from such a degree and what your job opportunities will be after graduation. Here, we will be discussing how to become a data architect. Students can visit NIT Trichy , IIT Kharagpur , JMI New Delhi .

Remote Sensing Technician

Individuals who opt for a career as a remote sensing technician possess unique personalities. Remote sensing analysts seem to be rational human beings, they are strong, independent, persistent, sincere, realistic and resourceful. Some of them are analytical as well, which means they are intelligent, introspective and inquisitive.

Remote sensing scientists use remote sensing technology to support scientists in fields such as community planning, flight planning or the management of natural resources. Analysing data collected from aircraft, satellites or ground-based platforms using statistical analysis software, image analysis software or Geographic Information Systems (GIS) is a significant part of their work. Do you want to learn how to become remote sensing technician? There's no need to be concerned; we've devised a simple remote sensing technician career path for you. Scroll through the pages and read.

Budget Analyst

Budget analysis, in a nutshell, entails thoroughly analyzing the details of a financial budget. The budget analysis aims to better understand and manage revenue. Budget analysts assist in the achievement of financial targets, the preservation of profitability, and the pursuit of long-term growth for a business. Budget analysts generally have a bachelor's degree in accounting, finance, economics, or a closely related field. Knowledge of Financial Management is of prime importance in this career.

Underwriter

An underwriter is a person who assesses and evaluates the risk of insurance in his or her field like mortgage, loan, health policy, investment, and so on and so forth. The underwriter career path does involve risks as analysing the risks means finding out if there is a way for the insurance underwriter jobs to recover the money from its clients. If the risk turns out to be too much for the company then in the future it is an underwriter who will be held accountable for it. Therefore, one must carry out his or her job with a lot of attention and diligence.

Finance Executive

Product manager.

A Product Manager is a professional responsible for product planning and marketing. He or she manages the product throughout the Product Life Cycle, gathering and prioritising the product. A product manager job description includes defining the product vision and working closely with team members of other departments to deliver winning products.

Operations Manager

Individuals in the operations manager jobs are responsible for ensuring the efficiency of each department to acquire its optimal goal. They plan the use of resources and distribution of materials. The operations manager's job description includes managing budgets, negotiating contracts, and performing administrative tasks.

Stock Analyst

Individuals who opt for a career as a stock analyst examine the company's investments makes decisions and keep track of financial securities. The nature of such investments will differ from one business to the next. Individuals in the stock analyst career use data mining to forecast a company's profits and revenues, advise clients on whether to buy or sell, participate in seminars, and discussing financial matters with executives and evaluate annual reports.

A Researcher is a professional who is responsible for collecting data and information by reviewing the literature and conducting experiments and surveys. He or she uses various methodological processes to provide accurate data and information that is utilised by academicians and other industry professionals. Here, we will discuss what is a researcher, the researcher's salary, types of researchers.

Welding Engineer

Welding Engineer Job Description: A Welding Engineer work involves managing welding projects and supervising welding teams. He or she is responsible for reviewing welding procedures, processes and documentation. A career as Welding Engineer involves conducting failure analyses and causes on welding issues.

Transportation Planner

A career as Transportation Planner requires technical application of science and technology in engineering, particularly the concepts, equipment and technologies involved in the production of products and services. In fields like land use, infrastructure review, ecological standards and street design, he or she considers issues of health, environment and performance. A Transportation Planner assigns resources for implementing and designing programmes. He or she is responsible for assessing needs, preparing plans and forecasts and compliance with regulations.

Environmental Engineer

Individuals who opt for a career as an environmental engineer are construction professionals who utilise the skills and knowledge of biology, soil science, chemistry and the concept of engineering to design and develop projects that serve as solutions to various environmental problems.

Safety Manager

A Safety Manager is a professional responsible for employee’s safety at work. He or she plans, implements and oversees the company’s employee safety. A Safety Manager ensures compliance and adherence to Occupational Health and Safety (OHS) guidelines.

Conservation Architect

A Conservation Architect is a professional responsible for conserving and restoring buildings or monuments having a historic value. He or she applies techniques to document and stabilise the object’s state without any further damage. A Conservation Architect restores the monuments and heritage buildings to bring them back to their original state.

Structural Engineer

A Structural Engineer designs buildings, bridges, and other related structures. He or she analyzes the structures and makes sure the structures are strong enough to be used by the people. A career as a Structural Engineer requires working in the construction process. It comes under the civil engineering discipline. A Structure Engineer creates structural models with the help of computer-aided design software.

Highway Engineer

Highway Engineer Job Description: A Highway Engineer is a civil engineer who specialises in planning and building thousands of miles of roads that support connectivity and allow transportation across the country. He or she ensures that traffic management schemes are effectively planned concerning economic sustainability and successful implementation.

Field Surveyor

Are you searching for a Field Surveyor Job Description? A Field Surveyor is a professional responsible for conducting field surveys for various places or geographical conditions. He or she collects the required data and information as per the instructions given by senior officials.

Orthotist and Prosthetist

Orthotists and Prosthetists are professionals who provide aid to patients with disabilities. They fix them to artificial limbs (prosthetics) and help them to regain stability. There are times when people lose their limbs in an accident. In some other occasions, they are born without a limb or orthopaedic impairment. Orthotists and prosthetists play a crucial role in their lives with fixing them to assistive devices and provide mobility.

Pathologist

A career in pathology in India is filled with several responsibilities as it is a medical branch and affects human lives. The demand for pathologists has been increasing over the past few years as people are getting more aware of different diseases. Not only that, but an increase in population and lifestyle changes have also contributed to the increase in a pathologist’s demand. The pathology careers provide an extremely huge number of opportunities and if you want to be a part of the medical field you can consider being a pathologist. If you want to know more about a career in pathology in India then continue reading this article.

Veterinary Doctor

Speech therapist, gynaecologist.

Gynaecology can be defined as the study of the female body. The job outlook for gynaecology is excellent since there is evergreen demand for one because of their responsibility of dealing with not only women’s health but also fertility and pregnancy issues. Although most women prefer to have a women obstetrician gynaecologist as their doctor, men also explore a career as a gynaecologist and there are ample amounts of male doctors in the field who are gynaecologists and aid women during delivery and childbirth.

Audiologist

The audiologist career involves audiology professionals who are responsible to treat hearing loss and proactively preventing the relevant damage. Individuals who opt for a career as an audiologist use various testing strategies with the aim to determine if someone has a normal sensitivity to sounds or not. After the identification of hearing loss, a hearing doctor is required to determine which sections of the hearing are affected, to what extent they are affected, and where the wound causing the hearing loss is found. As soon as the hearing loss is identified, the patients are provided with recommendations for interventions and rehabilitation such as hearing aids, cochlear implants, and appropriate medical referrals. While audiology is a branch of science that studies and researches hearing, balance, and related disorders.

