Theory Handout Set 2 ( 2016)

Prayers
Gyanaananda Mayam Devam
Nirmala Spatikaakritim
Aadhaaram Sarva Vidhyaanaam
Hyagreevam Upaasmahe
Meaning:
I promise myself before Hayagriva (Horse faced God of knowledge), the God who is the
personification of knowledge (Jnana) and Happiness (Ananda), who is very pure, and who is the basis
of all learning.

Annapoorne sada poorne,

Shankara praana vallabhe,
Jnana vairagya sidhyartam,
Bikshaam dehi cha Parvati
Meaning:
O Annapurna, Who art ever full, the beloved life-force of Lord Sankara (Shive, O Parvathi grant
me alms that I be firmly established in Knowledge and Renunciation.( said before having food)

Brahmarpanam Brahma Havir

Brahmagnau Brahmanaahutam
Brahmaiva Tena Ghantavyam
Brahmakarma Samadhina
Meaning:
The act of offering is God, the oblation is God By God it is offered into the Fire of God God is That
which is to be attained by him who performs action pertaining to God( said before consuming food)

Kaayena Vaacaa Manase[a-I]ndriyairvaa

Buddhy-Aatmanaa Vaa Prakrteh Svabhaavaat |
Karomi Yad-Yat-Sakalam Parasmai
Naaraayannayeti Samarpayaami || ( All we do is a form of worship)
Meaning: My bodily actions, speech, actions from influence of my mind and organs and brainor my
nature, all that I do , I dedicate all and all its credits always goes to the supreme Soul Narayana.

THEORY

The entire body is divided as Anga, Pratyanga and Upaanga.

Anga Anganyatra shirohastau vaksha paarshwakateetatau Paadaviti shaduktaani
greevamapyapare jaguhu Head, Hands, Chest, Waist, Bottom, Legs are the Six Angas. Some
people include Neck also.
Pratyanga Pratyangaani twathaskandhau baahoo prushtam tathodaram ooroo janghe
shadityahurapare manibandhakau jaanooneekoorparamiti trayamapyadhikam jaguhu Shoulders,
Arms, Stomuch, thighs, Knee are the Six Pratyangas. Some people include Wrist, elbow and
Ankle also.
Upaanga Drushtibhrooputatarashcha kapolau naasikaahanuhu Adharodashanaa jihwaa
chubukam vadanam tatha Upaangani dwadashitaanyanyaanyangaani santi cha Paarshnee
gulbautathangulyaa karayoho padayostale Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose,
Gums, Lower Lip, Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include Heels,
Fingers, Feet, Palm also into upaangas.
Pratynaga and Upaangas should move along with the Angas. Anga Lakshana, the way of moving
body parts, are described below.

TYPES OF BHEDAS
1) Shiro bhedha - Head Movement
2) Greeva bhedha - Neck Movement
3) Drushti bhedha - Eye Movement
4) Paada bhedha

Mandala - Standing Posture

Utplavana - Leaps
Bhramari - Circling Movement
Chari - Leg Movement

5) Gatibhedha - Charecteristic walks and

or Mudras fingers and Hand Movements

Asamyuta Hasta (We learnt this in the set 1)
Samyuta Hasta ( We Learnt this in the Set 1)
Deva Hasta ( We will learn this in this Set 2)
Dashavatara Hasta ( We will learn this in this set 2)
Navagraha Hasta
Jaati Hasta
Bandhu Hasta
Nritta Hasta

6)Hastas

When all Angas(main body parts) coordinate (along with pratyanga and upaanga) the artist is said
to haveAngashudhi. Anga meaning body parts and shudhi, meaning perfect. Any dancer should
try to achive this perfection. The Natyashastra, which talks about all aspects of Bharatanatyam,
quotes shlokas to perform all the above movements
Shirobedha

Samam Udvahitam Adhomukham Alolitam Dhutam Kampitancha Patavruttam Utkshiptam

Parivahitam.
Samam = Keeping head straight
Udvahitam = Lifting the head up
Adhomukham = Putting the head down
Alolitam = Rotating the Head Clockwise & Anti-clockwise
Dhutam = Nodding the head as if to say "NO"
Kampitam = Shaking the Head
Paravruttam = Lifting the head from right side
Utkshiptam = Lifting the head from left side
Parivahitam = Nodding the head as if to say "YES".

