CHAPTER

TOPIC

PAGE NO.

CHAPTER I

INTODUCTION

1-9

CHAPTER II

REVIEW OF LITERATURE

CHAPTER III

METHEDOLOGY
1
2
3
4
5

CHAPTER IV

10-17

18-22

Topics of Study
Objectives of Study
Nature of Study
Research Design
Type of Data

ANALYSIS & INTERPRETATION

23-67

CHAPTER V

5.1 Limitation
68-73

5.2 Findings
5.4 Conclusion

CHAPTER VI

BIBILOGRAPHY
74

CHAPTER VII

ANNEXURES

INTRODUCTION

India is the only country with the largest and most diverse
mixture of tradition and culture. The fascinating nation is so enticing where the
exotic monuments and enchanting destinations speak volumes about the tradition
and culture of Indian people. India is home to many of the finest cultural symbols
of the world which includes temples, churches, mosques, forts, performing arts,
classical dances, sculptures, paintings, architecture, literature etc., Some of the
prestigious and spectacular World Heritage Sites in India are the Hampi,
Khajuraho, caves of Ajanta and Ellora, Konark Sun Temple, Taj Mahal, and
Brihadeswara Temple in Tanjore. The culture of India is one of the oldest in the
world which is rich and diverse. Culture is everything in a particular society and
Indian culture is no easy composite of varying styles and influences. Indian culture
was molded throughout various eras of history. It is a medley of amazing
diversities and startling contradictions, but above all, it represents the multifaceted
aspects of India as a whole. India is the birthplace of renowned 82 religions such as
Hinduism, Sikhism, Buddhism and Jainism, which have a strong prevalence and
influence not only over India, but also the whole world. India has managed to
preserve its culture and traditions through the ages, all the while absorbing
customs, traditions and ideas from both invaders and immigrants. Many cultural
practices, languages, customs and dances are examples of this co-mingling over
centuries. Thus, Indian culture is a composite mixture of varying styles and
influences. It would not be an exaggeration to note that all diverse in nature
encompass to form the culture of India.

Very few countries in the world have such an ancient and diverse culture as India.
Indias cultural history of several thousand years shows that the subtle but strong
thread of unity which runs through the infinite multiplicity of her life, was not
woven by stress or pressure of power groups, but the vision of seers, the vigil of
saints, the speculation of philosophers and the imagination of poets and artists, and
that these are the only means which can be used to make this national unity wider,
stronger, and more lasting
Art is a very precious heritage in the culture of a people. It is more so in India,
where the story of art is as old as the history of the race- a panorama of five
thousand years. The essential quality of Indian art is its preoccupation with things
of the spirit.
Art in India did not aim at objective presentation of the human or social facets of
life. It was primarily the fruit of the artists creative meditation and effort to project
symbols of divine reality as conceived and understood by the collective
consciousness of the people as a whole. It is a vast, unending social and religious
endeavor of devotees to depict the forms of the gods and goddesses they
worshipped. Any tourist desirous of understanding the real significance of Indian
art should be prepared patiently to go to the length and breadth and savor deep of
the symbolic meanings that make up a world of their own. Indian religion does
not yield its secret to one who only skims the surface; and of the same mysterious,
secretive essence is the art of India (Agrawala, 1976). The essential truth in the art
of India is the tribute to the abstract and manifest power behind the material world,

the primeval source of all things.

Agrawala (1976) enumerates four elements of Indian art for its theme, namely, the
divine principles, the cosmos in its two fold manifestation of good and evil, man
and the material world. The Indus Valley people were prolific in the arts of housebuilding, stone and clay statuary, bronze-casting, making of ornaments of gold and
silver, and cutting of beads in various semi-precious stones like agate, carnelian,
chalcedony, ivory-carving and weaving. The beautiful objects of domestic use that
have been unearthed reflect the refined taste of their makers. The symbolism of
Indian art attained its highest expression in the Saranath capital, which is as much
Buddhist as Vedic in the significance of its several parts. The tradition of folk art
was supplemented in the Mauryan period by a court art of great vitality and
technical competence. Mauryan art is notable for the bewildering variety of its 89
creations there are pillars, railings, parasols, capitals, animal and human
sculptures and several other motifs. It was during the Sunga age that sculpture and
architecture witnessed a new efflorescence. Art was developed at many Centre and
the two great stupas of Bharhut and Sanchi give evidence of almost a continental
planning. A similar art movement flowered during the Kushana period and
Mathura emerged as the new centre of art. This art movement was the offshoot of
the aesthetic endeavor that started in full swing. During the period of the Kushana
emperors an exceedingly active school of sculpture and architecture flourished in
Gandhara, that is, from Taxila to the Swat Valley. During the Saka-Satavahana
period, an aesthetic movement of great magnitude expressed itself in the form of
several monumental stupas loaded with sculptures and bas-reliefs of exquisite
beauty. The stupas of Amravati and Nagarjunakonda have produced art specimens
of matchless beauty.

There was a grand upsurge of the national art during the golden age of the Gupta
emperors. Gupta art is beautiful in both its outer form and its inner inspiration.
Beauty and virtue sieved as the ideals of the age. The best examples of Gupta
images are the standing Buddhas from Mathura and the seated Buddha delivering
the first sermon at Sarnath. Pottery constituted an equally noteworthy part of the
artistic productions of the Gupta age. The master piece works of Chalukyan art
comprises the group of temples at Badami and Aihole. Both the sculpture and
architecture of the kailasha temple at Ellora bear testimony to the creative spirit of
the Rashtrakuas. The Pallavas were great patrons of art, especially cave and temple
architecture. In the southern region of Karnataka a distinctive style of architecture
was developed during (1050-1300A.D) known as the Hoysala style. The greatest
achievement of Hoysala art is the temple of Hoysaleshvara at Halebid, Agrawala,
(1976) marks the climax of Indian architecture and its most prodigal sculptured
magnificence.
The Pala School of sculpture and architecture which Taranatha refers to as the
Eastern school flourished in Bihar and Bengal from the 8th to the 13th centuries. It
was a vital and creative effort which handled stone sculpture, architecture, bronzes
and paintings with equal facility. Nalanda was its greatest and most active centre
during the 9th and 10th centuries. The Khajuraho groups of temples were erected
under the patronage of the Chendela kings dedicated to Shiva, Vishnu and the Jaina
pontiffs. 90 The arrival of Islam in 1206 revolutionized Indian architecture. The
Muslim monuments in India comprise mosques, mausoleums, palaces, citadels and
cities. Their special features include the dome, arch, perforated Jail work, inlay
decoration as well as artistic calligraphy.

The art of metal casting always received great attention in India and is of the
highest antiquity. The southern school of Indian bronzes, which flourished between
the tenth and thirteenth centuries, was of such aesthetic quality and creative
abundance that it is regarded as representing that art at its best. One of the great
creations of Indian art is Shiva Nataraja. Indian painting has a history of over two
thousand years and presents a comprehensive record of the religious and emotional
life of the people.
The art of painting was widely cultivated in the Gupta period and is best known
through the paintings surviving in the Ajanta Caves, and also in the Bagh caves.
The artist in the Indian tradition had long been exploring mans inner experiences
and his creative energies. The aesthetic enjoyment in the Indian tradition was based
on, and aimed at, an art experience which took place in the citta the creative
centre where the appropriate shape/form of an image was determined (Pran Nath
Mago, 2000). It was, therefore, necessary to activate the citta shakthi to revivify
the experience, shape its rupa (form) and give it a Nama (name). Ancient India
understood that art form change according to time and place, and according to the
period of history and region. It also understood that there should be no
reproduction of nature except as seen through intuitive absorption of trance. Art
in India has been intimately concerned with the experience of ramanyata-the
beautiful. It is said to release the flow of creative energies in a persons being. It
constitutes the core of the aesthetic state which vitalizes the individual
consciousness of man. An artists work is an explosion of the human spiritrevealing beauty and bliss. India is the custodian of valuable traditions, social,
moral and artistic. The concept of traditional culture, introduces new complexities.

It implies that what is traditional is always worth conserving. The tradition in folk
art reflects the continuous play of line and color which is native to the mind of
India
Aurobindo Ghosh pointed out that All Indian art is a throwing out of a certain
profound self-vision formed by a going within to find out the secret significance of
form and appearance, a discovery of the subject in ones deeper 91 self. In the
words of Pran Nath Mago Artists were drawn to folk-art not from a desire to
identify with the ethos of the people who created it, but from the growing
awareness of the beauty and characteristic vitality of the basic design elements in
the innumerable variety of folk forms. The growing number of private art
galleries in the metropolitan cities of India has played a significant role in the
promotion of contemporary art. The Lalit Kala Academy and the State Academies
subsidized by the government do undertake the promotion of contemporary art.
Contemporary Indian art is yet to attain the level of greatness of ancient Indian art
states Pran Nath Mago. The creative scene and the art market in modern India,
particularly in big cities, seem to have converged, with the blossoming of
successful artists, seeking the limelight of the market place. However, it is not only
art awareness that has contributed to the growing interest in acquiring works of
art. The market for contemporary Indian art has grown as a result of economic
changes, an open economic policy and the growth of the private sector. Indian art
is an immediate expression of Indian civilization as a whole. It represents beliefs
and philosophies, ideals and outlooks, the materialized vitality of the society and
its spiritual endeavors in varying stages of development. To understand the art of
India (Shanti Swarup, 1967), it is necessary to estimate the formative influences

that have gone into the molding of the aesthetic sensitiveness of the people. A
comprehensive approach is necessary to understand and identify the many
examples of Indias past art that survive and continue into Indias historical
present. The art of Dhulichitra (a form of painting with powders), as one of the
many examples, can be placed in its cultural setting today as a continuity of a great
tradition of the past (Clifford Tones, 1981).
South India is the area encompassing Indian states of Andhra Pradesh, Karnataka,
Kerala, Tamil Nadu and Telangana as well as the union territories of Andaman and
Nicobar, Lakshadweep and Pondicherry, occupying 19.31% of India's area
(635,780 km2 or 245,480 sq. mi). South India includes the southern part of the
peninsular Deccan Plateau and is bounded by the Bay of Bengal in the east, the
Arabian Sea in the west and the Indian Ocean in the south. The geography of the
region is diverse with two mountain ranges the Western and Eastern Ghats
bordering the plateau heartland. Godavari, Krishna, Kaveri, Tungabhadra and
Vaigai rivers are important non-perennial sources of water. Chennai, Bangalore,
Hyderabad, Coimbatore and Kochi are the largest urban areas in the region.
Majority of the people in South India speak one of the four major Dravidian
languages: Telugu, Tamil, Kannada and Malayalam. During its history, a number of
dynastic kingdoms ruled over parts of South India whose invasions across southern
and southeastern Asia impacted the history and culture in those regions. Major
dynasties that were established in South India include the Cheras, Cholas, Pandyas,
Pallavas, Satavahanas, Chalukyas, Rashtrakutas and Vijayanagara.European
countries entered India through Kerala and the region was colonized by Britain and
other nations.

Indian Art consists of a variety of art forms, including plastic arts (e.g., pottery and
sculpture), visual arts (e.g., cave paintings), and textile arts (e.g., woven silk).
Geographically, it spans the entire Indian subcontinent, including what is now
India, Pakistan and Bangladesh. A strong sense of design is characteristic of Indian
art and can be observed in its modern and traditional forms.
The traditional music of South India is known as Carnatic music, which includes
rhythmic and structured music by composers like Purandara Dasa, Kanaka Dasa,
Tyagayya, Annamacharya, Bhakta Ramadasu, Muthuswami Dikshitar, Shyama
Shastri, Kshatriyas, Mysore Vasudevachar and Swathi Thirunal.
The main instrument that is used in south Indian Hindu temples is the nadaswaram.
It is said to have been created when the very first temple was established in South
India. The nadaswaram and the thavil were played together in South Indian
temples to create an ensemble. The motion picture industry has emerged as an
important platform in South India, over the years portraying the cultural changes,
trends, aspirations and developments experienced by its people. South India is
home to several distinct dance forms Koodiyattam, Bharatanatyam, Kuchipudi,
Vilasini Natyam, Kathakali, Yakshagana, Theyyam, Ottamthullal, Margamkali,
Oppana, Kerala Natanam and Mohiniaattam.The Bharatanatyam is the celebration
of the eternal universe through the celebration of the beauty of the body. This is
done through its tenets of having a perfectly erect posture, a straight and pout
curving stomach, a well-rounded and proportionate body mass- to the body
structure, very long hair and curvaceous hips. These tenets bring to life the
philosophy of Natyashastra, Angikam bhuvanam yasya (The body is your world).
This is elaborated in the araimandi posture, wherein the performer assumes a half

sitting position with the knees turned sideways, with a very erect posture. In this
fundamental posture of the Bharatanatyam dance, the distance between the head
and the navel becomes equal to that between the earth and the navel.
In a similar way the distance between the outstretched right arm to the outstretched
left arm becomes equal to the distance between the head and the feet, thus
representing the "Natyapurusha", the embodiment of life and creation.The
Performing art range from vocal and instrumental music dance and theatre to
pantomime. The culture in India although diverse and varied, still binds the country
together in some form of common identification. The art forms have played a
remarkable role in this unification. Using the body as a medium of communication.
Music also plays an important role in the tradition of Indian music should be
understand in the context of Indian life and thought. It is known to be a mystical
experience, analogous to Yoga.Music, dance, drama, folk theatre or puppetry our
country India, had all of it in abundance. Somebody playing the Dhol (music
instrument) and there is music, we run to see what it is. Well, it is Lohri which is
normally held on 13th January every year in the Northern part of our country.
People are singing and dancing with a lot of enthusiasm.

