CARNATIC : Mostly vocal and sometimes through stringed instruments. Practiced widely in Tamil Nadu, Andhra Pradesh, Kerala & Karnataka.
HINDUSTANI: Mostly followed in North India having various styles of singing called Gharanas.
RABINDRA SANGEETH: Classical sytle of singing in Eastern States of India, mainly in Bengal, Assam etc.,

Rabindra Sangeeth, because the song lyrics are mostly written by Rabindranath Tagore.

Natya Sastra by Sage Bharata.

Goddess Saraswati.

Lord Shiva.

Sama Veda - Carnatic music is a divine music, venerated as an aspect of the "Supreme" - also referred as "Nadabrahmam".

(1) Sruthi, (2) Swara, (3) Raga, (4) Tala.

Sruti: It is the base system upon which the entire Carnatic music is built/sung. It is tuned to the specific need of the singer or instrumental players. It is called the "Sruti Box" (nowadays) or the stringed instrument "Tanpura" or "Tampura" (looking similar to Veena) a conventional one. This instrument "Tampura" is associated with Sage Naradha of the Hindu mythology.

Swaras: Are notes on which the rendition of Carnatic music is based. They are called the "Saptha Swaras" or "Seven Swaras". They are Sa-Ri-Ga-Ma-Pa-Tha-Ni. These syllables are derived from: Sa - Shadjam, Ri - Rishabam, Ga - Gandharam, Ma - Madhyamam, Pa - Panchamam, Da - Dhaivatam, Ni - Nishadham. Each of them have different variants in rendering.

Arohanam: The ascending variant. Avarohanam: The descending variant. In normal rendition, a raga may have 5 to 7 notes on the ascent or descent.

Describes a generalized form of melodic practice. It also prescribes a set of rules for building the melody renditions. It specifies the rules for upward (Arohanam) and downward (Avarohanam), indicating the scale in which swara (note) should contain more and which should be used more sparingly, which should be sung with Gamakas (variations in sound and pitch), phrases to be used, avoided and so on. Ragas are classified further into two.

Janaka: Also called Melakartha Ragas. These are the fundamental ragas from which other ragas are generated. They are also called Sampoorna Ragas, as they contain all the seven swaras (notes) in both ascending and descending mode. There are about 72 of them.
Janya: These ragas are derived from the Janaka Ragas by various permutations and combinations of the various ascending and descending notes. Such creations are huge in numbers.

Amruthavarshini, Anandha Bhairavi, Aarabhi, Aatana, Bhairavi, Bhoopalam, Bilahari, Chitharanjani, Dhanyasi, Deva Gandhari, Hamsadhvani, Hindholam, Jamaranjani, Khamboji, Kaanada,  Kaapi, Kalyani, Kedargowla, Mohana, Muhari, Nata, Nilambari, Punnagavarali, Ranjani, Sahana, Sankarabaranam, Sindhu Bhairavi, Thodi, Thiruvaahini, Thillana, Vasantha, etc.

Amruthavarshini.

Bhairavi.

Neelambari and Kedargowla.

Bhoopalam.

Punnagavarali.

They generally consist of three units called Keerthanas. Pallavi: consist of one or two lines. Anupallavi: The second verse with two lines. Charana (m): The final verse wraps up the song. There can be multiple charanas in a song.

It is a special item often sung at the beginning of a concert which highlights everything important about a raga, not just the scale, but also which notes to stress, how to approach a certain note, classical and characteristic phrases etc. It may contain a Pallavi, an Anupallavi, a Swara, a Charanam, etc.

An aesthetic partitioning of time, usually in rhythmical patterns which have an artistic relation to the rhythmical structure of a composition. It is an integral part of a musical composition.

(1) Dhruva, (2) Matya, (3) Rupaka, (4) Jhampa, (5) Tripula, (6) Ata, and (7) Eka.

KALPANA SWARAM : The most elementary type of improvisation. Taught before any other form of improvisations.
RAGA ALAPANA: Usually performed before a song in the proposed Raga of the song.
NIRAVAL: Performed by the most accomplished artistes, consisting of one or two lines of a song, repeatedly, sung, but with elaborate improvisations.
THANAM: Originally developed for Veena and consisting of expanding the Raga with syllables like Tha, Nom, Thom, Aa, Nom, Na , etc.