Greevabhedha
Sundareecha tirashcheena tathivaparivartita prakampitachabhavagny gneyagreeva
chaturvidha
Sundari = Neck movement on both sides
Tirashcheena = Above movement with increase in speed
Parivartita = Movement to the corners
Prakampita = Moving the neck like a rooster
Drushtibhedha
Samam Alolitam sachi pralokita nimeelite Ullokita anuvruttecha tathachivavalokanam
Samam = Looking Straight
Alolitam = Turing eye balls clockwise & anti-clockwise
sachi = Looking to the sides without turning the head
Pralokana = Looking to the sides alternatively without turning the head
Nimeelana = Looking down
Ullokana = Looking Up
Anuvrutta = Looking Up & Down
Avalokana = Looking deep down.
Paadabhedha
There are 4 different types of Paadabhedha(leg Movement). They are
Mandala (Standing)
Utplavana (Jumping)
Bhramari (Circling)
Paadachari (Walking)
Mandala
There are 10 categories in Mandala. They are
Sthanaka - Stand Straight with Ardhachandra Hasta on the waist
Aayata - Keep 12 inch distance between the feet and bending the knees a little.
Aaleedha - Keep the right foot 3 feet in front of the left foot, holding shikhara hasta in the
left and katakamukha hasta in right hand

Prenkhana - Stand with one foot on the knee of the other and holding koorma hasta
Prerita - Hit the floor hard with one leg, bend the knees, keep the other foot a little futher,
hold shikhara in one hand, near the chest and pataka in another, stretched away
Pratyaleedha - Opposite of Aaleedha
Swastika - Keep right leg across the left leg and right hand across the left hand
Motita - Sit on toes, touch the ground with knees, altenatively
Samasoochi - Toch the ground with toes & knees
Paarshwasoochi - Sit on toes, touch the ground with one of the knees in one side

Sthanaka Mandala is further classified as

Samapaada - Stand Straight. While worshipping the god this is used.

Ekapaada - Stand with one foot on the knee of the other. To show a Saint in Penance this
is used.
Naagabandha - Twist one leg with the other & one hand with the other. To show a pair of
snakes this is used.
Aindra - Bend one of the legs little and lift the knee of the other and keep the hands as
usual. To show Indra this is used.
Garuda - Bend the left leg keeping the foot completely on the floor, bend the right leg and
sit on the right leg. This is used to show the bird Garuda, Lord Vishnu's Vehicle.
Brahma - Sit down, cross the feet like Padmasana. This is used to show meditation.

Utplavana
There are 5 types of Utplavana. They are
Alaga - Hold Shikhara hasta on the waist and jump
Kartaree - Hop on the toes, hold Kartareemukha hasta behind the left leg and hold
shikhara hasta, upside down on the waist
Ashvotplavana - Hop forward on one leg and bring the other leg together,hold tripataka
hasta in both the hands
Motita - Hold tripataka hasta in both the hands, jump like Kartaree Utplavana on both
side
Krupaalaga - Jump in such a way that the heel touches the back side
Bhramari
There are 7 types of Bhramari. They are
Utplutabhramari - With Samapaada Sthanaka, jump & turn around
Chakrabhramari - Hold tripataka hasta in both the hands and turn around while dragging
the legs on the floor
Garudabhramari - Keep one of the knees on the ground, stretch the other leg and turn
around
Ekapaadabhramari - Stand on one leg and turn around with the other
Kunchitabhramari - Jump and turn around folding the legs up
Aakaashabhramari - Jump , spread the legs apart and turn around
Angabhramari - Keep the legs 12 inch apart and turn the body around
Paadachari
There are 8 types of Paadachari. They are
Chalanachaari - Walk casually

Chankramanachaari - Walk while keeping the legs sideways

Saranachaari - Walk while dragging one feet and bringing the other together without
lifting the heel from the ground
Veginichaari - Walk fast while changing alapadma & tripataka hasta alternatively
Kuttanachaari - Walk while tapping the feet hard on the floor
Lunthitachaari - Stand in Swastikamandala and perform kuttanachaari in the front leg
Lolithachaari - Perform kuttanachaari in one leg and walk slowly with the other one
Vishamachaari - Walk while the legs are twisted together