REVIEW OF LITERATURE

ART OF INDIA: PREHISTORY TO THE PRESENT

BY FREDERICK M. ASHER
For the general reader as well as the specialist, this is a valuable companion to the
visual heritage of India, stretching from 3000 B.C. to the present.
It not only gives a historical overview of the evolution of Indian art in a
chronological order - covering the periods of ancient kingdoms and the imperial
state, the Mughal era and colonialism and nationalism - but also treats different
genres like architecture, sculpture, painting, photography, gardens, epigraphy,
numismatics, textiles and crafts in detail.The last section deals with places and
people that have contributed to sub continental art. The text, by a formidable array
of scholars, is supported by a large selection of pictures.
But, as Frederick M. Asher says in his Preface, "This volume is intended as more
than a picture book. It's a book about art. So what is said and how it is said - even
what is selected and what is omitted-are critical to the reader's perception."

10

Indian Art and Aesthetics: Endeavors in Interpretation

By Maruti Nandan Tiwari and Kamal Giri
Indian art reflects the intimate relationship of ideas and life along with material and
spiritual world, expressed through different visual forms in sculpture painting and
architecture. This book aims at presenting various shades of Indian art in a
historical perspective and contains not only the unpublished material but also the
analyses and fresh interpretations on different aspects of Indian art including
Buddhist and Jaina iconography, aesthetics and art appreciation and painting. The
discussions on the Indian jade-carving, rare yogini, Visvarupa and Vishnu images
are also significant. The present volume thus aims at documenting and analyzing
some of the living and past traditions of Indian art. Profusely illustrated, the book
will be equally useful for the scholars, researchers and all others interested in the
art heritage of India.
Prof. Maruti Nandan Tiwari is the Head of the Department of History of Art,
Banaras Hindu University. He did his Ph.D. in Jaina Iconography and has worked
extensively on different areas of Indian Art.

11

India: Art and Culture

India: Art and Culture 13001900 is a tribute to the rich and varied culture of India
as represented in the later art of the subcontinent, dating from the fourteenth
through the nineteenth century. Comprehensive in its conceptual framework, this
presentation of three hundred thirty-three works brings together masterpieces of
the sacred and court traditions and embraces as well the urban, folk, and tribal
heritage. This volume, which is divided into five sections, opens with the bronze
sculptures, ritual objects, and temple hangings of the classical Hindu tradition of
the south. The vivid and lively art of rural India, which provides an aesthetic
continuum that extends throughout these six centuries, is presented in the second
section, Tribe and Village. This is followed by the highly refined and sophisticated
art of the Muslim courts, which reached its greatest flowering in the exquisite
illustrated manuscripts executed under the patronage of the Mughal emperors. In
addition, the imperial ateliers of the Mughals produced works of technical
brilliance in a wide array of decorative arts. Political alliances between the
Mughals and the Hindu nobility in the north led to a fusion of Islamic and Hindu
traditions that is explored in the bold, vigorous miniatures and dazzling weaponry
of the Rajput world. And the art of the nineteenth century, produced under the Raj
as Indian artists began to assimilate Western perspectives, is documented in the last
section, the British Period.
Stuart Cary Welch's pioneering scholarship in the field of Indian painting and the
decorative arts is well known to art historians and museum-goers. In his sensitive,
informative, and highly readable text he not only discusses each work from the
point of view of a connoisseur but also presents the cultural and historical milieus
in which each was created.

12

Facets of Indian Culture

By Vidya (Author), R. (Author), Raja ram (Author), Kalpana (Author)
A facet of Indian Culture is a comprehensive guide on Indian culture for candidates
preparing for various competitive examinations. In addition, the book comprises of
chapters on religion and philosophy, music, dance, theater and cinema, art and
architecture and language and literature. In addition, the book consists of several
solved and unsolved questions for thorough practice and revision. This book is
essential for candidates preparing for the Civil Services and other such
examinations.

Classical Dances (Incredible India) Paperback 2007

By Sonal Mansingh
Dance in India has been deemed sacred because of its innate capacity to visualise
and actualise the deepest philosophical concepts through gestures, movements and
the art of suggestion. Immediate collective transcendence is possible only through
dance when the dancer disappears and melts away in the dance and when the
audience is transported to the realm of 'rasa srishti', the pure aesthetic delight. Any
attempt to transcribe and describe dance through words is bound to remain
incomplete as dance is a visual art. In India it has sat atop a pyramid of various art
forms which have had an oral and written history. As dance in India freely uses
literary and poetic works taken from all vernacular languages, its repertory is rich
beyond imagination. Vocal and instrumental music provides a constant
accompaniment to translate ideas contained in these literary texts. Profusion of
13

intricately carved sculptures on temple-walls have kept the forms alive even
through dark periods of unsympathetic foreign rule. Dance has inspired a wealth of
stone, metal and wood carvings, frescoes, murals and miniature paintings as well
as textiles reflecting a panorama of dance movements. Special ornaments in gold,
ruby, emerald, diamond or silver used by dancers have had a tradition of being
crafted by hand. The art of decorating hair with different kinds of arrangements of
flowers and fragrant leaves according to seasonal availability and suitability was
specially taught as an additional accomplishment of a dancer. This book points at
many such ideas and urges the reader to take a plunge in the ocean of ambrosial
knowledge, which is called 'Natya vidya'.

14

A Southern Music: The Karnatik Story

By T.M. Krishna
Written by one of the principal Karnatik vocalists of this day and age, A Southern
Music: The Karnatik Story is a coherent and passionate account of the form,
history and problems of the Karnatik music industry.
T. M. Krishna brings you his compelling interpretation of the traditions and
customs involved with the art of Karnatik music, starting from the most
fundamental aspect of defining music.
Communicating to musicians, musicologists as well as the common man, Krishna
furnishes you with a breathtaking outline of classical music in South India. This
book clearly portrays his love for the art and is written beautifully with precision
and nuance. As the musical realm transitions with passing time, Krishna worries
that the aesthetic that roots it and shares it with the rasika may be compromised.
Covering the philosophy, aesthetics, sociology and history of Karnatik music, A
Southern Music: The Karnatik Story is a one-of-its-kind book to treasure. Since
Karnatik music is widely depicted as a form of music that has the power to
rejuvenate the body and soul, there couldn't have been a better subject to the book.
Prevalent in South Indian states like Andhra Pradesh, Kerala, Karnataka and Tamil
Nadu, Karnatik music is a unique and fascinating in its own right. This book
explores every aspect of the world of Karnatik music and brings forth the music
maestro's personal experiences as a vocalist and a pioneer in the field.
A Southern Music: The Karnatik Story is written in conversational flair and is
captivating to say the least. Published on 28 November 2013, this book is available
in Hardcover.
15

Masterpieces of Traditional Indian Architecture

By Satish Grover
A masterpiece of Traditional Indian Architecture takes the reader through the
centuries and gives a rich insight into India's heritage and architecture. For years
the preserve of scholars, this is a presentation of myriad forms, schools and styles
of architecture in an informative yet reader-friendly manner focusing on aspects of
Indian aesthetics, principles of engineering, history and the philosophic idea that
impart to Indian architecture is grandeur and majesty. It is a comprehensive book
that illustrates the evolution of architectural forms and their usage over centuries.
The book explains how different cultures, religions and people have contributed in
the making of distinctive styles. These have created stupendous architectural
marvels: from the towering minars of Islamic architecture to the exquisite cave
architecture of the Buddhists; from the dazzling Dilwara Temple to the glorious
Sun Temple. A masterpiece of Traditional Indian Architecture is replete with the
history of Indian architecture, brilliant visuals and illuminating perspectives.

16

South Indian Paintings

By A.L. Dallapiccola
The book summarizes political and artistic developments in the subcontinent
between 1500 A.D. and 1900 A.D. and provides a brief survey of South Indian
painting from the medieval period onwards. The British Museum holds a major
collection of more than a thousand South Indian paintings, which are described
here. Ranging from the 18th century to the early-20th century, these paintings
represent a wide variety of themes and techniques but only a few examples have
been published before. In this book, the collection is catalogued in full, according
to subject and the support on which they were executed (paper, mica, leather, cloth
or wood). A range of forms from paintings of Hindu mythology, the painted scrolls
of Andhra Pradesh, cloth paintings of Tamil Nadu, to paper paintings used by
storytellers are all highlighted in this compilation. At least 250 of the most
significant works are reproduced in their entire vibrant color. Each section of the
book begins with a short discussion of stylistic and iconographic features, ensuring
that book is accessible not only to scholars but also to students and enthusiasts of
all aspects of South Asian art and culture. Published with British Museum.

17

METHODOLOGY

3.1 TOPIC OF STUDY

This Research is a detailed study of ART FORMS OF SOUTH INDIA AND
ITS IMPACT ON TOURISM.
What is art? Art is an expression of all characteristics of the human mind
aesthetically. These characteristics, i.e. the varied human emotions, are known as
RAS. In Hindi, ras literally means a sugary juice. It signifies the ultimate
satisfaction of aanand. Human emotions can be categorized into nine headings or
Navras. They are:
1. Hasya laughter
2. Bhayanak evil
3. Shringar aesthetics
4. Rudra chivalrous
5. Karun pathos
6. Vir courage
7. Adbhut astonishing
8. Vibhatsa terrifying glory

9. Shaanti peace

18

Decorating ones self Art reflects human emotions and human beings
spontaneously express their frame of mind through various art forms. Thus the
intellectual mind merges with the artistic streak, giving birth to art.
The expression is reflected in various styles like singing, dancing, drawing, and
performing.Some of these are expressed through live performances and others
through visual arts. Sketching, painting, sculptures are visual arts. Singing,
dancing, acting is attributes of performing arts. Music from time immemorial has
been the most popular art form of India. They are SA, Re, GA, Ma, Pa, Dha, Ne
Study of traditional and philosophical concepts and aesthetics of Indian Art and
Culture. Illustrated lectures throw light on the 5000 years of Indian Art and of its
people. Through these lectures, an attempt is made to show the unity and diversity
in time and space and how people are linked together through its cultural
manifestations.The illustrated lectures are able to highlight the history and
evolution of different styles of architecture and sculpture prevalent in all parts of
the country. These lectures also discuss the influence of religions, beliefs, and geophysical features on the development of these forms.Lectures on Paintings trace
the evolution of this art form from the earliest pre-historic cave paintings,
illustrated manuscripts, various schools of miniature paintings and the
contemporary styles of paintings;
Lecture-demonstrations on Hindustani and Carnatic Music and also Folk and
Tribal Music in form of the different prevailing styles of vocal and instrumental

music, including compositional forms of these styles give a brief historical

background along-with some essential definitions, nuances and fundamental

19

techniques pertaining to the art forms.

Lecture-demonstrations on Indian Classical Dances trace the history and
evolution of Indian Dance from Bharat Munis Natyashastra to the present time.