This is a composite form of improvisation. It consists of Raaga, Thanam, then a line sung twice, followed by Niraval. After Niraval, the Pallavi line is sung again, twice in normal speed, then sung once at half speed, then twice at regular speed and then four times at twice the speed.

Generally a vocalist, now a days with leading instrumental artistes (Violin, Veena, Mandolin, Saxophone or Flute) accompanied by string and percussion instruments etc.

M.S.Subbulakshmi.

1. TANPURA: A fairly big instrument made of wood, normally with four or five strings, plucked or tickled one after another in a set regular pattern to create a tonic response field. There are three types: Miraj: Used in Hindustani classical concerts.Tanjore: Used in Carnatic classical concerts. Tamburi: Small and easily portable. Usually accompanies Sarod, Sitar and Shenai. Nowadays Sruti Box and Electronic Thampuras are used.
2. VIOLIN : A string instrument with four or more strings (steel, sheep guts or synthetic) played with a bow - sleek and long made of wood (nowadays in fibre) with ribbon or horse hair strings. The tuning adjustment is made with "pegs" at the end of the violin. Important parts are: Chin rest: To rest the chin comfortably. Fine Tuners: Four or more metallic screw type tuners fixed just above the bridge. Bridge: A small piece of wood over which the strings pass through. Finger Board: Where the fingers play over the strings. Peg Box: Where four or more screw type wooden pegs are fixed for tuning purpose.
3. VEENA: A fairly big string instrument, played by plucking or/and tickling the strings. This instrument is associated with "Goddess Saraswati" and thus it is called as "Saraswati Veena" in South India. It normally has four strings passing over 24 frets (raised bridges) with one/two support strings on either side, attached to the pegs of the neck, played with the fingers of both hands. There are 5 types: (1) Rudra, (2) Mahanataka, (3) Vichitra, (4) Chintra or Gottuvadya and (5) Mohana Veena a modified form of guitar - invented and popularized by Pandit Vishwa Mohan Bhatt.
4. MRIDANGAM: A wooden percussion instrument (made of jackfruit wood) covered on both sides with goat skin, connected by high tension leather straps. One side is a wider aperture to produce lighter sounds. The smaller one to produce heavier sounds. The smaller aperture is anointed with a black disc (made of rice flour, ferric oxide powder and starch) and this spot when struck produces a metallic sound. The tuning is done by adjustment of the strings. The beginners stroke are Tha, Thi, Thum, Nam.
5.GHATAM: A percussion instrument made of clay in the shape of pot with even thick walls all around, played with both hands, resting on the lap.
6.MORSING: Considered as a percussion instrument used only in South India. Consists of a metal ring (horse shoe shape) with two parallel forks, fixed to the ring at one end, and free to vibrate at the other end. The metal tongue is bent at the free end in a plane, perpendicular to the circular ring so that it can be struck and made to viberate. Placed between the teeth and held firmly and is struck using the other hand by slightly hitting the trigger, with different sounds, by the movement of the tongue, variation in blowing and sucking of the air.
7.KANJIRA: A small circular wooden (Jack) percussion instrument, open on one side and covered with skin (monitor lizard) on the other side, with the frame slit at one or two places for providing metal discs. Held in one hand and played with the other.
8.NADASWARAM: A wind instrument made of hardwoods, sleek upto the end with spaced out holes and a large bell shaped opening. It is the world's loudest non-brass acoustic instrument, similar to Shennai. Playing of this instrument along with Thavil (a percussion) is considered as most auspicious in south Indian functions and religious festivals.
9.THAVIL : A barrel shaped wooden (single piece) percussion instrument, similar to Mridangam in all aspects, but played with hand on one side and with a stick on the other.
10. FLUTE: A wooden acoustic (wind based) instrument - made generally of wood (bamboo) with holes. Wooden instrument is mostly used in India and Other materials are also used in western concerts. Produces the most melodious sounds. The length of the instrument varies according to the artists'capacity to use.

An off shoot of Carnatic music. A form of classical music practiced mostly in North India. It has a "Persian" influence in it because of the patronage received from Moghul Kings, became popular from 13th/14th Centuries. Aamir Khusroo who was in the court of Babur was the architect of proper system and practice of this form of music. This again is based Ragas and Talas like Carnatic music. Generally Vocal, however instruments like Sarod, Shehnai, Baansoori (Flute), Saarangi are also used. Masters of this art are honored by the title of Pandit Ustad.