Gathibhedha
Gathibhedha There are 10 unique ways of Gathibhedha(Gait). They are

Hamseegathi - Walk while keeping one foot in front of the other and sway with each step,
hold kapitha hasta in both hands. (Walk like a Swan)
Mayooreegathi - Stand on the tip of toes, hold kapitha in both hands and fold up the legs
for each step. (Walk like a Peacock)
Mrugeegathi - Hold tripataka in both hands and run around like a Deer Gajagathi - Hold
pataka hasta near the ears, walk very slowly with Samapaada
Turangineegathi - Lift the right leg, hold shikhara in left hand and pataka in right hand
and jump with the left leg.(Like a Horse)
Simheegathi - Hold shikhara hasta in both hands, jump on the toes ans move forward.
(Like a Lion)
Bhujangeegathi - Hold tripataka in both hands & walk as explained in simheegathi. (Like
a Snake)
Mandookeegathi - Like simheegathi.
Veeragathi - Hold shikhara hasta in left hand, pataka in right and walk as though
comming from far.
Maanaveegathi - Keep the left hand on the waist, katakamukha in right and walk while
turning around for each step.

Deva Hasta
Here are some of the hastas used to show the gods & godesses.
Name of the Deity
Brahma Hasta
Shambhu Hasta
Vishnu Hasta
Saraswati Hasta
Parvati Hasta
Lakshmi Hasta
Vinayaka Hasta
Manmatha Hasta
Shanmukha Hasta
Indra Hasta

Left Hand
Chatura Hasta
Mrugasheersha Hasta
Tripataka Hasta
Kapitha Hasta, in line with
the shoulder
Ardhachandra Hasta, held
downwards
Kapitha Hasta, in line with
shoulder
Kapitha Hasta, in front of
chest
Shikhara Hasta
Trishoola Hasta
Tripataka Hasta

Right Hand
Hamsasya Hasta
Tripataka Hasta
Tripataka Hasta
Suchi Hasta
Ardhachandra Hasta, held
upwads
Kapitha Hasta, in line with
shoulder
Kapitha Hasta, in front of
chest
Katakamukha Hasta
Shikhara Hasta
Swastika Hasta

Agni Hasta
Yama Hasta
Niruti Hasta
Varuna Hasta
Vaayu Hasta
Kubera Hasta

Kangoola Hasta
Paasha Hasta
Khatva Hasta
Shikhara Hasta
Ardhapataka Hasta
Padmakosha Hasta

Tripataka Hasta
Suchi Hasta
Shakata Hasta
Pataka Hasta
Arala Hasta
Ardhachandra Hasta

Dashavatara Hasta
The 10(Dasha) incarnations(Avatara) of Lord Vishnu can be shown like this.
Name of the
Avatara
Matsya (Fish)

Left Hand

Koorma (Tortoise)

Tripataka Hasta

Tripataka Hasta

Varaha (Wild Bore)

Narasimha (Half
Man & Half Lion)
Vamana (Dwarf)

Simhamukha Hasta

Parashuraama

Keep the hand on the

waist

Raama

Shikhara Hasta

Balaraama

Mushti Hasta

Krishna

Mrugasheersha Hasta

Mushti Hasta

Right Hand

Position of the
Hands
Tripataka Hasta
First show the
Matsya hasta and
then hold tripataka
hasta in both the
hands, in line with
shoulders.
Tripataka Hasta
Show the Koorma
hasta and then hold
tripataka hasta in
both the hands, in
line with shoulders.
Show the Varaha hasta and then keep both
hands on the waist.
Tripataka Hasta
Hold the hands in
front of the chest.
Mushti Hasta, turned Hold the left hand
down
little below the left
sholuder and the right
hand little above the
waist, like showing
the sacred thread.
Ardhapataka Hasta
Stretch the right hand
above the head at an
angle.
Kapitha Hasta
Hold the left hand
above the shoulder
level, like holding a
bow and stretch
down the right hand,
like holding an
arrow.
Pataka Hasta
Hold the hands in
front of the chest.
Mrugasheersha Hasta Both the hands are
held near the mouth
with mrugasheersha
hasta opposite to one
another, like holding

the Flute.
Tripataka Hasta

Kalki

Pataka Hasta

Hold the hands in

front of the

TALAM

Laya tempo or speed of the musical composition. 3 variations: Vilambita

(slow), Madhya (medium), Druta (fast)
Thalam basic reoccurring unit of rhythm of a composition. It has certain
number of beats.
Akshara is the name of each beat in Thalam
Avarthanam One full cycle of beats in a particular Thalam

