Classical dance is a traditional form rooted in the rich cultural heritage of a region, often involving intricate movements, expressions, and storytelling. Western dance, on the other hand, includes modern styles like ballet, jazz, hip-hop, and contemporary, focusing more on fluidity, creativity, and rhythm. Both forms celebrate movement but differ in style, technique, and cultural significance.

Dance holds great cultural and spiritual significance in India, deeply rooted in tradition and history. It is a powerful form of expression, storytelling, and devotion, often used to convey emotions, myths, and religious stories. Classical dance forms like Bharatanatyam, Kathak, and Odissi are celebrated for their grace, discipline, and connection to ancient traditions, while modern and folk dances reflect the diversity of the country. Dance in India is not just art but a reflection of its cultural richness and values.

Classical Dance vs Western Dance 

Classical Dance vs Western Dance Indian old style moves are basically motion dance. The Natya Shastra by Rishi Bharata has endorsed the developments and use of all major and minor appendages portraying different implications and meaning the when and how to utilize these signals to recount a story. In many societies, including our own, the human body turned into an instrument of motion and imagery, representing the soul in love of a divine being. This can apply to the old style sanctuary dance since it begins fully intent on satisfying a divine being, whether in unadulterated love or for different advantages. The quantity of hand signals and mudras utilized in Indian Traditional dance is far greater than western moves. 

Western dance has become inseparable from diversion, either in the social or dramatic field and is intended to show the reasons for man's inward struggles corresponding to the world, however for the most part as they mirror his being, hence these moves are engaging on the grounds that they are sensational. Indian traditional moves are unmistakable in light of the fact that they are intelligent in this way they manage natural contentions and proposition an adapted portrayal of timeless and widespread activities, explicitly of good clashing with evil. Old style dance has never unbound its binds with holy or strict customs and many incorporate ceremonious ceremonies inside or encompassing dramatic exhibitions. 

The moves of Western man have been planned and formed by people thus they incorporate a specific stamp of character. In a constant flow of developments they have changed and have become delegate of each new age, and frequently of a specific person. Martha Graham, for instance has made her own way of moving now known exclusively by her name. The Indian traditional moves, then again, have been molded all in all and consecutively by dance aces who kept away from the stamp of their character upon their craft, and furthermore tried not to offer current social expressions. Yet rather they attempted to protect and consummate the shows of a current style. Nonetheless, by culminating their craft, by keeping it from decaying or becoming sterile, they might well have contributed unrecognizable, unobtrusive varieties into the workmanship. They have savored the experience of dominating their specialty which alone has been their expert award, liberated from individual glorification.

Contrasts in approach and procedure are seen as unsurprising results of the two distinct universes of East and West. While the West rewards people for their own developments and innovativeness, the East keeps up with customary structure with an intrinsic controlling power. The affection sex viewpoint in Eastern dance for instance, is constantly connected with a higher, sacrosanct love, with God. Human love, preoccupied into adapted motion and look, represents love for the heavenly. While in dance of the West this female-male relationship is shown decently straightforwardly in a simply human and natural sense.

Indian old style moves have consistently tracked down crowds in the west however recently attributable to the always extending diaspora it is turning out to be exceptionally well known. Simultaneously, advancements in the field of present day dance which depend on ethnic motivation are authentic resources for the universe of imaginative dance, subsequently enhancing Western expressions with Old style impact, as opposed to constraining Westernization on the respectable practices of the Traditional moves.