An oncologist is a specialised doctor responsible for providing medical care to patients diagnosed with cancer. He or she uses several therapies to control the cancer and its effect on the human body such as chemotherapy, immunotherapy, radiation therapy and biopsy. An oncologist designs a treatment plan based on a pathology report after diagnosing the type of cancer and where it is spreading inside the body.

Are you searching for an ‘Anatomist job description’? An Anatomist is a research professional who applies the laws of biological science to determine the ability of bodies of various living organisms including animals and humans to regenerate the damaged or destroyed organs. If you want to know what does an anatomist do, then read the entire article, where we will answer all your questions.

For an individual who opts for a career as an actor, the primary responsibility is to completely speak to the character he or she is playing and to persuade the crowd that the character is genuine by connecting with them and bringing them into the story. This applies to significant roles and littler parts, as all roles join to make an effective creation. Here in this article, we will discuss how to become an actor in India, actor exams, actor salary in India, and actor jobs.

Individuals who opt for a career as acrobats create and direct original routines for themselves, in addition to developing interpretations of existing routines. The work of circus acrobats can be seen in a variety of performance settings, including circus, reality shows, sports events like the Olympics, movies and commercials. Individuals who opt for a career as acrobats must be prepared to face rejections and intermittent periods of work. The creativity of acrobats may extend to other aspects of the performance. For example, acrobats in the circus may work with gym trainers, celebrities or collaborate with other professionals to enhance such performance elements as costume and or maybe at the teaching end of the career.

Video Game Designer

Career as a video game designer is filled with excitement as well as responsibilities. A video game designer is someone who is involved in the process of creating a game from day one. He or she is responsible for fulfilling duties like designing the character of the game, the several levels involved, plot, art and similar other elements. Individuals who opt for a career as a video game designer may also write the codes for the game using different programming languages.

Depending on the video game designer job description and experience they may also have to lead a team and do the early testing of the game in order to suggest changes and find loopholes.

Radio Jockey

Radio Jockey is an exciting, promising career and a great challenge for music lovers. If you are really interested in a career as radio jockey, then it is very important for an RJ to have an automatic, fun, and friendly personality. If you want to get a job done in this field, a strong command of the language and a good voice are always good things. Apart from this, in order to be a good radio jockey, you will also listen to good radio jockeys so that you can understand their style and later make your own by practicing.

A career as radio jockey has a lot to offer to deserving candidates. If you want to know more about a career as radio jockey, and how to become a radio jockey then continue reading the article.

Choreographer

The word “choreography" actually comes from Greek words that mean “dance writing." Individuals who opt for a career as a choreographer create and direct original dances, in addition to developing interpretations of existing dances. A Choreographer dances and utilises his or her creativity in other aspects of dance performance. For example, he or she may work with the music director to select music or collaborate with other famous choreographers to enhance such performance elements as lighting, costume and set design.

Social Media Manager

A career as social media manager involves implementing the company’s or brand’s marketing plan across all social media channels. Social media managers help in building or improving a brand’s or a company’s website traffic, build brand awareness, create and implement marketing and brand strategy. Social media managers are key to important social communication as well.

Photographer

Photography is considered both a science and an art, an artistic means of expression in which the camera replaces the pen. In a career as a photographer, an individual is hired to capture the moments of public and private events, such as press conferences or weddings, or may also work inside a studio, where people go to get their picture clicked. Photography is divided into many streams each generating numerous career opportunities in photography. With the boom in advertising, media, and the fashion industry, photography has emerged as a lucrative and thrilling career option for many Indian youths.

An individual who is pursuing a career as a producer is responsible for managing the business aspects of production. They are involved in each aspect of production from its inception to deception. Famous movie producers review the script, recommend changes and visualise the story.

They are responsible for overseeing the finance involved in the project and distributing the film for broadcasting on various platforms. A career as a producer is quite fulfilling as well as exhaustive in terms of playing different roles in order for a production to be successful. Famous movie producers are responsible for hiring creative and technical personnel on contract basis.

Copy Writer

In a career as a copywriter, one has to consult with the client and understand the brief well. A career as a copywriter has a lot to offer to deserving candidates. Several new mediums of advertising are opening therefore making it a lucrative career choice. Students can pursue various copywriter courses such as Journalism , Advertising , Marketing Management . Here, we have discussed how to become a freelance copywriter, copywriter career path, how to become a copywriter in India, and copywriting career outlook.

In a career as a vlogger, one generally works for himself or herself. However, once an individual has gained viewership there are several brands and companies that approach them for paid collaboration. It is one of those fields where an individual can earn well while following his or her passion.

Ever since internet costs got reduced the viewership for these types of content has increased on a large scale. Therefore, a career as a vlogger has a lot to offer. If you want to know more about the Vlogger eligibility, roles and responsibilities then continue reading the article.

For publishing books, newspapers, magazines and digital material, editorial and commercial strategies are set by publishers. Individuals in publishing career paths make choices about the markets their businesses will reach and the type of content that their audience will be served. Individuals in book publisher careers collaborate with editorial staff, designers, authors, and freelance contributors who develop and manage the creation of content.

Careers in journalism are filled with excitement as well as responsibilities. One cannot afford to miss out on the details. As it is the small details that provide insights into a story. Depending on those insights a journalist goes about writing a news article. A journalism career can be stressful at times but if you are someone who is passionate about it then it is the right choice for you. If you want to know more about the media field and journalist career then continue reading this article.

Individuals in the editor career path is an unsung hero of the news industry who polishes the language of the news stories provided by stringers, reporters, copywriters and content writers and also news agencies. Individuals who opt for a career as an editor make it more persuasive, concise and clear for readers. In this article, we will discuss the details of the editor's career path such as how to become an editor in India, editor salary in India and editor skills and qualities.

Individuals who opt for a career as a reporter may often be at work on national holidays and festivities. He or she pitches various story ideas and covers news stories in risky situations. Students can pursue a BMC (Bachelor of Mass Communication) , B.M.M. (Bachelor of Mass Media) , or MAJMC (MA in Journalism and Mass Communication) to become a reporter. While we sit at home reporters travel to locations to collect information that carries a news value.

Corporate Executive

Are you searching for a Corporate Executive job description? A Corporate Executive role comes with administrative duties. He or she provides support to the leadership of the organisation. A Corporate Executive fulfils the business purpose and ensures its financial stability. In this article, we are going to discuss how to become corporate executive.

