Classical dancers. Credit Ajith Kumar Photography, Perth

If dance was an expression of the Divine, what would that look like?

Indian classical dance has a long and rich tradition dating back many thousands of years. Characterised by intricate footwork, hand gestures, stylistic postures and expressions, it is often considered as a dance of the Gods.

Deeply rooted in Hindu philosophy and mythology, the performances often convey familiar elements or stories, teaching themes of love and connection with Nature and Divinity. In many ways this is not only a performance but an offering of the self to the Divine.

“This journey transcends the physical and artistic to become a deeply personal and spiritual experience. This rich fusion of art and spirituality is what gives Indian classical dance its timeless quality and profound impact, both on the artist and the audience.”, according to Dr. Sonia Nair, a renowned practitioner of the Kuchipudi dance style in Perth.

The Indian Ministry of Culture recognizes 8 dance forms as classical – Bharatnatyam, Odissi, Kuchipudi, Kathak, Mohiniattam, Kathakali, Manipuri & Sattriya.  All of them have their own distinctive style, movements, dress and music, heavily influenced by the region, culture & traditions in which they have grown.

Despite differences they all share fundamental principles from the Natya Shastra, a 2000-year-old text, attributed to Bharata Muni, a sage and scholar. Serving as a detailed treatise on performance art, the Natya Shastra proposes the Rasa theory which states that the primary goal of performance art is not to entertain but to transport viewers to higher planes of consciousness. It does this through evoking 9 emotions or Navarasa including laughter, compassion, anger, fear, disgust, heroism, wonder and peace.

Simply put, Bhava or emotion is expressed though the dancer’s Abhinaya or acting, which in turn invokes a particular Rasa in the audience. And through this emotional connection between the artist and the audience, both are elevated.

This transformation from performer to character is not merely theatrical—”When I dance on stage, I am lost,” says Sindhusmitha Mishra, an exponent and teacher of the Odissi dance form in Perth, describing the moment when the boundaries between self and character dissolve.

 “When I played Goddess Durga, I had to once step on my teacher who played the role of the demon Mahishasura. I was quite hesitant, and asked his forgiveness, but he said ‘No, you are the Mother, you are Shakti. Don’t think of anything else.’”

This reflects a common theme in classical dance: the triumph of good over evil. Goddess Durga, known for defeating the shape-shifting demon Mahishasura who could only be vanquished by a female, represents the eternal battle between light and darkness that dancers embody on stage. Another common theme is Lord Krishna, symbolising love and devotion, the urge of the soul to connect with something bigger, portrayed in ways that are playful and mystical.

With these themes, it is no surprise that many of these dances originated in temples, with dancers dedicating their lives to God. Bharatanatyam from the southern state of Tamil Nadu, known for intricate footwork and sharp, choreographed poses, originated as a temple dance that was later adapted for stage. Kuchipudi, from neighbouring Andhra Pradesh, shares similar roots but incorporates more storytelling elements, including the spectacular feat where dancers balance on the edge of a brass plate while moving across the stage.

Kerala’s contribution, Kathakali, stands apart with its iconic colourful dramatic facial makeup and exaggerated eye movements. This dance form embodies vigorous, powerful movements that bring epic tales to vivid life.

As we progress northward, the dances become more flowing and gentler, emphasizing Lasya or feminine grace. Odissi from Orissa, is another temple dance, flowing with gentle swaying movements and heavily featuring themes of devotion to Krishna or Jagannath, the region’s patron deity.

Kathak from North India showcases an emphasis on pirouettes and delicate movements built through intricate footwork, reflecting a unique blend of Hindu and Islamic influences that developed when this storytelling tradition of traveling bards became popular in Mughal courts.

From eastern India, Manipuri offers a contrast with its slow, calm, and relaxed movements that highlight feminine grace and elegance, creating an almost meditative quality that draws audiences into its serene world.

The accompanying music is similar in structure and melodic frameworks, but with distinct identities. Kathak uses Hindustani music with an emphasis on improvisation, while southern forms such as Bharatanatyam, Kuchipudi & Mohiniyattam follow Carnatic music, with set pieces and rhythms. Other traditions like Odissi, Manipuri, Kathakali and Sattriya have their own musical style

In a world of instant gratification, Indian classical dance offers something profound. Although, it can be hard at first, perhaps if you let yourself connect to the rhythms and expressions, you too might glimpse the divine in the dance.