The Natyashastra laid the aesthetic and technical foundations of Indian performing arts. Examine how the classical dance traditions evolved distinctive regional identities within this common framework.

The Natyashastra, attributed to Bharata Muni (c. 2nd century BCE-2nd century CE), is regarded as the foundational treatise on Indian performing arts.

Natyashastra establishes a common aesthetic framework for Indian performing arts:

• Threefold Structure: Divides performance into Nritta (pure/ abstract dance), Nritya (expressive dance), and Natya (dramatic performance).
• Fourfold Abhinaya: Codifies communication via Angika (body limbs), Vachika (speech/song), Aharya (costume/makeup), and Sattvika (psychological/emotional states).
• Rasa-Bhava Aesthetic: Translates internal bhavas (emotions) into universal rasas (aesthetic flavours experienced by the audience). It identified eight Rasas (Ashta Rasa), later expanded to nine (Nava Rasa) with the inclusion of Shanta Rasa.
• Codifies Hasta Mudras, body movements (Anga, Pratyanga, Upanga), facial expression, postures, gaits, charis, mandalas and 108 karanas.

Classical dance traditions evolved distinctive regional identities within this shared framework: (i) Regional devotional movements shaped the thematic content of dance traditions:

• Bhakti movement profoundly influenced dance by shifting emphasis towards devotional expression. Vaishnavism, Shaivism and Shaktism produced region-specific traditions of music, dance and performance. E.g.,
  • Bharatanatyam: Shaiva and Vaishnava temple traditions.
  • Odissi: Jagannath cult and Gita Govinda of Jayadeva.
  • Manipuri: Vaishnavism and Raslila traditions.
  • Sattriya: Neo-Vaishnavite movement of Srimanta Sankardeva. (ii) Temple traditions and regional patronage gave each dance form a distinct character:
• Temple rituals, royal courts and monastic institutions shaped choreography and performance conventions. E.g.,
  • Bharatanatyam evolved from the Devadasi tradition in Tamil temples before its twentieth-century revival.
  • Kuchipudi developed from the Bhagavata dance-drama tradition of Andhra Pradesh and was shaped by Siddhendra Yogi.
  • Mohiniyattam flourished under the patronage of Maharaja Swathi Thirunal.
  • Kathak evolved from northern storytelling traditions and acquired courtly refinement under Mughal and Awadh patronage. (iii) Regional languages and music diversified compositions:
• Tamil hymns and Carnatic compositions enriched Bharatanatyam.
• Braj Bhasha poetry and Hindustani music shaped Kathak.
• Odia and Sanskrit literature informed Odissi.
• Assamese Borgeets became central to Sattriya.
• Manipuri employed indigenous music and percussion such as the pung. (iv). Distinct movement vocabularies created visual identities:
• Bharatanatyam developed geometric lines and araimandi; Odissi its sculptural tribhanga and chauka; Kathak intricate tatkar and rapid chakkars; Manipuri rounded and restrained movements; Kathakali elaborate makeup, martial energy and facial acting; and Kuchipudi dramatic dialogue and Tarangam.

Thus, the Natyashastra created unity of aesthetic purpose and technical principles, while regional religion, patronage, language, music and folk culture produced India’s characteristic “unity in diversity” of classical dance.