Multimedia Specialist

A multimedia specialist is a media professional who creates, audio, videos, graphic image files, computer animations for multimedia applications. He or she is responsible for planning, producing, and maintaining websites and applications.

Quality Controller

A quality controller plays a crucial role in an organisation. He or she is responsible for performing quality checks on manufactured products. He or she identifies the defects in a product and rejects the product.

A quality controller records detailed information about products with defects and sends it to the supervisor or plant manager to take necessary actions to improve the production process.

Production Manager

A QA Lead is in charge of the QA Team. The role of QA Lead comes with the responsibility of assessing services and products in order to determine that he or she meets the quality standards. He or she develops, implements and manages test plans.

Process Development Engineer

The Process Development Engineers design, implement, manufacture, mine, and other production systems using technical knowledge and expertise in the industry. They use computer modeling software to test technologies and machinery. An individual who is opting career as Process Development Engineer is responsible for developing cost-effective and efficient processes. They also monitor the production process and ensure it functions smoothly and efficiently.

AWS Solution Architect

An AWS Solution Architect is someone who specializes in developing and implementing cloud computing systems. He or she has a good understanding of the various aspects of cloud computing and can confidently deploy and manage their systems. He or she troubleshoots the issues and evaluates the risk from the third party.

Azure Administrator

An Azure Administrator is a professional responsible for implementing, monitoring, and maintaining Azure Solutions. He or she manages cloud infrastructure service instances and various cloud servers as well as sets up public and private cloud systems.

Computer Programmer

Careers in computer programming primarily refer to the systematic act of writing code and moreover include wider computer science areas. The word 'programmer' or 'coder' has entered into practice with the growing number of newly self-taught tech enthusiasts. Computer programming careers involve the use of designs created by software developers and engineers and transforming them into commands that can be implemented by computers. These commands result in regular usage of social media sites, word-processing applications and browsers.

Information Security Manager

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Essay on Indian Culture for Students and Children

500+ words essay on indian culture.

India is a country that boasts of a rich culture. The culture of India refers to a collection of minor unique cultures. The culture of India comprises of clothing, festivals, languages, religions, music, dance, architecture, food, and art in India. Most noteworthy, Indian culture has been influenced by several foreign cultures throughout its history. Also, the history of India’s culture is several millennia old.

Components of Indian Culture

First of all, Indian origin religions are Hinduism, Buddhism, Jainism, and Sikhism . All of these religions are based on karma and dharma. Furthermore, these four are called as Indian religions. Indian religions are a major category of world religions along with Abrahamic religions.

Also, many foreign religions are present in India as well. These foreign religions include Abrahamic religions. The Abrahamic religions in India certainly are Judaism, Christianity, and Islam. Besides Abrahamic religions, Zoroastrianism and Bahá’í Faith are the other foreign religions which exist in India. Consequently, the presence of so many diverse religions has given rise to tolerance and secularism in Indian culture.

The Joint family system is the prevailing system of Indian culture . Most noteworthy, the family members consist of parents, children, children’s spouses, and offspring. All of these family members live together. Furthermore, the eldest male member is the head of the family.

Arranged marriages are the norm in Indian culture. Probably most Indians have their marriages planned by their parents. In almost all Indian marriages, the bride’s family gives dowry to bridegroom. Weddings are certainly festive occasions in Indian culture. There is involvement of striking decorations, clothing, music, dance, rituals in Indian weddings. Most noteworthy, the divorce rates in India are very low.

India celebrates a huge number of festivals. These festivals are very diverse due to multi-religious and multi-cultural Indian society. Indians greatly value festive occasions. Above all, the whole country joins in the celebrations irrespective of the differences.

Traditional Indian food, arts, music, sports, clothing, and architecture vary significantly across different regions. These components are influenced by various factors. Above all, these factors are geography, climate, culture, and rural/urban setting.

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Perceptions of Indian Culture

Indian culture has been an inspiration to many writers. India is certainly a symbol of unity around the world. Indian culture is certainly very complex. Furthermore, the conception of Indian identity poses certain difficulties. However, despite this, a typical Indian culture does exist. The creation of this typical Indian culture results from some internal forces. Above all, these forces are a robust Constitution, universal adult franchise, secular policy , flexible federal structure, etc.

Indian culture is characterized by a strict social hierarchy. Furthermore, Indian children are taught their roles and place in society from an early age. Probably, many Indians believe that gods and spirits have a role in determining their life. Earlier, traditional Hindus were divided into polluting and non-polluting occupations. Now, this difference is declining.

Indian culture is certainly very diverse. Also, Indian children learn and assimilate in the differences. In recent decades, huge changes have taken place in Indian culture. Above all, these changes are female empowerment , westernization, a decline of superstition, higher literacy , improved education, etc.

To sum it up, the culture of India is one of the oldest cultures in the World. Above all, many Indians till stick to the traditional Indian culture in spite of rapid westernization. Indians have demonstrated strong unity irrespective of the diversity among them. Unity in Diversity is the ultimate mantra of Indian culture.

FAQs on Indian Culture

Q1 What are the Indian religions?

A1 Indian religions refer to a major category of religion. Most noteworthy, these religions have their origin in India. Furthermore, the major Indian religions are Hinduism, Buddhism, Jainism, and Sikhism.

Q2 What are changes that have taken place in Indian culture in recent decades?

A2 Certainly, many changes have taken place in Indian culture in recent decades. Above all, these changes are female empowerment, westernization, a decline of superstition, higher literacy, improved education, etc.

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Essay on Indian Culture and Tradition 1000+ Words

Indian culture and tradition, akin to a captivating mosaic, are comprised of myriad vibrant components that constitute the nation’s multifaceted heritage. With deep historical roots, they are commemorated through various avenues such as festivals, art forms, and daily customs. As we embark on this essay, we will delve into the profound essence and importance of Indian culture and tradition. This exploration will encompass their distinctive attributes, their societal significance, and their enduring pertinence.

Diversity in Unity

Indian culture and tradition are renowned for their diversity. India is home to a multitude of languages, religions, cuisines, and customs. Despite this diversity, there is a strong sense of unity that binds the nation together.

Historical Significance

India’s culture and traditions have evolved over thousands of years. The Indus Valley Civilization, the Vedas, and the teachings of ancient sages have all played a role in shaping the culture we see today.

Festivals and Celebrations

India is known for its vibrant festivals, such as Diwali, Holi, Eid, Christmas, and more. These celebrations bring people together, fostering a sense of unity and joy.

Cultural Art Forms

Indian culture finds expression in various art forms such as classical dance, including Bharatanatyam and Kathak, as well as music, encompassing Carnatic and Hindustani traditions, and theater. Furthermore, these art forms boast a rich historical heritage and persistently flourish in contemporary times.

