Component-I (A) – Personal details:

Prof. P. Bhaskar Reddy

Dr. E. Sivanagi Reddy

Dr. E. Sivanagi Reddy

Prof. P Narayana Reddy

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Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Tourism in India

Module Name/Title Dance and Music Tourism in India

Module Id IC /TI / 25

Pre requisites Dance and music its importance in India

E-Text (Quadrant-I):
Introduction
Dance and music has always been an important part of Indian life and culture. The range of
musical and dance phenomena in India extends from simple melodies, folk music to what is
one of the most well- developed ‘systems’ of classical dance and music in the world. Music
and dance tourism involves an act of visiting a city or town, to see a music festival or other
music performances. Music tourism is a lucrative industry for many regions of the world, and
it refers to people travelling to a new area in order to attend a music show or concert, or
even a larger festival. When people purchase tickets to go to a festival or show, particularly
when they will have to travel to see, they are then more likely to spend additional money in
the local economy. This chapter examines some of the different types and forms of classical
and folk music and dance. Its emergence, origin and popular personalities or practitioners,
places of practice and its importance are also discussed in this chapter.
Learning outcomes
This chapter provides an overview of tourism and its importance. After reading the chapter
you will be able to understand the following:
 What are the different forms of classical, folk music and dance in India?
 History and development of dance and music
 Importance of dance and music
 Role of dance and music in tourism
1.0 Music Traditions of India
Dance and music has always been an important part of Indian life. The range of musical
phenomenon in India extends from simple melodies to what is one of the most well-
developed ‘systems’ of classical music in the world. There are references to various string
and wind instruments as well as several kinds of drums and cymbals in the Vedas. Some
date the advent of the system of classical Indian music to Amir Khusro. Muslim rulers and
noblemen freely extended their patronage to music. In the courts of the Mughal emperors,
music is said to have flourished and Tansen was one of the jewels of Akbar's court. The
great poet-saints who chose to communicate in the vernacular tongues brought forth a great
upheaval in north India and the Bhakti or devotional movements they led, gained many
adherents. The lyrics of Surdas, Tulsidas, and most particularly Kabir and Mirabai continue
to be immensely popular. By the sixteenth century, the division between North Indian

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(Hindustani) and South Indian (Carnatic) music was also being more sharply delineated.
Classical music, both Hindustani and Carnatic, may be either instrumental or vocal.
1.1 Carnatic Music
Carnatic music is considered as one of the oldest classical music systems in the world. It is
mainly prevalent in the southern Indian states of Andhra Pradesh, Karnataka, Kerala and
Tamil Nadu. The system of ragas (melodic scales) and talas (rhythmic cycles) are the basis
of Carnatic music. It comprises of seven rhythmic cycles and 72 fundamental ragas from
which all other ragas are considered to have originated. Tyagaraja Swamikal, Muthuswami
Dikshitar and Shyama Shastrikal are the three major composers of the 19th century. They
have composed thousands of krithis which contributes to the devotional element of Carnatic
music. Carnatic music gives much importance to vocal music and hence most compositions
are made to be sung.The basic swaras of Carnatic music are "sa-ri-gaa-ma-pa-da-ni" which
are abbreviations of the real names Shadjam, Rishabham, Gandharam, Madhyamam,
Panchamam, Dhaivatam and Nishaadam. Various instruments used during Carnatic music
presentation are violin, mridangam, tambura, venu, veena, chitraveena and so on.
During the years which extent from 1930 to 1960, several Carnatic vocalists of greater skills
raised to fame. D. K. Pattammal, M. L. Vasanthakumari and M. S. Subbulakshmi are
referred to as the female trinity of Carnatic music. The leading male vocalists of Carnatic
music were Muthiah Bhagavathar, Vasudevachar, Chintalapalli Venkata Rao, Asthan
Vidwan Chintalapalli Ramachandra Rao, Kanchipuram Naina Pillai and so on.
1.2 Hindustani Music
Hindustani music is the North Indian style of Indian classical music. This music tradition has
originated in Vedic ritual chants which dates back to more than three thousand years ago.
Since the 12th century it has undergone changes. The Hindustani music system was born
out of a cultural synthesis of the Vedic chant tradition and the ancient Persian tradition of
Musiqi-e assil, and various other folk traditions prevalent in the region. When a performer
reaches a distinguished level of achievement, titles of respect is awarded, which is “Pandit”
for Hindus and “Ustad” for Muslims. Similar to the Carnatic music, śruti (the relative musical
pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and
tala (the rhythmic cycles) forms the basic elements of the Hindustani music system. Pandit
Bhimsen Joshi is considered as one of the most prominent and legendary Hindustani
vocalist. He is well known for the "Khayal", a form of Hindustani classical. Kumar
Gandharva is another personality among the most famous classical musicians in India. He
always believed in being innovative by trying out his own new styles and never let any kind
of Gharana to tie him down from experimenting.
1.3 Indian Fusion Music
Fusion is not a very old trend in Indian music. Fusion trend is said to have begun with Ali
Akbar Khan's 1955 performance in the United States. Indian fusion music came into being
with rock and roll fusions with Indian music in the 1960s and 1970s. But it was limited to
Europe and North America. For some time the stage of Indian fusion music was taken by
Pandit Ravi Shankar, the Sitar maestro.
Pandit Ravi Shankar began fusing Jazz with Indian traditions along with Bud Shank, a jazz
musician. Soon the trend was imitated by many popular European and American music
exponents. In the year 1965, George Harrison played the song, "Norwegian wood" on the
Sitar. Another famous Jazz expert, Miles Davis recorded and performed with the likes of
Khalil Bal Krishna, Bihari Sharma and Badal Roy.
1.4 Ghazal
Ghazal is a common and popular form of music in India and Pakistan. Strictly speaking, it is
not a musical form at all but a poetic recitation. However, today it is commonly conceived as
an Urdu song whose prime importance is given to the lyrics. Ghazal traces its roots in

