Kathakali literally means "Katha" story and "Kali" a dance or a performance. It is the story dance from the southern state of Kerala. It is a composite art where different actor-dancers take different roles. The stories are usually from the Indian epics 'Ramayana' and Mahabharata'.

Kathakali is a very majestic art and the costumes reflect how much thought and how much aesthetic values have gone into its making. The entire idea is of 'total theatre' where there are acting, music-both vocal and instrumental and also the colour psychology in costumes playing equal roles. The massage is very simple. It is 'the victory of good over evil'. The domain of Kathakali is peopled by superhumans, gods and demons, and animals who are presented in a larger than life format. The splendor of the costumes, ornaments, and facial make up transforms the actor-dancer into a type rather than a particular character.

Kathakali is the most refined, the most scientific and elaborately defined dance form of Kerala. It is not folk, but highly classical, though not very old. It is not more than 300 years old, but its roots can be traced back farther past. It is a very exciting art form demanding not only complete control of practically every fibre of the artiste's body, but also intense sensitivity of emotion. The actor does not speak, but expresses himself through highly complicated and scientifically ordained mudras and steps, closely following the text being sung from the background of the stage.

If you are a novice you have to complete at least graduation and need many more years of full time practice under a meticulous teacher to develop into an accomplished versatile actor able to portray versatility.

One of the noteworthy innovations in Kathakali was rendering Goethe's German classic Faust into an Attakatha. The Poet Vallathol can be said to be the fountainhead of all inspiration in regard to today's Kathakali. 'Kerala kalamandalam' at Cheruthuruthy on the bank of Bharata-puzha is the premier institution in this regard.

Koodiyattam is always a long drawn out affair and may take anywhere from a few days to a number of weeks. It is both entertainment and edification.

Krishnanattam is intended for presentation on eight successive nights to unfold the entire story of Lord Krishna: the style is almost akin to Kathakali.

Kuchipudi is the dance drama of Andhra Pradesh, the corresponding style of the Bhagavata Mela Nataka of Tamilnadu. Though the emphasis is on the animation, the grammar is derived from the Natya Shastra and in all other aspects it is akin to Bharat Natyam. This style was evolved by Tirtha Narayana and Siddendra Yogi. It was a male prerogative. In recent years women have taken to it but it is mostly solo dance that they perform. The concept has been watered down to this extent. Like Kathakali it used to be a week-long affair. Vedantham Satyanarayana is the doyen of this style and he has carved out a niche for himself in portraying the role of the haughty, beautiful and vainglorious Satyabhama. Vembhati China-Satyam, however, is the most popular guru today.

Manipuri dance form is mostly ritualistic. It has still preserved the dance drama technique which draws heavily from the rich lore of legend and mythology. Costumes are colourful and the music has a quaint old-world charm. The numbers presented are Lal Haraoba and Rasa Leela. the former deals with the creation of the world and the latter is on Krishna Leela. Drums play an important part and the Poonang Cholom item is a must in any performance. The Kartar Cholom danced with cymbals is another exciting item.

Mohiniattam, in format, is similar to Bharatanatyam. The movements are graceful like Odissi and the costumes sober  and attractive. It is essentially a solo dance. It is also the heir to Devadasi dance heritage like Bharatnatyam, Kuchipudi and Odissi. The word 'Mohini' literally means a maiden who excites desire or steals the heart of the onlooker.

Odissi is the quintessential aesthetic relish that has its origin in a state in Eastern India. Odissi is based on the Natya Shastra. In the early 17th century, a class of boys known as Gotipuas, came into being. They dressed as dancing girls and danced in the temples. Grace is its uniqueness and the most important elements are the Bhangis and Karanas, the Bhangis are the basic poses and the Karanas the basic dance units.

Odissi dance undoubtedly stands out from other dances on the basis of its lyrical quality. The danseuse transports us to a hightened state of rasasvadana (aesthetic experience) with her supple smoothness of movements, graceful amplitude of contours and symbolic codes of gestures and expression. Further the danceuse with all the caretive impulses, within its fluid definition, at her command brings to the viewer an aesthetic relish that surpasses the surreal, touches on the sublime and finally affords mystic experience. Odissi is almost like an allegorical motif laden with poetic metaphors, literaryanalogues and religious symbolism.

It is very popular today. Smt. Samyuktya Panigrahi won for it universal appreciation. Today Kelucharan Mahapatra has become a name to reckon with as a prominent guru.

Ottan Thullal is performed solo because of its ready mass appeal. It is also known as the poor man's Kathakali. Kunjan Nambiar evolved it and brought out the social conditions of his time, the distinctions of class and the weaknesses and whims of the rich and the great. The dialogue is in simple Malayalam and therefore ensures mass appeal.

Yaksha Gana, an admixture of dance and drama, belongs to Karnataka and has a rural origin. It is about 400 years old. The language is and the themes are based on Hindu epics. The costumes are almost akin to the Kathakali ones and the style seems to have drawn inspiration form Kathakali. As prescribed in the Natya Shastra, it has the Suthra Dhara (conductor) and the Vidhushaka (the jester).