Traditional Clothing

Indian clothing is a reflection of culture and tradition. Attire like the saree, dhoti, and kurta are not just clothing items but symbols of identity.

Expert Opinions

Cultural scholars like Dr. Kapila Vatsyayan emphasize the role of culture in shaping society and providing a sense of identity. They believe that culture is a dynamic force that evolves with time.

Spiritual Practices

Religion and spirituality play a significant role in Indian culture. Practices like meditation, yoga, and visiting temples or mosques are common ways for individuals to connect with their spirituality.

Traditional Medicine

Ayurveda, India’s traditional system of medicine, has been practiced for centuries. It emphasizes holistic well-being and natural healing methods.

Family Values

Indian culture places a strong emphasis on family values. Respect for elders, strong family bonds, and the concept of joint families are integral to Indian society.

Conclusion of Essay on Indian Culture and Tradition

In conclusion, Indian culture and tradition, as a testament to the country’s rich history, diversity, and unity, provide a sense of identity and belonging to millions of people. Moreover, as India continues to evolve in the modern world, it is crucial to preserve and celebrate these cultural treasures. By valuing diversity, promoting cultural exchange, and passing on traditions to future generations, we can ensure that Indian culture and tradition continue to thrive and enrich the lives of all who embrace them. Consequently, India’s cultural heritage is a source of pride and inspiration, forming a tapestry of traditions that we must cherish and protect for generations to come.

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Essay on Diversity in India: A Tapestry of Cultural and Traditions

Updated on
Apr 23, 2024

Essay on Diversity in India: “Unity in diversity is India’s strength. There is simplicity in every Indian. There is unity in every corner of India.” As India celebrates 77 years of independence, it’s crucial to explore the vast diversity that defines this nation. Despite the colonial past, which attempted to diminish the rich tapestry of Indian culture, the country today is a vibrant mosaic of languages, religions, and traditions.

Table of Contents

0.1 Cultural Diversity
0.2 Social Diversity
0.3 Religious Diversity
0.4 Linguistic Diversity
0.5 Geographical Diversity
0.6 Conclusion

Cultural Diversity

India’s cultural landscape is as varied as its geography. Each region boasts its unique festivals, arts, and culinary traditions. For instance, classical dance forms like Kathak in the north and Bharatanatyam in the south highlight regional narratives and myths. The popularity of Western dance forms has not overshadowed these traditional dances, reflecting a resurgence in interest in and pride in indigenous arts. Similarly, festivals like Diwali and Eid are celebrated with fervor across the country, showcasing unity in diversity.

India is the home of numerous different religious traditions. Hindus (82.41%), Muslims (11.6%), Christians (2.32%), Sikhs (1.99%), Buddhists (0.77%), Jains (0.41%), and tribal cultures (many of whom still engage in animism and magic) comprise the population of India.

Quick Read: Essay on the Role of Youth in Nation-Building

Social Diversity

India’s social fabric is woven with threads from numerous ethnic groups and castes. This diversity is a double-edged sword, presenting challenges in terms of social equality while also enriching the societal structure with a variety of perspectives and practices. Urban areas, in particular, display a melting pot of cultures, with people from various backgrounds living and working together, which promotes a broader understanding and acceptance of diverse social norms.

Religious Diversity

Home to major religions such as Hinduism, Islam, Christianity, Sikhism, Buddhism, and Jainism, India’s religious diversity is a testament to its pluralistic society. This multiplicity of belief systems coexisting is one of India’s greatest strengths, fostering a culture of mutual respect and tolerance. The peaceful cohabitation of diverse religious communities, however, is occasionally challenged by conflicts, underscoring the need for continuous dialogue and reconciliation.

Linguistic Diversity

With over 1,600 languages and dialects spoken, the linguistic diversity in India is staggering. Hindi and English are widely used, but state-specific languages such as Tamil, Telugu, Marathi, and Bengali hold equal importance. The Indian constitution’s recognition of 22 official languages is a clear indicator of the country’s commitment to embracing its linguistic heritage. This diversity is also evident in literature, with works ranging from the ancient epics of Ramayana and Mahabharata to modern writings in various vernaculars.

Every language embodies the history and customs of its people and reflects a unique legacy. The Indian Constitution, which affirms India’s commitment to inclusivity and cultural preservation, recognises and defends this diversity by defending the rights of linguistic minorities and fighting for the preservation of endangered languages.

Geographical Diversity

From the snowy peaks of the Himalayas in the north to the tropical beaches of the south, India’s geographical diversity influences its climate, agriculture, and lifestyle. This diversity not only dictates the economic activities of different regions but also shapes the cultural identities of the people, from the attire they wear to the food they eat.

India has breathtaking geographical diversity, with the sun-kissed beaches of the south and the towering Himalayas of the north, as well as the lush forests of Kerala and Rajasthan. In addition to influencing regional traditions and means of subsistence, this geographic diversity has given India an unmatched biodiversity. India is a large country with a diverse range of natural environments, including deserts, evergreen forests, steep mountains, perennial and non-perennial river systems, long coastlines, and fertile plains. Its total land area is 3.28 million square kilometres.

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While significant achievements have marked India’s journey since independence, the shadow of colonial influence still lingers, impacting perceptions and values. Yet, the resurgence of pride in one’s heritage and the continuous celebration of its diversity are signs of a maturing nation that values its past while forging a new identity. India’s diversity is not just a fact of life but the very fabric that makes it unique on the global stage. As India moves forward, it is the recognition and preservation of this diversity that will empower it to overcome its colonial hangovers and redefine what it means to be modern and Indian on its terms. The path ahead lies in embracing the richness of its diverse heritage, thus truly fulfilling the dreams that fueled its struggle for freedom 77 years ago.

Ans: India is a multicultural nation home to all of the world’s main religions. The number of languages spoken in India is over 1600. India’s terrain is diverse, with mountains, plains, plateaus, deserts, and islands among its features. Aside from this, migration from all over the world has given rise to a variety of ethnic groups in India.

Ans: The acceptance of a range of individual characteristics within a society or group is referred to as diversity. Aspects including color, ethnicity, gender, age, financial situation, sexual orientation, religious views, abilities, and more can all be considered in these differences.

Ans: India is referred to as the “land of diversity” for a variety of reasons, including its diverse culinary options, language usage, holiday celebrations, and religious and cultural practices.

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Culture in Context, As Import, and In Exchange

This essay challenges us to peer through the lenses of cultural appropriation, historical contextualization, and culture exchange when examining dance broadly, twentieth century dance specifically, and modern dance pioneers.