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classical Arabic poetry. Ghazal grew from the Persian qasida (a verse form that had come to
Iran from Arabia around the 10th century A.D).The qasida was usually a eulogy composed in
praise of the emperors or their noblemen. Many a times the Qasida often had 100 couplets
or more. With the coming of the Muslims, Ghazal got introduced in the 12th century. Thus,
Ghazal was imported into India from the 12th to the 18th centuries. Slowly and gradually
Ghazal acquired local colour and form. The most notable contributor to Ghazal music in
India was the famous poet Amir Khusro. Soon Ghazal came to enjoy widespread popularity
among Indian Muslims and rulers for many centuries.
1.5 Folk Music of India
India is a land of cultural diversities. Every region in India has its own form of folk music. This
rich tradition of folk music is very much alive in not just rural India, but also in some metros.
Though one may say that music has acquired a totally different definition with the arrival of
pop culture and new age cinema, still there are many who would beg to differ. The realm of
traditional folk music in India is very large and it is basically a countryside representation of
the urban Indian society. Many people tend to mix up Indian folk music with tribal music.
There is a huge difference between the two genres of music.
Folk music is very different from classical music . To begin with, it is not taught in the same
way as classical music is taught. Classical music usually requires a student devoting their
entire life perfecting the forms of this music. Folk music is more like a daily ritual without
affecting the daily lives of people. People learn it since their childhood and grow up on these
songs. One can always carry on with their daily life routine while listening to or singing folk
music. Most of the songs are sung in small village functions like weddings, births etc. Like
dance, music also forms part of the tourism entertainment products and government of India
and state governments are organizing music festivals to promote tourism. Premamati Music
Festival conducted by Andhra Pradesh Tourism is one such example.
1.6 Indian Film Music
One of the most popular Indian music forms is film music. Hindi film industry, popularly
known as Bollywood, along with Indian regional film industries, produces thousands of films
a year, most of which are musicals and feature elaborate song and dance numbers. It is
interesting to note that some of the movies become successful only because of their music .
Movie soundtracks are released as tapes and CDs much before the movie is released.
Earlier, radio was the main media of film music but with the introduction of satellite TV and
FM radio, the scenario has completely changed.
2.0 Dances in India
Indian dances are in varied forms and styles. These forms originated in different parts of
India, developed according to the local, culture, traditions and also imbibed elements from
other parts of the country. Sangeet Natak Akademi, the national academy for performing
arts, recognizes eight distinctive traditional dances as Indian classical dances. Folk dances
are , numerous in number and style, and vary according to the local tradition of the
respective region, ethnic or geographic area. Contemporary dances include refined and
experimental fusions of classical, folk and western forms. Dancing traditions of India have
influence not only over the dances in the whole of South Asia, but on the dancing forms of
South East Asia as well.
Classical Dances of India
2.1 Bharatanatyam
Bharatanatyam is believed to be the oldest dance form and the mother of all classical dance
styles of India. The dance form originated from the temples and courts of Tamil Nadu.
Devadasis, women who were dedicated to the temples to perform dances, used to perform
Bharatanatyam as a service to the Gods. In those days the dance form used to be
performed in the temples and not on stages. As the society changed and rule by kings came