Angams (limbs/parts) of Thalam:

Laghu (1) Counting fingers according to the number of Jathis.
Dhrutam (0) One beat and waiving hand
Anudrutam (U) One single beat

Jathis (drum syllable)

Tishram 3
Chatureshram 4
Kandam 5
Mishram 7
Sankirnam 9
Based on Talam family or laghu length there can be 35 rhythms
Each beat may be further divided into a number of counts. The number of
counts per beat is called the Nadai or Gati of the tala, and can be 3, 4, 5, 7,
or 9. The default is 4.
Chappu Thalam following count of a particular Jathi, hand clapping is used
to keep the rhythm steady. Not necessarily every beat of a Jathi should be
emphasized:
Directions for representing Jathis in rhythm:
Tishram - Ta Ki Ta

Chatureshram Ta Ka Dhi Mi
Khandam Ta Ka Ta Ki Ta
Mishram Ta Ki Ta Ta Ka Dhi Mi
Sankirnam Ta Ka Dhi Mi Ta Ka Ta Ki Ta

Saptha Thalam (7 rhythmical cycles)

Druva Thalam

1011

Matya Thalam

101

Rupaka Thalam

01

Jampa Thalam

1U0

Triputa Thalam

100

Ata Thalam

1100

Eka Thalam

Reading Activity:
HISTORY OF BHARATHANATYAM

500 B.C - 10 A.D

Bharatha Natyam is a composite art, whose message is not merely to the senses, but to the soul of
the dancer and of the perceiver. Due to this, one could comprehend that Bharatha Natyam is an
art that conveys spiritual expression. This dance form cannot be adequately danced by anyone
without reverence for technique and for spiritual life. It is an art that lifts one from temporal to
eternal values. The intimate association of dance with religion and as a ritual, a form of worship
in the temples is well established. The institution of the Devadasis, servants of the God,
contributed in perpetuating and preserving the art. In ancient times, the system of dedicating
young dancers to the temples as devadasis seems to have prevailed. Dance has special mention in
two important Tamil works Silappadikaram and Manimekhalai of the Sangam age ( 500 B.C 500 A.D ). The sacred texts of the Shaivagamas prescribed the mode of worship and referred to
the consecration of dancing girls in the service of the gods. The temples were not only places of
communication between man and God, but also strongholds of the Arts.
In the beautiful Nata-Mandapas (dance-halls) of the magnificient temples, the devadasis used to
perform ritual dances as votive offerings to the presiding Dieties. The present BharathaNatyam
can be traced back to this form. It has been established from the scluptural evidence, that of
technique of movement which this style follows can be traced back to the 5th century, the
position common to the classical dance ( margi style ) was the ardhamandali with the out - turned
knees. By the 10th century A.D. , this basic position was common to dance styles from Orissa to
Gujarat and from Khajuraho to Trivandrum. From about the 10th century A.D. in sculptures of
dance, we find that basic position of the lower limbs is common to relics in particularly every part
of India.
10 A.D - 14 A.D
After the 10th century, Bharathanatyam seems to have developed chiefly in the South and
gradually came to be restricted to what is now known as Tamil Nadu. From chronicles we learn
that the Chola and the Pallava kings were great patrons of the arts. Raja Raja Chola not only
maintained dancers in the Temples in his kigdom, but was a very great connoisseur of music and
dance. The tradition of the Natyasastra appears to have been widesprread. The accuracy with
which the artists of the Brihadeeswara temple in Thanjavur have illustrated the karanas of the
fourth chapter of the Natyasastra is adequate proof of their understanding of the laws of the dance
movement. Along with the building of the imposing temples in the South under The Pallava and
Chola rulers ( 4th to 12th A.D), the arts of music and dance received a great fillip. The tradition

