Bharatanatyam

 Origin: Bharatanatyam, one of India's oldest classical dance forms, traces its roots
to ancient Tamil Nadu. Initially known as "sadir," it evolved from the temple rituals
and later gained prominence as a classical dance form during the 20th century.
 Repertoire: Bharatanatyam's repertoire comprises intricate footwork (nritta),
expressive facial gestures (abhinaya), and storytelling through dance (natya). It often
includes items like Alarippu, Jatiswaram, Shabdam, Varnam, and Tillana. There are
only seven main genres of dances in the typical Bharatanatyam repertoire. They are
performed in the following order; pushpanjali, alaripu, jati-svaram, sabdam, varnam,
padam, tillana andsloka.

 Jewellery: Bharatanatyam dancers adorn themselves with exquisite jewelry. This

includes the maang tikka, oddiyanam (waistbelt), necklaces, earrings, bangles, and
anklets. The jewelry enhances the visual appeal of the dance, accentuating the
dancer's movements. Typically, they wear temple jewellery necklaces made of gold
and decked with pearls. Bangles and arm chains: Bharatanatyam dancers wear
bangles and armlets depending on their choice. They beautify their arms with many
bangles and armbands that signify prosperity.

 Costume: The costume of a female Bharatanatyam dancer resembles a Tamil Hindu

bridal dress. It typically consists of a sari in bright colors with golden or
silver zari embroidery on the borders. The costume can be stitched from the sari, with
individual pieces for a bottom (either a skirt or salwar-shaped pants), a pleated piece
which falls in front and opens like a hand fan when the dancer flexes her knees or
performs footwork, a hip piece that covers the seat of the pant/skirt, and a torso piece
that looks like an aanchal (i.e. the draped part of a regular sari). Some dancers also
opt for an unstitched sari that is draped specially, with the single piece of cloth
starting around the legs like a dhoti, then upwards along the front torso, over the left
shoulder, and then down the back with its end held at the waist by a jeweled belt.] he
costume of a male Bharatanatyam dancer is usually either a sari or a white cotton
cloth draped around the legs and bottom half of the body like a dhoti. During
performances, the upper body of the male dancer remains bare. Male dancers
typically do not wear stitched costumes.

 Makeup: Bharatanatyam makeup is elaborate, emphasizing the eyes and

expressions. Dark kohl outlines the eyes, and vibrant colors are used on the lips and
cheeks. The makeup enhances the facial expressions crucial for storytelling.

 Ornaments: Apart from jewelry, Bharatanatyam dancers wear specific ornaments

like the "Nethichutti" (forehead ornament), "Mookuthi" (nose ring), and "Mattal" (ear
cuffs). These ornaments add a regal touch to the dancer's appearance.
 Instruments: The dance is accompanied by a traditional orchestra known as the
"Nattuvangam," which is led by the "Nattuvanar." The ensemble includes instruments
like the mridangam (drum), violin, flute, and veena, creating a harmonious backdrop
for the dance.
 Famous Dancers: Several renowned Bharatanatyam dancers have contributed
significantly to popularizing the art form. Padma Subrahmanyam, Rukmini Devi
 Arundale, Alarmel Valli, Malavika Sarukkai, and Shobana are among the iconic
figures who have left an indelible mark on the world of Bharatanatyam.

Kathak
 Origin: Kathak is one of the eight major forms of Indian classical dance. It is the
classical dance form from Uttar Pradesh . The origin of Kathak is traditionally
attributed to the traveling bards in ancient northern India known as Kathakars or
storytellers.The term Kathak is derived from the Sanskrit word Katha which means
"story", and Kathakar which means "the one who tells a story", or "to do with
stories".Wandering Kathakars communicated stories from the great epics and
ancient mythology through dance, songs and music.

 Repertoire:

 Jewellery : Kathak dancers wear traditional jewelry such as the "Maang Tikka"
(headpiece), "Jhoomar" (side ornament), "Nath" (nose ring), and elaborate necklaces
and earrings. The jewelry complements the intricate footwork and adds a touch of
elegance to the costume.

 Costume: The traditional Kathak costume for female dancers is the "Lehenga-Choli,"
a flowing skirt paired with a fitted blouse. Male dancers often wear a "Kurta-Pajama"
ensemble. The costumes are adorned with sequins, embroidery, and vibrant colors,
reflecting the cultural richness of North India.

