logo
Dance as a career: Exploring Opportunities in India

Dance as a career: Exploring Opportunities in India

Hans India29-04-2025
Dance, once regarded primarily as a hobby or a cultural tradition, has today emerged as a dynamic and rewarding career option in India. With the growing significance of the arts across education, media, wellness industries, and global cultural exchange, dance now offers a wide array of opportunities for those who are passionate and committed.
India's rich and diverse dance heritage—from classical forms like Bharatanatyam, Kuchipudi, and Mohiniyattam to vibrant folk traditions and contemporary styles—provides a strong cultural foundation for aspiring dancers. This cultural diversity has created an ecosystem where dancers can pursue various styles, innovate by blending traditional and modern techniques, and cater to audiences with eclectic tastes.
Today's dancers are no longer confined to traditional stage performances. They are carving careers as performers, choreographers, educators, therapists, researchers, and even entrepreneurs. Opportunities exist across different sectors: performing at prestigious cultural festivals, teaching at renowned institutions, choreographing for films, music videos, and weddings, conducting dance therapy sessions, curating workshops, and creating digital dance content for global audiences. Many are also establishing their own dance studios, production houses, and wellness centers, using dance as a medium for physical fitness, mental health, and community engagement.
Education and training play a crucial role in shaping a successful dance career. Institutions such as Kalakshetra Foundation, Kerala Kalamandalam, Rabindra Bharati University, and various university-based performing arts programs offer structured learning that blends rigorous practice with theoretical understanding. These institutions equip dancers with technical skills, academic knowledge, and industry exposure, preparing them for multifaceted professional journeys. Certificate and diploma programs, as well as advanced degrees, allow students to specialize in particular styles or explore interdisciplinary approaches.
Many contemporary dance programs are evolving to offer more than traditional performance training. In addition to practical skills, curricula often include subjects such as media studies, dance criticism, research methodologies, arts management, and interdisciplinary collaboration. This broader approach helps dancers develop abilities not only in performance but also in analysis, documentation, innovation, and leadership within the field. As a result, graduates are increasingly prepared for diverse careers as performers, scholars, educators, cultural managers, content creators, and cultural ambassadors, reflecting the expanding opportunities within the performing arts.
Technology has also opened up new avenues for dancers. Online platforms enable dancers to teach virtual classes, conduct webinars, collaborate internationally, and showcase their work to wider audiences without geographical limitations. Social media has become a powerful tool for building personal brands, attracting sponsorships, and participating in global artistic conversations. Virtual reality, augmented reality, and AI are slowly influencing dance productions and choreography, presenting new creative challenges and opportunities for the next generation of artists.
Yet, the path is not without its challenges. Financial uncertainty, inconsistent work opportunities, lack of formal employment structures, and societal expectations around stability can be difficult hurdles to overcome. Moreover, the highly competitive nature of the field demands constant skill development, physical fitness, networking, and adaptability. Nevertheless, the growing appreciation for the arts, the rise of digital platforms, international cultural collaborations, and supportive government initiatives such as scholarships, fellowships, and grants are steadily transforming the landscape. Many states and organizations now recognize the arts as a critical part of cultural diplomacy and national identity, opening doors for dancers to represent India on global platforms.
Choosing dance as a profession is a bold and fulfilling decision. It demands dedication, resilience, creativity, and lifelong learning. But for those who follow their passion with discipline and vision, dance offers a life rich in expression, cultural connection, and meaningful impact, both within India and on the global stage. As the boundaries between tradition and innovation continue to blur, the future of dance in India looks not only promising but also profoundly exciting.
(The author is Head of the Department and Assistant Professor – School of Performing, Visual and Creative Arts, Alliance University)
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

How the Ramayana has been a cultural bridge between India and Southeast Asia
How the Ramayana has been a cultural bridge between India and Southeast Asia

