Dancing is inherent in all humans. It is commonly a piece of amusement, a part of education, a social function or a health-giving sport. As a part of education no branch of physical training is believed to do so much for the development of poise and deportment as that particular type of dancing, which is generally known as ballet. Dance does not merely form a part of health-giving exercise, or training in correct poise and deportment, it is something more. It is amusement both for the person and for the community; a scope and an occasion for the lovers to meet and enjoy each other’s company without a social taboo; for friends to actively participate in a lively, musical occupation; for strangers to become intimate. Of all, dancing in society provides consummation of free-mixing, of interchangeable emotion,—both physical and mental, between the two sexes, if, however, on the contrary it does not lead to complexities of ideas and feelings of love and jealousy, of broad-mindedness and narrowness of heart. The ancient Hindus, however, paid an equally important attention to both, the forms of art: sensuous and aesthetic; emotional and intellectual. Drama and dancing are imitative of life, hence they are false. Still, the Shastras, or the rules of conduct in life, stress that display of dramatic art, including dancing, should be watched even by those who have done all their duties in life. And why? The answer is: this art indicates the impermanence and falsity of life, which it imitates. Natya, or drama, and dancing, too, primarily represent Rasa or emotional fervour; secondly, they aim at Abhinaya or presentation of life through the four different kinds of artistic expressions, viz., physical movements (Angik?), dialogues (Bachik), decorations (Aharyya) and heightened emotion (Sattwik).