Dhrupad: A Hindu sacred style of singing, performed traditionally by men with a Tampura and percussion instruments (Tabla).
Khayal: Vocal entirely improvised and emotional.
Tarana: Vocal - they are songs that are used to convey a mood of elation and are usually performed at the end of a concert. It is equivalent to Thillana in Carnatic.
Tumri: Vocal - Semic classical - romantic.
Bhajan: Hindu religious - vocal.
Ghazal: Originally a Persian form of poetry. It is a semi classical form of music on romance, social issues etc.
Qawwali: A "Sufi" form of devotional music based on the Hindustani Classical. It is performed with one or two lead singers and several chorus singers with Harmonium, Tabla, Dholak. Social and romantic subjects are also included.
Sufi - A mystical movement within Islam that seeks to find divine love and knowledge through direct personal experience of god.

1. HARMONIUM: A "Reed Organ" (similar to Accordion) invented by Alexandre Debain of France in1842. Sound is produced by allowing or sucking of air through the reeds. Sequential pressing of the reeds and bellows, creates the desired musical notes.
2.TABLA: Popular Indian percussion instrument, a certain accompaniment to Hindustani Musical and also in all musical events. It is two parts, like a Mridangam divided into two halves. All other functions are same.
3. SHEHNAI: A wind instrument (like Nadaswaram) but small in size. By controlled intaking and exhaling of breath, sound is produced. Used in Hindustani classical concerts, marriages and other functions in North India. Late Bharat Ratna Ustad Bismillah Khan was a well known Shehnai artist.
4. SAROD : A string instrument with about 25 strings of which only four are used for playing while the other strings are used for rhythm. It is made of a single block of wood (Mahogany or Teak) with fretless fingerboard. Strings are made of steel or phosphor, bronze, and are to be plucked with triangular plectrum made of polished coconut shell or bones.
5. SITAR : One of the oldest string instrument, popular in western countries too. A typical sitar has 18 to 20 strings, of which only 6 to 7 alone are playable strings which are situated over the frets. The unique feature are the curved frets which are movable allowing fine variations in tuning. The frets are kept raised, so that resonant or sympathetic strings can run underneath to give a hush sound. Normally has two bridges, the bigger one upon which the playing and drone strings run and the smaller bridge below which run the sympathetic strings. The running is done by turning the pegs. The strings are plucked using a metallic plectrum called "Mezrab". Pandit Ravi Shankar and his daughter Anoushka are famous Sitar players.
6.SAARANGI : A bowed string instrument carved out of a single block of wood, in a box like shape, of 2' feet in length and 6'' width. Normally has 40 metallic strings supported by a heavy bridge, in the shape of an elephant. The bows are made of heavy horse hair, on wood.

Purandara Dasa (1480-1564): He is believed to have composed the maximum number of compostions in Kannada, a few of which does not exist. He has introduced the "Mayamalava Gowla" Raga, as the first to be learnt by a beginner.

(1) THYAGARAJA (1759-1847): Born at Tiruvarur in Tamilnadu. Original name is Kakarla Thyagabrahmam. Known as the "Pithamaha" (God Father) of Carnatic Music. He has composed more than 1000 compositions. "Pancharatna Krithis" - five of his compositions stand out as the best and is sung in all programmes conducted in his honour.
(2) SHYAMA SASTRI (1762-1827): Born at Tiruvarur in Tamilnadu. Considered as the earliest of the Trimurtis. He has also composed more than 300 compositions but only a very few of them remain in use today.
(3) MUTHUSWAMY DIKSHITHAR: (1776-1867).Born at Tiruvarur, Tamilnadu. One of the three Trimurtis who has more than 500 compositions which are sung even today.

Vyasathirtha, Kamakadasa, Gopaladasa, Muthu Thandavar, Arunachala Kavi, Marimuthu Pillai, Annamacharya, Venkata Kavi, Swathi Thirunal (King), Narayana Theertha, Patnam Subramania Iyer, Poochi Srinivasa Iyengar, Mysore Vasedevacharya, Muthiah Bhagavathar, Koteeswara Iyer, Gopalakrishna Bharathi, Papanasam Sivan, Subramania Bharathi etc. Their compositions are in Telugu, Tamil and Kannada.

72

"Kanakangi" the beginning and "Rasikapriya" the ending ragas traditionally.