 Makeup : Kajal is applied to the eyes and a bindi is applied on the forehead.
Eyebrows are shaped. Mascara is used to define the lashes. Different types of
eyeshadows are used and henna is made with red colour in the hands. Kathak
makeup is usually subtle, emphasizing the eyes with kohl and using natural tones on
the lips and cheeks. The focus is on highlighting the facial expressions, which play a
crucial role in conveying emotions during the performance.

 Ornaments: Apart from jewelry, Kathak dancers may wear anklets with attached
ghungroos (small bells), enhancing the rhythmic aspect of the dance. The ghungroos
contribute to the distinctive sound that accompanies the footwork.
 Instruments: Kathak is often accompanied by a traditional orchestra that includes
instruments like the tabla (drums), sitar, sarod, flute, and sometimes the santoor. The
music provides a melodic and rhythmic backdrop to the dance, creating a dynamic
and engaging performance.
 Famous Dancers: Kathak has been enriched by the contributions of many eminent
dancers. Pandit Birju Maharaj, Sitara Devi, Shovana Narayan, and Kumudini Lakhia
are some of the legendary figures who have significantly shaped the landscape of
Kathak and gained international acclaim for their artistry.
Mohiniyattam
 Origin: Mohiniyattam, meaning "dance of the enchantress," hails from the state of
Kerala in South India. Rooted in the Devadasi tradition and influenced by the temple
dances of the region, Mohiniyattam embodies grace, femininity, and storytelling. The
dance gets its name from Mohini – the female enchantress avatar of
the Hindu deity Vishnu, who helps the devas prevail over the asuras using her feminine
charm. Mohini refers to a divine enchantress or a supreme seductress. She appears in
Hindu mythologies during a battle between Devas (good) and Asuras (evil), after the evil
had won control of Amrita (nectar of immortality). Appearing in her youthful bloom,
dressed rapturously she uses her charms to seduce the Asuras, who seeking her favors,
give her the Amrita to distribute among the evil forces. Mohini after gaining
the Amrita gives it to the good instead, depriving the evil from gaining immortality.

 Repertoire: Mohiniyattam's repertoire includes a combination of lasya (graceful,

gentle) and tandava (vigorous, masculine) elements. It often features expressions of
love and devotion, with movements inspired by the swaying of palm trees and the
natural beauty of Kerala. Traditional compositions like Padams and Javalis are
commonly performed. The repertoire sequence of Mohiniyattam is similar to that of
Bharatanatyam, so of contains seven items that are performed to a structure described in
classical dance texts: Cholkettu (invocation, but starts with offering reverence to a
goddess Bhagavati and ends with a prayer to Shiva), Jatisvaram or more
precisely Swarajeti, Varnam (a play wherein she embeds a mimicry for distraction while
communicating the underlying story or message), Padam (song), Tillana (dancer's
interpretation of melody the musician create), Shlokam and Saptam.

 Jewelry: The jewelry in Mohiniyattam is elegant and understated. Dancers wear the
"Maang Tikka" (forehead ornament), "Kasu Mala" (coin necklace), "Oddiyanam"
(waistbelt), earrings, and bangles. The jewelry enhances the dancer's movements
without overpowering the subtlety of the form.

 Costume: The Mohiniyattam costume is a white or off-white saree with a gold border,
known as the "Mundu." The blouse is typically matching or contrasting, and the
costume reflects the cultural ethos of Kerala. The attire allows for fluid movements,
emphasizing the beauty of the dance. The costume includes plain white or off-white
such as ivory or cream colored sari embroidered with bright golden or gold laced colored
brocade (similar to a ceremonial Kasavu saree).She wears a fitted choli (blouse)
matching the sari, below which at the waist is a golden belt which tucks in the end of the
sari, and highlights the waist. In front of the saree, below the belt is pleated sheet with
concentric bands in gold or saffron colors, which allow freedom of movement and assist
in visually communicating the mudra to distant audience.

 Makeup: Mohiniyattam makeup is soft and minimal, emphasizing the eyes with
subtle kohl and using natural tones on the lips and cheeks. The focus is on
enhancing the facial expressions, which play a crucial role in conveying the emotions
inherent in the performance. The face makeup is natural, but lips are brilliant red, she
has the Hindu tikka (Gobi) on her forehead and her eyes are lined to help prominently
highlight the eye movements during the dance.
  Ornaments: In addition to jewelry, Mohiniyattam dancers may wear anklets with
attached ghungroos (small bells), accentuating the rhythmic aspect of the dance. The
sound of the ghungroos complements the intricate footwork. The dancer wears
relatively simple jewelry and no masks, in contrast to the other major classical dance of
Kerala called Kathakali. Her jewelry typically includes items on fingers, wrists, neck and
ears (which may have bells). Her ankles are adorned with leather straps with bells
(chilanka), feet and fingers colored red with natural dyes.

