■*HKc1 k '(TRT F§d yik-l dild k FF7 4k 41 kl WFTT TFT 'tl Dance in India has a living tradition dating

adition dating back to ancient times.

fkkF ffrI' kt Tggrf, fkdikkl, kkifk* Fkr, TFRrkf ft! ftt-f^ff Excavations, inscriptions, chronicles, genealogies of kings
and artists, literary sources, sculpture and painting of different
FRT FidIFiKf. -HlfefcitFi ktk, ^RtFidl 4k pFFFidl k ^TTW WI
periods provide extensive evidence on dance. Myths and
FFFW gt4 tl MHlpJIcb F7RTF; 4k FFFTRTTf kt gR fkFR RTF RR«fF FRFt
legends also support the view that dance had a significant place
f tk RRFIf RFFT % Rk FRF RRTR k ^JRT 4 F^T HgcF^l TRTF FFTFT in the religious and social life of the Indian people. However, it is
rti Rkk 3ttr y-dfdd ‘ffttrIf’ Fkf ft ‘firft’ % rr k nRkid Mfr not easy to trace the precise history and evolution of the various
% fktFR 4k fkkFF gfdgi-H ff kkilkd frft strttf Rif ti dances known as the ‘art’ or ‘classical’ forms popular today.
In literature, the first references come from the Vedas where
RTfgRF k RgtFT kgk kk k fkeM t, Rgf ^trt f kktF ff f^fr ti
dance and music have their roots. A more consistent history of
FRT FF T/T RTTFT k4lf4d gfcrgRI HglFF°i)l', RkF RTM, FlfkF RTfgRF
dance can be reconstructed from the epics, the several puranas
FRF FTFFF RTF RTpJ F4f, RF Rk^d k F77^ 4k F7FF7 k RR k RTF and the rich body of dramatic and poetic literature known as the
rt4 I, k ■'jkkfkr fkFi rt rfftt ki w^kr RkfR ftfft ito ff nataka and the kavya in Sanskrit. A related development was
Ifffr rft Ffkr 1ff>ir k, Rt Tjakd ft^f, Tjsrsk' 4k arpfrfk. ktkfrfkRF the evolution of classical Sanskrit drama which was an amalgam
Fki. kkkr frt kklFF kkMk ff fft RffRRR fi z^f 12 kf Rgt k of the spoken word, gestures and mime, choreography, stylised
movement and music. From the 12th century to the 19th century
i9kf ek fft 3t4ft yiklki^b rf k, fkk RRtFTcRFT kei fi kkrr-FTFFr
there were many regional forms called the musical play or
FTgT RFFT tl RRtFTRTFT keff k k dckn dl-kld ^-Rkf RTF FFF sangeet-nataka. Contemporary classical dance forms are known
I37TI to have evolved out of these musical plays.

7fgk k gt g#FT RFF7T k Rlf-TRIT kkdkkk FFeT kt FFk kt Excavations have brought to light a bronze statuette from
4k ^RTT gRRT FFFT (2500-1500 fRF Iff) FF RF7 FFT f3TT RRI t Mohenjodaro and a broken torso from Harappa (dating back to
2500-1500 B.C.). These are suggestive of dance poses. The
kk ^r TjgTkf kt ttfft ti rtf k ffrr arr^fk k str^f k rr k
latter has been identified as the precursor of the Nataraja pose
gk HSFMI FFT, fkk RTR ?k 97 -Jed FRF sTF, fkd % RR k '-16'dldl commonly identified with dancing Siva.