3.2 OBJECTIVES OF STUDY

To demonstrate Knowledge and Understanding of Theoretical basis
of the Art Forms of South India on the basis of Origin, a part of
Culture towards the Country, varieties of styles, developments and
ideas.
To develop Receptiveness to performing arts form across time,
culture and perceive the significance of art forms as an integral part
of life.
To understand a detailed Study of Various Art Forms in South India.
To find the art forms and its impact on tourism in south India
Analyze the present scenario of music and dance.
3.3NATURE OF STUDY
Art is a very precious heritage in the culture of a people. It is more so in India,
where the story of art is as old as the history of the race- a panorama of five
thousand years. The essential quality of Indian art is its preoccupation with things
of the spirit. Art in India did not aim at objective presentation of the human or
social facets of life. It was primarily the fruit of the artists creative meditation and
effort to project symbols of divine reality as conceived and understood by the

collective consciousness of the people as a whole. It is a vast, unending social and

religious endeavor of devotees to depict the forms of the gods and goddesses they
20

worshipped. Any tourist desirous of understanding the real significance of Indian

art should be prepared patiently to go to the length and breadth and savor deep of
the symbolic meanings that make up a world of their own. Indian religion does
not yield its secret to one who only skims the surface; and of the same mysterious,
secretive essence is the art of India

RESEARCH DESIGN

This research is about ART FORMS OF SOUTH INDIA AND ITS

IMPACT ON TOURISM is dominated by domestic tourism within the
state although foreign tourists arrivals to the state has been growing at a
faster rate than national average. Tourism in South India will be
benchmarked against international indicators and monitored on a regular
basis to achieve quality. Art forms a very important role in the
development of tourism. The Research design will give a Study of
traditional and philosophical concepts and aesthetics of Indian Art and
Culture with a brief description about each and every art form which can
be found in South India

TYPE OF DATA
21

Data for the research have been collected from both primary and secondary sources
and through field-visits.
Primary Data:An expert opinion study has been conducted through focused group
interviews, one-to-one interviews and reference group interviews. The research is
based on information gathered through desktop research and a Delphi Study
incorporating twenty statements on the problems and prospects of cultural tourism
in Kerala and Tamil Nadu. The researcher had met the experts as per their
convenience and interacted with them using a questionnaire consisting of 20
statements/issues. The instrument was designed using a five-point scale to elicit
opinions of experts. The data gathered was subsequently analysed.
Secondary Data: The researcher has collected data from a number of secondary
sources. Published works both related and relevant to the subject under study,
works of eminent authors and personalities who have contributed immensely to the
promotion of culture in Kerala and Tamil Nadu, tourism promotional literature,
reports of Ministry of Tourism, Government of India and Departments of Tourism
in Kerala and Tamil Nadu, Publications of cultural organizations, manuscripts,
documents, archive information, articles and feature stories in periodicals, websites
and e-resources are the sources tapped extensively for collecting secondary data.

22

ANALYSIS AND INTERPRETATION

The study of ancient and medieval art andarchitecture emerged as a nascent pursuit
abouttwo centuries ago.In the late eighteenth andthrough a major part of the
nineteenth century, itgrew out of a keen and unrelenting interest inIndian
antiquities as curiosities, as admirablehandicrafts, as mysterious monstrosities,
andabove all, as artifacts or sources of past historiesof a country then colonized
by the British. Theseobjectives set the tone for and determined themethods adopted
in the study of Indianarchaeology and art history during the nineteenthand early
decades of the twentieth century. Despite the marked colonial bias, this period
iscrucial to the formal inception and institutionalizationof art history in India.
Music, dance, drama, folk theatre or puppetry our country India, had all of it in
abundance. Somebody playing the Dhol (music instrument) and there is music, we
run to see what it is. Well, it is Lohri which is normally held on 13th January every
year in the Northern part of our country. People are singing and dancingwith a lot
of enthusiasm. These dances are called Bhangra and Gidda in Punjab. These songs
and dances portray the various stages in our lives. They reflect the socio-religious
customs and practices of rural people earlier, but now are a part of modern city
culture also. No school program is complete without them. They are linked through
centuries of celebration and might have started with fertility rites to obtain
prosperity for the agricultural community i.e. fertility of land and cattle but also of

birth and survival of children.

South India is a land of rich culture and heritage. Since the beginning of our
civilization, music, dance and drama have been an integral aspect of our culture.
23

Initially, these art forms were used as medium of propagation for religion and
social reforms in which music and dance were incorporated to gain popularity.
From the Vedic era to the medieval period, the performing arts remained an
important source of educating the masses. The Vedas laid down precise rules for
the chanting of Vedic hymns. Even the pitch and the accent of singing different
hymns have been prescribed. There was more of exemplary presentation through
them than education or social reforms. Presently, these art forms have become
means of entertainment for people all over the world.
LIVING CULTURE
A customary presentation of south Indian culture related it mainly to a study of
arts within the tradition bound parameters of styles, chronology or schools. In
consequences the creativity inherent in the culture and throb of life as it central
metaphor tend to get into background. The living culture is essentially this
creativity, this throb. It manifests itself in myriad patterns- all related to tradition
that lives on.
CULTURAL LIFE
Collective vitality subsisting on a rich repertoire of myth, symbol and song is an
important identifying feature of Indians cultural life. It has strong local and
regional flavors. Yet its rituals and reticence possess an underlying commonality.
Viewed in its totality, Indian culture is bewilderingly diverse. But these varied
traditions have profoundly influenced each other.

Sometime they mingle inseparably. And in what has come to us as the living
culture of India, the rural and tribal vernacular traditions have interacted quite
24

meaningfully with the classical traditions. Even under an incessant pressure of

modernity and, economically speaking, the compulsions of employment, the
culture of India has lived on. It must be stressed here that much of the living
culture has survived outside of the academia and is the form of art that is practiced
by its people. For this reason, as also for its eternal value, tourism has an interest in
the living culture though serious attempts to understand and document it have so
far been lacking.
PERFORMING ARTS- A DEFINITION
A Simple and obvious definition of the performing art would make it an art that
Lives or survives only when it performed. According to Mr. NarayanaMenon, The
Performing Arts- a definition in Aspects of the Performing Arts of India Sarayu
Doshi, Marg Publications, 1983.
The performing arts provide a different kind of experience in which the audience
begins to feel some kind of union with the performers. The performing arts are not
mere spectacles. They certainly strike at an inner cord located in the realm of
emotion and feeling.
There has been a close connection between performing arts in south India and the
religion. It is the mythology with enduring cultural patterns that has sustained the
tradition of performing arts. Its strength lies in the fact that the performing arts in
India have almost uninterrupted tradition spanning several centuries.
PAINTING: Painting as an art form has flourished in India from very early times
as is evident from the remains that have been discovered in the caves, and the

25

literarysources. The history of art and painting in India begins with the pre-historic
rock painting at Bhimbetka caves (M.P.) where we have drawings and paintings of
animals. The cave paintings of Narsinghgarh (Maharashtra) show skins of spotted
deer left drying. Thousands of years ago, paintings and drawings had already
appeared on the seals of Harappan civilization. Both Hindu and Buddhist literature
refer to paintings of various types and techniques for example, Lepyacitras,
lekhacitras and Dhulitcitras. The first was the representation of folklore; the second
one was line drawing and painting on textile while the third one was painting on
the floor.
Materials used in the paintings
Different materials were used in different types of paintings. Mention of chitra
shalas (art gallery) and Shilpasashtra (technical treatises on art) have been made in
literary sources. However, the principal colors used were red ochre (dhaturaga),
vivid red (kum kum or sindura), yellow ochre (haritala), indigo (blue) lapis lazuli
blue, lampblack (kajjala), chalk white (Khadi Mitti) terra verte (geru mati) and
green. All these colors were locally available except lapis lazuli which came from
Pakistan. Mixed colors e.g. grey were used on rare occasions. Uses of colors were
decided by the theme and local atmosphere.Remains of Buddhist paintings have
also been found at the Buddhist caves at Bagh in theNorth and at various Deccan
and southern sites of sixth and ninth centuries. Though thetheme of these paintings
is religious but in their inner meanings and spirit, nothing could be more secular,
courtly and sophisticated.

26

Though only a small part remains of these paintings but they depict a crowded
world of Gods and goddesses semi divine being like kinnars and apsaras, a rich and
varied flora and fauna, gaiety, love, grace and charm. Example can be seen in cave
3 at Badami (Karnataka), at temples of Kanchipuram, at Jain caves of Sittanavasal
(Tamil Nadu) and the Kailasa and Jain caves at Ellora (eighth and ninth centuries).
Many other South Indian temples such as Brihadeshwara temple at Tanjavur
decorated with wall paintings on themes from epics and mythology. If Bagh,
Ajanta and Badami represent the classical tradition of the North and Deccan at its
best, SittanaVassal, Kanchipuram, Malayadipatti and Tirunalaipuram show the
extent of its penetration in the south. The paintings of Sittanavasal (abode of the
Jaina Siddhas) are connected with Jaina themes while the other three are Saiva or
Vaishnava in theme and inspiration. Despite having a very traditionally secular
design and theme the paintings of these times started showing the impact of
medieval influences i.e. flat and abstract surfaces on the one hand and linear and
somewhat angular designs on the other.
DECORATIVE ART
The artistic expression of the Indian people is not limited to painting on canvas or
paper only. Decorative painting on walls of homes even in rural areas is a common
sight. Rangoli or decorative designs on floor are made for auspicious occasions and
pujas whose stylized designs have been passed on from one generation to the other.
The designs are called rangoli in the North, alpana in Bengal, aipan in
Uttaranchal, rangavalli in Karnataka, Kollam in Tamilnadu and mandana in
Madhya Pradesh.

27

Usually rice powder is used for these paintings but coloured powder or flower
petals are also used to make them more colorful. Adorning walls of houses and
huts is also an old tradition. The following are some of the examples of folk art of
this kind.
MITHILA PAINTING
Mithili painting also known as Madhubani folk art is the traditional art of the
Mithila region of Bihar. They are produced by village women who make three
dimensional images using vegetable color with few earthen colors and finished in
black lines on cow dung treated paper. These pictures tell tales especially about
Sitas exile, Ram-Laxmans forest life, or depict the images of Lakshmi, Ganesh,
Hanuman and others from Hindu mythology. Apart from these women also paint
celestial subjects like sun and moon. Tulsi, the holyplant also is to be found in
these paintings. They also show court scenes, wedding andsocial happenings.
Drawings in Madhubani pictures are very conceptual. First, the painterthinks and
then she draws her thought. No pretense is there to describe the
figuresaccurately. Visually they are images that speak in lines and colors and are
drawn for somerituals or festivals on household and village walls to mark the
seasonal festivals or specialevents of the life cycle. Intricate flora, animal and birds
motifs can also be found along withgeometrical designs to fill up the gap. In some
cases it is a special practice for mothers tomake these art items in advance for their
daughters as a marriage gift. These paintings alsoconvey advice on ways to lead a
good married life. There is also a social variation insubjects and use of colours.
One can identify the community to which the painting belongsfrom the colours that
are used in them.

28

Paintings made by the upper, more affluent classesare colorful while those made by
the lower caste people use red and black line work. Butthe technique of painting is
safely and zealously guarded by the women of the village to bepassed on by the
mother to the daughter.Nowadays Madhubani art is being used as decorative gift
items, greeting cards and hasbecome a source of income for local women folk.
KALAMKARI PAINTING
The literal meaning of Kalamkari is a painting done by kalam (pen). This art got
enriched as it came down from one generation to another. These paintings are made
in Andhra Pradesh. It is hand painted as well as blocks printing with vegetable dyes
applied on cloth. Vegetable dyes are used for color in the Kalam Kari work. A
small place Sri-Kalahasti is the best known centre of Kalamkari art. This work is
also found at Masaulipatnam in Andhra Pradesh. This art is mainly related to
decorating temple interiors with painted cloth panels, which was developed in the
fifteenth century under the patronage of Vijaynagar rulers. Subjects are adopted
from the Ramayana, the Mahabharata and Hindu religious mythology. This art
form is a continuous legacy from father to son. After deciding the subject of the
painting, scne after scene is painted. Every scene is surrounded by floral
decorative patterns. These paintings are made on cloth. They are very durable and
flexible in size and made according to theme. Deities have very rich Border
embellishments and were created for the temples. Owing to Muslim rulers in
Golconda, the Masulipatnam kalamkari was widely influenced by Persian motifs
and designs. The outlines and main features are done using hand carved blocks.

29

The finer details are later done using the pen. This art was started on garments, bed
covers and curtains. The artists use a bamboo or date palm stick pointed at one end
with a bundle of fine hair attached to the other end to serve as brush or pen. The
kalamkari dyes are obtained by extracting colors from plant roots, leaves, along
with salts of iron, tin, copper, alum etc. Similar to Kalighat Pats, one comes across
another kind of Pats which are found in the state of Orissa. The Orissa patachitras,
mostly painted on cloth are more detailed and more colorful and most of these
depict stories of Hindu gods and goddesses.
Phad Paintings
Phad is a type of scroll painting. The paintings depicting exploits of local deities
are often arrived from place to place and are accompanied by traditional singers,
who narrate the theme depicted on the scrolls. This type of painting is a most
famous painting of Rajasthan, mainly found in the Bhilwara district. Phad painting
depicts the heroic deeds of a heroic figure, the daily life of a peasant, rural life,
animals and birds, flora and fauna. These paintings are created using bright colours
and subtle colors. The outlines of the paintings are first drawn in black and later
filled with colours. The main themes of the phad paintings depict the deities and
their legends and the stories of erstwhile Maharajas. Raw colors are used for these
paintings. The unique features of phad paintings are the bold lines and a two
dimensional treatment of figures with the entire composition arranged in sections
The art of painting the phads is approximately 700 years old. It is said that it was
originated in Shahpura, some 35 kms from Bhilwara in Rajasthan. The continuous
royal patronage gave a decisive impetus to the art which has survived and
flourished for generations.