The Hindu

time6 hours ago

  • The Hindu

How the Ramayana has been a cultural bridge between India and Southeast Asia

The appeal of the Ramayana transcends geographical boundaries and genres. So what better way to mark the occasion of the 60th anniversary of diplomatic relations between Singapore and India, than by staging 'Ramayana: Celebrating the Shared Heritage'. Presented by the Consulate-General of the Republic of Singapore in Chennai on August 8 and 9 at Kalakshetra. 'Ramayana: Celebrating the Shared Heritage between Singapore and India' on August 8 and 9 at Kalakshetra in Chennai. This cross-cultural performance was conceptualised by Aravinth Kumaraswamy, artistic director of Apsaras Dance Company, Singapore in collaboration with Osman Abdul Hamid, artistic director of Era Dance Theatre, Singapore. The cast included dancers from Singapore and India. Well-known Bharatanatyam dancer and teacher Urmila Sathyanarayanan played the role of Sita. Tamil Nadu Minister for Information Technology and Digital Services Palanivel Thiaga Rajan was the guest of honour on the inaugural day. S. Vijaykumar, head of branch secretariat of the Ministry of External Affairs in Chennai was also in attendance. Singapore Consul-General Edgar Pang said: 'The production celebrates the close cultural and people-to-people ties between Singapore and India.' According to Aravinth Kumaraswamy, 'As an artiste rooted in Indian dance and music, I draw deep inspiration from this connection that is driven by collaborations among people, traditions and artistic voices from across the region.' What made the presentation special was also the venue — Kalakshetra. This is where the institution's founder Rukmini Devi's Ramayana dance dramas have attained cult status. A few select episodes from the epic were presented in a unique way — through a group of apsaras. The production began with a vibrant portrayal of Rama's childhood and charming persona, set to the evocative verses of Tulsidas's 'Thumak chalatha ramachandra' and 'Hanuman Chalisa'. Both these songs stood out for their group choreography. The focus then shifted to the forest, where Rama and lakshmana in their search for Sita encounter Hanuman. The spotlight then turned to Hanuman as the story traced his journey to Lanka, his poignant meeting with Sita at Asokavana and his fiery act of setting the city ablaze. This sequence culminated in the battle between Rama and Ravana. The choreography, costume and jewellery, lighting design and music added enough appeal and vibrancy to the production. The dramatisation of Hanuman's episodes were the tour-de-force of the production, with Jishnu Gopi playing the role with remarkable conviction and finesse. Urmila Satyanarayanan conveyed Sita' s emotional state with restraint and sensitivity, while Savita Narasimhan's poignant rendition captured the mood. However, a little subtlety in Urmila's aharya, particularly in the context of Asokavana, could have enhanced the characterisation. Mohanapriyan Thavarajah as Ravana made an impact with his costume and jewellery. Wefi Sofianah, a fine dancer from Era Dance theatre, as Trijada, beautifully integrated the Javanese style into Bharatanatyam narrative, adding texture and elegance to the scene. Rajkumar Bharathi's soundscape was a melodious fusion of Javanese Gamelan music and Indian classical. Vocalists Abhishek Raghuram, Savitha Narasimhan and G. Srikanth were supported by a large ensemble of musicians, under the deft music direction of Sai Shravanam. Lighting design by Surya Rao flowed well with the choreography by Mohanapriyan Thavarajah, Jayanthi Subramaniam and Osman Abdul Hamid. This retelling of the Ramayana unfolded as a captivating visual spectacle, holding the audience's attention from start to finish.

Bollywood's first female superstar had a rift with Dilip Kumar, dated a married Raj Kapoor, quit films to marry his doctor
Bollywood's first female superstar had a rift with Dilip Kumar, dated a married Raj Kapoor, quit films to marry his doctor

Indian Express

time14 hours ago

  • Indian Express

Bollywood's first female superstar had a rift with Dilip Kumar, dated a married Raj Kapoor, quit films to marry his doctor