A term in Carnatic Music indicates that a composer has used two kinds of mudras in his compositions.

Seven.

Tharangini.

Fraun Hoefer Gesellschaft - Germany.

Bohemian Rhapsody by Queen in 1975.

Mohankauns.

Harmonica.

Veena.

Plectrum or Pick.

88

Nominated for Oscar, Golden Globe, Granny and also for Nobel Peace. He has won 22 Grammy Awards. His rockband was known as UZ.

1.Bharata Naatyam - Tamil Nadu, Andhra Pradesh, Karnataka, and Kerala (Some parts).
2.Kuchipudi - Andhra Pradesh.
3.Kathakali - Kerala
4. Mohini Aattam - Kerala
5. Odissi - Orissa
6.Manipuri - Manipur
7.Garba - Gujarat
8.Dandiya - Gujarat
9.Yakshaganam - Karnataka North.

Natya Sastra by Sage Bharata.

By the temple dancers - Devadasis - and thus it is also known as Desiaattam.

Thanjavur - Tamil Nadu.

King Serfoji (1798-1824).

Chinniah, Ponniah, Sivanandan and Vadivelu. They are the people who introduced the forms like Alarippu, Jathiswaram, Sabdham, Varnam, Thillana etc., to the present form. The descendants of this quartet, who also developed this art form are called "Nattuvanars" - dance teachers and the practice of teaching is called "Nattuvangam".

Nritta - Rhythmic dance movements;  Natya - Mime or dance with dramatic aspect;  Nritya - Combination of the above two.

Mridungahara - Movement of limbs;
Rasas - sentiments;
Bhavas - emotions;
Kriyas - actions;
Abhinaya - dramatic art of story telling.
Ganapathi Vandhana: Prayer to Lord Ganesha - opening.
Alarippu - Presentation of Talas - Invocation to Gods to bless the performance.
Jatiswaram - Display of footwork and graceful movements of the body.
Shabdam: Dancing with a song or poem mostly with a devotional base.
Varnam: Longest section of the duration of dance, with most complex and different movements and positions of the hand and body, usually to tell story of love and longing for the lover.
Padam: Lyrical section where the dancer "speaks" (only lip movements) depicting devotion, love, love of mother for the child, lovers' separation and reunion and so on.
Thillana: The final section where the skills of the dancer is reflected when the virtuosity of the music is reflected through complex foot work and captivating poses.

Abhinaya Dharpanam -- a manual of posture and gesture.

Lord Shiva as Nataraja (King of dance) at Chidambaram in Tamil Nadu.

"Anandha Thandavam" - It is the embodiment and manifestation of the external energy in five activities. Panca kriya - creation; Stithiti -maintenance; Samhara - destruction; Tirobhava - concealment; Anugraha - bestowing grace. Because of this dance he is also called the "Cosmic Dancer".

Kalakshetra - 1936 by Rukmani Devi Arundale.

(1) Javaha - Agility;
(2) Sthirathvam - Stability;
(3) Rekhacha - Graceful Lines;
(4) Bramari -Balance;
(5) Dhrishtir - Glance;
(6) Shramaha - Hard Work;
(7) Medha - Intelligence;
(8) Shraddha - Devotion;
(9) Vacho - Good speech;
(10) Geetam - Ability to sing.

(1) Shringar - Amour;
(2) Hasya - Humour;
(3) Karuna - Pathos;
(4) Rudra - Anger;
(5) Vir - Valour;
(6) Bhayanak - Fear;
(7) Adbhut - Wonder;
(8) Shanta - Peace;
(9) Vibhat - Disgust.

Rukmani Devi Arundale, Padma Subramanian, Chitra Visveswaran, Vijayanthimala and Hema Malini.

Kuchipudi - originated from the village by the same name, in Krishna District, A.P.

Siddhendra Yogi - 14th century AD

Dr. Vempatti Chinna Satyam, Vedantam Lakshminarayana, Uma Rama Rao, Tadepalli Perayya, Chinta Krishnamoorthy, Mrinalini Sadananda, Sobha Naidu, Pasumathi Venugopala Sarma, Raja & Radha Reddy, Anuradha Nehru, Sarala Kumari Ghanta etc., Keiko Watanabe of Japan is also a famous artist.

Kathakali - performed in front of 'Kali Vilakku' an oil lit lamp.