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to an end E Krishna Iyer and Rukmini Devi Arundale bought this dance form out of the
temples and started performing on stages. In the 19 th century, four brothers known as
Tanjore Quartet (musicians), namely Chinnaiya, Ponaiyah, Sivanandam and Vadivelu
documented the dance forms contributing to Bharatanatyam’s status as a performing art.
Even today, their music compositions are used for the performances. Today Bharatanatyam
is one among the popular classical dance forms in India and is widely performed by both
male and female dancers. Instruments used in Bharatanatyam are Mridangam, Violin,
Veena, Flute and Talam (Nattuvangam/cymbals).
Meenakshi Sundaram Pillai, born on September 22, 1869 was a renowned musician and
scholar. He followed a different style known as the Pandanallur school of Bharatanatyam
which is known for its broad sweeping movements, framing of Teeramanams with
beautiful Adavus. Some of his renowned students are Thiruvalputhur Rajalakshmi,
Jeevaratnam, Pandanallur Jayalakhmi, Chokalingam Pillai, Kandappa and his son,
Muttaiah.
Rukmini Devi, born on 28thFebruary 1904 comes from a rich background of culture and
learning, brought great changes in the field of Bhartanatyam by correcting the theory of
dance and music. She also contributed in designing the costumes artistically and choosing
exquisite jewellery and ornaments. She laid emphasis on selection of padams and
highlighted the spiritual aspect of the contents.
2.2 Kathak
The term Kathak is believed to be derived from the word katha, meaning "the art of
storytelling." This dance form originated in north India. Kathak dance assumed the form of
courtly entertainment during the period of Persian and Muslim rule in India. During that
period, dancing girls and courtesans emerged to entertain the palaces and courts. Influence
of the medieval traditions imparted a Hindu – Muslim texture in this dance form. The form
and characteristics of Kathak underwent several changes which are also reflected in the
costume of Kathak dance.
During the nineteenth century Kathak rose to a status of classical art form and also started to
be considered as a form of entertainment among the kings and feudal lords. In the later
years Gharanas or schools of Kathak emerged. Famous among them are the Jaipur
Gharana and Lucknow Gharana. Jaipur Gharana emphasized on the technical mastery of
pure dance. The Lucknow Gharana emphasized on dramatic and sensuous expression.
Main focus in Kathak dance is on the footwork and is performed by both men and women. A
Kathak dancer is free to alter the sequence of steps to suit his or her skill and style of
dancing. The instruments used in Kathak are Pakwaj, Tabla, Harmonium, Sarengi and
Talam(cymbals).
Brijmohan Mishra, born on 4th February 1938, is the leading Kathak exponent of the
Lucknow Gharana. He has choreographed several new Kathak dances, thus, taking the
dance form to newer heights. He also founded Kalashram.
Uma Sharma, born in the year 1942, is a famous Kathak dancer. She was trained under
Guru Hiralalji and Girvar Dayal and Pandit Sunder Prasad of the Jaipur Gharana. Later she
was trained under Shambhu Maharaj and Birju Maharaj of Lucknow Gharana. Uma’s
greatest achievement is the creation of a fusion of both.
2.3 Kathakali
Kathakali is considered as one of the oldest theatre forms in the world. It is a dance - drama
which originated in Kerala, the southernmost state of India. The performances are based on
Hindu mythology, where each performer enacts a character. Mainly the themes for
performance are based on the epics Mahabharatha and Ramayana. One of the most
interesting aspects of this dance – drama is the use of elaborate make-up code for each
character according to their nature. The noble male characters of great kings and the divine
hero, Rama use green makeup on their face whereas characters who are of evil nature like