FM tl
The earliest treatise on dance available to us is Bharat Muni’s
■gk ’rorgk rtt ftffffrr, ftiffIf ^jrf ft wfIf k«t % ^ k ffff^t Natya Shastra, the source book of the art of drama, dance and
t, kl diddi. ^dd kir thjDd kt ftctt kt kld-HHidi ti srrkk fi Fg music. It is generally accepted that the date of the work is between
the 2nd century B.C. and the 2nd century A.D. The Natya Shastra
TktFFF tkFT FFF7FI t fk <^H-0 TTFt 'fw'jt - ^Fk TTFt ^f41 7R( gF FFk
is also known as the fifth Veda. According to the author, he has
FF 7FFF tl d/dd 7//7-F kt HldF kg k FF k kt ^lldl ^lldl tl 4<3d> evolved this Veda by taking words from the Rig Veda, music from
k ar^FR rfF gF kg ff fkFFF k frf, firff k kkiF, F^kg the Sama Veda, gestures from the Yajur Veda and emotions from
k k^-' ate 378rkkr k rtf kFR fkFi ti fft f^t rffift kt t fk the Atharva Veda. There is also a legend that Brahma himself
RFFTF FgFT k FRF' F7RR kg %M t. fkFk 36 000 FdftFT tl wrote the Natya Veda, which has over 36000 verses.
In terms of the classical tradition formulated in the Natya Shastra,
W&I-W&f k 7JFR5 FTRFtF FFF7I kt tteft k 4k kktF FFFF7 k
dance and music are an inextricable part of drama. The art of
aqkFktF rtf ti ftffftrtt k gFk Fkt r1Rhf> afkf kt fft riff t
natya carries in it all these constituents and the actor is himself
aft FRTIFF7 7FF d<fdi FRF RTFFT gt?Fl tl FF^FFFFt FFF Ftk FFFt k the dancer and the singer, the performer combined all the three
kktfkF FRFI tl FRF k FTR-FTR 3Rrk 3RF FTRF k 3RRT gt RFT afk functions. With the passage of time, however, dance weaned
TFFF FRT tkfkR FRTT k RF F FfgfkF |[3TT| itself away from natya and attained the status of an independent
and specialised art, marking the beginning of the ‘art’ dance in
FTFtF ktF-fFR'kt k 3TJFR ^RT k #T Fg^aft F7 fkFR fkFI RTFT India.
t- F7RF, ^R7 afk ^F7| FTFF k Hldkld FcF F7 FFFR RTRI RTFI tl
As per the ancient treatises, dance is considered as having
FTRFFFt ^rF-dldFi FF k aqfFtTFF 3TFR aTfkFFFT ^rd-^nl k gF FgFJ three aspects : natya, nritya and nritta. Natya highlights the
kt ^FFgR k cTTFT RIFF tl ^R7 ktfgTFT arfR^FF t 4k Fg fktF ^F dramatic element and most dance forms do not give emphasis
k FFT fFFF FT fkFR FF FfFFTFF FRk k fgFF; FFJF fkFT RTFT tl fRT to this aspect today with the exception of dance-drama forms
like Kathakali. Nritya is essentially expressional, performed
<jF} FF k FpSF grd t, RgT Flfk Fit dfdfqfkFT F Ft fkkt RTF FF Futd
specifically to convey the meaning of a theme or idea. Nritta on
FRFt t 4k F gt k fkkt ark FF FfFFTfgF FRFt tl ^JRT 4k FTFF k
the other hand, is pure dance where body movements do not
FRTFFFTt kT k y-H^d FRF k Rm, RFT dcfkl Fit FFTFt FF FFK FRk express any mood (bhava), nor do they convey any meaning. To
k y4lIJl gtFT Flfg^l Fg FF7F t- sfTTJT, gTTF FTWTJ, Wfc. ife, WJ, present nritya and natya effectively, a dancer should be trained to
Wt^TrR, 37^gc7 4k Wrfl communicate the navarasas. These are : love (shringara), mirth
(hasya), compassion (karuna), valour (veer), anger (raudra),
FRt ttftFFf 1RI FTFtF FFtFRFI-FTFR 4k rffPJ FF aTJFRFT fkFT RIFT
fear (bhaya), disgust (vibhatsa), wonder (adbhuta) and peace
ti kgR'jFFffkF, kkfkr, fFkfFT 4k aftRrkt ti cF7R7 7RtkfkF, FkrR, (shanta).
tf'MIrHcb 3#7 7#7 tl 3jfmv 317 RpRflRd 37*1 STf### || 3^ Sjffafr, An ancient classification followed in all styles is of Tandava and
#7 3#7 37#; qf/A/cb, 3733 3#7 31*73; 37717#, #37137 37# 37733177 3#7 Lasya. Tandava, the masculine, is heroic, bold and vigorous.