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Gond Art
A very highly sophisticated and abstract form of Art works are also produced by
the Santhals in India. The Gond tribe of the Godavari belt who are as old as the
Santhals produce figurative works.
Batik Print
Not all the folk arts and crafts are entirely Indian in their origin. Some of the crafts
and techniques have been imported from the Orient like the Batik. But these have
now been Indianite and Indian Batik is now a matured art, immensely popular and
expensive

MUSIC
Music from time immemorial has been the most popular art form of India. They
are SA, Re, GA, Ma, Pa, Dha; Ne The earliest tradition of Indian music may be
traced to Sama Veda which contained the slokas that were put to music. Chanting
of Vedic hymns with prescribed pitch and accent still form a part of religious
rituals.
DIVISIONS OF INDIAN CLASSICAL MUSIC
Hindustani Classical Music
Hindustani classical music may be traced back to the period of the Delhi Sultanate
and to Amir Khusrau (AD 1253-1325) who encouraged the practice of musical
performance with particular instruments. He is believed to have invented the sitar
and the tabla and is said to have introduced new ragas. Most of the Hindustani

31

musicians trace their descent to Tansen. Different styles of Hindustani music are
Dhrupad, Dhamar, Thumri, Khayal and Tappa. It is said that Tansens music had
the effect of magic. He could stop the rising waves of the Yamuna and by the force
of his Megh Rag he could cause the rain to fall. In fact his melodious songs are
sung in every part of India even now with great interest. Some of Akbars courtiers
patronized Musicians like Baiju Bawra, Surdas etc. The most popular ragas are:
Bahar, Bhairavi, Sindhu Bhairavi, Bhim Palasi, Darbari, Desh, Hamsadhwani, Jai
Jayanti, Megha Malhar, Todi, Yaman, Pilu, Shyam Kalyan, and Khambaj.The
musicians of Hindustani classical music are usually associated to a gharana or a
particular style of music. Gharanas refer to hereditary linkages of musicians which
represent the core of the style and distinguish them from the other. The Gharanas
function in gurushishya parampara, that is, disciples learning under a particular
guru, transmitting his musical knowledge and style, will belong to the same
gharana. Some famous Gharanas are Gwalior gharana, Kirana gharana, and Jaipur
gharana.
CARNATIC MUSIC
The compositions in Carnatic music may be attributed collectively to three
composers who lived between AD 1700 and 1850. They were Shyam Shastri,
Thyagaraja and Mutthuswami Dikshitar. Purandardasa was another great composer
of Carnatic music. Thyagaraja is revered both as a saint and an artist and
epitomizes the essence of Carnatic music.
The main compositions are known as kriti and are devotional in nature. The three
great musicians experimented with new forms. Some notable musicians of this

32

period are Maha Vaidyanath Ayyar (1844-93), Patnam Subramanian Ayyar (l8541902) and Ramnad Srinivasa lyengar (l860-1919). Flute, veena, nadaswaram,
mridangam, ghatam are some of the instruments to accompany Carnatic music.
Despite contrasting features between Hindustani and Carnatic music, one can find
some similarities, for example, the Carnatic alapana is similar to alap in Hindustani
classical. Tilana in Carnatic resembles Tarana of Hindustani. Both lay stress on tala
or talam.
FOLK MUSIC
Besides classical music India has a rich legacy of folk or popular music. This
music represents the emotion of the masses. The simple songs are composed to
mark every event in life. They may be festivals, advent of a new season, marriage
or birth of a child. Rajasthani folk songs such as Mand and Bhatia of Bengal are
popular all over India. Ragini is a popular form of folk songs of Haryana. Folk
songs have their special meanings or messages. They often describe historical
events and important rituals. Kashmirs Gulraj is usually folklore and Pandyani of
Madhya Pradesh is a narrative put to music. Muslims sing Sojkhwani or mournful
songs during Muharram and Christmas carols and choral music are sung in groups
on the festive occasions.

DANCE( check annexures )

Indian classical dances are performed inside the sanctum of the temple according
to the rituals called Agama Nartanam. Natya Shastra classifies this type of dance
form as margi, or a soul-liberating dance. Dances performed in royal courts to the
accompaniment of classical music are called Carnatakam. A Hindu deity is

33

considered a revered royal guest in his temple, and should be offered all of the
"sixteen hospitalities", among which are music and dance. The "sixteen
hospitalities" please the senses.
The term "classical" (Sanskrit: "Shastriya") was introduced by Sangeet Natak
Akademi to denote the Natya Shastra-based performing art styles. Classical dance
performances usually feature a story about good and evil. The dance is traditionally
presented in a dramatic manner called nritta, which uses "clean" facial expressions
and mudra, or hand gestures, to narrate the story and to demonstrate concepts such
as particular objects, weather, aspects of nature and emotions. Classical Indian
dance is also known as Natya. Natya includes singing and abhinaya (mime acting).
These features are common to all Indian classical styles of dance. In the margi
form, Nritta is composed of karanas, while Desi nritta consists mainly of adavus.
Bharata Natyam
Bharathanatyam is a form of Indian classical dance that originated in the temples
of Tamil Nadu. It was described in the treatise Natya Shastra by Bharata around
the beginning of the common era. Bharata Natyam is known for its grace,
elegance, purity, tenderness, expression and sculptures poses. Lord Shiva in his
Nataraja form is considered the God of this dance. Today, it is one of the most
popular and widely performed dance styles and is practiced by male and female
dancers all over the world, although it is more commonly danced by women.
Bharata Natyam is considered to be a fire-dance the mystic manifestation of the
metaphysical element of fire in the human body. It is one of the five major styles
(one for each element) that include Odissi (element of water), Kuchipudi (element

34

of earth), Mohiniattam (element of air) and Kathakali (element of sky or aether).

The movements of an authentic Bharata Natyam dancer resemble the movements
of a dancing flame. Contemporary Bharata Natyam is rarely practiced as Natya
Yoga, a sacred meditational tradition, except by a few orthodox schools
(see Yoga and dance).Bharata Natyam proper is a solo dance, with two
aspects, lasya, the graceful feminine lines and movements, and tandava Ananda
Thandavam (Tamil) (the dance of Shiva), masculine aspect.
In most solo performances, Bharata Natyam involves many split characters that are
depicted by the dancer. The dancer will take on numerous characters by switching
roles through the swift turn in circle and creates a story line that can be easily
followed by the feat of one individual. The characters will be understood by the
narrative of the song and the expression, or "abhinaya." However, in more modern
times, Bharata Natyam performances have taken stage as group performances
involving dramatically performances that require many characters depicted by
various dancers. In addition, these dance performances include numerous
transitions and formations that are creatively choreographed to enhance the
movements along with the music.
Mohiniyattam
Mohiniyattam also spelled Mohiniattam is a classical dance form from Kerala,
India. Believed to have originated in 16th century CE, it is one of the eight
formsrecognized by the Sangeet Natak Akademi. It is considered a very graceful
form of dance meant to be performed as solo recitals by women. The term
Mohiniyattam comes from the words "Mohini" meaning a woman who enchants
onlookers and "aattam" meaning graceful and sensuous body movements. The
word
35

"Mohiniyattam" literally means "dance of the enchantress". There are two

arguments on the etymology of this dance form. One being the historical lineage
and the other being the mythological lineage. According to historical lineage it says
that similar to most other classical dance forms of India, this dance form too was
once practiced in some of the temples in India and was later brought out to the
common audience where it went through numerous stages of changes. Then the
mythical lineage is explained with two stories of the Lord Vishnu disguised as a
Mohini. In one, he appears as Mohini to lure thesaurus (demons) away from
the amrita (nectar of immortality) obtained during the churning of the palazhi
(ocean of milk and salt water).
In the second story Vishnu appears as Mohini to save Lord Shiva from the
demon Bhasmasura. The name Mohiniyattam may have been coined after Lord
Vishnu; the main theme of the dance is love and devotion to God, with usually
Vishnu or Krishna being the hero. Devadasis used to perform this in temples. It
also has elements of Koothu and Kottiyattom. Mohiniyattam is a drama in dance
and verse.
KATHAKALI
Kathakal i is a stylized classicalIndian dance-drama noted for the attractive makeup of characters, elaborate costumes, detailed gestures and well-defined body
movements presented in tune with the anchor playback music and complementary
percussion. It originated in the country's present day state of Kerala during the 17th
century and has developed over the years with improved looks, refined gestures
and added themes besides more ornate singing and precise drumming. The themes

36

of the Kathakali are religious in nature. They typically deal with the Mahabharata,
the Ramayana and the ancient scriptures known as the Puranas. This is performed
in a text which is generally Sanskritised Malayalam.
Ottan Thullal
Ottamthullal is a dance and poetic performance form of Kerala, India. It was
introduced in the 18th century by Kunchan Nambiar, one of the Prachina
Kavithrayam (three famous Malayalam language poets). It is accompanied by
a mridangam (a barrel shaped double headed drum) or an idakka (drum and
cymbal).Ottamthullal was performed in Malayalam which pleased local audiences.
Old sayings and elements of folklore were used. The satirical nature of the works
invited artists to improvise.
Kathak
Kathak is one of the eight forms of Indian classical dance. This dance form traces
its origins to the nomadic bards of ancient northern, known as Kathakars or
storytellers. Its form today contains traces of temple and ritual dances, and the
influence of the bhakti. The name kathak is derived from
the Sanskrit word katha meaning "story", and katakana in Sanskrit means "he who
tells a story", or "to do with stories". The name of the form is properly katthak,
with the geminated dental to show a derived form, but this has since simplified to
modern-day kathak. Kathaa kahe so kathak is a saying many teachers pass on to
their pupils, which is generally translated as "she/he who tells a story, is a kathak",
but which can also be translated as "that which tells a story, that is 'Kathak'".

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Kuchipudi
Kuchipudi is an Indian classical dance originating in Krishna district of Andhra
Pradesh, India, but popular all over South. According to legend, Tirtha
Narayanayati, a sanyasin of Advaitic persuasion and his disciple, an orphan named
Siddhendra Yogi founded the Kuchipudi dance-drama tradition. It was popularized
by Dr. Vempati Chinna Satyam and many other dancers.The performance usually
begins with stage rites. Then, each of the characters comes on the stage and
introduces themselves with adharavu (a small composition of both song and
dance.) The dharavu introduces the identity of the character and sets the mood. The
drama then begins. The dance is accompanied by song, typically Carnatic music.
The singer is accompanied by mridangam, violin, flute and the tambura.
Kerala Natanam
Kerala Natanam (Kerala Dance) is a new style of dance that is now recognized as a
distinct art form evolved from Kathakali, a form of Indian dance-drama. The
Indian dancer Guru Gopinath a well-trained Kathakali artist and his
wife Thankamani Gopinath who was the first student
of Mohiniyattam in KeralaKalamandalam developed a unique structure for
teaching and performing classical dance forms of India whose origins are from
Kathakali. Solo, duets, dance dramas and traditional folk dances were the material
they chose.Guru Gopinath and Thankamani's dance programs found traditional
pieces existing side by side with those modified to present a variety of themes.
Their style relied heavily on the angika abhinaya (body movements and gestures)
and satvika abhinaya (facial expressions) from Kathakali. The major stance of

