This is in continuation of our series on Karanas as explained in the classical texts. In this blog we discuss the formation, meanings and usage of these karanas.

3. Valitorukam(folded thigh)

Sukathundamyadahastauvyavrittaparivarthithau
Ooru cha valithauyasminvalithoruthaduchyathe

Scholars explain valithamas the twisting of the thigh. The sculptures in Thanjavur depict a folded and lifted thigh, bent at the knee and turned inwards with Shukatundamhands over the chest. Others also believe that this Karana includes the hands being held in Sukathunda Hasta, with the thighs a little apart and the knees bent.

This graceful yet complicated Karana can be used for young and bashful characters, like the MugdhaNayika.

4. Apaviddham (violently shaken)

Aavarthyasukathundakhyamooruprishtenipathay eth
Vamahasthamthathavakshasyapaviddhamthuthathbhaveth

In this Karana, the right hand in Sukathundamis placed on the right thigh and the left hand is held near the chest in Katakamukhahasta. The movement includes the whirling and dropping of the right-hand while the left hand remains static at the chest.

Due to a variety of interpretations, this Karana’s original form (as defined by Bharata) has changed. While it can be of a graceful nature, it can also be used to depict jealousy or anger.