Lasya, the feminine is soft, lyrical and graceful. Abhinaya,
Hlfacb, «TTcrf 3#7 3^oMr«kl4 % £177 -HJ-MlRd f#!3T 37777 tl
broadly means expression. This is achieved through angika, the
373 3#7 #R<#cK-#t ^3 TfsT^TRT # 1?3 317 3137 #1 ^3 # f#37T f#137 body and limbs; vachika, song and speech; aharya, costume
and adornment; and satvika, moods and emotions.
i, f#77# 3733-37Tk 33 33#f3 37f#3f=k1 % W f#137 37777 tl mk
( 37#) % 3TJ3 HHcflil 37# 3# f777, *75, 337# 3?k f#3# 3#' #1 733 Bharata and Nandikesvara, the two main authorities conceive
of dance as an art which uses the human body as a vehicle
# 3*77 ## HH#k 3#' ( 337#?) 3# #f#t # #317 3# 337 #1? % 77#
of expression. The major human units of the body (anga) are
37# 3*77 333 ## ## % M 4 M13H 3# 377# tl
identified as the head, torso, the upper and lower limbs, and the
3733 % # 3Tf3ft33 31TJ, 33g3t3R3 37# #f#t % 3333 tl 317 minor human parts (upangas), as all parts of the face ranging
3733131737 #1 # 3333 t, f#3#l 313 f-373333?. 31 7#q# 33 37?M3lR+ from the eyebrow to the chin and the other minor joints.

y3J<rTl33IJl t #7 17777 7#3iy#?, 3# 313 7#3>, 3*77#<=ll'0, y<jiJcl<=lI«CI 31 Two further aspects of natya are the modes of presentation
37#f#31 #1 73} # 33J3Tft3l #t#1 37 ## 3# 377 37# 3 3‘H^d f#37 and the style. There are two modes of presentation, namely the
Natyadharmi, which is the formalised presentation of theatre and
73T 7731717 f-#773ft, 7=7733 31cf % 77377 3 113717 33^3, 3^ #1f#31?3;
the Lokadharmisometimes translated asfolk, realistic, naturalistic
3733c#, 37#77#1 17#f#77; 377737#, 33 313# 33 f333 13131 3173 t, 713 or regional. The style or vrittis are classified into Kaiseki, the deft
373333 177317 33313 f3T31 3ldl t 33k 3737# 777flfc331 f33333gl lyrical more suited to convey the lasya aspects, the Arbatl, the
energetic masculine, the Satawati, often used while depicting
?raif«73l' % 13333 % 3713 37777 # 173 #71 % f#f#3 31# # f#3##7T
the rasas and the Bharati, the literary content.
13711 133# 37331 1331 ## # 33 f##3 3#?! 3# 77#flf# 3# 7713 f#37
Nurtured for centuries, dance in India has evolved in different parts
37#31 3 37331 f#fW77T 3737 3#I 373: ‘3377’ 3# 37#31 3371 #337' 3#';
of the country its own distinct style, taking on the culture of that
f##' 13 3773 377137331, 31331731, if###, 31*731, 3f#J# 37k #f#77l
particular region, each acquiring its own flavour. Consequently,
tl73 373# tl 317 37lRc||7Hl 37# T773# ## % 173 3*77 yRRl=h a number of major styles of ‘art’ or dance are known to us today,
f#f33777# t, 3# 77737, #773 % it# 773KM, 3373 37k 331 3# #1 like Bharatnatyam, Kathakali, Kuchipudi, Kathak, Manipuri and
WA #1 373777 # 77*3f#77 t'l #33 37773737? % 3TT1373 #7 3777313# Odissi. Then there are regional variations, the dances of rural
and tribal areas, which range from simple, joyous celebrations
3# Till'd 317# #1 i#V, # 173 l#V, 31# tl 3773 317 377*jf#31 3##I77331
of the seasons, harvest or birth of a child to dances for the
173 #1 f#1 # 331 TTP# 33 f#3!T3 tl
propitiation of demons or for invoking spirits. Today there is also
a whole new body of modern experimental dance.