 Instruments: The musical instruments usually used in Mohiniyattam are Mridangam

or Madhalam (barrel drum), Idakka (hour glass drum), flute, Veena,
and Kuzhitalam (cymbals). The ragas (melody) are rendered in the sopana (steps) style,
which is a slow melodic style with roots in the Natya Shastra.

 Famous Dancers: Several accomplished artists have made significant contributions

to popularizing Mohiniyattam. Kalamandalam Kalyanikutty Amma, Dr. Kanak Rele,
and Sunanda Nair are among the renowned dancers who have played a pivotal role
in preserving and propagating the art form.

Kathakali
 Origin: Kathakali, a classical dance-drama form, originated in the southern Indian
state of Kerala in the 17th century. It evolved from earlier dance forms and combines
elements of dance, drama, music, and ritualistic traditions. Kathakali is a traditional
form of classical Indian dance, and one of the oldest theatre forms still practiced. It is
a "story game" genre of art, but one distinguished by the elaborately colourful make-
up and costumes of the traditional male actor-dancers. It is native to the Malayalam-
speaking southwestern region of Kerala and is almost entirely practiced by Malayali
people.

 Repertoire: Kathakali's repertoire is primarily based on stories from Hindu epics,

particularly the Ramayana and Mahabharata. The performance involves intricate
footwork, elaborate facial expressions (rasas), and stylized gestures (mudras). The
storytelling is conveyed through a combination of dance, acting, and vocalization. A
Kathakali performance typically starts with artists tuning their instruments and
warming up with beats, signalling to the arriving audience that the artists are getting
ready and the preparations are on. The repertoire includes a series of performances.
First comes the Thodayam and Purappadu performances, which are preliminary
'pure' (abstract) dances that emphasize skill and pure motion.Thodayam is performed
behind a curtain and without all the costumes, while Purappadu is performed without
the curtain and in full costumes.

The expressive part of the performance, which constitutes the dance-drama, is split into four
types: Kalasham (major and most common), Iratti (special, used with battles-
related Chempata rhythm), Thonkaram (similar to Iratti but different music),
and Nalamiratti (used for exits or link between the chapters of the play).

 Jewelry: Kathakali jewelry is elaborate and ornate. Dancers wear large headpieces
known as "Mudippu" or "Kireetam," depicting characters like gods, demons, or
 animals. They also wear facial makeup that includes distinctive designs, adding to
the characterization.

 Costume: The costume in Kathakali is elaborate and colorful. Dancers wear

voluminous skirts known as "Pudava" with pleats, and the upper body is adorned with
a tight-fitting jacket called "Chutti." The costume is often made of rich fabrics like silk,
and the colors represent the nature of the characters.
 Makeup: The makeup follows an accepted code, that helps the audience easily identify
the archetypal characters such as gods, goddesses, demons, demonesses, saints,
animals and characters of a story.Seven basic makeup types are used in Kathakali,
namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu
(red) These vary with the styles and the predominant colours made from rice paste and
vegetable colors that are applied on the face. Pachcha (green) with lips painted brilliant
coral red portrays noble characters and sages such
as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings.
Thaadi (red) is the code for someone with an evil streak such
as Dushasana and Hiranyakashipu. Some characters have a green face (representing
heroic or excellence as a warrior) with red dots or lines on their cheeks or red-coloured
moustache or red-streaked beard (representing evil inner nature), while others have a full
face and beard while others have a full face and beard coloured red, the latter implying
excessively evil characters.Kari (black) is the code for forest dwellers, hunters, and
middle ground character. Demonesses and treacherous characters are also painted
black but with streaks or patches of red. Yellow is the code for monks, mendicants, and
women. Minukka (radiant, shining) with a warm yellow, orange or saffron typifies noble,
virtuous feminine characters such as Sita, Panchali and Mohini. Men who act the roles of
women also add a false top knot to their left and decorate it in a style common to the
region. Vella Thadi (white beard) represents a divine being, someone with virtuous inner
state and consciousness such as Hanuman. Teppu is for special characters found in
Hindu mythologies, such as Garuda, Jatayu and Hamsa who act as messengers or
carriers, but do not fit the other categories. Face masks and headgear is added to
accentuate the inner nature of the characters. The garments colours have a similar
community accepted code of silent communication.