Some actors enter the industry and leave behind an indelible legacy, not just through their craft but also by breaking barriers and redefining what it means to be a star. Vyjayanthimala, a young Bharatanatyam dancer who started her career with Tamil films before moving to Hindi cinema, is one such icon. Despite being born in an orthodox Tamil Brahmin Iyengar family in Chennai, Vyjayanthimala made a name in the Hindi film industry with her strong, convincing performances. She dominated the 50s and 60s and rivalled the dominance of ace actors like Meena Kumari, Madhubala, Nargis, Suchitra Sen, Waheeda Rehman, and more. Vyjayanthimala made her film debut at the age of 16. She first appeared in the Tamil film Vaazhkai in 1949. Her journey to stardom wasn't without challenges, and she faced body shaming in the film industry. Once, her Hindi film Nagin's director Nandlal Jaswantlal brought her to tears by calling her an idli. She recounted the instance in her memoir, titled Bonding. She wrote, 'You are too plump and still have a lot of baby fat. You have such a round face, that it fills the whole screen. Don't look like an idli.' The filmmaker would often tease her in front of the entire crew, leaving her with 'tears shimmering in my eyes, all set to roll down.' Although her diverse roles in Ganga Jamuna, Amrapali, and Sangam earned her acclaim, Vyjayanthimala was often reduced to being a 'dancing doll,' something that she herself had admitted. However, this perception changed with her performance alongside Dilip Kumar in the legendary Devdas (1955). She recalled, 'Till Devdas happened, the critics kept harping that I was a dancer, not an actress. But after its release, I received terrific reviews. It worked wonders for me. Critical acclaim elicited worthwhile offers. I earned my reputation and got accepted in the mainstream.' After Devdas, Vyjayanthimala starred with Dilip Kumar in several films including Naya Daur (1957), Madhumati (1958), Paigham (1959), Gunga Jumna (1961), Leader (1964), and Sunghursh (1968). Their on-screen chemistry sparked rumours of an off-screen romance, but both denied it. However, their professional relationship hit a rough patch when she was replaced in Dilip's Ram Aur Shyam by Waheeda Rehman. According to Vyjayanthimala, this happened because of Dilip's ego clash with Raj Kapoor as the dates for Kapoor's Sangam and Dilip's Leader clashed. She wrote, 'The dates for Leader clashed with Sangam. Both wanted massive dates… It was a professional rivalry. I was caught in the crossfire.' Dilip Kumar's move hurt, and the two didn't talk to each other for years. Their differences were eventually resolved by none other than Dilip Kumar's wife, actor Saira Banu, who urged them to leave the past behind. Vyjayanthimala's career was tightly managed by her grandmother Yadugiri Devi, who considered Raj Kapoor a womaniser. But this didn't stop rumours of their romance from making headlines. Vyjayanthimala, however, denied the affair in her book, calling it a publicity stunt by Kapoor and accusing him of 'manufacturing the romance because of his hunger for publicity.' Rishi Kapoor, in his autobiography Khullam Khulla: Rishi Kapoor Uncensored, contested Vyjayanthimala's claim. He wrote about how his mother, Krishna Kapoor, moved out with him during the time Raj Kapoor was allegedly involved with Vyjayanthimala. 'I remember moving into the Natraj Hotel on Marine Drive with my mom during the time papa was involved with Vyjayanthimala. From the hotel, we shifted for two months into an apartment in Chitrakoot. My father had bought the apartment for mom and us. He did all he could to woo her back, but my mother wouldn't give in until he had ended that chapter of his life,' he wrote in the book. Raj Kapoor and Vyjayanthimala starred together in just two films — Nazrana (1961) and Sangam (1964). In 1968, Vyjayanthimala surprised everyone by marrying Kapoor's family doctor, Dr Chamanlal Bali, at the peak of her career. She then quit films to focus on her personal life, though she continued performing in live shows to keep her passion for dance alive. In her book, she wrote, 'I made the wisest decision of my life, I left the films at the right time. I have no regrets because I worked with some of the best.'

IIT professor develops ATAM, a patented and an innovative dance teaching tool
IIT professor develops ATAM, a patented and an innovative dance teaching tool