 Bharatnatyam Dance
Bharatnatyam Dance is considered to be over 2000 years old
RWHIiRH feR 2000 RIFR ^ 3 tl RqRRfR % JldJ-WN-J (200
Several texts beginning with Bharata Muni's Natya Shastra
Irt ^ R 200 fefe Rfe fe rttr rttir qpi aqfeq ferf (((■w+T) qq (200 B.C. to 200 A.D.) provide information on this dance form The
rr ^ rr Rq rhrkI wr feft ti fefecu grn Tf^m fefeq few Abhinaya Darpana by Nandikesvara is one of the main sources
■H<cni<iiH ^?r r, fet Rqf RfetfR % criraii feq dR-flfe r?rrr % of textual material, for the study of the technique and grammar
ffe Rife (TjRT^t) fTmrft RR RRqR qfe fl RRT ¥F#T RtTcR Rft of body movement in Bharatnatyam Dance. There is also a great
deal of visual evidence of this dance form in paintings and stone
Rig feq Rc«qq Rff Rferfe rr«rr ffef R' Tqq ^rr rr % fRqqjR cdd^K %
and metal sculptures of ancient times. On the gopurams of the
fefeq wi ¥t Ifefe ti ffeqRqq Rffe % fejqfe' rr qwni<qq ^r Chidambaram temple, one can see a series of Bharatnatyam
Rft ^TfTTRTaTf RTl TJ^q feRRT 3fe fefeq SRI RrRR RR RRR Rqq Rfe fe poses, frozen in stone as it were, by the sculptor. In many other
Rfefe fet rt qqRqqft f 1 fefe q^ri' 3 fefeeii ¥ ^q fe fe fee wfe temples, the charis and karanas of the dance are represented in
RR rtrr fen rrt t feq fer ^qq rtt rrrrr fen rt qrRqRt ti sculpture and one can make a study of the dance form.

Bharatnatyam dance is known to be ekaharya, where one dancer

'Hqci'ii</qq RtR R?f ij,chgi4 % q?R R r( -JtMi miicii i?, RfR fefe RRqqq
takes on many roles in a single performance. In the early 19th
Rqfet 3 aqfer fefeiif Rqqfe f, in? rtri «i f ffe lfef qfe % aqiqnq century, the famous Tanjore Quartette, under the patronage of
if, <ni qqqRRfe % qqfepR % aeq feiW % Rffet rr RTsfe R RqRRTRRR Raja Serfoji are said to have been responsible for the repertoire
% Rqq feid rr feW fen «n, fe fe rtr fefe fen ii of Bharatnatyam dance as we see it today.

&41 fowl ?rt tr feft Rqf fetfe qqn wi fewfe rtarr r 3 RRfef The style was kept alive by the devadasis, who were young girls
‘gifted’ by their parents to the temples and who were married to
eldl *ff, Rt 3qfe Hlai-ffei 1RI Rffe R>f RH ¥ if fe Rife fe feq chrii
the gods. The devadasis performed music and dance as offerings
ffes? fenfe fe elcii rti fefefew feffe % fern fe, fernfe fe aqfei
to the deities, in the temple courtyards. Some of the renowned
% rr 3 qqfer r ^r RqjR Rqqfe fei ?qq qfe % Rn5 ¥ffes Tjqfe aqfq performers and gurus of the early part of the century belong to
sqjmcfe' (fen r fefeqf) rtt fe>q -fefe ferfe' ^ t, ffe' Rim the devadasi families, a well-known name is Bala Saraswati.
qqqqfef n^q Rfn feffe npq ti The repertoire of Bharatnatyam is extensive, however, a
performance follows a regular pattern. At first there is an
qqcHiddq nn qfeqsnq Rgqr ffegn fen "f, Rfen? qRqjrffern q ffeffe
invocation song. The first dance item is the alarippu, literally
fii'P) Rn 3qqR7qqn fem rm "ti qq^qq nfe wr q^Ri-nm fen ^1 wrt meaning-to adorn with flowers. It is an abstract piece combining
nRRq smfb t, ffem fefeq fe t-Tjfef qt qRiRni r? fer pure dance with the recitation of sound syllables.