 Ornaments: In addition to the elaborate headpieces and facial makeup, Kathakali

dancers may wear traditional jewelry such as necklaces, earrings, and bangles.
These ornaments contribute to the overall visual appeal of the performance.

 Instruments: Kathakali is accompanied by a traditional orchestra known as the

"Percussion Ensemble" or "Kathakali Vadyam." The ensemble includes instruments
like chenda (drum), maddalam (double-headed drum), chengila (cymbals), and
ilathalam (a pair of small cymbals). The music enhances the dramatic elements of
the performance.
 Famous Dancers: Several notable Kathakali performers have left an indelible mark
on the art form. Kalamandalam Krishnan Nair, Chenganoor Raman Pillai, and
Kottakkal Sivaraman are celebrated Kathakali exponents who have received acclaim
for their mastery of the dance-drama.
Odissi
 Origin: also referred to as Orissi in old literature, is a major ancient Indian classical
dance that originated in the temples of Odisha – an eastern coastal state
of India. Odissi, in its history, was performed predominantly by women, and
expressed religious stories and spiritual ideas, particularly of Vaishnavism through
songs written and composed according to the ragas & talas of Odissi music by
ancient poets of the state. Odissi performances have also expressed ideas of other
traditions such as those related to Hindu Gods Shiva and Surya, as well as Hindu
Goddesses (Shaktism).

 Repertoire: Traditional Odissi repertoire sequence starts with an invocation

called Mangalacharana. A shloka (hymn) in praise of a God or Goddess is sung,
such as to Jagannath (an avatar of Vishnu), the meaning of which is expressed
through dance. Mangalacharana is followed by Pushpanjali (offering of flowers)
and Bhumi Pranam (salutation to mother earth). The invocation also
includes Trikhandi Pranam or the three-fold salutation – to the Devas (gods), to the
Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).
Odissi's repertoire encompasses a wide range of themes, including mythological
stories, devotional pieces, and abstract compositions. It involves intricate footwork,
fluid movements, and expressive gestures. Key elements include Mangalacharan,
Pallavi, Abhinaya, and Moksha.

 Jewellery: Odissi dancers wear traditional Odissi jewelry, which includes the "Maang
Tikka" (headpiece), "Jhoomar" (side ornament), "Sankha" (shell bangles),
"Kamarbandh" (waistbelt), and various necklaces and earrings. The jewelry
complements the traditional Odissi costume and enhances the visual appeal of the
dance. The jewellery includes silver pieces, a metal favored in regional tradition.The
hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple
spire, and decorated with seenthi. The hairstyle may contain a moon shaped crest of
white flowers, or a reed crown called mukoot with peacock feathers (symbolism for
Lord Krishna). The dancers forehead is marked with tikka, and adorned with various
jewelry such as the allaka (head piece on which the tikka hangs). The eyes are
ringed with kajal (black eyeliner). Ear covers called kapa or ear rings decorate the
sides of the head, while necklace adorns the neck. The dancer wears a pair of
armlets also called bahichudi or bajuband, on the upper arm. The wrist is covered
with kankana (bangles). At the waist they wear an elaborate belt which ties down
one end of the sari.

 Costume: The Odissi dancers are colorfully dressed with makeup and jewellery.
The saree worn by Odissi dancers are brightly coloured, and usually of local silk
(Pattasari). It is worn with pleats, or may have a pleat tailor stitched in front, to allow
maximum flexibility during the footwork. These sarees have traditional prints
of Odisha with regional designs and embellishments, and may be the Sambalpuri
saree and Bomkai saree.

 Makeup: In Odissi dance, performers typically use traditional makeup called "Tahia."
This makeup involves using natural colors and pigments to create intricate designs
on the face, emphasizing the eyes and facial expressions. The makeup is an
 important part of the overall presentation of the dance, helping to convey emotions
and expressions to the audience.

