Nandikesvara’s Abhinayadarpanam (AD) written around 1000 A.D.
is
the most important text on gestures used in dance and theater after
Bharata’s Natyasastra.
An online version of these textbooks can be found at
https://archive.org/details/abhinayadarpanam029902mbp
https://archive.org/details/NatyaShastraOfBharataMuniVolume1
You can download them as a PDF or for Kindle.
Some key Shlokas (Verses) from these texts.
“GururBrahma GururVishnu
GururDevo Maheshwaraha
Guru Saakshaat ParaBrahma
Tasmai Sri Gurave Namaha”
Guru (dispeller of darkness) is the Creator (Brahma), Guru is the
Preserver (Vishnu),
Guru Deva is the Destroyer (Maheshwara)
Guru is the absolute (singular) Lord himself,
Salutations to that Sri Guru
(Salutations to the one who himself is the creator, the sustainer, the
destroyer and ultimate consciousness.
1
“Aangikam Bhuvanam Yasya
Vachikam Sarva Vaangmayam
Ahaaryam Chandra Taaradi
Tam Numah Saatvikam Shivam”
• Aangikam – Body
• Bhuvanam – Universe
• Yasya – Whose
• Vaachikam – Speech
• Sarva – All
• Vaangmayam – Languages (Sound)
• Aaharyam – Ornaments
• Chandra – Moon
• Taara – Stars
• Aadi – Etc.
• Tam – That
• Numah – Bow
• Saatvikam – Pure
• Shivam – Lord Shiva
Whose Body is the entire universe,
Whose words are all literature/sounds,
Whose ornaments are the moon and the stars,
To you, we bow, Oh Pure Lord Shiva!
2
“Khantaanyat Lambayat Geetam,
Hastana Artha Pradakshayat
Chakshubhyam Darshayat Bhaavam,
Paadaabhyam Taalam Aacherait”
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 Thato Dhrishti
Yato Dhristi Thato Manaha
Yato Manaha Thato Bhaavaha
Yato Bhaavaha Thato Rasaha”
• Yato – Where
• Hasta – Hand
• Thato – there
• Dhristi – eyes
• Manaha – mind
• Bhaavaha – expression
• Rasaha – emotion
Where the hand goes, the eyes must follow
Where the eyes go, the mind must follow
Where the mind goes, so follows the expression
Where the expression goes, so follows the emotion
3
“Dharmyam yashasyam aayushyam, hitham buddhi vivardhanam
Lokopadesha jananam, naatyam ethadh bhavishyathi
Na thath gnanam na thath shilpam, na saa vidhya na saa kalaa
naasau yogo na thath karma, naatye asmin yanna drshyathe”
Dance confers spirituality, success, and longevity. It promotes the
growth of pure intelligence.
It generates worldly wisdom, and will always be in vogue.
There is no purer knowledge, no purer sculpture, no purer learning,
no purer art, neither yoga nor karma, than that found in dance.
“Om Sahana Vavatu
Saha Nau Bhunaktu
Saha Veeryam Karavaavahai
Tejasvinavadi Tamastu Maa Vidvishavahai
Om Shaanti Shaanti Shaantihi”
• Saha – together
• Nau – both
• Avatu – may he protect
Om, May we all be protected,
May we all be nourished,
May we Work Together with great energy,
May our Study be Enlightening,
And not giving rise to Hostility
Om, Peace, Peace, Peace
4
“Eta Chatur Vidhopetam
NaTanam Trividham Smrutam
NaTyam Nrittam Nrityamiti
Munibhir Bhartadibhihi”
The four kinds (of Abhinaya) that
Dance is attached to, is of 3 forms
Natya, Nritta and Nritya
This is according to Bharata Muni and other sages.
“Vishnu Shakti Samuthpanne
Chitra Varna Mahitale
Natyam Karishya Bhudevi
Padaghatham Kshamaswame
Devatanam Shirastastu
Gurunamasya Samsthithaha
Vakshsthaschaiva Vipraanaam
Sheshatwa Niyamo Bhavet”
(Combination of 3 shlokas from NatyaShastra)
Uplifted by the power of Lord Vishnu,
You have many wonderful qualities (Bhudevi/Mother Earth)
I am about to begin my dance, Bhudevi
Please forgive my foot stampings.
Salutations are offered above the head to the Gods,
At the forehead to the teachers/Guru,
And at the chest to the scholars.
5
Head Movements (Shiro Bhedha) (9 in
number)
Samam Udvahitam Adhomukham Aalolitam Dhutam
Kampitamcha Paravrittam Utkshiptam Parivahitam
Navadha Katheetham Sheersham NatyaShastra Vishaaradaihi
Eye Movements (Drishti Bhedha) (8 in
number)
Samam Alokitam Saachi Pralokita Nimeelite
Ullokita Anuvrittecha Thatha Chaiva Avalokitam
Ithyashtau Drishti Bhedhaha Syuhu Keerthithaha Poorva Suribhihi
Neck Movements (Greeva Bhedha) (4 in
number)
Sundari Cha Tirascheena Thathaiva Parivartita
Prakampita Cha Bhaavagnaigneya Greeva Chaturvidha
6
Eyebrow Movements (Bhrikuti Bhedha) (6 in
number)
- From Natya Shastra
Sahajam – Normal eyebrows
Patitam – Bringing both eyebrows together from Sahaja position.