was kept alive by rulers , specifically, the Pandya, Nayak, and the Maratha, till the end of the
nineteenth century. It was the institution of the great dance teachers known as Nattuvanars who
preserved the ancient dance art from generation to generation.
14 A.D - 18 A.D
About the 14th century A.D. we find that technical illustrations of dance movements were made
in the Sarangapani temple at Kumbakonam and in the four magnificent gopurams of the Nataraja
Temple in Chidambaram. Illustrations of the charis and the karanas are found in temples of
Gangaikonda, Cholapuram, Kumbakonam, Madurai and Kancheepuram. The sculptural evidence
can be supplemented amply by the Sastras, textual criticisms, historical chronicles and creative
literature.
Between the 14th and 17th centuries, there was much repetition of dance poses already sclupted
in the three main temples mentioned above. From the creative literature in Tamil, Telugu and
Kanada, one can easily conclude that the dance was a vigorous and living art.
During the Maratha rule ( AD 1674 - 1854 ) over Thanjavur the art of Bharatha Natyam received
considerable fillip. King Shahaji ( 1684 - 1711 ) wrote nearly five hundred padams ( short poetic
compositions ). These marathi padams are found in the form of palm-leaf manuscripts in the
Telugu script. These manuscripts are preserved in the Saraswati Mahal Library at Thanjavur.
King Tulaja II ( 1763 - 87 ) wrote the Sangitasamrita which deals with adavus, the basic dance
steps, is a landmark in the dance literature. During the reign of King Sarfoji II, the tradition of
bharathanatyam received its definite shape from the Thanjavur Quartet Chinayya, Ponnayya,
Vadivelu and Sivanandam, the four brothers who were disciples of the composer Muthuswami
Dikshitar, one of the trinity of Carnatic music.
18A.D - 19A.D
But the story is not complete without mentioning the contributions of the South Indian Saint
poets and musicians. Bhakti or devotion, at its finest and purest, was infused into the the tradition
by these poets. The literary content of Bharathanatyam was provided by them and their musical
compositions determined the repertoire of Bharathanatyam.
Between the period 1800 to 1920, bharatha natyam as a performing art took a back seat. The
performances used to extensively take place during Vasanthotsavams ( temple festivals)
In 1926, a young lawyer, E. Krishna Iyer played an important role in the ervival of Bharatha
Natyam. He used to perform on various platforms by doning the attire of female bharatha natyam
dancer to remove the stigma attached to the art. In 1927, E. Krishna Iyer organised the first All
India Music Conference at Madras, during the session of the Indian National Congress and as an
offshoot of the conference, the Music Academy was born in 1928. For a decade he worked as one
of its secretaries. National spirit coupled with the freedom movement was responsible for the
increase in the revival of performances at various places. Some of the exponents in those days
were Pandanallur Jayalakshmi and Jeevaratnam, Smt. Rukhmini Devi Arundale, disciples of
Pandanallur Guru Meenakshisundaram Pillai, Ram Gopal, Mrinalini Sarabhai and others. Since
then, till now, a host of legendary figures have contributed to the centuries old art - Bharatha
natyam.
Some important changes:
Prior to its renaming in the 1930s, Bharathanatyam went under the names of Dasi Attam and Sadhir.
Dancers of this art form were called Devadasi, or servants of God. Hindu temples played the
greatest role in developing and preserving this dance form for many centuries. The arts, including
music and dancing were flourishing supported by the wealth and status of the temples, which were