 Ornaments: The silver ornaments used in Odissi are made of pure silver and are
crafted by skilled artisans. These ornaments include the 'mundavali' (a headband),
'kahna pola' (earrings), 'bala' (bangles), 'hansuli' (a necklace), 'tarabali' (anklets), and
'kankana' (bracelets)

 Instruments: Like most Indian dance forms, an Odissi troupe performs with the
accompaniment of a musical ensemble. The mini-orchestra consists of a number of
instruments, often varying slightly by region; the ubiquitous tanpura is used for a
consistent, droning ambience throughout, with either the mardala (a barrel drum variant
of the pakhawaj), tabla or mridangam for percussion. Melodic instruments range from
the harmonium, bansuri (bamboo flute) or sarangi to
the sitar and violin. Additionally, manjira (finger cymbals) or other small, percussive
instruments may be used. At times, vocalists may be featured, usually singing simple,
rhythmic phrases and melodies with dancing specifically choreographed to match.

 Famous Dancers: Odissi has been enriched by the contributions of many renowned
dancers. Kelucharan Mohapatra, Sanjukta Panigrahi, Sonal Mansingh, and Bijayini
Satpathy are some of the legendary figures who have significantly shaped and
popularized Odissi on the national and international stage.

Kuchipudi
 Origin: Kuchipudi, a classical dance form, originates from the village of Kuchipudi in
the Indian state of Andhra Pradesh. It has its roots in ancient Hindu texts and the
Bhakti movement. Traditionally, it was performed by male Brahmin dancers, but it
has evolved into a dance form open to both genders.

 Repertoire: Kuchipudi's repertoire includes a blend of dance and drama. It

incorporates elements of storytelling, expressive dance movements, and rhythmic
footwork. The performance usually begins with an invocatory piece called "Ganesha
Stuti" and progresses through items like Jatiswaram, Padams, and Tarangams.

 Jewellery: have symbolic elements embedded in their hair and face jewelry, such
as the Vedic symbolisms for the sun and the moon, the soul and the nature, and she
sometimes sets her hairdo in the tribhuvana style which represents the three
worlds.Her jewelry may include hair jewelry, ear, nose, armlets, necklaces and often
a leather anklet piece with little bells (gajjelu or ghungroo).

 Costume: The traditional Kuchipudi costume is a brightly colored saree with a

pleated design, known as the "Pochampally Saree." The blouse is typically short-
sleeved and adorned with embroidery. The costume allows for free movement,
facilitating the expressive and dynamic nature of Kuchipudi. The traditional Kuchipudi
was performed by all males troupe. A dancer in a male role would be in Angavastra,
also known as Bagalbandi, wear a dhoti (a single pleated piece of cloth hanging
 down from the waist). A dancer in a female role would wear a Sari with light makeup.
Modern productions retain the male dress, but are more elaborate and
Bharatanatyam-like for the female roles. Women artists wear a brilliantly
colourful Sari (or a body fitting dress) with a pleated fan stitched in front to help
highlight the exacting footwork. The end of the wrapped Sari is held fast under a light
metallic (golden or brass) belt at waist. A Kuchipudi artist braids her hair somewhat
differently than a Bharatanatyam artist, to reflect the regional traditions, yet wearing
flowers are common.

 Makeup: Kuchipudi makeup is elaborate, emphasizing the eyes with kohl and using
vibrant colors on the lips and cheeks. The makeup enhances the facial expressions,
allowing the dancer to convey a range of emotions during the performance. The
forehead has a round red bindi or a symmetric tillaka, while the eyes are typically
ringed with black collyrium to ease the viewing of expressions by the audience.

 Ornaments: The ornaments include Talay- saaman with surya and Chandra, Chutti,
Maatal, long necklace (tanmani), and short necklace (addikai), kamar-patta, bangle,
jhumki (kundalum), Gajjelu or nakle bell (salangai), Raakodi, kunjalam, etc.

 Instruments: Musical instruments used in Kuchipudi are cymbals, mridangam, violin,

thambura, flute. The Kuchipudi performance is led by a conductor (chief musician) called
the Sutradhara or Nattuvanar, who typically keeps the beat using cymbals and also
recites the musical syllables; the conductor may also sing out the story or spiritual
message being enacted, or this may be a role of a separate vocalist or occasionally the
dancer-actors themselves. The Kuchipudi orchestra ensemble includes a drummer
(mridangam), a clarinetist and a violinist. Depending on the legend being danced out,
other musicians such as a flutist may be present.

 Famous Dancers: Several eminent dancers have significantly contributed to the

popularity and growth of Kuchipudi. Vempati Chinna Satyam, Swapnasundari, Yamini
Reddy, and Raja and Radha Reddy are some of the renowned figures who have
made significant contributions to the field of Kuchipudi.

