The legacy of dance in India is tremendous. On temple walls, on an urban stage, in impromptu outbursts by a mellow evening fire, men and women twinkle their toes in expressions of joy.

The classical dances of India are numerous. Characterised by stylised movements and elaborate costumes, these dances communicate age-old tales of love, longing and rage. As in most things in India, myth and legend find expression here too, as the epic tales of Ramayana and the Mahabharata are brought to life in nritya.

Kathak of Uttar Pradesh and Rajasthan, Kathakali and Mohiniattam of Kerala, Bharatnatyam of Tamil Nadu, Kuchipudi of Andhra Pradesh, Manipuri from Manipur and Odissi from Orissa are the prominent classical dance forms in this country that sways to an altogether novel beat. The robust bhangra of Punjabi men, the graceful whirling of Rajasthani women, the gentle sway of northeastern dancers, vigorous tribal dances - every corner has developed its own unique form.

Kathak is a classical dance genre that was traditionally performed in the temple precincts of Rajasthan and Uttar Pradesh relating mythological tales to common people. It was given patronage and adapted by the rulers of Awadh (modern day Lucknow) into its present form of artistic expression.

The classical dance form of Bharatnatyam brings together three aspects of performing arts: `bhava' (expression or emotion), `raga' (music) and `thala' (rhythm). Almost a coming to life of the temple sculptures of south India, Bharatnatyam has a beauty all its own. Decked out in shimmering silk, the dancer relies on hand movements, dramatic poses and a range of facial expressions to communicate epic tales of love, longing and rage.

The classical dance form of Manipuri, with delicate hand and feet movements, is very different from other Indian dance styles, primarily because it is devotional in nature. The dance is a depiction of the "Ras Leela" or the love story of Lord Krishna and his consort, Radha. It belongs to the small state of Manipur in northeast India.

Neighbouring Manipur is Assam, the largest of the northeastern states. From it comes the dance form of Sattriya Nritya, the latest to be recognised as a classical dance form. The word Sattriya comes from 'sattra' - monasteries established by the Assamese religious reformer, Shankardev. The dance grew out of the unique philosophy of a new Vaishnavism that Shankardev preached. He was also a poet and a musician, and these dances are set to his writings and lyrics. The movements of Sattriya Nritya are very slow and gentle; they communicate tales from the legends of Vishnu and particularly from the life of Lord Krishna. 

Odissi, the traditional classical dance form of Orissa originated in the ‘Devadasi’ cult, wherein young women were ‘married’ to gods and ordained into the service of the temple, worshipping their lord and master through this lyrical form of dance. This dance with its subtle form epitomises Indian femininity at its most sensuous.

The classical dance form of Kuchipudi is native to a small town near Vijaywada in Andhra Pradesh, south India. It incorporates elements from myths and motifs from Hinduism, and is performed to Telugu music and Sanskrit chants. 

The dance drama form of Kathakali belongs to Kerala. The Kathakali dancer relies on exaggerated eye movements, a ferociously painted face and stylised dancing to convey the spectacle of good versus evil. While kathakali dancers are all male, Mohiniattam, another classical dance form from Kerala, is performed exclusively by women. Also belonging to Kerala are the dance forms of kuttiyatam and kalaripayattu. The native martial art form of Kalaripayattu exacts physical and mental dexterity from its exponent. People dedicate entire lives to mastering the lithe deadly graceful movements. Kuttiyatam is also an ancient dance-drama form. 

Besides the classical dances, which require the artiste to undergo rigorous training for many years, there are a host of folk dances. Indians celebrate weddings, the harvest, births and festivals with dance. Every state and every people has its own unique form, whether it is the garba of Gujarati women, the bhangra and giddha in Punjab, or tribal dances of the northeastern states. 

There needn’t be a strict demarcation between the folk and the classical. Chhau of eastern India, for example, has three styles that range from the almost-classical to folk. Seraikelaa and Purulia Chhau are highly stylised and use masks to enhance the spectacle of their tale, while Mayurbhanj Chhau is earthy and robust.