38

Kathakali was changed by Gopinath to a more convenient pose that could rest well
with the tribhanga concept.Another significant deviation was in aharya
abhinaya (costume mode) where they adopted costumes and facial makeup to suit
the role. Thus, in a dance on Jesus Christ, the dancer dressed like Christ. In social
dances the artists wore the dress of labourers, peasants, folk, etc. Likewise roles
of Srikrishna, king, snake charmer, and hunter had the appropriate attire. For the
first time Carnatic music compositions used for concerts were rendered into dance
forms by Gopinath. Unlike traditional Kathakali and Mohini attam, variety musical
instruments were added to his presentations.Even though during his lifetime Guru
Gopinath did not give a name to his style, after his death the movement to give his
style a name gained momentum. In 1993, during the Global Conference on Guru
Gopinath and Kerala Nadanam held in Trivandrum, a Sanskrit definition was given
to this style by his students: Keraleeya Shaastriya Sargaathmaka Nrittham "A
traditional creative dance style originating from Kerala."Kerala Nadanam can be
performed in three ways: Ekamga Nadanam (solo), Samgha Nadanam (group),
Nataka Nadanam (dance drama enacting a story). Malefemale pair dancing is a
distinct style in Kerala Nadanam. So also he has extended the dance drama to five
or six hours long performance called Indian ballets.
Koodiyattam
Koodiyattam also transliterated as Kutiyattam, is a form of Sanskrit
theatre traditionally performed in the state of Kerala, India. Performed in the
Sanskrit, Dravidian language in Hindu temples, it is believed to be 2,000 years old.
It is officially recognized byUNESCO .Koodiyattam [kutiyattam], meaning
"combined acting," signifies Sanskrit drama presented in the traditional style in
39

temple theatres of Kerala. It is the only surviving specimen of the ancient Sanskrit
theatre. It has an attested history of a thousand years in Kerala, but its origin and
evolution are shrouded in mystery. Koodiyattam and chakyar koothu were among
the dramatized dance worship services in temples of ancient India, particularly
Tamilakam (modern-day Tamil Nadu and Kerala). Both koodiyattam and chakyar
koothu find several mentions in ancient sangam literature of south and also in the
epigraphs belonging to subsequent Pallava, Chera, Chola periods in Tamil Nadu.
Inscriptions related to the dramatized dance worship services like koodiyattam and
chakyar koothu are available in temples at Tanjore, Tiruvidaimaruthur,
Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of
worship services alongside the singing of tevaram and prabandam hymns. There
are mentions in epigraphs those forms of dramatized dance worship services that
are called aariyam that mostly had Sanskrit scripts for plays.
Chakyar Koothu
Chakyar Koothu is a performance art from Kerala, South India. It is primarily a
type of highly refined monologue where the performer narrates episodes
from Hindu epics (such as the Ramayana and the Mahabharata) and stories from
the Puranas. Sometimes, however, it is also a traditional equivalent of the
modern stand-up comedy act, incorporating commentary on current socio-political
events (and personal comments directed at the members of the audience).
"Koothu" means dance ... which is a misnomer, as facial expressions are
emphasized and there is minimal choreography. It is performed in
the Koothambalam; a place inside Hindu temples specifically designed for

40

performing Kutiyattam and Chakyar Koothu. Ideally, the performance takes place
in conjunction with festivals, presented by members of the Chakyar community
along with the Ambalavasi Nambiars.
It is a solo performance, by a narrator in a distinctive headgear and black
moustache with his torso smeared with sandalwood paste and red dots all over the
body. The headgear resembles snakes hood, to symbolize the narration by
Anantha, the thousand headed serpent.
The Chakyar narrates the story based on the Sanskrit style of "Champu Prabandha"
- a mixture of prose (gadya) and poetry (shloka). He begins with a prayer to the
deity of the temple. He then goes on to narrate a verse in Sanskrit before
explaining it in Malayalam. The narration uses wit and humor to draw parallels
with current events and local situations.
Koothu has traditionally been performed only by the Chakyar community. Two
instruments accompany the performance - a mizhavu and a pair of ilathalam. This
is different from the Nangiar Koothu, which is performed by women
called Nangyarammas who belong to the Nambiar caste, and is a more highly
refined theatre art."Koothu" means dance ... which is a misnomer, as facial
expressions are emphasized and there is minimal choreography. It is performed in
the Koothambalam; a place inside Hindu temples specifically designed for
performing Kutiyattam and Chakyar Koothu. Ideally, the performance takes place
in conjunction with festivals, presented by members of the Chakyar community
along with the Ambalavasi Nambiars.It is a solo performance, by a narrator in a
distinctive headgear and black moustache with his torso smeared with sandalwood

41

paste and red dots all over the body. The headgear resembles snakes hood, to
symbolize the narration by Anantha, the thousand headed serpent.[1]
The Chakyar narrates the story based on the Sanskrit style of "Champu Prabandha"
- a mixture of prose (gadya) and poetry (shloka). He begins with a prayer to the
deity of the temple. He then goes on to narrate a verse in Sanskrit before
explaining it in Malayalam. The narration uses wit and humor to draw parallels
with current events and local situations.
Folk Dance
Folk dances are dances developed by groups of people that reflect the traditional
life of the people of a certain country or region. Not all ethnic dances are folk
dances; for example, ritual dances or dances of ritual origin are not considered to
be folk dances. Ritual dances are usually called "Religious dances" because of their
purpose. The terms "ethnic" and "traditional" are used when it is required to
emphasize the cultural roots of the dance. In this sense, nearly all folk dances are
ethnic ones. If some dances, such as polka, cross ethnic boundaries and even cross
the boundary between "folk" and "ballroom dance", ethnic differences are often
considerable enough to mention, e.g., Czech polka vs. German polka.
DRAMA
Indigenous tradition as well as modern research traces the origin of Indian drama
to the Vedas. In the Ramayana we hear of drama troupes of women while Kautilyas
Arthshastra mentions musicians, dancers and dramatic shows. Drama is a
performing art, which has also been practiced since times immemorial. Drama

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could spring from a childs play. The child enacts mimics, and caricates which was
definitely the beginning of drama. Since early times mythological stories of war
between the gods, goddesses and the devils is known. Bharata wrote Natyashastra
and created the plays known as Asura Parajaya and Amrit Manthan. Natyashastra is
one of the greatest texts written in the field of drama and other performing arts.
The next epoch is that of the great Bhasa who wrote plays based on the stories of
Udayana, the Ramayana and Mahabharata, Swapana Vasabdatta being his
masterpiece. In the second century B.C. Patanjalis Mahabhasya refers to several
aspects of drama i.e. the actors, the music, the stage, rasa in the performances
called Kamsavadha and Balibandha. While referring to drama, Bharata has
mentioned nat (male artists), and nati (female artist), music, dance, musical
instruments, dialogues, themes and stage. Thus we find that drama achieved a great
level of perfection during the age of Bharata. For Bharata, drama is a perfect
means of communication. He also started the concept of an enclosed area for
drama. There is mention of a community called shailoosh which had professional
drama companies. The practice of singing heroic tales became popular. As a result
professional singers called kushilavas came into existence. During the age of the
Buddha and Mahavira, drama was a means of communicating the principles of
their respective religions.
Short skits and long plays were enacted to preach and educate the masses. Music
and dance also played a vital role in increasing the appeal of drama. In the ancient
period till the tenth century, the language of the educated was Sanskrit. So dramas
were performed mostly in this language. However, characters belonging to lower
classes and women were made to speak Prakrit. Kautilyas Arthashastra

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Vatsyayans Kama sutra, Kalidasas Abhijnan Shakuntalam were all written in

Sanskrit and were Painting, Performing Arts and Architecture significant plays of
those times. Bhasa was another celebrated dramatist who wrote thirteen plays.
Prakrit plays became popular by the tenth century AD. Vidyapati who lived
sometime during the fourteenth century was an important dramatist. He introduced
Hindi and other regional languages in the form of songs. Umapati Mishra and
Sharada Tanaya were also instrumental in promoting drama during this time. In the
context of drama, two types developed the classic drama, which had intricacies
of theme and subtle nuances of dramatic traits and folk theatre. It was of
spontaneous and extempore nature. Local dialect was used in folk theatre and
hence in different provinces many types of folk theatres developed. Acting with
accompaniment of music and dance was the popular practice. Many names were
given to the forms of folk theatre in different provinces like: 1) Bengal - Jatra,
Kirtania Natak 2) Bihar-Bideshia 3) Rajasthan - Raas, Jhumar, Dhola Maru 4)
Uttar Pradesh - Raas, Nautanki, Svaang, Bhaand 5) Gujarat - Bhawaii 6)
Maharashtra - Larite, Tamasha 7) Tamil Nadu, Kerala, Karnataka - Kathakali,
Yakshagana Kuntleshwar Daityam is a drama that testifies to the fact that Kalidasa
belonged to the Gupta Age. Instruments like dhol, kartal, manjira, khanjira were
some props used in folk theatre.
The medieval period was rich in music and dance but theatre did not get much
prominence. Wajid Ali Shah, a great patron of art was also an important patron of
drama. He enthused artists to participate in theatre and supported them. In the
southern region, folk theatre with the use of local dialects was more popular. The
advent of the British in the country changed the character of the society. In the

44

eighteenth century a theatre was established in Calcutta by an Englishman. A

Russian named Horasim Lebedev founded a Bengali theatre which marked the
beginning of modern Indian theatre in India. English drama, especially by
Shakespeare, influenced Indian drama. The stages evolved by educated Indians
were different from traditional open air theatre. The stages now had rolling curtains
and change of scenes. A Parsi company founded in Bombay showed that theatre
could be used for commercial purposes. Dramas began to depict tragedies,
comedies and the complexities of urban life. Dramas were now written in different
regional languages. Side by side, folk theatre like jatra, nautanki, khyal (Rajasthani
folk), and naach also flourished. Another aspect which influenced performing arts
was the adaptation of folk forms to classical forms. Connoisseurs in different fields
made their respective arts a medium for serving the cause of the masses. So they
adapted the popular folk arts to reach out to people. A similar situation appeared in
the case of writing of drama. Vidyasundar, a popular drama of the medieval period,
was influenced by jatra. Geet Govinda, an exemplary work by the great poet
Jayadev, weaved stories of Krishna in kirtania natak and jatra style. At present, a
lot of experiments are taking place in the field of drama. Western influences are
very clear in the works of Shambhu Mitra, Feisal Alkazi, Badal Sarkar, Vijay
Tendulkar and others.
Presently, various types of dramas are flourishing and some of them are : a) Stage
theatre b) Radio theatre c) Nukkar or street plays d) Mono drama (one man show)
e) Musical theatre f) Short skits g) One act plays For the content and thematic
aspect of dance and drama, we must examine the works of creative literature. The
most important literary event, which influenced not only dance and drama but

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painting also, was the composition of Jay devas Gita-Govinda in the 13th century.
Its great impact can be seen on dance and drama forms all over Indiafrom
Manipur and Assam in the east to Gujarat in the west; from Mathura and Vrindavan
in the North, to Tamil Nadu and Kerala in the South... Innumerable commentaries
on the GitaGovinda exist throughout the country. There are a large number of
manuscripts dealing with the Gita-Govinda as material for dance or drama and this
work has been the basic literary text used by many regional theatrical traditions.
The spread of Vaisnavism during this period gave further impetus to the
development of different forms of dance, drama and music.
ARCHITECTURE
Architecture is not a modern phenomenon. It began as soon as the early cave man
began to build his own shelter to live in. Man first began to create and fix his own
shelter when he stepped out from the natural habitat of dense jungle covers. With
the artistic faculties of man awakened in the search for larger and better-sheltered
spaces, he began to build, with inherent aesthetic sense, shelters that seemed
pleasing to the eye. Thus emerged architecture which is a combination of needs,
imagination, capacities of the builders and capabilities of the workers.Architecture
accommodated the local and regional cultural traditions and social requirements,
economic prosperity, religious practice of different times. Hence, the study of
architecture reveals to us the cultural diversities and helps us understand the rich
traditions of India.
An important phase of Indian architecture began with the Mauryan period. The
material prosperity of the Mauryans and a new religious consciousness led to

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achievements in all fields. Megasthenes, the Greek ambassador of Selucas Nikator

who visited the Mauryan court described Chandragupta Mauryas palace as an
excellent architectural achievement. It was a large palace carved out of wood.The
Gupta period marks the beginning of the construction of free-standing Hindu
temples.
An example of this is the temple at Deogarh (Jhansi district) which had a central
shrine or Garbhagriha where the image of the deity was placed.
Rock-cut temples
Temples were hewn out of huge rocks. The earliest rock-cut temples were
excavated in western Deccan in the early years of the Christian era. The chaitya at
Karle with fine high halls and polished decorative wall is a remarkable example of
rock-cut architecture. TheKailash temple at Ellora built by the Rashtrakutas and the
rather temples of Mahabalipuram built by the Pallavas are other examples of rockcut temples. Most probably the stability and permanence of rocks attracted the
patrons of art andbuilders who decorated these temples with beautiful sculptures.
Free-standing temples
The temple building activities that began during the Gupta rule continued to
flourish in laterperiods. In southern India the Pallavas, Cholas, Pandyas, Hoyshalas
and later the rulers ofthe Vijaynagar kingdom were great builders of temples. The
Pallava rulers built the shoretemple at Mahabalipuram. Pallavas also built other
structural temples like Kailashnathtemple and Vaikuntha Perumal