Manipuri
 Origin: Manipuri dance originated in the northeastern Indian state of Manipur. It has
ancient roots and is closely associated with the Vaishnavism tradition, particularly the
worship of Lord Krishna. The dance form reflects the rich cultural and religious
heritage of Manipur.

 Repertoire: Manipuri dance encompasses a diverse repertoire that includes both

ritualistic and performance pieces. The dance often depicts themes from Hindu
mythology, with a particular focus on the Ras Lila, which narrates the love stories of
Radha and Krishna. It incorporates delicate, lyrical movements, and storytelling
through dance.

 Jewellery: Manipuri dancers wear unique and traditional jewelry, including the
"Tara," a headpiece adorned with small circular mirrors, and the "Kardhani," a
 waistband with hanging pieces. Necklaces, earrings, and bangles are also worn,
contributing to the distinctive Manipuri aesthetic.

 Costume: The traditional Manipuri costume for female dancers is the "Ras Leela"
costume, which includes a brightly colored, pleated skirt and a blouse. The male
dancers wear a dhoti and kurta. The costumes are adorned with intricate embroidery
and mirror work, reflecting the cultural vibrancy of Manipur.

 Makeup: Manipuri makeup is minimal, with a focus on enhancing the natural beauty
of the dancer. The eyes may be highlighted with kohl, and light tones are used on the
lips and cheeks. The emphasis is on simplicity, aligning with the serene and spiritual
nature of Manipuri dance.

 Ornaments: In addition to the distinctive jewelry, Manipuri dancers wear ankle bells,
known as "Ghungroos," during their performances. The sound of the Ghungroos
adds a musical element to the dance, accentuating the rhythm of the footwork.

 Instruments: Manipuri dance is accompanied by a unique set of instruments,

including the "Pung" (a Manipuri drum), "Khol" (a barrel-shaped drum), "Flute," and
"Harmonium." The music is characterized by its melodic and rhythmic intricacy,
perfectly complementing the graceful movements of the dance.

 Famous Dancers: Prominent figures who have contributed significantly to Manipuri

dance include Guru Bipin Singh, Priti Patel, and Darshana Jhaveri. These dancers
have played a crucial role in popularizing Manipuri dance both within India and on the
global stage.

Sattriya
 Origin: Sattriya dance originated in the monastic dance-drama tradition of the
Vaishnavite monasteries (sattras) of Assam, India. It is closely associated with the
Bhakti movement initiated by the saint-scholar Srimanta Sankardev in the 15th
century. Sattriya was later recognized as one of the classical dance forms of India.

 Repertoire: Sattriya's repertoire consists of various dance-drama presentations

known as "Ankiya Bhaona." These performances include expressive dance, drama,
and music, often based on mythological stories and the life of Lord Krishna. The
repertoire also includes dance items like Sutradhari Nach, Jhumura, and Chali Nach.

 Jewellery: Sattriya dancers wear traditional Assamese jewelry, including the "Thuka
Suna" (headpiece), "Thuria" (earrings), "Jonbiri" (necklace), and "Bena" (armlet). The
jewelry is often made of gold and silver and reflects the cultural aesthetics of Assam.

 Costume: The traditional costume for Sattriya is the "Sattriya Vesha," which includes
a silk skirt (dhoti) with a border, an upper body garment (chadar), and a pyramidal
turban known as the "Paag." The costume is often in vibrant colors, reflecting the rich
cultural heritage of Assam.
 Makeup: Sattriya makeup is subtle, with a focus on highlighting the facial
expressions and features of the dancer. The eyes may be adorned with kohl, and
natural tones are used on the lips and cheeks. The makeup enhances the storytelling
aspect of the dance.

 Ornaments: In addition to the traditional jewelry, Sattriya dancers may wear ankle
bells (ghungroos) that add a rhythmic dimension to the dance. The sound of the
ghungroos complements the intricate footwork and movements.

 Instruments: Sattriya dance is accompanied by traditional Assamese musical

instruments, including the "Khol" (a drum), "Taal" (cymbals), "Flute," and "Violin." The
music provides a melodic and rhythmic foundation for the dance, creating a
harmonious and cultural ambiance.

 Famous Dancers: Some notable figures who have significantly contributed to the
promotion and development of Sattriya dance include Guru Jatin Goswami, Guru
Bipin Singh, and Indira P.P. Bora. These artists have played a vital role in bringing
Sattriya to national and international recognition.