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Dance, a physical expression of art, dedication and devotion, is believed to have originated from Lord Shiva's dance of creation Tandava. Since that period to the present era, Indian dances have been modified and redefined time and time again. Yet the basic essence of this art form remains the same what Bharat Muni described in his famous book Natya Shastra thousands of years ago.

Apart from abhinaya, that what is of prime importance in an Indian dance is the ?asa?(sentiments). Literally meaning ?aste?or ?lavor?the rasas in Indian dance is transmitted by the performer to the audience through the gestures of his dance. There are nine rasas; erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous and peaceful. There are nine corresponding ?havas?(emotions) love, laughter, pathos, anger, energy, fear, disgust, wonder and quietude.

India offers a number of classical dance forms, each of which can be traced to different parts of the country. Each form represents the culture and ethos of a particular region or a group of people. The most popular classical styles seen on the Indian stage are Bharatanatyam of Tamil Nadu, Kathakali and Mohiniyattam of Kerala, Odissi of Orissa, Kathak of Uttar Pradesh, Kuchipudi of Andhra Pradesh and Manipuri of Manipur. Besides these, there are several semi-classical dances that contribute to the plethora of Indian dances.

The common root of all classical dance forms can be traced to Natyasastra, ascribed to Sage Bharata who is believed to have lived between the 1st and 2nd Century AD. The Indian dance forms are based on the instructions in the Natyasastra. It also contains deliberations on the different kind of postures, the mudras or hand formations and their meanings, the kind of emotions and their categorisation, not to mention the kind of attire, the stage, the ornaments and even the audience. All dance forms are thus structured around the nine rasas or emotions, sringara(love), roudra(heroic), hasya (humorous), bhibasta, bhayanak (fear), viram (courage), karuna (compassion), adbhuta (wonder) and shanta (peace). All dance forms follow the same hand gestures or hasta mudras for each of these rasas. The dances differ where the local genius has adapted it to local demands and needs.

Indian dance is divided into nritta - the rhythmic elements, nritya - the combination of rhythm with expression and natya - the dramatic element. Nritya is usually expressed
through the eyes, hands and facial movements. Nritya combined with nritta makes up the usual dance programmes. To appreciate natya or dance drama, one has to understand and appreciate Indian legends. Most Indian dances take their themes from India's rich mythology and folk legends. Hindu gods and goddesses like Vishnu and Lakshmi, Rama and Sita, Krishna and Radha are all depicted in classical Indian dances. Each dance form also draws inspiration from stories depicting the life, ethics and beliefs of the Indian people.

The Indian dances are based on Hinduism and specifically, "the Lord of the Dance". Shiva is known as the king in this area. His movements bring "creation, preservation, and destruction."

"The dance of Shiva" is known as "the dance of life." The position of his body is figurative. His higher right arm holds a small musical instrument that represents the "rhythm of life;" his lower right hand position dismisses fright. His upper left is raised in the archthachanramudra, the half-moon pose; it carries a fire (agni) that eliminates the world. The last arm is held across the torso with the hand motioning to the lifted leg; that indicates luck for the worshipper. Shiva stands on Apasmara, a midget that stands for the worshipper? unkindness and lack of knowledge.

Every amateur dancer has a guru. The Advayataraka Upanishad, verse 5, says:

"The syllable gu means shadows (darkness)
The syllable ru, he who disperses them,
Because of the power to disperse darkness
the guru is thus named."

(The "darkness" comes from lack of knowledge.) To Ravi Shenkar, there are a few principles in the center of dance learning: guru (where to a dedicated dancer is a greater issue than that of a husband or wife), vinaya (respect and affection for the guru), and sadhana (dedication indicated with effort and self-control). Kala is literally translated as "family" or "household," therefore guru-kala is where the dancer is taken into the household. However, in modern society, guru-kala is not done; the dancer will only spend about five or six months in the guru? household. The gurus teach many dances, including the Bharata Natyam.