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temples at Kanchipuram. The Cholas built many templesmost famous being the
Brihadeshwara temple at Tanjore. The Cholas developed a typicalstyle of temple
architecture of South India called the Dravida style, complete with vimanaor
shikhara, high walls and the gateway topped by gopuram. Magnificent temples
werebuilt at Belur, Halebid where the stone engravings reached even greater
heights.
PRESENT SCENARIO OF THE PERFORMING ARTS
Presently, all the three art forms i.e. dance; music and drama are flourishing in the
country. Several music institutions like Gandharva Mahavidyalaya and Prayag
Sangeet Samiiti have been imparting training in classical music and dance for more
than fifty years. A number of schools, colleges and universities in India have
adopted these art forms as a part of their curriculum. Indira Kala Sangeet Vishwa
Vidyalaya of Khairagarh is a university of music. Kathak Kendra, National School
of Drama, Bharatiya Kala Kendra and many institutes are all propagating music in
their own ways.Music conferences, baithaks, lecture demonstrations are being
organized and musicians, music scholars, music teachers and music critics are
trying to popularize music and dance. Societies like Spic-macay, Sangeet Natak
Academies are also working hard to protect, develop and popularise Indian music,
dance and drama at the national and even international level. At the international
level musicians have made significant contribution. Different institutions of music
started by Pt. Ravi Shankar, Ustad Ali Akbar Khan and Ustad Alla Rakkha Khan
teach Indian music to foreigners. Many foreign universities have departments of
Indian performing arts and they award degrees and diplomas to students. All over

48

the world Indian artists are invited to perform and participate in various festivals.
Various agencies like Indian Council of Cultural Relations (ICCR) and the
Ministry of Human Resource Development continuously propagate all these art
forms by giving grants, scholarships and fellowships to renowned artists as well as
to young artists and by arranging exchange programmes in the field of Indian
music, dance and drama.
However, to understand and implement the various forms of cultural tourism,
anticipation and regulation of the resultants in the system, is essential in order to
promote an orderly responsible development of cultural tourism. Further, for the
successful achievement of cultural tourism, the stakesholders have to adopt an
integrated, dynamic and broad operational approach as Samik Ray points out is as
follows: The cultural tourism system need to be defined in terms of the holistic
cultural context of the destination, together with the goals, objectives, operational
patterns and possible future consequences.
Comprehensive and specific objectives and goals have to be set in accordance
with scale, tone, size, market, temporal aspects and purpose of the activities.
The scale, nature, type and aspects of cultural tourism offer should be
determined.
A systematic, documented and periodic evaluation and measurement of cultural
tourism impacts is very vital to control the negative outcomes of the cumulative
effects of tourism activities at a given destination.

49

Implementation of effective resource management and conservation projects are

necessary to keep the cultural tourism activities at the destination sustained for the
future
Efforts should be directed to increase the mutual understanding and respect for
the culture among the guests and the hosts. Side by side efforts are to be initiated to
make the guests imbibe the native meaning or interpretation of socio-cultural
elements of the destination.
Concrete measures need to be taken to encounter cultural subversions, economic
exploitation, loss of cultural heritage, slow infiltration of guests culture into the
destination, displacement of local population and gradual withdrawal of local
involvement.
Integrated measures have to be adopted to facilitate local development, self
employment programmes and local involvement in planning and operation of
cultural tourism projects.
Living culture and live realities should be considered as most important resources
as regards cultural tourism practices. So, traditional economic pursuits like craft
making, plantation, agriculture, forestry, pastoralism or animal husbandry would
not be sacrificed for the cause of tourism development.
It is utmost important that necessary measures are taken to divert the profit flow
towards the host destination as much as possible
Congestion and over crowding of tourists could pose severe threat to vulnerable
cultural tourism destinations and hence diversion of tourist flow from most
frequented tourist destinations to the less frequented ones is extremely important

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. The development plan, objectives and activities should be compatible with the
existing cultural context of the host destination.
The issue of authenticity have to be dealt with carefully to control the distortion
of cultural context, socio-cultural pollution, and cultural denigration at the
destination.
The patterns and programmes of cultural tours must be compatible with the local
cultural context and should be developed on the basis of carrying capacity and
sustainable development
Cultural branding and promotion of the destinations should be made in such a
way that it reflects the authentic and real meaning of the local culture.
Facilitation of self-guarding mechanism to turn the negative outcomes into
positive and ARDP (Attraction Resource Development Programme) for enhancing
the cultural tourism offerings is vital.
IMPACTS OF CULTURAL TOURISM IN KERALA A CRITIQUE
The complaint against cultural tourism is that owing to the promotion of culture for
tourism the host culture becomes a degraded and commercialized form of
entertainment for tourists. There are many examples for this kind of impact. In the
Kerala context one is seen in the Kathakali performances arranged for tourists in
capsule form not complying with the traditional norms and only stage-managed
like artificial show business. The tendency towards imitation which can affect the
ambitions and values of the host population may also affect their culture. Members
of the host population can become attracted towards the culture of the tourists at
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the expense of further developing an interest in their own culture. This process is
known as cultural drift because it involves one culure drifting into another.
All over the world, traditional arts and crafts are dying out, as generations of
people with particular skills are replaced by generations who do not learn these
skills because they are thought to have become irrelevant to their modern way of
life. In Kerala, the popularity and performances of so many art forms like
Ottanthuttal, Chakkiarkoothu etc are in a pathetic condition due to this negative
attitude and response. The Aranmula Kannadi which is unique to Kerala is not
getting the fame it once enjoyed mainly because of the disinterest shown by the
present generation. The ray of hope is becoming evident because tourism creates
an interest in these particular forms of culture and it can help in preserving
traditional arts and crafts from being lost altogether. The traditional art forms in
Kerala have been given a new lease of life through tourism.
The culture of a host population is often an important factor in attracting tourists
toa particular destination. Many tourists are interested in experiencing a culture
which is different from their own. Statistical informations pertaining to tourist
arrivals to Kerala show that tourists in large numbers have come to Kerala in the
past years mainly from European countries with a predominant cultural motivation;
a few staying back to learn performing art forms like Kathakali, Mohiniyattom
and also the martial art form Kalarippayattu. The culture of a host population can
take many different forms, but most examples fall into one of two categories
1. Customs which have been created by the host population,
2. Aspects of the host populations everyday life, their history and religion.

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Faking cultural expressions could be disastrous to the state in the long run. The
stake holders of tourism must be aware of the negative word of mouth publicity
happening due to the mushrooming of centres claiming to promote culture, but not
keeping up with the paradigms expected by the tourists. A possible response of the
host population to
tourists is that of imitation, the resultant of demonstration effect. Tourists can
appear wealthy, successful and sophisticated, which may have the effect of causing
younger members of the host population; who want to be more like the tourists.
They try to achieve this by imitating the tourists ambitions and values. This can
have a positive and beneficial impact when the host population may be inspired by
their successful careers and independent thinking and may in turn develop greater
ambitions for themselves and a determination to work harder in order to achieve
these ambitions. The attempt to imitate the tourists also creates problems for the
host population, when some of them get enchanted by seeing the life style of
tourists. Consequently many of them will want to migrate to affluent societies
thereby causing disintegration in the traditional and strong family set up.
In Kerala, there exists both Xenophilia the love of foreigners and Xenophobia i.e.,
the fear of foreigners. Xenophobia arises among the host population due to certain
misconceptions which prevails in Kerala society. These misconceptions or wrong
notions can be abolished only in the wake of promoting awareness campaigns by
knowledgeable persons. There in lies the important role to be played by
intellectuals, writers, academicians, etal In one way or other Kerala has been
singularly fortunate in getting international reputation from time immemorial.
Nature has endowed her with lavish splendour of scenic beauty. Some of Keralas
beauty spots have become international tourist centres.

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Thus, Kerala keeps up its long tradition of attracting people from far and wide. The
other side of the picture is not so attractive. Kerala with its dense population and
high literacy is seething in low standard of living and acute unemployment. Major
industrialundertakings especially in the IT and tourism field can alone face the
challenge. Therays of hope are now showering liberally and graciously, putting
Kerala culture in perspective.
The culture of Kerala is generally a composite and cosmopolitan culture to which
several people and races have made their significant contributions. The same
composite character is the strength of Kerala culture. This culture is a fusion of old
tradition and new values in every sphere of human thought and endeavour. The
Unity in diversity which is an integral character of India is applied to this
southernmost state.
The Kerala culture is marked by the virtues of unity and cohesion in every sphere
of life and activity. Kerala from the very beginning of its history tended to develop
its own outlook and way of life, art and architecture, language and literature and
economic and social institutions, which, in spite of some similarities with those in
other parts of India, have retained their own distinctive characteristics. The culture
of Kerala is distinguished by unbroken continuity in spite of the diverse influences
that have gone into its making at various stages of its long and chequered history.
Kerala culture has persisted through the ages mainly because of its antiquity,unity,
continuity and universality. The culture of Kerala must be adjusted to be
onecharacterized by richness and variety of a high order. All through its history, the
genius of Kerala has blossomed forth in all its vigour and vitality and has helped its
people to reach the peaks of excellence in all their endeavours. The broad and
eclectic outlook developed by the people of Kerala over the centuries, which is
54

reflected in the long tradition of inter-religious harmony and cooperation is the best
guarantee for the survival of Kerala culture into the future in the midst of varying
vicissitudes. There has been age long and continuous interaction between Kerala
culture, Indian culture and World culture over a wide spectrum and this has
produced significant results in all areas of culturaldevelopment. Considering the
sum total of the achievements of Kerala in the fields of culture through the ages, it
is a foregone conclusion that the horizons of Kerala culture would continue to
expand steadily in the years to come, and that in the process, the greater Indian
heritage itself would acquire added variety, strength and vitality, provided
occidentalisation is positively checked, and cultural pride is further strengthened
for a win-win situation for both the hosts and the tourists.
CULTURAL TOURISM IN TAMIL NADU
Tamil Nadu has rich cultural heritage including folklore rooted to traditional values
and beliefs. S.M.L. Lakshmanan Chettiar (2002) records the treasure-trove of the
state in a lucid style that configures the songs, dramas, dances, social and
religious customs, oral literature etc. The exemplary cultural products of Tamil
Nadu depicted in the work speak volumes about the prospects of cultural tourism
in the state.
Tamil Nadu is the top state in attracting the maximum number of foreign tourists in
India. Archaeological sites with civilization dating back to 3800 years are found in
Tamil Nadu. With more than 3400 temples, this state also holds the credit of having
the maximum number of UNESCO heritage sites in India which includes the Great
Living Chola Temples and Mahabalipuram. Tamil Nadu has some great temples
like Madurai Meenakshi Amman Temple, Tanjore Brihadeswara Temple,
Srirangam Ranganathaswamy Temple, and all the above mentioned temples have
55

world class architecture that mesmerize utterly. Velankanni Church and Nagoor
Dharga are visited by people of all religions.
It is indeed to the credit of the state that a calendar year is dotted with
reallycolourful and culturally important festivals aplenty. The traditions of olden
times are stillvery much prevalent in Tamil Nadu and the incredible festivals stand
testimony to that.
The amount of culture that is displayed in these festivals make them very special.
Most of the festivals in Tamil Nadu are Temple festivals (Tamil Nadu Tourism).
Almost every temple has its own festival(s) or fair(s). Dance festivals like
Mamallapuram Dance Festival, Natyanjali Dance Festival, etc are considered to be
new pull factors as regards cultural tourists. Tamil Nadu is home to perhaps the
largest number of temples in the country and almost every temple has their own
festival or fair. Most of the temple festivals fall between September and November,
and between March and June. Every corner of Tamil Nadu is sprinkled with prehistoric cultural legacy. Festivals such as pongal, karthigai deepam and lot more
describe the mystique belief of people of Tamil Nadu. Cities like Chennai,
Madurai, Trichy and Coimbatore attract cultural tourists all the year round because
of its holding famous art and music festivals (for eg:- Thyagaraja Music Festival)
and other cultural events. Besides, the popular dance form Bharat Natyam talks a
lot about the vibrant Tamil Nadu culture. This state in South India is a land of rich
history and tradition. It is the land where traditions and culture combine to live in
harmony. Tamil Nadu abounds in ancient monuments and temples, which reflect
the religious, artistic and cultural accomplishment of the state.
The most important aspect of Tamil culture is the architectural heritage of the state.
Tamil Nadu is also called the cradle of South Indian temple architecture and is a
56

