The classical dances of India is one of the most interesting phenomenons not only in Indian, but in the whole world’s cultural heritage. It is something completely different from the dances we see in popular Indian movies as well as folk dances.

As the wise people used to say, the man and the Universe live according to the same laws, that’s why the Universe and everything that is going on within it could be described with the help of human body. Besides, classical dances are based on ancient canons (the basic principles of dance art and performing arts in general that one can find in old literary works dedicated to Art theory – Natya Shastra that dates back to II century A.C. and Abhinayadarpanam), as well as strict tradition passed from teacher to the student, from father to son, from generation to generation. It is even said that the history of classical dances could be regarded as the history of the soul of India.

Classical dance traditions are 8 in total, namely, Kathak (North Indian – from Uttar Pradesh), Manipuri (from the state Manipur in the very East of the country), Odissi (from Orissa), Bharatnatyam (from Tamilnadu, South of India), Kuchipudi (Andhra Pradesh), Kathakali and Mohini Attam (both are from Kerala, South Indian state). Now the tradition of Chau dance (from the East of the country) is also considered to be classical. All of the dances named above are very different in movements, costumes, stylistics etc. These are separate dance traditions, though, definitely, somehow influenced each other during the course of the time. The common things characteristical to all of them are: the spiritual (originally) essence of dance; the so-called gesture language (hastas, or mudras – the definite positions of hands that have a symbolic meaning and give an opportunity to “read" dance like a book); the division on technical dance (nritta) and dance with plot (nritya); the plot (the most part of those dances that are reflecting a definite subject are dedicated to gods); the use of abhinaya (acting technique); concept of rasa (what the dancer makes the spectators feel) and bhava (feelings showed in dance).