In our series of basic grammar of Bharatnatyam, Mandal Bhedas are the various ways of standing, as in straight with both feet together or on one foot and so on. The shloka for this is as follows: SHLOKAM “Sthaanakam chaayataalidham prenkhanapreritaani cha Pratyaalidham swastika cha motitam samasoochikaa Paarshwesoochiti cha dasha mandalaaniritaaneeha” Mandala Bhedas or standing postures with […]
In continuation of our series on hasta mudras today we talk of the hand gestures that are used to denote the planets. Navagraha Hasta is a combination of two words, Nav meaning nine and Graha meaning planet. As per ancient Hindu texts there are nine planets, Surya, Chandra, Mangal, Budh, Guru, Shurkra, Shani, Rahu and Ketu. The hasta mudras for each of these nine […]
In the Bharatnatyam dance tradition we portray mythological themes as well as everyday life as in stories of love or separation, seasons, bravery, kindness etc. The classical texts in this regard detail out almost all aspects of the contemporary life. One such example is the hands/mudras denoting the prevalent caste system which was actually closely […]
Using hand gestures to speak or convey is one of the most beautiful features of the Indian classical dance forms. Hand gestures that denote the relationships within the family are known as Baandhava Hasta, as explained in the texts of Bharatnatyam dance form. Dampati Hasta: Husband and Wife “Vaame tu shikharam dhritvaa dakshine mrigasheershakaha Dhritaha […]
Dasaavataram is a term often referred to as the ten incarnations of Lord Vishnu, the god of preservation, in the Hindu tradition. Vishnu is said to descend in a new avatar to restore the cosmic order and eradicate evil on the earth through subsequent ages. InBharatnatyamdance form too it is often depicted and the classical […]
Hasta is the Sanskrit word for hand and Deva means God. So simply translated, the hand gestures which depict the Gods from the Hindu tradition are known as Deva Hasta. Each representation thus becomes unique to one particular God and becomes universal in most classical dance forms of India, such as a depiction of man with […]
aking a turn while dancing is broadly what Bhramari can be understood as. Bhramari lakshanam in the classical texts thus describes the various flights. The shloka according to the Natyashastra is as follows: Bhramaryaa lakshanaam yatra vakshye Lakshanabhedataha Utplut bhramari chakra bhramari garudaabhidaa Tatha ek pada bhramari kunchitabhramari tathaa Aakash bhramari chaiva Tathaa-ang bhramareeti cha Bhramaryaha sapta […]
Similar to the types of neck movements or eye movements the types or walks or gaits also known as Chaari Bheda, are also documented in the Natya shastra. The shlokam for the chaari bheda is as follows: Athaatra chaaribhedaanaam lakshanam kathyate mayaa Aadou tu chalanam proktam prashchaacham kramanam tathaa Saranam vegini chaiva kuttanam cha tataha param […]
Lord Shiva also known as the Natraj or Nateshwar, the lord of dance, as cosmic ecstatic dancer is one of the central figures in the classical dance tradition of India. His divine dance is considered the source of creation, preservation and dissolution of the universe. However, contrary to popular belief, Shiva not only dances the vigorous and fierce Rudra […]
Natyasashtra, the exhaustive classical text of stagecraft in the classical dance tradition has detailed description of all possible characters. Earlier we have talked of The Nayak and the Nayika. Today we take up the friend or the Sakhi. The Ashtanayika always have a friend who helps them in dressing up, making arrangements for the Nayaka’s […]