living museum of architectural styles that originated in the 7th century and
culminated in the huge temple complexes studded with towering gateways called
Gopurams. The finest example of sikhara and gopuram architecture is the
Brihadeswara temple atTanjavur. Such numerous temples and religious places
make Tamil Nadu home to someimportant pilgrim tourist centres. Some of the
world famous pilgrim centres of Tamil Nadu are Mamallapuram, Kanchipuram,
Chidambaram, Kumbakonam, Rameswaram, Palani, Srirangam, Tiruttani and
Kanyakumari.
Tamil Nadu is a unique state from the tourism point of view. The immense tourist
wealth of Tamil Nadu is one of the greatest assets of the State. Nature has
bestowed Tamil Nadu with countless number of tourist spots such as hill stations,
beaches, wild life sanctuaries, bird sanctuaries, zoological parks, etc. The long and
rich history of the
Tamil language and society is marked by temples, pilgrim centres, historical and
heritage monuments, etc. Tamil Nadu, the gateway of South India, has emerged as
the hub of tourism for West Asia and South East Asia.
4.8 CULTURAL ACTIVITIES FOR TOURISM
Tamil Nadu has a long tradition of venerable culture. Tamil was the very first
language to be recognized as a classical language of India. Tamil people regard
their language as a very important part of their cultural identity. Throughout its
history, Tamil literature has sought to inform and inspire, educate and entertain.
Tamil poetry has universal appeal as evidenced by many examples. Tirukkural,
which was written nearly two millennia ago portrays a universal outlook.
The first Tamil printing press was established at Tarangambadi by the Danish
missionaries. During the Indian freedom struggle, many Tamil poets and writers
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sought to provoke national spirit, social equity and secularist thoughts among the
common man, notably Subramanya Bharathy and Bharathidasan. Even today Tamil
Nadu is home to creative writers like Vairamuthu, Jayakanthan and Indira
Parthasarathy.
Chennai city has many beautiful parks to its credit. The Corporation of Chennai
has given a facelift to many of these parks in the city and has made them green by
providing lovely lawns and attractive fountains. To patronize the folk arts and
entertain the local population in the evening hours, it was decided to conduct a
cultural show every Saturday in parks (in rotation) with the caption Poongavil
Poonkatru. This programme has promoted cultural tourism apart from providing a
platform for promoting youth talents. Tamil Nadu Tourism is providing avenues for
creative tourism (which has existed as a form of cultural tourism) in the annual
Trade Fair, by facilitating the students of Government Fine Arts College to
participate in painting portraits of visitors to the fair.
Chithira Santhai was conducted in 2009 for the display and sale of paintings by
eminent artists. A colourful Coffee Table Book named Thoorigaiyil
Thamizhagam has been produced with public-private partnership, depicting art
forms and cultural dimensions of Tamil Nadu and important tourist places. This
coffee table book with beautiful paintings by eminent artists of Tamil Nadu has
versions in Tamil, English, French and German with concise information on the
paintings and their significance in Tamil Nadu context. Chennai bustles with a
number of cultural activities during December and January every year, especially
Chennai Sangamam. This great event has contributed significantly for the regular
revival of folk art forms. The entire atmosphere was surcharged with the festive
mood. The Semmozhi Sirpa Poonja is a sculpture park at Mamallapuram where
sculptures of architectural splendor have been installed. The tourists get a glimpse
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the rich culture of Tamil Nadu from these scriptures. Temple festivals are not just
religious occasions but also cultural and commercial landmarks. All Hindu
festivals are occasions of great feasting, dance, music and love.
One of the most well-known fairs in Tamil Nadu is the Pollachi fair, which takes
place on Thursdays. On these days, the fair is practically bursting at the seams. The
Pollachi fair is the place for items from the Annamalai hills, Palaghat area and the
Pollachi valley.
The merchandise sold includes clothing, coconuts, nuts oil, fruits, vegetables, hides
and skins and poultry. The culture of Tamil Nadu reverberates in the movies. The
Tamil cinema industry is called Kollywood and is the second biggest movie
industry in India after Bollywood. The Government of Tamil Nadu has declared 48
towns as Heritage Towns for conservation and preservation of their priceless
heritage value. These Heritage Towns are developed by obtaining funds from the
Town and Country Planning Development. The countryside of the state is dotted
with various sites known for their own particular craft, such as the paintings of
Tanjore, the mats of Pattamadai, and wood carvings of Chettinad. Tamil art has
also found its way into Tamil celebrations. Dolls are often made in preparation of
the Navaratri celebrations. A study conducted by Equations (1997) advocate
against the cultural tourism promotion practices in Tamil Nadu. The intrinsic
value of cultural symbols for the community is overlooked and they are denigrated
to the level of showpieces. Tourism cultures is a myth created to legitimize
consumption of cultural symbols by tourists. (An excerpt from the book). At the
same time a status report of Equations highlights the Tamil Nadu Governments
policy decision to propagate cultural tourism intensively by conducting various
festivals. In this connection various reviews assert that a full fledged calendar
needs to be drawn as regards the fairs and festivals of Tamil Nadu, for the benefit
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of foreign tour operators and agents who co-ordinate the cultural tourism activities.
Tamil Nadu has a rich tradition of making metal objects which are used for both
religious and secular purposes. A wide variety of objects includes standing lamps,
aarathi, deepalakshmi hand lamps and chain lamps. Shallow dishes in circular,
hexagonal, octagonal and oval shapes are widely used in Tamil Nadu and are made
out of bronze or sheet brass. The popular Thanjavur plates are characterized by
designs of deities, birds, flowers and geometric patterns beaten out from the back
of copper and silver sheets and subsequently encrusted on a brass tray, Kudam or
Panchpaatra. Metal toys are also popular and are sold at various gift outlets in
various towns and cities of the state. Tamil Nadu is famous for its artistically
created baskets and fiber products which are of great demand both in India and
abroad. While palm has become a major source of raw material for basketry and
related products, bamboo, cane, grasses, reeds and fibres are also used in making
baskets, ropes, mats, and many other items. The places famous for these arts are
Salem, Dharmapuri, Coimbatore, South Arcot and Tiruchirappalli districts. Stone
carving is yet another popular form of art that continued to exist over centuries.
The craftsmen apply their creativity in making sculptures of various forms and
structures. Granite and marble carving are confined to the areas around
Mamallapuram and Chingleput. Pottery is also an important craft of Tamil Nadu.
The state is famous for its manufacture of the famous Ayyannar horses. The horses
are said to protect each village from evil. The large terracotta horses of Salem and
Pudukottai are very much popular and are of great demand.
The Kolam in Tamil Nadu is given a great recognition and is also given more
importance during the Margazhi season which is one of the finest Tamil seasons.
The Kolam has lots of aspects that are medically more helpful. Kolam also
enhances the creativity of the people apart from reflecting the glory and splendour
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of Tamil culture and tradition. Tamil Nadu Tourism Department highlights certain
potential cultural tourism destination in its packages. The important ones are
reviewed as follows.
Sirkazhi is renowned in Tamil literature as the birth place of Thirugnana
Sambandar, the Tamil saint. The saivite temple is dedicated to him. Tourists gather
in large numbers to witness the Tirumalaippal festival celebrated in April.
Vaitheeswaran koil, too, draws steady stream of cultural tourists from all parts of
Tamil Nadu and other states.
ART FORMS AND THE DEVELOPMENT OF HUMAN PERSONALITY
The association of people with these art forms definitely makes them better human
beings as the very nature of music, dance and drama elevates human soul and
creates a pleasant atmosphere. The knowledge and practice of these art forms help
in the development of ones personality. The people involved in these art forms can
attain balance and peace ofmind, self-restraint and love for all.
Their performance makes them self-confident and capable of adapting to all
circumstances. Negative feelings vanish as the soul of music, dance and drama
teaches us all about loving and caring.
CULTURAL TOURISM
South India, colorful and vibrant, a land as diverse as its people.A mosaic of faiths,
cultures, customs and languages that blend harmoniously to form a composite
whole. One of the worlds oldest living civilizations - which gave to the world - the
concept of zero, the primordial sound AumYoga, and Buddhism.Enchanting
South India, a treasury of art, architecture; philosophy, classical dances and
music.The culture of India is the way of life of the people of India. India's
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languages, religions, dance, music, architecture, food, and customs differ from
place to place within the country. The Indian culture often labeled as an
amalgamation of several cultures, spans across the Indian subcontinent and has
been influenced by a history that is several millennia old. Many elements of India's
diverse cultures, such as Indian religions, yoga and Indian cuisine, have had a
profound impact across the world.
India is known for its various classical dances in the world. These dance forms are
quite old and have been kept alive for centuries by the Guru Shishya Parampara.
The Bharat Natyam has originated in Tamilnadu, Chhau in Odisha, West Bengal
and Jharkhand, Kathak in Uttar Pradesh, Kathakali and Mohiniyattam in Kerala,
Kuchipudi in Andhra Pradesh, Manipuri and Thang Ta in Manipur, Odissi in
Odisha and Satriya in Assam. Govt of India has set up seven Zonal Cultural
Centres in the country to look after the promotion of art in the country. These
centres are located at Kolkata, West Bengal (Eastern Zone), Dimapur, Nagaland
(North Eastern Zone), Patiala, Punjab (North Zone), Udaipur, Rajasthan (Western
Zone), Nagpur, Maharashtra (South Central Zone), Allahabad, Uttar Pradesh
(North Central Zone) and Thanjavur, Tamilnadu (South Zone). These Zonal
Cultural Centres are working as a catalysts to promote the regional art and culture.
The budgets at the disposal of these Cultural Centres is so meagre that they hardly
can support the budding artists. The need of the hour is to run these cultural centres
on innovative ideas. These Centres organize various festivals where the artists do
participate. Many big corporates and High Networth Individuals (HNIs) would be
willing to fund these festivals provided the same is named after their forefathers or
company product. The spending of two percent of the net profit of the company for
the promotion of art and culture can be included in the mandate for the Corporate
Social Responsibility (CSR). These two yearly naming of festivals on bidding
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basis will attract huge corporates and individuals on one hand and would ensure
high remuneration to the participants on the other. This will make art and culture
an alternative source of earning and many young boys and girls would prefer it as a
career in their life. This will also lead preservation of age old art, craft and dance
forms on one hand and research on the other. There are lakhs of people engaged in
making handicraft and handloom articles in our country. These people are not
getting the opportunity to showcase their talent and sell their art object at a
reasonable price. This is leading to leaving the traditional art field and massive
exodus to work like security guard, driver, peon, data entry operator, clerks etc on
one hand and danger of extinction of the traditional art on the other. In our country
we have highly skilled labour in erecting beautiful pandals in West Bengal,
bamboo work in North East, earthen pots in Haryana and Rajasthan, lac bangles,
silk saree, and shoe in Uttar Pradesh etc. We should strive to revive these genetic
qualities in an individual rather than putting efforts in teaching him and preparing
for something totally different. We should also endeavor to provide a platform to
these traditional artists to sell their product at a reasonable rate. A system like
Flipkart should be initiated by the Government or encourage any private
entrepreneur to do the same. This will boost the confidence of the people who have
been working for these art forms for generations.
Among the various states for cultural tourism in India.Tamil Nadu is also famous
for cultural tourism in India, for it shows the Dravidian tradition and culture. It has
many temples which mirror the rich cultural heritage of India.The performing arts
culture of India is a fusion of the arts, an aesthetic sensibility shared between
music, dance, drama and literature. India, the glorious land of rich culture and
heritage is known for ages for its unique performing arts, whether it be dance,

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music and theatre, or the modern forms like cinema. Indians, traditionally have
always transcended the barriers in the way to cultural development.

AN OVERVIEW OF ART INSTITUTION OF KERALA

Kerala Kalamandalam, deemed a University of Art and Culture by the Government
of India, is a major center for learning Indian performing arts, especially those that
developed in the Southern states of India, with the special emphasis on Kerala. It is
situated in the small town of Cheruthuruthy in Trissur, Trissur District on the banks
of the Bharathapuzha river.
Cheruthuruthy is the seat of Kerala Kalamandalam, renowned the world over for
its Kathakali training centre. Besides a major centre for Kathakali training,
Kalamandalam also imparts training in other performing art forms like
Mohiniyattam, Koodiyattam, Thullal and Nangiarkoothu. Training in vocal and
percussion instruments are also conducted here. Many of the internationally
renowned artistes of Kerala and India have been trained here.
The Kalamandalam and its surroundings reflect the simple, pure and ethnic
atmosphere in which these arts have survived for centuries. The Koothambalam the traditional dance theatre at Kalamandalam is the only one in Kerala which is
built outside a temple complex. This theatre is 14.62 m long and 7.31m wide and
has four wooden pillars supporting it. It has three main parts - the aniyara (green
room), the rangam (stage) - the space in front and side of it meant for the audience,
and the mridanga-patha (where the drum is kept).