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the demon king, Ravana are allotted a similar green make-up with red marks on the cheeks.
A red make-up with red beard is allotted to extremely angry or excessively evil characters
whereas forest dwellers such as hunters are allotted black make-up on face. Women and
ascetics are represented with yellowish faces. A highly developed language of hand
gestures is the main highlight of this dance-drama. The instruments used in Kathakali
performance are Chenda, Maddalam, Cymbals and Ela taalam. Usually, two singers provide
the vocal accompaniment in ‘Sopanam’ style of singing.
Kalamandalam Kesavan Namboodiri, born on Jan 1, 1955 in Kolpuram Illam, Kuruvattoor,
was an exponent in Kathakali. He learned Kathakali from 1972 to 1985 from Kerala
Kalamandalam. He has also been trained in Thekkan Kathakali (South Kerala style) under
the guidance of Mankombu Sivasankara Pillai and Kalamandalam Rajasekharan.
Kalamandalam Gopi, born in 1937 in the village of Kothachira, was initiated in Kathakali
training by Guru T.Ravunni Nair. Kalamandalam Gopi established himself as an outstanding
Kathakali performer by playing all major Kathakali roles and he excelled as Bhima, Arjuna
and Nala.
2.4 Kuchipudi
The term Kuchipudi is originated from the name of a village in the Indian state of Andhra
Pradesh, “Kuchelapuram”. The origin of Kuchipudi can be traced back to an age old dance-
drama form namely ‘Bhagavatmela’ which was practiced by the Brahmins residing there.
The credit of differentiating Kuchipudi from the Bhagavtmela goes to a great scholar and
poet, Siddhendra yogi. From the 1960s, Kuchipudi as a solo dance form started to be
performed on stages. The main aspect which differentiates Kuchipudi from other classical
dance forms is the faster movements. It shares many common elements with
Bharatanatyam and is performed in both classical Carnatic music and classical Hindustani
music. ‘Puja’ , ‘Jatiswaram’, ‘Shabdam’ , ‘Tarangam’ , ‘Keertanam’ and ’ ‘Tillana’ are
included in solo Kuchipudi performances. The instruments used during Kuchipudi
performance are Mridangam, Violin, Veena, Flute and Talam (Nattuvangam/ cymbals).
Raja & Radha Reddy, the world-renowned dancing couple has given a new dimension to
the age-old art of Kuchipudi without losing the traditional poetry or dramatic sensibility. The
dancing duo, Raja and Radha Reddy are one among the most sought after Kuchipudi
choreographers in the country. They made the dance form more presentable and acceptable
to the modern cosmopolitan audiences across the world. In the year 1976, they established
Natya Tarangini, an institute regarded as a temple for learning Kuchipudi dance.
2.5 Manipuri
This dance form originated and got its name from the place called Manipur, which is a state
in India now. Manipuri dance is a part of people’s daily life. The people there perform
Manipuri dance as part of their rituals such as wedding or paying homage to the ancestors.
They believe that Gods drained a lake in the beautiful countryside in order to find a place
to dance. Manipuri, as seen today is evolved from Lai Haroba which is a ritualistic dance
depicting the Creation. Unlike Lai Haroba, Manipuri dance expanded and gained popularity.
This dance has solo and group performances. The important feature of the Manipuri
repertoire are the Sankirtana which is based on the devotion to Krishna and Radha, and the
Raas Leela which is based on the cosmic dance of Krishna and the cowherd maidens. The
costumes for female performers include beautifully embroidered skirts, long and flared from
the waist, and the veils. The male performers are allotted Krishna’s costume with the tall
peacock feather crown which highlights the radiant appearance of this dance. Another
attraction of this dance form is Pung Cholam or drum dance, in which dancers play on the
drum known as Pung while dancing to a fast rhythm. The instruments used in Manipuri
dance performances are Pung and Cymbals.
Guru Bipin Singha was born on August 24, 1918 in a Bishnupriya Manipuri family. He
chose the solo pieces from the dance dramas and re-choreographed them for the stage. He

