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Slokams - Selected Sanskrit Poems
Guru Brahma
Guru Vishnu
Guru Devo Maheswaraha
Guru Sakshaad Parambrahma
Tasmay Shri Guruveh Namaha
 
Lord Brahma, Lord Vishnu, Lord Shiva, (My) Guru
I bow to you, the ultimate Lord/Guru
 
Aangikam Bhuvanam Yasya
Vachikam Sarva Vangmayam
Aharyam Chandra-Taradi Tvam Namaha
Sattvikam Shivam
 
You, whose limbs are the Universe,
You, the Originator of all speech,
You, whose adornments are the moon and stars,
You are The Truth.
 
Khantaanyat Lambayat Geetam
Hastana Artha Pradakshayat
Chakshubhyam Darshayat Bhavom
Padabhyam Tala Acherait
 
Keep the song in your throat
Let your hands bring out the meaning
Your glance should be full of expression
While your feet maintain the rhythm
 
Yato Hasta Stato Drushti
Yato Drushti Stato Manaha
Yato Manaha Stato Bhavom
Yato Bhavom Stato Rasaha
 
Where the hand goes, there the eyes should follow
Where the eyes are, the mind should follow
Where the mind is, there the expression should be brought out
Where the expression is, there the rasa or flavour will be experienced
 
Samyukta Hastas - Double Hand Gestures
Anjalishca kapotashca karkata svastikastatha//
Dolahastah pushputa utsangah shivalingakah/
Katakavardhanashcaiva kartarisvastikastatah//
Shakata shanka cakre ca samputah pashakilakau/
Matsya kurmo varahashca garudo nagabandhakah//
Khatva bherunda ityete sankhyata samyutah karah/
 
Asamyukta Hastas - Single Hand Gestures
Patakastripatakasyardhapatokartarimukhaha/
Mayurakhyordhacandrashca aralah shukatundakaha//
Musthishca shikharakhyashca kapithah katakamukhah/
Suci candrakala padmakoshah sarpashirastatha//
Mrigashirshah simhamukha kangulashalapadmakah/
Caturo bhramarashcaiva hamsasyo hamsapakshakah//
Sandamsho mukulascheva tamracudatrishulakah/
Ityasamyutahastanamashtavishatiriirita//
 
Nava Rasas - Nine Moods & Feelings

• Shringara - Love

• Hasya - Mirth

• Veera - Heroism
• Roudra - Anger

• Bhayanaka - Terror

• Bheebatsa - Disgust

• Adbhuta - Wonder

• Karuna - Compassion

• Shanta - Tranquility
 
Pada Bheda - Positioning of Feet

o Mandala - Standing Posture

o Utplavana - Leaps

o Bhramari - Circling Movement

o Chari - Leg Movement

 
Basic Feet Positions:   
1. Sama:  where the feet are in natural position joined together with the knees straight.
2. Parshwa: where the feet and knees are turned on the sides forming a horizontal line.
3. Tayasra: the feet are placed to form ‘v’ with the toes turned towards the corners.
4. Swastika: where the feet are crossed.
 
Feet Variations:
1. Kuttanam:  Stamping the bhoomi with the sole, toe or heel.
2. Sarik: the feet move without being lifted. 
3. Ancita: the toe or toes are held up while the heels rest on the bhoomi (ground).
4. Agratala Sancara: while the heel is raised the toes rest on the bhoomi.
5. Suci: one foot is on the ground in a normal position while the other has contact with
the ground through the big toe.
6. Udghattita: the ground is stamped by the heel while the forefoot rests on the
ground.
7. Kutta: the ground is stamped by the toes while the heel is raised.
8. Tadita: Holding the ground with the heel the forefoot stamps the ground.
9. Mardita: the sole rubs the ground.
10. Sakhalita: the foot is made to slip on the ground.
 
Nayika Bhedas - Classification of Heroins
The shastras have classified the basic mental status of woman, the Nayika, into Eight
divisions, called Ashtanayika bhavas. These divisions portray the heroine in different
situations, express different feelings, sentiments & reactions.
 
The Ashtanayika bhava are:
Abhisarika - She is the one who boldly goes out to meet her lover.
Kalahantarika - She is the one who is repenting her hastiness in quarrelling with her
lover, which has resulted in their seperation.
Khandita - She is the one who is angry with her lover for causing dissapointment.
Proshitapathika - She is the one who is suffering in the absence of her beloved, who is
away on a long journey.
Swadheenapathika - She is the one who is proud of her husband's or beloved's love and
loyalty.
Vasakasajjika - She is the one who is preparing for the arrival of her beloved, by
decorating herself and her surroundings. to provide a pleasent welcome to her lover.
Virahotkantita - She is the one who is seperated from her lover & is yearning for
reunion.
Vipralabda - She is the one who is dissapointed that her lover has not turned up at the
tryst as he promised.
 
Nayaka Bhedas - Classification of Heros
Just like the heroines, the moods and emotions of the hero are also classified into
different divisions. The main division is

• Dheerodaatta 

• Dheeroddhata 

• Dheeralalita 

• Dheerashanta 
 
 
Style variations in Bharata Natyam:
Pandanallur: It has loose and flowing movements. It is simple and leisurely
Vazhuvoor: Includes rich sringar poetry, wide range of dancing pace/ speed, softer
facial abhinaya, extremely elaborate movements, deep sitting aramandi and positions.
Tanjore: Tanjore style has emphasis on abhinaya which is soft, expressive and uses
graceful gestures. Jatis are short and the rhythm is quite fast.
Kalakshetra: Very energetic and robust technique, has more body alignement and
precise geometry in it. 
Mysore:
 