aqfe % -qnqq % qn?q fe qqfem Rn n^q aqrjcf q§^ ti The next item, the jatiswaram is a short pure dance piece
sqnqn iqdvn, bb°fTR n(Rq nr^ ■jrq <aus 't, fe Rqnfeq qffer performed to the accompaniment of musical notes of any raga
of Karnataka music. Jatiswaram has no sahitya or words, but is
% feqqf qm fe qqfennRRq qfe fe qn?q qmnR ffen rtri ‘i'l wfw^vj
composed of adavus which are pure dance sequences - nritta.
“4 fefeq rt ?i«q fef fe nq 3i-$% fe q^rn fe qfet t", fe njqg; ^qq They form the basis of training in Bharatnatyam dance.
RqR--^ fe tl RR RqrRTdRR, ^JcR R' RfeRR % anRH1^ RRqR tl
As a solo dance, Bharatnatyam leans heavily on the abhinaya or
R<dHI<n*i fe RRT RRqR ^J?R fe Rfd fefe ^RiTR 3fem RT ^R fe mime aspect of dance—the nritya, where the dancer expresses
qfe Rfe-^rR rt fen 1?, RRi fefe nPdfdfR 3ftq qfen 'giqT qnffeq RR the sahitya through movement and mime. Shabdam follows
the jatiswaram in a Bharatnatyam dance performance. The
■fefeiRR Rqfe ii R<ddi<dH ^r % feq RRfe wfm^Tj rr aqjqqqqn
accompanying song is generally in adoration of the Supreme
yi&lH ski ffen 'rtri f?i qnR "4 rtrt qRR rmi fen sqqfetq nq qqfeER Being.
qrcRT (feq) Rqt srrrrt feft li
 STTdHIdil^^T Bharatnatyam Dance
After the Shabdam, the dancer performs the Varnam. The
77^? % ciu^n ^TTcft tl ^nfarj iRrHIcMH WTZeT
Varnam which is the most important composition of the
^ ^ ^\ tT^c^f ttert f, f?p7' ^77 VII Ml if ^>7-7^ % TTRf =T7
Bharatnatyam repertoire, encompasses both nritta and nritya
TfTTTVT afk ;7rT 7T87T frff ^7T TffwTW ^tcTT tl ^T ^#77t tt and epitomises the essence of this classical dance form. The
7t TMrTO mjt TT^gcT ^TTcft t, "sff 7TT % ^PTT fmuj ^ dancer here performs complicated well graded rhythmic patterns
t 3^7 R77% 777fto? ^1 ■qpRFTt ^7t faf*FT TR^tf 7t y^fvfd RTTrff in two speeds showing the control over rhythm, and then goes
on to depict in a variety of ways, through abhinaya the lines of
tl Tpr ^UI-1 3TfoHy t ■id'+Tl ^ff 9lkldl 7? sffa -jrM <=t^<r11^+iI< ^ff Tncisld
the sahitya. This portrays the dancer’s excellence in abhinaya
7'd'1lrHchdl ^TT yfdfdM *ff tl ^rpjTj TTKtk f «J|cT 7jT7 T^RTSff and also reflects the endless creativity of the choreographer. The
f 3 73^7 tl Varnam is by far one of the most beautiful compositions in Indian
dance.
