The ancient Indian stage was a growing one and at one point in its growth, it was considered useful to classify the performances into 2 kinds, the rupakas and uparupakas. Broadly speaking, the rupakas are major forms of drama and the uparupakas minor forms of drama in which music and dance predominated, and most of which were forms of dance-drama or regular dances. The technical distinction which Natya Sastra works make between rupakas and uparupakas is that while the former present a full rasa with other rasas as accessories, the latter could only present a bhava or bhavas; the former were actually referred to as vakyartha abhinaya and the latter as padartha abhinaya.
('Uparupakas and Nritya-Prabhandas' by Dr. V Raghavan, Nartanam, May Aug 2008)
The Seraikela Chhau has evolved from a distinct martial art called 'Pharikhanda'- play of (sword and shield) and has a few distinguished manners of execution. The style, posture, movements and footwork conforms to positive martial art form bestowed with grace. In this dance form, the mask covers the face and the dancer has to express his Bhava (mood) and Rasa (sentiments) through body movements like Siro Bhedo (head gesture) and Griba Bhedo (neck gesture) leaving no room for Dristi Bhedo (eye movements and glances).
Sacred Circle Dance is a modern form which originated in the Findhorn Foundation community in Scotland following visits there from 1976 onwards by Professor Bernhard Wosien, a German dancer. Known first as Sacred Dance, it has changed over time as enthusiasts have made contributions, and may now be called Circle Dance, Sacred Dance, or Sacred Circle Dance (SCD). A small altar of flowers or other natural or venerated objects is usually placed at the centre of the circle.

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