Introduction

In his 2017 TED talk titled Can Art Amend History , visual artist and historian Titus Kaphar posits, “Can how we view art reflect the way we interact with the Constitution?” Kaphar goes on to dissect how in the United States legal system, when we want to change a constitutional law, we don’t erase the parts we wish to change. When amending the Constitution, we place these new laws next to the old. “In this way we can say, essentially, this is where we were, and this is where we are, and this is where we are going,” he states. As a painter, Kaphar activates historical works by bringing black and brown people into the foreground… We need this type of lens when discussing dance history. Kaphar explores this in his own work by reconfiguring and regenerating art history to include the African American subject. As a painter, he activates historical works by bringing black and brown people into the foreground, making them the subject of the viewer’s gaze rather than the white characters in a scene, for example. It occurred to me that we need this type of lens when discussing dance history. As a queer, cis-gendered white women, I am critical of our systems and also understand the bias and blind spots of my education and societal upbringing. This piece therefore is intended to speak to all, but is aimed more toward white folks understanding our need for self-examination, rather than justifying what black and brown people already know to be true and are hurt by every day.

With this in mind, I invite us to consider how dance, dance historians, and students, as well as an institution like Jacob’s Pillow, might address Kaphar’s challenge—juxtaposing the new with the historic, extending an invitation to sit with both inspiration and discomfort, engaging with where we were, where we are, and where we wish [and need] to go. The following is structured as a study—attempting to dissect and perform complex explorations, working on both sides of ideas, while pushing farther, adding new variables and ending with a slow, walk off stage, rather than a definitive crescendo. It is meant to be a small vignette in an ongoing dialogue.

On either side of the stage in Jacob’s Pillow’s Ted Shawn Theatre, the first theater in the United States built specifically for dance, hang two 1925 portraits by Albert Herter: Ted Shawn to the left, costumed for his Hopi Indian Eagle Dance , and Ruth St. Denis to the right, costumed as Kwannon, the Japanese Goddess of Mercy. In recent years, interns arrive at the Pillow each summer and inevitably someone points to these portraits in outrage, wondering why these representations of cultural appropriation are allowed to hang in the theater. Their reaction is understandable when these artifacts are viewed through the lens of today and not placed in their historical frames and context. We must look at the social constructs and limitations at play in the 1910s and 1920s when Denishawn, a company of Euro-descendant dancers, was creating and touring works in which they presented dances from non-white cultural traditions. By today’s standards, these dances would be considered horribly disrespectful, but at the time, they exposed white audiences to movement inspired by non-Eurocentric dance styles. We must do this not to excuse them, but to contextualize and more fully understand these dances and artifacts along with deeper issues still at play in the field and the broader society.

Ruth St. Denis

"The Delirium of Senses" from Radha

In 1931, when Shawn first arrived at Jacob’s Pillow, the American stage was still home to white performers, fairly exclusively—minstrelsy having just ceased its reign as the national form of theatrical entertainment (around 1910). Black and brown people, let alone their dances, were not yet permitted in concert halls. Concertgoers were white, mostly upper-class people. This historical perspective does not lessen the fact that things should have been different; the fact is they were not. Additionally, we must not discount the amazing black art performed in the clubs and stages of enclaves like Harlem in New York, the Shaw neighborhood in Washington DC, ‘Black Wall Street’ in Tulsa, Oklahoma, and Bronzeville in Chicago. But segregation was still widely practiced, and dance and theater companies, even through the 1960s and 1970s, had difficulty touring with non-white company members.

It’s important to consider the upper class’s societal leaning toward “oriental exoticism” coupled with spiritual mysticism—a trend among monied socialites to look to the Far East and to the occult seeking aesthetic and intellectual stimulation in the late 1800s and early to mid 1900s. Influencers of the time like Henry David Thoreau and Margaret Woodrow Wilson openly shared their yoga practices and embraced and heightened the elite, educated interest in physical exploration of Eastern forms. Of course, the arts and artists relied heavily upon the affluent for funding and performance opportunities. We cannot discount the alignment of avant garde tastemakers like the wealthy heiress Mabel Dodge, who very publicly courted and, in 1923, married Tony Luhan, a full-blooded Native American man. Dodge facilitated and financed both American and European visual artists, writers, and performing artists and is a quintessential example of the counterculture—in both society and the arts that grew intertwined and interdependent on one another. In her book, Utopian Vistas: The Mabel Dodge Luhan House and the American Counterculture, author Lois Palken Rudnick describes how an article written by Mabel Luhan, titled “A Bridge Between Cultures” in the publication Theatre Arts and read by Martha Graham led to Graham traveling to Taos, New Mexico several times. She stayed with Luhan at her Pueblo and absorbed inspiration that would eventually lead to the creation of two works, El Penitente , which was based on Southwestern Christian-based traditions, and Primitive Mysteries , based on indigenous religious rituals.

Importing Culture; Raising Awareness

In the years since the portraits of St. Denis and Shawn were created, the Pillow has hosted performers from around the world and shared many diverse dance forms not often seen outside the borders of their country of origin. There is no doubt that dance can broaden its audience’s frame of reference and, hopefully, increase its appreciation of cultures different from one’s own. What began with Denishawn traveling to other countries and bringing home dance styles that they learned abroad, eventually evolved into Shawn booking non-white performers of various non-euro-centric styles at Jacob’s Pillow. One could argue that he built bridges to white audiences for non-white performers, though it is also worth noting that the lion’s share of “ethnic dance” teaching at the Pillow was carried out by La Meri, the white American soloist known for her Spanish and East Indian dancing.

In an interview with Jac Venza for PBS in 1969 (featured in the PillowVoices podcast, episode 9, “ Ted Shawn, Jacob’s Pillow Founder, In His Own Words” ), Ted Shawn discusses his “ethnic” dances in this way: “Now, some people thought that I just copied things, but no, I studied the original, absorbed the original, and then I did a creative choreography, based upon this original material. True to it, but not in any way an imitation of it. And this is always what we did with the ethnic material.”

This understanding of ownership—from the Euro-dominant/colonizer perspective, negates a vital piece of the puzzle, which is lived experience. A dance from a particular culture is more than steps. It is more than learning to move in a certain style, with music related to that style and culture. The form is an expression and an extension of living in the world, with the physical attributes, communities, and traditions from which the dance is derived. This is a point of learning for white artists, students, and academics, particularly when looking at and working to reconcile the impact of ‘dance pioneers’ in the United States, who founded many of the systems and spaces that support dance. As we work to develop lenses of equity and try to include all genres in the canon, we must include lineage in the conversation.