^7T ^Tfed wf^j % Rffeft Hdl^fddT T3=?7 M^TctT TTf Ttrfq^TT
•^n wl 777377 ti *m rt w %} % 3#m,
After the strenuous Varnam, the dancer performs a number
of abhinaya items expressing a variety of moods. The bhava
TTftr ¥1 MPdR^PTf 37k F777 ^SlP £777 3Tf>7SR77 f^FTi =37lt t’l f^T T^f
or rasa is woven into the sahitya and then expressed by the
7#' t' 3 73=77 777 =fH<7H -HlP^cil R 377^ TRR7 Rff ^fRTt t 3^7 Rr; t dancer. The common pieces are keertanam, kritis, padams and
^ RTfoft £777 37fqBcp^ pRRTT RTdT tl TTPTRT 7§Tra; Efc?^, ipfo, javalis. In the keertanam, the text is important whereas kriti is a
3?R Wddf tl 'qfc?rfd^ f TJef-RB t, RR7 ^ RR7 TRdT t, composition in which the musical aspect is highlighted. Both are
Pd-Hd TlMPd % 46^ Rf ychivi Slell ^TTcTT tl PdVhdl t tPdl RTR: Riflfdi usually devotional in character and represent episodes from the
lives of Rama, Siva, Vishnu etc. Padams and javalis, are on the
t 3fk 77R, fVTR, fk^J 377ft % Rff RRRaTTR 7777|c7 dTdt tl RTR
theme of love, often divine.
srk *iicidl td srk Rftn tf^F ^ sirofer trt ti
A Bharatnatyam performance ends with a tillana which has its
R-WHIiRH y-kjdlcbiui ter 3R fa rtf HI % 77787 ttc77 t. RF7 T77Tf RRTfk origin in the tarana of Hindustani music. It is a vibrant dance
ft^TdPTp 7nTtd % 7777=77 t tfdt tl ^ sgdTtt ( ‘jdldHH) ^ t, performed to the accompaniment of musical syllables with a few
# 77//g!oV Rff R773 Hidddl % 7TT&T TPUd % 37^t % 7rr«T-7TT87 TJTdTT lines of sahitya. The finale of the piece is a series of well designed
rhythmic lines reaching a climax. The performance ends with a
fdRTT RTTTT tl f^W ^ 3Tfd+PrMd MPW M'rdd'MT % RTRtdRp
mangalam invoking the blessings of the Gods.
R7 ^Tptf % 7TT?7 7^5 dTT -HdlMH tldT tl y^dl + dd ^7T 3Td WToT^,
The accompanying orchestra consists of a vocalist, a mridangam
WH t SdvMRd TTFTd % 77187 tldT tl
player, violinist or veena player, a flautist and cymbal player. The
TTTddT^TH % 7PTtd ^ TTirgR R tt^- Tjy^ -q^7 ^pg7t ^TdR7, TJ^T person who conducts the dance recitation is the Nattuvanar.
7J^TF7 ^d7, TTdT ^ptrjj cn^7 37k ^ +<dld 'dT^d7 tldl tl Rt ^rfdd
^7 dTT d7f^dT--qra dTTdT t, ^ -7<dqH/7 tfd7 tl
 Wkf <T2IT 3T^IMchl' % few JlfrlMsHTT
CREATIVE ACTIVITIES FOR STUDENTS AND TEACHERS

q^TT TOJcT qfqfqfkkf m 37T«nfTcT JHI^fdch km) qq 3^ 4) TSTqf The Cultural Packages on dance and the suggested activities
qrt Rth fkqkf k srqqq ^TTHt t : aim at familiarising the students with :
the grammar and technique of body movement of different
UTikT ^ qk fkfkq ^fd4 qk ^ndRch JiPdlklk qq ^i^ui kk
styles of Indian dance.
ddidldi;
- dance as a vehicle for communication.
— ■H'dK % fclk, ■Jcq T[qr cj|g^ % "4;
- the range of dance vocabulary and how closely it is related to
qk qik (trr) 3kc qi Ritt wr TrqnsTf, miHRkf qr
real life - through stories of kings, super-humans or animals
'dldcR'l' kfa t£77T qR q,llM ira dlTdfkq qftqq % fqq77 f; and flowers;
RTTfUc^w ct^tt TrnrdP srn RTq Tkf % 0.fd^irVi<+> i^qq qq the study of the historical evolution of dance forms through
3T«RRI literary and visual sources.