Utkshiptam – Raising the eyebrows together
Chaturam – Up-down movement of the eyebrows together
Rechitam – Raising one eyebrow at a time
Kunchitam – Bringing both eyebrows together from Utkshipta
position
7
Single Hand Gestures (Asamyuta Hasta) (28
in number)
Pataaka-s
Tripataako
Ardhapataaka-h
Kartarimukha-ha
Mayura-akhyo
Ardhachandra-scha
Araala-h
Shukatundaka-ha
Mushti-scha
Shikhara-akhyascha
Kapiththa-h
Katakamukha-ha
Soochee
Chandrakala
Padmakosha-h
Sarpashira-sthatha
Mrigasheersha-h
Simhamukha-ha
Kangula-scha
Alapadmaka-ha
Chaturo
Bhramara-schaiva
Hamsasyo
8
Hamsapakshaka-ha
Sandamsho
Mukula-schaiva
Tamrachooda-h
Trishulaka-ha
Itya Asamyuta Hastaanaam Ashta Vishati Reerithaa
Double Hand Gestures (Samyuta Hasta) (23
in number)
Anjali - shcha
Kapota - shcha
Karkata - ha
Svastika – statha
Dolahasta - ha
PushpapuTa
Utsanga - ha
Shivalingaka - ha
Katakavardhana - shchaiva
Kartarisvastika - statha
ShakaTam
Shankha
Chakre - cha
SampuTa - ha
9
Paasha
Keelaka - u
Matsaya - ha
Koormo
Varaha-shcha
Garudo
Naagabandhaka - ha
KhaTva
BheruNDa
Ityete Sankhyaata Samyutaha Karaha
Trayavimshati Rityuktaha Poorvagai Bharatadibhihi
10
Terms specific to Kathak
(Some definitions from “Ang Kavya” by Pt.
Birju Maharaj)
Maatra – Beat (unit of measuring duration of a Taal)
Taal – Timecycle (cyclic arrangement of beats to measure time)
Sum – First beat of a Taal from the next cycle, which is usually the
most accented
Taali – Clap (accent)
Khaali – Blank beat (negative accent)
Bol – Syllables
Vibhaag – Division of the Taal into different Taali/Khaali
combinations
THeka – Rhythmic arrangement of syllables of any Taal played on the
Tabla/percussion
Nagma/Lehra – Melodic phrase that supports the rhythmic structure
of any Taal
11
Gati – Speed
Laya – Tempo (The gap between two strokes/beats determines this).
Three stages are Vilambit – slow, Madhya – medium and Drut – Fast
Barabar/Ekgun – 1:1 ratio of Bol to Maatra
Dugun – 2:1 ratio of Bol to Maatra
Chaugun – 4:1 ratio of Bol to Maatra
ATThgun – 8:1 ratio of Bol to Maatra
Padhant – To recite
Some common Taals danced in Kathak – Teen Taal (16 beats), Jhaap
Taal (10 beats), Kaharwa Taal (8 beats), Dadra Taal (6 beats), Rupak
Taal (7 beats), Ek Taal (12 beats), Dhamaar Taal (14 beats)
Ginti – Counting (numerical patterns)
Bedam – without a pause/gap in the rhythmic structure
Dam – with a gap in the rhythmic structure
Tihai – rhythmic phrases/patterns repeated 3 times.
Chakradhaar – Three times repeated
12
Tukra/Tora – small phrases of rhythmic compositions performed
with the entire body (Natwari, Tatkaar, Sangeet, Paramelu)
Paran – rhythmic phrases composed of only Pakhawaj syllables (bols)
executed with vigor and virtuosity
Jaati – The arrangement of syllables (bols) against the number of
beats (maatra), in measuring the musical time. Five main varieties
are:
• Tisra (3 in 1 maatra),
• Chatusra (4 in 1 maatra),
• Khanda (5 in 1 maatra),
• Misra (7 in 1 maatra),
• Sankeerna (9 in 1 maatra).
Yati – the imaginative shape formed by the arrangement of bols in
any rhythmic composition. Five popular varieties are:
• Sama (even format),
• Shrotgataa (narrow to broad),
• Pipilikaa (heavy on both ends, light in the middle),
• Gopuchcha (tapering) and
• Mridangaa (small at the ends, broad in the center).
Layakari – Rhythmic interplay
Edi – Heel
Panja – Toe
13
Ardhaagath – Side stroke of feet
Hatheli – Palm
Nazar – Glance
Kalaas/GaTTaa – Wrist movements
Kasak – Twist of the upper torso
Masak – Movement of chest due to inhalation and exhalation
Gardan ka dora – subtle, sideways neck movements
Meend – A circular movement overhead (connecting the space
around)
Palta – Reverse (back and forth) turns
Chaal – Gait, stylized walk
Lachak – Grace
Andaz – Poise
Adaa – Style
Chakkar/Pheri – Pirouttes/spins
14
Basic Kathak hand movements with stance
Naman – Both hands in loosely clasped position, 6 inches in front of
chest center, right palm over left. Legs are straight and feet are in a
small V. This is the main posture of the hands for all footwork.
Utpatti – Both hands brought near chest center, first finger tip and
thumb touching each other (Arala hasta), palms facing downward.
Almost all Nritta hastakas start from this position.
15
Sthira – One hand remains at Utpatti position, the other extends
firmly on one side of the body, palm facing down. The leg is also
extended 5-6 inches on the same side as the hand.
Palat – Turning the palm over with the rotation of the wrist. Slight
rotation of the upper torso
16