There are at least two streams of lineage in this equation, however. One is the origin culture of the dance, while another is the origin culture of the dancer/choreographer. When Denishawn and others like La Meri were traveling to India, for example, the sub-continent was under British rule (held until 1947). The dominance of colonial culture and the daily acceptance of white people taking Indian art and artifacts from origin cultures went unquestioned. One could say that these modern dance pioneers were imposing their culture—a culture of appropriation—on the places to which they traveled. And their travel was facilitated by the occupation of their own culture of origin.

And yet, as we will explore below in the section Dance as Cultural Exchange, it is human nature to want to share dances and movement across cultural divides. This further complicates such investigations. However, many dancers and choreographers did not simply study with masters of various cultural dance forms. Many Western artists presented works in costumes of the cultures from which they derived inspiration, thereby directly referencing and appropriating those cultures, and some of these works continue to be staged. We must also talk about how lineage is conveyed, taught, and held, as this is yet another layer of appropriation. For if Shawn was inspired by studying with, for example, a Japanese Kabuki master, his choreography of that experience reflects a brush with that lineage. He is not part of or a holder of that lineage. And then if he sets his choreography on white dancers and that work enters the repertory of a white company, effectively any first-hand understanding of the form itself disappears. The same holds true for La Meri teaching “ethnic dances,” like Javanese dances, to students at the Pillow. While La Meri studied with dance masters in Java, her understanding of the culture was second-hand.

Referring back to the example of Martha Graham, a next-generation Denishawn dancer, both El Penitente and Primitive Mysteries were inspired by Graham’s experience of others’ rituals but did not in any way overtly refer to them. The difference being, that while Denishawn approximated the movement and costume of the cultures they were inspired by, Graham translated her experience through her body, her technique, and signature costuming and music composition by Louis Horst. The pieces convey a ritual, performed by the specific group on stage, not an indigenous ritual re-imagined on white bodies for a white audience.

In that same interview with Jac Venza, Shawn went on to convey a narrative that others have articulated as well—that dance somehow exists outside the confines of race, creed, and class. This perspective weaves a utopic view of dancers coming together, in spaces like the Pillow, and then transcending the structures of society. The idea is that the act of dancing levels the inequities of society itself. However, this is a notion that only people who enter every space with the freedom of white privilege can dream to be true.

In this exploration, I do not aim to dismiss the important work of cultural sharing and of importing art and artists from around the globe to perform for mostly American audiences at the Pillow. However, even as I suggest below that you view some of the works housed in the “Cultural” dance vertical of the Dance Interactive as evidence of such undertakings, I acknowledge the ghettoization of such forms. For here, too, we run into the problematics of language—and once again we come to this question: Can art and dance artifacts amend history—not edit, not fix, but amend?

Perhaps the larger question is: What would be the best solution for how to present works from cultures other than our own? To organize each form into much smaller, but more specific genres might remove it from a larger conversation and minimize the potency of ‘belonging’—but lumping all non-Eurocentric forms into one group is to contextualize them only in terms of what they are not. This is currently a hot topic that decolonizing-arts-initiatives are undertaking. I look forward to a time when this essay is amended to reflect the outcomes of that work.

Nevertheless, non-Eurocentric dance and music have been a part of Jacob’s Pillow’s history from the beginning. Below are two examples of performers and forms Shawn brought to the Berkshires.

Asadata Dafora

Shagola Dances of West Africa

Asadata Dafora , born in Sierra Leone in 1890, moved to the U.S. in 1929 and started the African Opera and Dramatic Company and a dance troupe known as Horton’s Dancers. He debuted in the first Jacob’s Pillow Dance Festival season in the newly built Ted Shawn Theatre in 1942. For more, see the full Jacob’s Pillow Dance Interactive essay “Asadata Dafora” by John Perpener.

Indrani (1930-1999) was born into a dance family as the daughter of Ragini Devi, a pioneer in India’s dance revival who wrote the first book in English on Indian dance and was the first to perform Kathakali abroad. She made her U.S. debut at the Pillow in 1960. This clip is of her last performance at Jacob’s Pillow in 1979.

Dance and Cultural Exchange

In her book, Dancers as Diplomats , Clare Croft highlights the role dance can play in true cultural exchange. “Dance has a particular route to considering what the United States as global partner, rather than just a dominant power, might look like. Dance’s possibility, not only as a concert form, but as a way to create space for international collaboration, is a key rationale behind dance’s inclusion in contemporary cultural diplomacy programs. … month-long tours center primarily on community engagement, rather than concert performances. The logic behind this collaborative turn in dance-in-diplomacy seems to be that physical sharing, considered as less reliant on language, enacts intercultural exchange with U.S. representatives as partners as well as leaders.”

During the summer festival at Jacob’s Pillow, each week two new companies arrive and unload props, sets, costumes, and cast members—one company into each theater—to rehearse and perform. The companies are in many ways separated from one another except for mealtime, where everyone—dancers, students, staff, interns, and guests—eat together. As a Scholar-in-Residence I’ve witnessed that a key moment in the weekly activity and exchange between companies happens on the dance floor. Every Saturday night, the resident companies, interns, staff, students, scholars, and some of the board members and supporters of the Pillow, gather for a dance party. The magic of this party is not documented, and it is rarely discussed, but on one night in 2016, I experienced the coming together of two groups of dancers, one from Argentina, and the other from South Korea.

Che Malambo

Bereishit Dance Company

None of these dancers were able to communicate with each other in words. Bereishit, the South Korean company consisted of contemporary dancers and traditional Korean opera performers. Che Malambo, from Argentina, was a group of men who perform a traditional gaucho dance and music form, described below. They did not even have a common movement vocabulary through which to communicate. However, when they hit the dance floor, along with students who had been in residence with Urban Bush Women, none of this mattered.

Circles and lines formed organically, and dancers took to battling, borrowing movement from each other, dancing together, smiling, and cheering each other on. As Croft outlines in her writing, true exchange comes through sharing on equal ground, not simply observing. And so, there is a case to be made for the non-performative aspects of the Pillow—the dance parties and conversations between audience members, scholars, and artists—and for the Archives themselves, as spaces for deeper cultural exchange. As difficult as it may be to weed through biases and discomfort, spaces on campus like the Archives offer a certain equity and autonomy for its artifacts and its visitors.

During that same week in 2016, I was the Scholar-in-Residence assigned to speak on behalf of Che Malambo and I learned quite a bit about cultural exchange through researching the history of this art form. As various populations migrated or were imported to Argentina from West Africa, Ireland, Russia, and Spain, people communicated with the tools they had, often through dance and music. A new form of dance came about and lives on in the bodies and lived experiences of those who perform it. In this way, dance itself can become a living, breathing artifact and archive that one may read and excavate to uncover its lineages.