centers of the socio-cultural life at that time. Devadasis or dancers were respected and influential
figures in the society and no social occasion or temple ritual would be performed without their
participation.
With the decline of the temple support and due to the change in the hereditary nature of this
profession, the dance form had moved from the temples to the courts and its content changed into
more entertaining and erotic. This change brought the dance form to a downfall and as British
colonization with its own moral values grew stronger, the dance became socially unacceptable and
dancing girls even more so.
In 1947, the Madras Devadasis Act was passed, it declared that a woman could no longer perform in
the precincts of a temple or other religious institution. Any person who performs, permits or abets
temple dancing would be punishable with imprisonment.
Fortunately, a growing number of dance enthusiasts interested in rescuing the dance form from
degradation grew and thanks to those families of Devadasis and Natuvanars (dance teachers) who
managed, within their family traditions, to preserve this beautiful dance. Today this art form has
moved to the stage and gained image of highly stylized refined classical art form. Its popularity grows
every day and it has already long ago spilled out of the boundaries of Indian borders and is being
enjoyed, practiced and learned by dancers and dance lovers all over the world.
Dance enthusiasts that have saved and resurrected BharataNatyam:
E. Krishna Iyer,
practicing lawyer by profession was born into Brahmin family, he strove to upgrade the status of
dance at that difficult time. In 1933, he along with other patrons of the dance form, decided to rename
sadhir to see if it might change things. Deriving the Bha Ra Ta from its name, the dance form was to
be called Bharatanatyam. E. Krishna Iyer was a Bharatanatyam dancer himself, he would disguise
himself as a female dancer and perform in public to propagate the art and remove stigma attached to
it. By doing so, he would encourage girls from Brahmin families to take up the art and bring it at a
higher level of entertainment on the best stages of the City.
In 1927 Krishna Iyer organized the first all India Music Conference in Madras that became an annual
celebration of Arts including dance. He has brought some of the most outstanding performers from
Devadasi background to perform on stage and thus stirring up a controversial practice and gaining a
lot of success from young revolutionary minds of that time. Here are Some the performers from
Davadasi tradition that helped Krishna Iyer to change the status of Bharatanatyam: Mylapore Gown
Ammal, Tiruvalliputtur Kalyani daughters, Balasaraswathi.
Rukmini Devi Arundale.
Rukmini Devi was born in a Brahmin family in 1904 into a family with a theosophical background.
Thus, she was exposed to a greater freedom of thinking at the time. Rukmini married an Englishman
Dr. George Arundale, 20 year older than her. Since Dr. Arundale was educationist, couple travelled
far and wide giving lectures about Indian Culture. On one of thesetours, Rukmini met Anna Pavlova
and showed interest in learning ballet. It was Pavlova who suggested Rukmini Devi to learn
BhartaNatyam. Later, with the help of Krishna Iyer, she met her future teachers Mylapore Gawry
Ammal and Meenakshi Sundaram Pillai. Rukmini was 29 year when she started learning
Bharatanatyam.
In 1935 she was the first lady from Brahmin family who had openly given public performance and has
won wide acclaims as well as strong opposition. With the help of her husband family and other dance
enthusiasts at that time, in 1936 Rukmini Devi has set up dance academy named Kalakshetra and
institution in support of Indian Arts.
Kalakshetra was not only created to teach new generation but to give opportunities to the dancers and
Natuvanners from old dance tradition to come forward and safely practice and teach their art. Being
the one and only institution of this nature at the time, Kalakshetra very fast gained respect and
popularity, and at present is known as Institution of national importance.

Summary:
bhava (emotion)
raga (melody),
taala (rhythm)
Natyam (dance)

Bharatanatyam is one of the 7 Classical dance styles in India and belongs to the South Indian
state of Tamil Nadu. In the past it was known by names Desiattam or Sadir and practiced
and performed in the temples by a class of dancers known as the Devadasis. It was a part of
the religious rituals and has a long and reach past. The kings and the princely court patronized
the temples, as well as the various traditions sustaining the dance form.
Well known Thanjavoor Brothers, Ponnayya, Chinnayya, Sivanandam and Vativelu
systematically regularized the modern Bharatanatyam. Adavus and Margam ,as we practice
today, were analyzed, named and grouped together by these talented musicians in early 19th
century.
The main features of Bharatanatyam are symmetrical movements that are mostly executed
either in straight lines or triangles and rhythmical patterns or the beats that dancer produces
by means of different footwork following and even exploring and challenging the musical
accompaniment.
Theory and technique of Bharatanatyam are based on the literal works 'Natyasatram' and
'Abhinaya Darpanam'.
Bharatanatyam is following Carnatic classical Indian music system. The instruments used are
Veena, Flute, Mridangam and Violin. Rhythmical accompaniment is provided by 'Nattuvanar'
setting the Thaalam using hand symbols and reciting Sollukatu.
Vocalist is setting the mood of the dance by singing out the lyrics of the song that dancer
interprets through Abhinaya or expression.
Bharatanatyams origion is based on a solo dance form, however it does have influence of
Yakshagana and Kuruvanji traditional dance dramas.