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was a pioneer in introducing solo dance performances in the Manipuri style. He founded
Manipuri Nartanalaya in Mumbai, Manipur and Kolkata in collaboration with his disciples
Jhaveri Sisters and Kalavati Devi.
Prof. Sruti Bandopadhay is a well known performer-scholar in the dance field of India and
is one among the leading exponents of Manipuri Dance. She has performed in several
national and international festivals. The number of productions which she choreographed
brought her acclaim and honour.
2.6 Odissi
The origin of Odissi can be traced back to ancient northern India. The name Oddisi refers to
the dance form of the Indian state of Odisha. The 20th century revival resulted in the present
form of Odissi. Gradually, Odissi has become one among the most popular classical dance
forms in India. Two major facets of Odissi are: Nritta or non-representational dance, in which
body movements are used to create ornamental patterns; and Abhinaya, or facial
expressions. The favourite theme for interpretation is divine love tales of Radha and the
cowherd God Krishna. Ashtapadis, poem of eight couplets, from Jayadeva’s Gita Govindam
is used as typical recital of Odissi. The technique in performing Odissi includes repeated use
of the tribhangi where body is bent in three places. The music of Odissi is in Odia language.
Instruments use in Odissi is Pakwaj, Table, Harmonium, Flute and Cymbals.
Aadya Kaktikar is a disciple of Madhumita Raut and has undergone two decades of
rigorous training under the Odissi exponents Guru Mayadhar Raut and Madhumita Raut at
The Mayadhar Raut School of Odissi Dance at New Delhi. She has performed extensively
as a solo performer and is currently engaged in reviving the traditional Odissi dance items.
Aditi Bandyopadhyay is a dancer, performer, choreographer and teacher of Odissi dance.
Aditi has presented 176 solo dance recitals and has choreographed several dance
productions.
2.7 Sattriya
The origin of Sattriya dance can be traced back to the 15 th century when the saint poet,
Shankar Deva started an institution to bring harmony to the region of Assam through
religion, creating forms of dance-dramas, music, painting and collective prayer. The dance
forms which came to existence during that period are called Sattriya dances which carry all
the features of a classical dance form. These dances are performed in the namghar, the
prayer hall of the sattra by the celibate monks as part of their living tradition. Costume is of
white colour which are usually made of pat, a type of silk produced in Assam. The numbers
like “Sutradhari,” “Chali,” “Jhumura” are part of Sattriya dance. The music is provided by
khol-drum, patital, boratal-cymbals along with songs. Now-a-days this dance form is
presented on the metropolitan stages both as solo and group performance.
2.8 Mohiniyattam
Mohiniyattam is a classical dance form originated in the south Indian state of Kerala. The
term Mohiniyattam is coined by combining two words, “Mohini” meaning woman and “Attam”
meaning graceful body movement. Though the dance form was originated in the sixteenth
century AD, it was popularized in the nineteenth century by Swati Thirunal, Maharaja of the
State of Travancore and Vadivelu, one among the Tanjavur Quartet. The dance form
includes elegant movement of hips and gentle movement of body. The vocal music of
Mohiniyattam is known as chollu which is written in a combination of Sanskrit and
Malayalam.
Rekha Raju, who was born in Palakkad district of Kerala, is an exponent of Mohiniyattam.
She was trained under various famous gurus and started giving performances from the age
of four. She has received various awards for her performances. She was critically acclaimed
for her solo and group choreographies.