If we return to the original question: Can art amend history and, by extension, could Jacob’s Pillow serve a similar purpose, I believe the answer is maybe. What the Pillow does already is offer a space to consider this question. By ‘placing’ the portraits of Shawn and St. Denis next to the artists onstage (Che Malambo, for example), I would argue that the Pillow is inviting us to do exactly this work—acknowledge the past, place it adjacent to the present, and dream of what may come. This is an undertaking, however, that one must train for, and I believe it is the next phase of work to be done. As James Baldwin so eloquently wrote in his essay titled Unnameable Objects, Unspeakable Crimes , “History, as nearly no one seems to know, is not merely something to be read. And it does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do. It could scarcely be otherwise, since it is to history that we owe our frames of reference, our identities, and our aspirations.”

When considering the origin points of modern dance, of Jacob’s Pillow, and of dance as we experience it today, we must expand the conversation and do the truly hard work of mapping ALL of the factors at play. Lineage, multivalent [hi]stories, mapping colonies, migration, forced migration and slave trade routes, and objective exploration of influences are important places to start. However, the true starting point is owning the impact of white-dominant culture at play in society, dance education, and in dance itself. We must not only learn, but prioritize the incorporation, elevation, and teaching of the entire, complex story of this living, embodied form. Knowing that cultural exchange and sharing is vital, the true questions to ask and answer in exploring history are: 1) who controls the narrative, 2) who benefits from the work created, and 3) who pays a price in the process.

Endnotes / Bibliography

Titus Kaphar TED Talk “Can art amend history?”

PillowVoices Episode 9, “ Ted Shawn, Jacob’s Pillow Founder, In His Own Words” with Norton Owen

“Cultural” genre on the Jacob’s Pillow Dance Interactive

“Asadata Dafora” Jacob’s Pillow Dance Interactive essay by John Perpener

PillowVoices Episode 11, “The Life and Work of La Meri” with Nancy Wozny

PUBLISHED april 2020

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Essay on Indian Culture and Tradition

Students are often asked to write an essay on Indian Culture and Tradition in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

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100 Words Essay on Indian Culture and Tradition

Introduction.

Indian culture and tradition, one of the oldest in the world, is rich and diverse. It is a unique blend of various customs, beliefs, and rituals.

India is known for its spiritual diversity with Hinduism, Buddhism, Sikhism, Islam, Christianity, and Jainism. Each religion contributes to India’s cultural richness.

Art and Architecture

Indian art and architecture represent the country’s history. Monuments like Taj Mahal, Qutub Minar, and paintings like Tanjore, Madhubani depict India’s artistic heritage.

Indian festivals like Diwali, Eid, Christmas, Pongal, and Holi showcase the country’s vibrant traditions and unity in diversity.

Indian culture and tradition, with its diversity, teaches us tolerance and respect for all, making it a treasure for humanity.

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Speech on Indian Culture and Tradition

250 Words Essay on Indian Culture and Tradition

Indian culture and tradition, one of the oldest and richest in the world, is a beautiful amalgamation of customs, beliefs, and values. It is a unique blend of various customs that have been passed down through generations.

Unity in Diversity

The phrase “Unity in Diversity” aptly describes India. Despite the vast geographical expanse, language variations, and diverse customs, there exists an underlying thread of unity. This unity is reflected in the shared festivals, art, music, and dance forms that are celebrated across the country.

Religion and Spirituality

Indian culture is deeply rooted in spirituality and religion. With Hinduism, Buddhism, Jainism, Sikhism originating here, and the widespread practice of Islam, Christianity, and other religions, India exemplifies religious tolerance and coexistence.

Art and Literature

Art and literature form the backbone of Indian culture. From the Vedas and Upanishads to modern literature, Indian authors have contributed significantly to the world. The diverse art forms like Bharatanatyam, Kathak, Kathakali, and others, along with the rich tapestry of Indian Cinema, showcase the cultural depth of India.

Indian culture and tradition are an integral part of the country’s identity. They are the threads that weave the diverse Indian society into a single fabric. Embracing and preserving these traditions while adapting to the changing world is the responsibility of every Indian. In this way, the rich heritage of Indian culture can be passed on to future generations.

500 Words Essay on Indian Culture and Tradition

Introduction: the mosaic of indian culture.

India, often referred to as a ‘subcontinent’, is a fascinating mosaic of cultures and traditions. This vast nation is characterized by its diversity, yet there is a deep-rooted sense of unity that binds its people together. The Indian culture and tradition are a rich amalgamation of the past and the present, reflecting a civilization that is ancient yet vibrant.

The Cultural Fabric: Religion and Philosophy

At the heart of Indian culture lies its profound religious and philosophical ideologies. Hinduism, Buddhism, Jainism, and Sikhism originated here, while Islam and Christianity also significantly influence the cultural fabric. Each religion has its unique rituals, festivals, and philosophies, contributing to the country’s cultural richness. The Indian philosophy of ‘Vasudhaiva Kutumbakam’, meaning ‘the world is one family’, underpins the nation’s outlook towards diversity and pluralism.

Art and Architecture: Aesthetic Manifestations

Art and architecture form an integral part of Indian culture, reflecting the civilization’s historical and societal changes. The intricate carvings of the Ajanta-Ellora caves, the grandeur of Mughal architecture, and the Dravidian and Nagara styles of temple architecture showcase the aesthetic brilliance of different eras. Indian art forms such as Bharatanatyam, Kathak, Kathakali, and Odissi dance, or the musical traditions of Carnatic and Hindustani music, are world-renowned.

Language and Literature: The Voice of a Nation

India’s linguistic diversity is astounding, with over 2000 dialects and 22 officially recognized languages. This linguistic multitude has given birth to a rich literary tradition, with ancient scriptures like Vedas, Upanishads, and epics like Mahabharata and Ramayana setting the foundation. Modern Indian literature, written in various regional languages and English, continues this legacy, exploring contemporary themes and narratives.

Social Structure: The Caste System and Beyond

The caste system, although much criticized, has significantly influenced Indian society and culture. It has shaped social relations, occupations, and even culinary habits. However, with modernization, the rigidities of the caste system are slowly dissolving, leading to a more egalitarian society.

Food and Clothing: A Diverse Palette

Indian cuisine, with its diverse regional variations, reflects the country’s cultural diversity. Spices, grains, fruits, and vegetables used in Indian dishes vary widely across regions. Similarly, traditional clothing like sarees, salwar kameez, dhotis, and turbans, though varied, symbolize Indian cultural ethos.