Important terms, names and definitions in BharataNatyam:

Natya Sastra is considered to be the earliest known surviving text on stagecraft in the world.
Written by Bharatha Muni sometime between 200 BC to 200 AD. It Consists of around 36 chapters
and 6000 sutras. Natya Shastra covers stage-design, music, dance, makeup, and virtually every aspect
of stagecraft. Natya means theatrical art or art of drama, which includes dance, music and mind or
emotion, hence the name of the Natya Shastra, meaning Science of Drama.
Abhinaya (expression) - is the medium through which the thoughts and emotions of the dancer or
character are transmitted to the audience by the use of physical and facial gestures or other features.
Bharatha classified Abhinaya into four parts, depending on the mode used to convey the message:
Angika - body
Vachika speech
Aaharya ornaments
Satvika pure
Rasa sentiment or mood arising as a response to the emotions and actions produced by a dancer.
Major 9 types of rasa:
Sringaram - love
Hasyam - humor
Karuna - sorrow
Roudram - anger
Veeram - valor
Bhayanakam - fear

Bheebatsam - disgust
Adbutam - wonder
Shantam meditation
Vatsalyam is the mothers love to child is also a rasa
Bhava- emotions produced by a dancer. Direct translation to be or
become.
Types of Bhava:
Sthayi Bhava permanent;
Vibhava case for emotion;
Vyabichari bhava transitional mood
Characters in dance compositions:
Nayaka Hero or male main character in a dance composition
Nayika Heroine, female character
Sakhi a friend
Major Hindu Gods, commonly used in BharataNatyam compositions
Bramha creator
Vishnu preserver
Shiva (Nataraja, Chandrashekhara, Neelakantha) destroyer
Saraswathi wife of Bramha, goddess of Knoweledge
Laxmi wife of Vishnu, goddess of wealth
Parvathy wife of Shiva, The mother goddess, female energy
Ganesha- son of Shiva, elephant headed god, destroyer of obstacles
Murugan son of Shiva, god of war and Victory
Krishna attractive one, cow hoarder, is the 8th avatar (reincarnation) of God Vishnu
Radha Krishnas wife
Gopis milkmaids attracted to Krishna and making Radha jealous
Rama- Supreme being, 7th avatar of lord Vishnu, main character of Ramayana
Sita wife of Rama
Lakshmana brother of Rama, devoted his life to protect Rama and Sita
Hanuman monkey god helping Rama to find Sita
Epics Mahabharata
One of the major Sanskrit epics and the longest one in Hinduism. It is Believed to be written by sage
Vyasa but most probably is a compilation of works by many authors, it was completed by around 4th
century BC It has a story within a story structure and is widely used in Bharatanatyam choreography.
Epic Ramayana
Another major Sanskrit epic that is closely related to Hindu traditions and believes. It depicts the
duties of relationships, portraying ideal characters like the ideal father, ideal servant, the ideal brother,
the ideal wife and the ideal king. It is assigned to sage Valmiki. There are several versions of
Ramayana in different languages. Ramayana dating to somewhere between 5th and 4th century BC.
Vedas
Oldest scriptures of Hinduism not attributed any authorship and contain vast information concerning
philosophy and religion. Single verse of Veda is called Mantra. Many Mantras are used today as
prayers in every day Hindu life.
There are 4 Vedas:
1. The Rigveda, containing hymns to be recited by the presiding priest;
2. The Yajurveda, containing formulas to be recited by the officiating priest;
3. The Samaveda, containing formulas to be sung by the priest that chants;
4.The Atharvaveda, containing collection of spells and incantations, apotropaic
charms and speculative hymns.
Fifth Veda is considered to be Natya Veda or Dance, it is a combination of all 4