Katha = Story and Kali = Play - Artists who play this, have their faces painted in attractive colors, wear elaborate costumes in eye catching colors. Enact the play with their hands (Mudra) and body and facial movements (Lasya). General accompaniment is Carnatic Music and vocal recital of specially prepared verse called "Kathakali Padam". This dance form requires lot of stamina, skill and concentration. May take 8-10 years of training to master it. The expressions are categorized into 9 forms - Navarasa - as in Bharatanatyam, performed generally by male.

(1) Sahityam - Literature;
(2) Sangeetham - Music;
(3) Chutti - Make up;
(4) Natyam - Acting;
(5) Nritham - Dancing.

Kerala Kala Mandalam - 1930 founded by Vallathol Narayana Menon - Gurukul system of learning - at Chenthuruthy, Trissur District.

1. Guru Kunchu Kurup. 2. Chennithala Kochu Pillai Panicker 3. Kottakkal Sivaraman 4. Kalamandalam Gopi.

A classical, traditional dance form, combining Bharata Natyam and Kathakali, performed only by women, dressed in white sarees with bright golden brocade (called Kasavu). The dance comprises graceful and sensuous body movements (about 40 of them called "Atavukkal"). The main theme of dance is usually love and devotion to God, normally on Lord Krishna and Vishnu. This dance form is governed by the text "Hastha Lakshana Deepika" and the lyrics for the dance are in "Manipravla" in Sanskrit and Malayalam.

1. KOODIYATTAM: A traditional performing art of Kerala. Recognized as a "Human Heritage Art" by the UNESCO - A Sanskrit based dance drama considered to be 2000 years old. Kulasekara Varma Cheran Perumal, an ancient king of Kerala is known as the creator of this dance form and his text "Aataprakaram" is considered as the most authoritative publication on this art form. The male part in this is traditionally played by "Chakyar" community people, while the female is played by "Ambalavasi Nambiar" community. The percussion accompaniment is a drum called "Mizhavu" again traditionally played by Nambiars. Also called Koothu and Chakya Koothu. Late Mani Madhava Chakyar was the famous artist of this art form.
2. THULLAL: Also called 'Ottam Thullal' or 'Poor man's Kathakali'. Created by poet Kunchan Nambiar, as an alternative to Chakyar Koothu. Performed by a single actor in colorful attire, dancing and acting all the time while reciting the Thullal songs.
3. PANCHAVAADYAM: An important performing art of Kerala, without which, mostly, no religious or social festivals are held. As the title indicates, it consists of five instruments both percussions and acoustics. (1) TIMILA: Percussion played with both hands. An important part of the five, because it is this instrument that begins and ends any concert. (2) SUDHAMAADHALAM: Percussion - played with both hands on one side. (3) KOMBU: A wind and acoustic instrument - like a horn - seen in Kerala alone. (4) EDAKKA: A hourglass like percussion instrument, played with a stick. (5) ELATHALAM: Two small round bronze metal pieces held in both hand and banged against each other to create the chiming sound.
4. PANDI MELAM : A classical percussion/ other instrumental performance that are unique to Kerala. Traditional and played outside temples.
5. PANCHARIMELAM: Similar to Pandimelam, but played inside the temples only, with chanda. Percussion, Kuzhal, Trumpet, Elathalam - cymbals and Kombu - trumpet.
6. THAYAMBHAKA: A percussion instrument performance that is unique to Kerala, played with a stick and hand, usually in a group of 3 or four, lasting to 90 to 120 minutes concert.

YAKSHAGANA: Popular in the districts of Uttar Kannada, Shimoga, Udupi, Dakshina Kannada, and the border district of Kasargode, Kerala. A performance usually depicting Hindu mythological stories. Both male and female take part in colorful attire and face painting. Normally performed from late night to early mornings. Yakshagana Kalakendra in Udupi develops and trains.

ODISSI: One of the oldest form of dance, believed to have originated around 1 BC. It is characterized by innate gracefulness, sculptural poses, using entire body movements, and Mudras. It has three variations. (1) Mahari - Devadasi Tradition. (2) Nartaki - Performed in Royal courts. (3) Gotipua - Unique in that male artists in female attire perform this art. Guru Kelucharan Mahopatra was a famous exponent of this art.