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Kerala Kalamandalam was established by Vallathol Narayana Menon, the

renowned Malayalam poet. It was a time when the popularity of Kathakali was on
the wane. English education had been introduced and only a few upper class
families in the state held the key to the art form. Realising the need to keep the art
alive, the poet along with a few royal Kathakali enthusiasts like M. Mukundaraja
and Kunjikuttan Thampuran, took over the revival and popularisation programme.
They arranged performances by eminent artistes across the state and even raised
funds through lotteries.
Over the years this unique institution has imparted training in Kathakali,
Mohiniyattam, Kootiyattam, Panchavadyam, Thullal etc., following the ancient
guru Kula system of education.Perhaps the major attraction for a visitor to
Kalamandalam would be the Koothambalam or the traditional dance theatre. Built
in traditional architectural and elegance, the pillars of thenatyagriha are made of
granite. The roof-structure, the stage-floor and its pillars are made of teak-wood
and rose-wood. On the granite pillars are inscribed one hundred and
eight karanas(dance postures) dealt within the Natyasastra (the Indian treatise on
theatre). The Koothambalam has three main components viz. the aniyara (green
room), the rangam (stage) and the mridanga-patha (where the drum is kept). One
can witness a variety of programs at theKoothambalam on special occasions.
The art gallery at Kalamandalam is of interest, where one can admire the elegant
statues of different Kathakali characters and those of other performing arts.
Adorning the outer walls of the art gallery are beautiful mural paintings. And the
costume room has a wide variety of costumes, head-gears, wooden masks and
wooden weapons used by the Kathakali and Koodiyattam characters.

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Close to the old Kalamandalam campus is the Vallathol Museum where the
precious moments in the life of poet and scholar Vallathol are preserved in visuals
and words. The portrait gallery here has on display oil portraits of eminent artistes
of yester years. The Vallathol Samaadhi - the final resting place of the poet is
another attraction in the old campus.
Kalamandalam offers specially designed introductory courses in all aspects of
Kathakali, Koodiyattam, Mohiniyattam and the vocal and instrumental modes of
classical music. Training exposes individuals to the diverse performance traditions
in Kerala. Crash courses are also available at Kalamandalam.
Troupes of Kerala Kalamandalam have traveled widely in India and abroad for
programs, lecture-demonstrations and workshops. They have represented India in
many an international dance and theater festival.
Visitors to Kalamandalam these days can enjoy the specially designed tour of the
Kalamandalam campus. The program named 'A day with the masters' at
Kalamandalam would enable visitors to witness masters of various art disciplines
at work and can visit various units inside the campus and get familiar with the
ambience and its style of functioning. The project in collaboration with Kerala
Tourism is an earnest attempt to attract national and international tourists to the
inner aesthetics of traditional arts. The Kalamandalam and its surroundings reflect
the simple, pure and ethnic atmosphere in which the indigenous art forms can
thrive. Tradition is no barrier to Kalamandalam in dealing with the riddles of the
present and those of the future. It is on the other hand a moral and cultural
stimulant that helps Kerala Kalamandalam forge ahead

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LIMITATION

The following limitations were encountered by the researcher while carrying out
the research work.
The area of study is very vast and encompasses a plethora of cultural products
and expressions spread over two premier and dynamic cultural tourism
destinations, regarded highly not only in India, but also across the globe. A
microscopic study always seemed to be a thorough limitation owing to this.
The review materials were available in abundance on cultural tourism
perspectives globally, and on Kerala and Tamil Nadu culture. Yet, not much
published literature pertaining to cultural tourism management as such in both the
states were available.
Many famous cultural programmes and activities, in the promotional sense, fall
outside the ambit of Cultural tourism, in Kerala and Tamil Nadu. However, the
researcher has attempted to include certain aspects under the purview of the study.
The content analysis of experts view posed challenges in narrowing down to
generalizable inferences.

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FINDINGS
The Research traced the origin of painting from the prehistoric times;
The project finds the development of painting during the medieval period;
This research also point out the important architectural style under the
colonial regime.
The research reveals the main characteristics and various styles of Indian

architecture
It also traces the evolution of Indian architecture over the years.
The research also gives a detailed study of art forms of south India
The project also finds the current scenario of art forms
The report also gives a brief description a art Institution in Kerala and their
importance.

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CONCLUSION
Art, is a very precious heritage in the culture of a people. It is more so in
India, where the story of art is as old as the history of the race- a panorama
of five thousand years. The essential quality of Indian art is its preoccupation
with things of the spirit.
Art in India did not aim at objective presentation of the human or social
facets of life. It was primarily the fruit of the artists creative meditation and
effort to project symbols of divine reality as conceived and understood by
the collective consciousness of the people as a whole. It is a vast, unending
social and religious endeavor of devotees to depict the forms of the gods and
goddesses they worshipped. Any tourist desirous of understanding the real
significance of Indian art should be prepared patiently to go to the length and
breadth and savor deep of the symbolic meanings that make up a world of
their own.
Indian Art consists of a variety of art forms, including plastic arts (e.g.,
pottery and sculpture), visual arts (e.g., cave paintings), and textile arts (e.g.,
woven silk). Geographically, it spans the entire Indian subcontinent,
including what is now India, Pakistan and Bangladesh. A strong sense of
design is characteristic of Indian art and can be observed in its modern and
traditional forms.
The traditional music of South India is known as Carnatic music, which
includes rhythmic and structured music by composers like Purandara Dasa,
Kanaka Dasa, Tyagayya, Annamacharya, Bhakta Ramadasu, Muthuswami
Dikshitar, Shyama Shastri, Kshetrayya, Mysore Vasudevachar and Swathi
Thirunal.

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The main instrument that is used in south Indian Hindu temples is the
nadaswaram. It is said to have been created when the very first temple was
established in South India. The nadaswaram and the thavil were played
together in South Indian temples to create an ensemble.The motion picture industry
has emerged as an important platform in South India, over the years portraying the
cultural changes, trends, aspirations and developments experienced by its people.
South India is home to several distinct dance forms Koodiyattam,
Bharatanatyam, Kuchipudi, Vilasini Natyam, Kathakali, Yakshagana, Theyyam,
Ottamthullal, Margamkali, Oppana, Kerala Natanam and Mohiniaattam. The
Bharatanatyam is the celebration of the eternal universe through the celebration of
the beauty of the body.
The Performing art range from vocal and instrumental music dance and
theatre to pantomime. The culture in India although diverse and varied, still
binds the country together in some form of common identification. The art
forms have played a remarkable role in this unification. Using the body as a
medium of communication. Music also plays an important role in the
tradition of Indian music should be understand in the context of Indian life
and thought. It is known to be a mystical experience, analogous to Yoga.
Music, dance, drama, folk theatre or puppetry our country India, had all of it
in abundance.
CULTURAL INSTITUTIONS OF TAMIL NADU
Cultural Institutions in Chennai include the Madras Music Academy,
devoted to theencouragement of Carnatic Music. The Kalakshetra is a centre
of dance and music, andthe Rasika Ranjini Sabha, in Mylapore encourages
theatrical arts.

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The Rukmini Devi Cultural Centre founded in March 1999 by the trustees of
the Rukmini Devi Arundale Foundation and Trust is situated in West
Mambalam, Chennai.This cultural institution offers courses in Bharatha
Natyam, Carnatic Music, Fine Arts and art appreciation.
The Thanjavur Maharaja Serfojis Saraswati Mahal (TMSSM) Library,
Thanjavur is one of the few medieval libraries that exist in the world. It
symbolizes a pricelessrepository of culture and time defying treasure house
of knowledge, built by thesuccessive dynasties of Nayaks and Marathas of
Thanjavur. The Library was made public library in 1918 by the Madras
Government and was registered on 9 July 1986 as asociety under the Tamil
Nadu Societies Registration Act. At present, the TMSSM library
is jointly administered by the Government of India and the Government of
Tamil Nadu. The Library has 46,695 manuscripts in Sanskrit , Marathi,
Telugu, Tamil and otherlanguages in both palm leaf and paper form. More
than 35 volumes of descriptivecatalogues for these manuscripts have been
brought out. Miniature paintings, colourdrawings, atlases, maps, charts and
rare prints in their collections are very attractive andreflect the Thanjavur
School of Paintings. Besides, it has 47,100 books in Indianlanguages
covering various disciplines and a rare collection of about 4,500 books in
European languages collected by Raja Serfoji. The Library published more
than 360 books from the unpublished manuscripts. It also publishes a
quarterly journalKalakshetra literally means a Holy place of Arts. The
centre is modeled on the conceptof a gurukul, where music, dancing,
painting and crafts are taught to students from Indiaand other parts of the
world. Special cultural programmes are arranged to help the
students in appreciating true art and the rich cultural heritage of India. The
curriculum ofthe dance students includes classes on dance theory, which is
based on the work
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Abhinaya Darpana, and selected portions of other ancient texts on art and
literature. Music is a subsidiary for all dance students. The art of Indian
make-up, traditionalcostumes and theatre craft are learnt gradually by the
advanced and post graduatestudents through participation in the various
Kalakshetra productions. Kalakshetraproduces and presents many dance
dramas as part of its efforts to make available to thepublic and cultural
tourists the best of Indian classical arts.
The Kalai Kaviri college of Fine Arts is the first of its kind in Tamil Nadu
offering degree courses both in Dance and Music. Kalai Kaviri is dedicated
to reach the peoplewith spiritual, social development and human values, and
to promote the cultural arts.The professional dance troupe acts as
ambassadors of love, peace and Indian culturalarts. This cultural institution
now stands as an embodiment of cultural tourismpromotion.Tamil Nadu
Eyal Isai Nataka Manram is a cultural organization executing several
schemes from the grants sanctioned by the state government. The main
activities of the Manram consists of exchange of cultural troupes, upliftment
of indigenous artists,conferring the State Award of Kalaimamani on the
artists for their yeomen service to theenrichment of performing arts,
publication of books in the fields of art and culture andencouraging research
on folk arts and traditional classical arts.By bringing the art institutions and
organizations under one umbrella, a separatedirectorate namely, the
Directorate of Art and culture was created by the Government of
Tamil Nadu. Its aim is to implement schemes for development of arts. The
administrative office, namely, the Directorate of Art and Culture is
functioning in Chennai and the Regional Cultural centres are functioning at
six places, namely, Kanchipuram,Salem, Thanjavur, Tiruchirappalli,
Madurai and Tirunelveli. This officer co-ordinate,guide and inspect the
cultural activities at district level and assist in carrying out thecultural
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policies of the government.The Tamil Nadu Jawahar Siruvar Manram

established at Chennai aims to give cultural training and develop the art
talents of the children in the age group of five tosixteen years. The Tamil
Nadu, Ovia Nunkalaikuzhu was established by Tamil NaduGovernment for
preserving, promoting and propagating fine arts such as painting,
sculpture and graphics, and for encouraging the artists, and to work in coordination with the Lalit Kala Akademi. Kalaichemmal awards are
conferred on the eminent artists inrecognition of their meritorious services in
the fields of traditional and contemporary arts.State level exhibitions are also
organized.Dakshina Chitra in Tamil Nadu is a center for the living traditions
of art, folkperforming arts, craft and architecture with an emphasis on the
tradition of South India.A project of the Madras Craft Foundation (MCF),
the centre attracts cultural tourists from
different parts of India and abroad. It is located on the East Coast Road to
Mamallapuram. The South Zone Cultural Centre in Thanjavur offers cultural
programmes and artistic performances from various regions, and different
artistes from all over the country and it provides a spectrum of events to the
commoners andconnoisseurs of art and culture. Cultural events of popular
taste are fostered andstrengthened by this organization. The centre conducts
cultural programmes on every2nd and 4th Friday at the Brihadeeswara
Temple, Thanjavur.

BIBILOGRAPHY
Gover, Charles. 1983 (1871). Folk-songs of Southern India
Nagaraju, S. 1990. Prehistory of South India." In South Indian
Studies, H. M. Nayak and B. R. Gopal
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 Narayan, Shovana (2005). Indian classical dances: "ekam sat

vipraah bahudaa vadanti"
Andhra Pradesh Portal: Dance. Andhra Pradesh Government.
"Indian Classical Dance". One India.
Encyclopdia Britannica. dance (performing arts) : Indian classical
dance
Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd
edn. 1994
Kapila Vatsyayan, Classical Indian Dance in Literature and the
Arts (New Delhi: Sangeet Natak Akademi, 1977)
Mitter, Partha. Indian Art
Krishna Chaitanya (1987), "Arts of India."
FURTHER READING
Massey, Reginald (2004). India's dances: their history, technique, and
repertoire. Abhinav Publications.
Art of India- Prehistory to the Present by Fredrick Asher
Indian Art and Aesthetics Endeavors in Interpretation by Maruti
Nandan Tiwari and Kamal Giri .

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ANNEXURES

ARCHITECTURAL MONUMENTS

FREE STANDING TEMPLKES

The Teli ka Mandir in Gwalior FortI

RAPRASTHA

AN ARCHITECTURAL MONUMENT IN SOUTH INDIA.

Typical layout of Dravidian architecture which evolved from koyil as kings

residence and is based on sthandila mandala.

DANCES OF SOUTH INDIA

Kathakali

Mohiniyattam

Keralanadanam

Kathak

Kuchupudi