Taalas: Time measure or rhythm
Laghu (|): Clapping the right hand on the right thigh once and then counting the
fingers (3-9 counts)
Anudrutam (~): A clap or a single beat on the right thigh (1 count)
Drutam (O): Clapping once or beating ont he thigh once and turning over the palm or
waving the palm once (2 counts)
Adi Talam: Drutam and Laghu (8 count)
Rupaka Talam: Drutam and Laghu (3 count)
Dhruva Talam (|O||): Laghu, Drutam, Laghu & Laghu
Matya Talam (|O|): Laghu, Drutam & Laghu
Jhampa Talam (|~O): Laghu, Anudrutam & Drutam
Eka Talam (|): Laghu
 
Nayana Bheda - Eye Movements
 
Griva Bheda - Neck Movements
 
Siro Bheda - Head Movements
 
Aaharyam - Ornaments, Makeup & Costumes
 
Other Indian dance styels - Kathak, Mohini Attam, Odissi & other styles
 
 

Dance Terminology:
Abhinaya: Expression to convey ideas or to tell a story
Adavu: Basic unit performed by the dancer, a sequence in pure dance
Aharya: Expression through costumes and makeup
Anga: Part of a body
Angaharas: A combination form involving bodily movements
Aramandi: Semi circular posture used with knees kept bent
Asamyukta hastas: Single handed gestures
 
Bhava: Expressions
 
Chollukattu (Sollukattu): Rhythmic syllables recited by the guru or the Nattuvar
 
Dasavatara hastas: Hand gestures portraying 10 incarnations of Vishnu
Devadasi: Dancers employed in the temples
Devatha Hastas: Hand gestures which protray different Gods
 
Hastas: Hand gestures used to convey an idea or to tell a story
 
Karanas: 108 combined movements of hands and feet
Korvai: Combination of steps in specified manner
 
Lasya: Feminine form of dance
Marga & Desi: Music classified devotional and non-devotional
Mudras: Hand gestures
 
Nataka: Drama or a play
Natya: Dance or a dance with emphasis on facial expressions
Navagraha hastas: Hand gestures for nine planets from Hindu mythology
Nritta: Pure technical foot work
Nritta Hastas: Decorative hand gestures used during rhythmic foot work
Nritya: Combination of foot work and facial expressions
 
Pada Bhedas: Variations in placement of feet
Praty angas: Minor limbs
 
Raga: Melody
Samukyta Hasta: Double hand gestures
 
Sangeetha: Music
Satvika: Facial expressions with emotions or moods
 
Tala: Rhythmic patterns
Tandava: Masculine form of dance
Tirmana: Concluding sequence of grouped steps which are repeated three times
 
Upanga: Minor parts of the upper body
 
Vachik: Expression through words
 
 
Deva Hastas - Hand Gestures for Gods
1. Brahma
2. Siva
3. Vishnu
4. Saraswathi
5. Lakshmi
6. Parvathi
7. Ganesh
8.Karthikeya
9. Indra
10. Varuna
11. Agni
12. Yama
13. Manmatha
14. Vayu
15. Kubera
16. Nairuthi
 
Karanas - Combined Movement of Hands & Feet
1. Thalapushpaputa
2. Varthitam
3. Valithorukam
4. Apaviddha
5. Samanakha
6. Lina
7. Swasthikarechita
8. Mandalaswasthika
9. Nikuttaka
10. Ardhanikuttaka
11. Katicchinham
12. Ardharechitha
13. Vakshasvasthika
14. Unmattha
15. Svasthika
16. Prishtaswasthika
17. Diksvasthika
18. Aalathaka
19. Katisama
20. Akshitarechitha
21. Vikshiptashipthakam
22. Ardhasvasthika
23. Anchitha
24. Bhujangathrasitha
25. Urdhvajanu
26. Nikunchitha
27. Matthalli
28. Ardhamatthalli
29. Rechithanikuttitham
30. Padapaviddhaka
31. Valitham
32. Khoornitha
33. Lalitha
34. Dandapaksham
35. Bhujangatrasitham
36. Nupuram
37. Vaisakharechitham
38. Bhramaraka
39. Chathura
40. Bhujanganchitha
41. Dandakarechitha
42. Vrischikakuttitha
43. Katibhrantha
44. Lathavrischika
45. Chchinna
46. Vrishchikarechitha
47. Vrischika
48. Vyamsitha
49. Parsvanikuttitha
50. Lalatatilaka
51. Krantaka
52. Kunchitha
53. Chakramandala
54. Uromandalam
55. Akshiptha
56. Thalavilasitham
57. Argala
58. Vikshipta
59. Avartham
60. Dolapada
61. Vivruttha
62. Vinivrittha
63. Parsvakrantha
64. Nisumbhitha
65. Vidyuthbhrantha
66. Athikrantha
67. Vivarthitham
68. Gajakriditha
69. Thalasamsphoditha
70. Garudaplutha
71. Gandasuchi
72. Parivrutta
73. parsvajanu
74. Gridhravalinaka
75. Sannatha
76. Suchi
77. Ardhasuchi
78. Suchividdha
79. Apakrantha
80. Mayralalitha
81. Sarpitha
82. Dandapada
83. Harinaplutha
84. Prenkholita
85. Nithambam
86. Skhalitha
87. Karihastha
88. Prasarpithaka
89. Simhavikridatha
90. Simhakarshitha
91. Vdvritta
92. Upasruthaka
93. Thalasanghattitham
94. Janitha
95. Avahitthaka
96. Nivesa
97. Elakakriditha
98. Urudrittam
99. Madaskhalitha
100. Vishnukrantha
101. Sambhrantha
102. Vishkambha
103. Udghattitha
104. Vrishabhakriditha
105. Lolitha
106. Nagapasarpitha
107. Sakatasya
108. Gangavataranam
 
 
 
 
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