The Hindu

time2 days ago

  • The Hindu

IIT professor develops ATAM, a patented and an innovative dance teaching tool

Dance forms around the world are marked by uniqueness, owing to the traditions and cultural contexts in which they have evolved. While efforts have been made to preserve the distinctive character of each, little attention has been towards identifying the universal elements that connect them. It is often said that all forms of music, despite their diversity, can be can be comprehended through the seven notes. What, then, is the equivalent in dance? This basic question, posed by academician and dancer Jayachandran Surendran, led him to explore form-neutral and style-neutral universal fundamentals for dance. Jayachandran's decades of research led to the development of a pedagogical tool aptly named ATAM (meaning 'motion' or 'movement' in Tamil, at a fundamental level), the first of its kind to receive a design patent in India. He explains, 'I observed that three parameters are universally present across all dance forms — postures, transitions between postures, and the rhythm in those transitions. Since my approach is based on the affordability and degree of freedom of each joint in the body, with a special focus on the lower half of the body, the tool can technically be applied to all kinds of movement. Movement is a common thread that runs through human activities such as sports, yoga, martial arts, dance, and theatre.' In Bharatanatyam, the basic unit of movement is called an 'Adavu'. Does Jayachandran attempts to go beyond this foundational element? Interestingly, he points out that the term 'Adavu' is not exclusive to Bharatanatyam; it is also used in traditional Indian martial arts such as Kuthuvarisai and Silambam. He argues that an Adavu is not intrinsically artistic; rather, it is a way of breaking down movement into smaller, functional units for pedagogical purposes. It is the intent of the movement which imports artistry to Adavu. 'Postures are common across various movement disciplines. The fundamentals of the classical dance forms have been assimilated also from the movement knowledge bank of martial arts and yogasana traditions. However, what differs across several movement systems is the transition — what happens between postures. While posture training forms the bedrock of dance learning, transitions are often absorbed through observation.' The ATAM tool, according to Jayachandran, isolates these transitions, and teaches them separately, offering students a more conscious understanding of movement flow. So, how is the ATAM tool designed? To make it child-friendly, Jayachandran mapped six postures onto the six faces of a dice. There are three-coloured dice: black for standing postures, red for half-sitting, and blue for full-sitting. Dice are placed in white holders for on-beat movements and black holders for off-beat. Two dials are used — one indicates foot positions (right, left, both) and transitions (like stamping, placing, turning, sliding, or jumping, each shown by a colour), while the other specifies torso angles in 45-degree increments. These dials too are placed in white or black holders based on beat alignment. The tool is intended primarily for children and beginners in dance to develop dance literacy. Jayachandran clarifies 'When we talk about dance literacy, the goal is not to make someone a professional dancer, but to help those unfamiliar with dance become comfortable with dance movements. Athletic training makes the body literate for movement, even if one does not become an athlete. In the same way, dance literacy involves training the body and mind to overcome unfamiliarity with movement. It is about developing awareness, control, and comfort in one's body through dance — not about performance, but about internalising movement as a language.' In classical dance training, the body is often conditioned to repeat only certain combinations of movements. However, with the ATAM tool, all possible combinations within six basic postures are explored, fostering openness and flexibility in posture practice. 'For children, no movement sequence is considered inherently right or wrong. If a particular combination already exists in a known dance form, we simply acknowledge it and move on. For those that do not have an existing name, we try to name them or inform them if a name already exists. As practice progresses, a two-beat movement may evolve into a three-beat one, and the number of possible combinations grows exponentially, reaching up to six raised to the power of three for a three-beat sequence,' he says. An interesting aspect of this approach is the reversal of traditional classroom dynamics. In conventional dance teaching, the teacher is highly active in planning, while the student's role is more passive. Here, while using the tool it is the opposite — the teacher remains mostly passive, keenly observing, intervening only when necessary. The children stay deeply engaged, often in pin-drop silence, with their attention fully focused on the tool. It becomes difficult to disengage them, as the process stimulates constant thinking. The tool allows for the creation of numerous variations in posture and angle, making it possible to capture the essence of all forms of dance within its framework. In the traditional knowledge system of the Nāṭyaśāstra, the way we read the śāstra often influences how we understand it. For instance, when the Nāṭyaśāstra speaks of five sthanaka postures, we tend to view them as distinct, fixed reference points. However, as a researcher, Jayachandran observes that there are many possible subtle in-between postures that the śāstra-kāras may not have explicitly mentioned, but left the practitioner to posit. He believes it is the responsibility of practitioners to explore and identify these transitional forms. A parallel can be drawn from music — while we are taught there are only seven notes, we know that between two notes lies a rich space for nuanced modulation, as seen in veena playing, where the pulling from one note to another opens expressive possibilities. Similarly, movement from one posture to another in dance involves not just fixed positions, but reference points, functional shifts, and continuous curves. Jayachandran's approach includes identifying 'pivotal index values' to map these transitions — such as naming a movement like Valithoruham as part of a larger curve. Instead of memorising each movement individually, he proposes understanding the frequency range and pattern of the movement like a graph or a curve, making the process more intuitive and less reliant on rote memory. While posturing, transitions, and rhythm are common across all dance forms, the next question arises — can abhinaya also be brought into this framework? Says Jayachandran, 'Training typically involves the anga, upanga, and pratyanga, with focus on both freeze points and transition points. Multiple modules can be developed to train different aspects — pure movement, abhinaya, and musicality. In the current system, pure movement training has been divided into upper and lower body segments. The research primarily concentrates on the lower half, as it forms the foundation of movement vocabulary. Even this area alone is highly complex, with a huge number of probable combinations. The upper body, especially in the context of nritta, remains an area to be explored. Extending this further to mukhaja abhinaya and other expressive elements opens up the possibility for creating a completely new movement vocabulary. What is currently being developed can be seen as a prototype that lays the groundwork for future expansion.' Physically, the tool takes the form of a dice with posture stickers and a board with rotating dials placed at pivot points, resembling a Pallanguzhi board. This tangible setup is designed especially for children, offering a screen-free alternative to digital apps and helping to reduce screen time. A web-based app version is currently under development for further expansion. Ultimately, ATAM aims to provide a non-hierarchical, exploratory learning environment, especially for children, where movement is play, inquiry, and self-expression. A live demonstration, Jayachandran notes, is the best way to understand its potential.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store