MANIPURI: devotional in nature, mostly on Lord Krishna and Radha. Raslila, a part of this dance form is very famous. Popularized by Rabindranath Tagore. Artists wear colorful attire and concentrate on body movements in style, devotion and grace. Accompaniments are a singer, percussion called Pung, a string instrument called Pena, and a wind instrument called Flute. It is also called Pung Cholom.

BHANGRA: A lively, enchanting and bubbly dance, usually by a group of men and women, accompanied by vocal (called Bholi), Dhol-percussion, Ektara and Tumbi - one stringed instruments, and Tabla. Artists with colorful attire dance to the fast beats of the instruments.

GARBA: Performed during Navarathri festival for 9 days. Mostly played by women to rhythmic dancing and clapping in a very graceful manner. It is the state dance of Gujarat.
DANDIYA: Similar to Garba played during Navarathri by music and drum beats. The unique part of this dance is that while dancing to the rhythm, the artists hold sticks in both hands, and strike them with the sticks of a co-dancer to the rhythmic beats. Women dress themselves colorfully with lot of jewels.

1) ASSAM: Bihugeet: Most famous form of music.
2) CHATTISGARH: Pandwani, Bharthari, Chandeni - Folk Music. Nacha, Panthi - Folk dances.
3) GOA: Mando - an electronic music is very famous. Ruled by Portuguese for long, western influence in their culture, music and dance. However, Goa has contributed in a big way to the music world of India by the Manjeshkar family, Surashri Kesarbhai Kerkar and in western music - Remo Fernandez.
4.HARYANA: Bhats, Saangis and Jogis - Folk music.
5.HIMACHAL PRADESH : Jhoori, Laman, Samskara, Ainchaliyan and Chamba Pangi - are folk, classical & religious songs. Jhoomar - Folk dance.
6.JHARKHAND: Jhumar - Famous tribal music.
7.MANIPUR: Khullong Ishai, Lai HJaraoba Ishai, Pena Ishai, Thabal Chonga, Napipala, Gaur Padas and Kubai Shai are all local folk, religious, classical songs.
8.TAMILNADU: Villuppattu: An art of story and debate on social causes on a musical concert with two groups of people posing questions and answering them appropriately. A famous folk music and art. Karagaattam: Men and women, with metal pots on their head and colorfully dressed, perform dances aerobatically without the "Kalasa" falling down. Poikkal Kuthirai (Dummy Horse): Mayilattam (Dummy Peacock) dances are famous folk dances during rural festivals. Accompanied by Nadhaswaram and Thavil or sometimes to film songs. Generally performs during night hours, specially in rural temple villages.

(1) SAWAI GANDHARVA MUSIC FESTIVAL : Started in 1952 and held annually at Pune during December first week for 3 days. Hindustani music, Mostly Gharana style is performed by acclaimed musicians.
(2) THIYAGARAJA ARAADHANAI: Held at Tiruvaiyaru Tanjore District annually during January or February in commemoration of the great Saint Thiyagaraja. It is a big occasion for all Carnatic musicians and lovers. Similar festivals are held at Cleveland, Chicago and Salt Lake City, Utah, USA.
(3) MARGHAZHI FESTIVAL : Held in December annually at Chennai on classical music of all forms by famous musicians and a big treat for music lovers.

CHENNAI : Mid December to Mid January as part of Margazhi festival at different venues.
CHIDAMBARAM: Held at the Temple of Nataraja, Chidambaram, Tamil Nadu annually during February/March.
ELEPHANTA FESTIVAL : Held at Elephanta Caves, Mumbai, Maharashtra annually during February.
KHAJURAHO DANCE FESTIVAL : Held at Bundelkhand, Madhya Pradesh at the western group of temples, during February/March annually.
KONARAK DANCE FESTIVAL : Held at the Sun temple, Konark in Orissa, annually during February.
MAMALLAPURAM DANCE FESTIVAL : Near Chennai, Tamil Nadu, held during January/February every year.
MODHERA DANCE FESTIVAL : Held at Madhera, Gujarat annually during January.
NISHA GANDHI DANCE FESTIVAL : Held at Trivandrum, Kerala during February end annually at Kumarakom Palace Grounds.
PATTADACKAL DANCE FESTIVAL : Held at the Pattadackal temple, Karnataka every year in January.
RAJGIR DANCE FESTIVAL : Held at Rajgir in Bihar during October annually.

Rukmani Devi Arundale in the 1930s.

Kashmir.

Let It Be.

Grammy Awards.

Lata Mangeshkar.