Vedas.
Building blocks of Bharatanatyam:
Natya Dramatic aspect of Indian dance where pure technique is not used but only
hand gestures and Abhinaya are the means of communication.
Nritta Abstract dance that emphasize on synchronization of rhythm, time and
dance movement. There is no poetic meaning to illustrate.
Nritya Natyam and Nritta combined and produce perfect harmony of technique and
expression.
Nritya can be classified as:
Tandava masculine
Lasya - feminine
Adavu is a step, or a basic unit of movement (not restricted to just the
foot), was derived from the root word adaivu, a Tamil meaning combination
or the process of attaining a destination.
Jaathi Combinations of Adavus or joined in steps.
Korvay Combination of dance moments joined together, ending with
Thirmanam and fitted into particular Time cycle.
Thirmanam Can be referring to the ending movement in a sequence of
Adavus (Thirmanam Adavu) or a sequence of movements that
choreographed to specially composed Sollukatu.
Arudi Ending of dancel phrases by short repetitive steps
Sollukatu phrases or syllables recited by a Nattuvannar
Bani diferent styles or schools of Bharatanatyam. Derived from different
families that practiced dance in Temples:
Pandanallur
Kalakshetra
Vazhuvur
Tanjavur
Margam Complete set of dance items designed for what is considered solo Bharatanatyam
performance. Margam was set by Tanjaur brothers in early 19th century.
Bharatanatyam Margam:
1. Alarippu An invocatory rhythmic Nritta dance where dancer offers her respect to the Gods,
Gurus and audience. It is composed in 3 speeds. Direct translation of Alrippu is to blossom
2. Jatiswaram - Nritta dance where Jaathis or sequences of moments are choreographed to
follow Swaras (musical notes).
Musical Stracture of Jatiswaram:
Pallavi repetitive line of Swaras that is repited many times to showcase the intricacy of rhythms that
can be fitted in.
Annupallavi Change of swaras and tempo
Charranam A new set of Swaras that is longer than Pallavi or Annupali. There can be 3 or 4
charanams in Jatiswaram.
3. Shabdam It is the first dance item in BharataNatyam recital that incorporates Natya or
Dramatic aspect. Shabdam is a devotional peace that praises on of the deities. It is usually
composed in Mishra Chappu (7 beats).
4. Varnam - Direct meaning of Varnam is Colour. It is a central and most important dance in
BharataNatyam recital. Varnam incorporates the most challenging Nritta combinations and
Abhinaya exhibiting wide variety of emotions.

5.

Padam A purely Abhinaya peace or Natya, exploring different shades of relationship

between Nayaka (hero) and Nayika (heroine). Sringara Rasa or love is predominant emotion
here. Padam compositions are very slow in tempo.

6. Keertanam This dance is Nritya or combination of Abhinaya and pure movements. The
main mood of the dance is Bhakti or devotion.
7. Javali - A faster tempo Abhinaya dance, where dancer can explore different down to earth
emotions like: sarcasm, anger, humor. Lyrics are written in colloquial language.
8.

Ashtapadi A special dance item devoted to relationship between Krishna and Radha,
written by Jayadeva. Abhinaya is used extensively and pure dance sequences are common in
Ashtapadi choreography.

9. Thillana - Concluding item in Bharatanatyam recital. It is mostly Nritta peace with a small
line in praise of deity at the end. Thillana shows the most intricate rhythmic patterns in the
whole dance recital.
10. Dance Items that can be added to Bhartanatyam recital:
Pushpanjali Invocatory dance, offering of flowers to the Gods, Gurus and Audience.
Kautvam - Opening Nritya dance in praise of God.
Natyanjali Invocatory Item offering of dance.
Shlokam Can be performed at the beginning or end of recital. It is a prayer to the God
without any rhythmic pattern in it.
Other Margams of Indian classical dance
Kathakali, Kathak, Odissi, Kuchupudi, Manipuri, MOhiniattam
Desi Dance forms: Dances falling in the Desi category are more regional and folkish in nature.They
are oriented more towards the people and are popular. They are performed majorly to entertain and
celebrate and has no religious connotation. These folk dances are done in groups during special
festivals, occasions such as marriages, harvest seasons or fairs. The steps are generalised and simple
and require no special training. Anybody can do this and every tribe and region has their own folk
desi dance form. Examples: BHangra, Garba, Gidda, Chau, Rajasthani folk, karakaattam, etc..

Music in Bharatanatyam
Sapta Swaras (7 musical notes)
Sa Shadja (Peacocks cry)
Ri Rishabha (Cow calling her calf)
Ga Gandhara (Goats bleat)
Ma Madhyama( Heroines cry)
Pa Panchama (Cuckoos song)
Da Daivatha( Horses neigh)
Ni Nishada Elephants trumpeting)
Raga In Indian Carnatic(popular in Southern india :Karn(ears)+atak(to stick).=that form of music
that sticks to ears) or Hindustani (popular in Northern Indian -Indus valley civilizations music)
system Raga can be described as melody. There are 72 main or parent Ragas, they can give birth to
more variations of Ragas.
Sahitya Words for musical composition or lyrics.