Conclusion: Preserving the Cultural Heritage

Indian culture and tradition, while deeply rooted in history, are not static. They have evolved and adapted, absorbing influences from invaders, colonizers, and immigrants. As we move forward, it is crucial to preserve this rich cultural heritage while allowing it to grow and adapt in the globalized world. The culture and tradition of India, with their extraordinary diversity and unity, are a testament to the country’s resilience and adaptability, offering valuable lessons for humanity.

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भारतीय राजदूतावास स्कूल (केंद्रीय विद्यालय), मास्को, रूस.

Embassy of India School (KV) Moscow is a vibrant educational institution in Moscow catering to the educational needs of the wards of the Embassy of India personnel and community of Indian origin. The Ambassador of India to the Russian Federation, H.E. Mr. Pavan Kapoor is the Patron of the School. Ms. Gina Uika, Deputy Chief of Mission, is the Chairperson of the School Management Committee. The main objective of the School is to impart quality education of an international standard, together with developing the holistic personality of the child, to face the challenging needs of the ever changing society. Established in the year 1987, today the school has a strength of a little over 270 students with classes I to XII and has Science and Commerce streams. The school is affiliated to the Central Board of Secondary Education (C.B.S.E), New Delhi and follows the curriculum framed by NCERT, New Delhi, India.

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Traditional Folk Dances of India
Parai Attam - It is a special type of dance in Tamil Nadu. Men folk play a percussion instrument called 'Parai' and dance to the rhythm they come up with. Traditionally, the dance was performed for various reasons and is one of the oldest dance forms of India. Karagattam - It is an ancient folk dance of Tamil Nadu.
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Dances of India. Essay No.01. Dance is a series of movements and steps that match the speed and rhythm of music. It is an artistic accompanied by gestures and expressions which explain the theme contained in the music. One can dance alone or with a partner or in a group. Rhythm and movements are basic to dance. India has rich cultural tradition.
Dance in India
Dance in India include classical (above), semiclassical, folk and tribal. Dance in India comprises numerous styles of dances, generally classified as classical or folk. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.
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The Bihu dance originated from the Bisu dance performed by communities of Upper Assam, like the Sonowal Kacharis, Deoris, Moran, and Borahis. This popular Indian Dance was performed at the London Olympics in 2012. Chhau Image - Suyash Dwivedi via Wikimedia. Chhau dance is an iconic cultural art form of Mayurbhanj, Odisha.
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The graceful dance of North India origin ' Kathaa' 'Kahe' so 'Kathak' 'Kahave', the one who tells stories is Kathakaar or Kathak . Also known as 'Natwari Nrutya'. Kathak is one of the most charming dance forms of India. The themes of Kathak revolve around Stories of Ramayan, Mahabharat, and Krishna.
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Manipuri. manipuri -style dance. Manipuri-style performance of Indian classical dance. Mohan Khokar. Manipuri comes from Manipur in northeastern India. It has its roots in that state's folk traditions and rituals, and often depicts scenes from the life of the god Krishna. Unlike some of the other, more rhythmic dances, Manipuri is ...
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500+ Words Essay on Indian Culture and Tradition. India has a rich culture and that has become our identity. Be it in religion, art, intellectual achievements, or performing arts, it has made us a colorful, rich, and diverse nation. The Indian culture and tradition essay is a guideline to the vibrant cultures and traditions followed in India.
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Indian culture and tradition, akin to a captivating mosaic, are comprised of myriad vibrant components that constitute the nation's multifaceted heritage. With deep historical roots, they are commemorated through various avenues such as festivals, art forms, and daily customs. As we embark on this essay, we will delve into the profound ...
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The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics. Kathak. Kathak is one of the most important classical dances of India. Kathak is said to be derived from the word katha, meaning "the art of storytelling." The Kathak dance form originated in north India and was very similar to the Bharatnatyam dance form.
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Context. On either side of the stage in Jacob's Pillow's Ted Shawn Theatre, the first theater in the United States built specifically for dance, hang two 1925 portraits by Albert Herter: Ted Shawn to the left, costumed for his Hopi Indian Eagle Dance, and Ruth St. Denis to the right, costumed as Kwannon, the Japanese Goddess of Mercy.
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India, often referred to as a 'subcontinent', is a fascinating mosaic of cultures and traditions. This vast nation is characterized by its diversity, yet there is a deep-rooted sense of unity that binds its people together. The Indian culture and tradition are a rich amalgamation of the past and the present, reflecting a civilization that ...
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Moscow, Idaho
First United Methodist Church (1904), S. Adams at E. 3rd St. Moscow (/ ˈ m ɒ s k oʊ / MOS-cow) is a city and the county seat of Latah County, Idaho.Located in the North Central region of the state along the border with Washington, it had a population of 25,435 at the 2020 census. Moscow is the home of the University of Idaho, the state's land-grant institution and primary research university.
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Classical Dances of India: Everything you need to know about

Origin of classical dances

Rasanubhuti: The 8 Rasas

What are classical dances?

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Bharatnatyam

The word meaning of Bharatnatyam

The evidence of Bharatanatyam

The makeup used for Bharatanatyam

The repertoire of Bharatanatyam

The music and instruments used for the Bharatanatyam

The revival of Bharatanatyam from ancient to modern day platform

The specialties of Kathak

The four main Gharanas, or schools of kathak dance

The Sequence of Kathak dance

The costume, makeup, and ornaments used for Kathak

The music and instruments used for Kathak dance form

The revival of Kathak dance forms

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Two styles of traditional Odissi

The sequence

The costumes used for the Odissi dance forms

The music and instruments used

The revival of Odissi dance forms

Kuchipudi vs Bharatanatyam

The repertoire of Kuchipudi

The costume and makeup of Kuchipudi

The music and instruments used for the Kuchipudi dance

The famous dancers in Kuchipudi

The main themes used in Kathakali

The makeup for Kathakali

The famous artists of Kathakali

Mohiniattam

The costumes for Mohiniyatam

The sequence of Mohiniyattam

The revival of Mohiniyattam

The themes used in Manipuri dance forms

The Manipuri Raslila: Three styles

Different types of Manipuri Dance Styles

The Music and instruments used in Manipuri dance

The costumes of Manipuri dance

The revival and recent developments of Manipuri dance

Manipuri dancers

The themes and styles used in Sattriya

The costumes used for Sattriya

The music and instruments used for Sattriya

The revival of Sattriya dance

The famous Artists of Sattriya

Chhau Dance

Types of Chhau Dances

The costumes used in Chhau

The music and instruments used for Chhau

The revival, recognition and recent developments of Chhau

Efforts from the government of India to revive Indian Classical Dances

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