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Sunanda Nair, who was born in Mumbai is a famous Mohiniyattam dancer trained under
Mohinyattam exponent Dr. Kanak Rele. She is the first Master’s degree holder from Nalanda
Nritya Kala Mahavidyalay. She has choreographed several Mohiniyattam performances. She
is providing training in Mohiniyattam and Bharatanatyam and also the founder director of
Srutilaya Institute of Fine Arts.
3.0 Folk Dances of India
Dumhal: This dance is performed by the men of the Wattal tribe of Kashmir. The costume
includes long colourful robes and conical caps. The performers move in a procession in the
beginning and the dance is performed in circles. A drum and vocal singing are the
accompanying music for this dance.
Bhangra: Bhangra is a folk dance which originated in Punjab. Bhangra is performed on the
day of Baisakhi to celebrate the success of the harvest. People sing and play the dhol drum.
Garba: Garba is a popular folk dance of the Indian state of Gujarat. This is performed during
the occasions of Navaratri, Sharad Purnima, Vasant Panchami, Holi and such other festive
occasions. Ladies sing and dance around the goddess clapping rhythmically.
Ghoomar: Ghoomar is a famous community dance performed by women in Rajasthan.
Ghoomar is performed on different occasions like fairs & festivals. The costume includes
Ghaghra, a long skirt of the Rajasthani women which are rich in embroidery work and mirror-
work.
Bihu: Bihu dance is a folk dance from the Indian state of Assam which is mainly performed
during the festival of Bihu. This folk dance is performed by both men and women. The main
features of Bihu are brisk dance steps, rapid hand movement and a rhythmic swaying of the
hips. Traditional Assamese clothing like Dhoti, Gamocha and Chadar, Mekhala are used in
this folk dance.
Pulikali: Pulikali is a colourful folk art from Kerala, the southernmost state of India. It is
mainly performed during the occasion of Onam, by trained artists. It is a 200 year old folk art
form which revolves around the theme of tiger hunting.
Karakattam: Karakattam is an ancient folk dance which is popular in the state of Tamil
Nadu. The performers balance a pot on their head and dance to praise Mariamman, the rain
goddess. This folk dance is categorized into two types- Aatta Karakam, where decorated
pots are balanced on head while dancing, and Sakthi Karakam, which is performed only in
temples as a spiritual offering.
Veeranatyam: Veeranatyam is a popular folk dance form which originated in the southern
Indian state of Andhra Pradesh. The term Veeranatyam means ‘Dance of the Brave’. The
folk dance is performed as a tribute to Lord Shiva and Goddess Veerabhadra. Veeranatyam
includes lot of vigorous movements. Burning flames lit to the tridents are pierced into the
bodies of the dancers.
Dalkhai: Dalkhai is a folk dance originated in the state of Odisha which is mostly performed
by young women of some tribes of Western Odisha during seasonal festivals. The dance
includes vigorous movements and is accompanied by a set of particular musical instruments,
played by men. The Chaiti Ghorha a version of Dalkhai, is danced by a fishermen
community. .
Raut Nacha: Raut Nacha is the folk dance form originated in the state of Chattisgarh. It is
performed in order to showcase a region's heritage during the festive season of Diwali. The
costumes of the performers are also allotted as per their tradition. This folk dance is mainly
based on the battle theme, which was between the King Khansa and the people of Yadav
community. And this folk dance celebrates the victory over evils of the ancient time.
Gendi: Gendi is a folk dance originated in the state of Madhya Pradesh. The dance is
mainly performed by Gond children and is popular in the Vindhyas and the Satpura ranges.

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Gendi is danced during rainy season. The dancers balance on the Gendi(stilts), perform it in
water or on marshy surface. The main attraction of this folk art is the dance in pyramid
formation at the end of each session.
4.0 Summary
Both dance and music has always been an important part of Indian life. The range of musical
and dance culture in India extends from simple folk melodies to one of the most well-
developed ‘systems’ of classical dance and music in the world. Sangeet Natak Akademi,
the national academy for performing arts, recognizes eight distinctive traditional dances as
Indian classical dances. Folk dances are numerous in number and style, and vary
according to the local tradition of the respective region, ethnic or geographic area. Music and
dance play a major role in the development of tourism in India and promotion of Indian
culture in a wider way. These classical and folk music and dances have become major
cultural tourism products in India, attracting large number of tourist to the country.