qir qr ^ qfqfkfkkr 7pk t]$ t, 17 17T 7tui k fqk qR fkk qR, A few activities have been suggested, however, there is scope
for using the illustrations in this package in a variety of teaching
d<6-d<6 qR f?T^icqqi 3R7 kl<sil qR HRR^rfTPTf R y^=w fqk qflR qR
and learning situations. The teachers are requested to use these
Rim ti fkstqR k 3T3^«r t % k ik R iitt ^ qiR 17 7m
in as many school disciplines as possible. They are also advised
Pqqql R yq)q R <qiql dk qi it T^id (Vdi qicii 7? fq] R -H'PId q -jcq to invite dancers to the school for practical demonstration in
% qqqiTfT^ qfkTrq R? fqrq; qRqR'-HRrq>q)' qR 7^77 R ttihTr qRi music and dance. Students may be taught small dance pieces,
T^rkf qq, qfq Rqq if eft, ^q % ttj Tqrng- fqqi^ ^ qqqr t, Tnfqr qqf if possible, for them to have a first-hand experience of rhythm,
music and expression through body movement.
qnkfTqr qfq % ira 77q, 7rqfq 3R7 irq qq qqq sr^qq w if ttRti
1. All classical dance forms in India revolve mainly around
1. to % qqf s* 117-5)1 q qloPqq q^qrarf 3R7 ifrfq R Rtt qq
themes from mythology and nature. Stories about gods
fqqqf % if i^-fRR ^rk f 1 RRt qqr RqcnsR. Tjsqf qq q^qq, q^fq and goddesses, the origin of the earth, different aspects of
% fqfqq qqf 3lfq Rr qR R qTirfqqf, q7FT q7*7]aR qq] qq] qrqisff' nature, etc. are selected from myth and legend and then
R Tpff 'dldl R 3tR fqq 3-1 ^?q 'gT7T y7qd Ptidl qidl 'll wR qPf communicated through dance. The students may be asked to
choose important deities, natural forms or real life situations
qq qiqqjaf ^fqqf/yit^* Tqrkf srqqi ip qffqq qff qfRkRRqt
which they have seen in dance, as for example,
qq qq^ Rr Pm, qrn qn Trqrqr i?, Pd-^ d-ill ^jcq im ■§■!
— Shiva, Vishnu, Ganesa, Parvati, Durga, Saraswati.
qqnqqisf,
— important rivers, sacred trees, flowers with symbolic
- fqq, fq*3, q1^, qi^cff, ^qf, qr-wrali messages or wearing ornaments.
- yicq^uf qfqqT, qfqq 3q^jqq qiq^ qi Mdlqirqq qiqff % They may then be asked to collect all the mythological stories
TTiq Tf77l and legends connected with each. For example :
fqq Tqqf qff qc^qr % 7TTq 7fqpqq qfqfqqr aft7 qq qrqisff qff — how Ganesa got the head of an elephant,
qqrfqq qq^ % f77q q?n qn TTqqn ti hhtr % qfc 17, — what was the outcome of the churning of the oceans,
— qffqT qff P+iq qqq7 nqf qq f7T7 wq ^31, — legends linked with the lotus flower, etc.
— qq^ q'qq % qqT qfqqrq Reference from books, interviews with senior citizens, the
— qqr77 % 'jd ^ ^ qq qrqiq 37]fqi observation of traditional customs and rituals can be various
ways in which to gather information.
ITT Tqq^r q' '^rqqff ^ Tfq’f qfqq, qqq qjqfTqif' ^ 7TT87T7qq7 7^77
% qHNKMd-qf^ 17 qqfqfq fqqn qn 77qqn t ark qn q qq1*! % This exercise will help the students widen their knowledge.
The material can be exhibited on the bulletin board and made
fkq qk qf7qfqRi-'577Tq] wm\ qq TTqqrr ti
into a project book for later reference.
2. qfq7f 3ff7 q'yiidql % qmRjq tfpjt sriqffqq fqrk qn 77qrq I, life 2. Periodic excursions may be organised to temples and
qqk fqrcq 3ik pqyqdi % fqqq k qqq tt%i qff fqqfq k qcq museums so that children may be exposed to sculpture
q TqqRqq f, qqqq fqrqq k aqqqq fq^TT qnu qrfiqi mf qff and painting. Those specifically related to dance should be
qm, ^k-Tjm^fq % qjq, gnq, qfqqnf, kq]^, ^j?q Tqqiq sfo
studied in detail. The students should be encouraged to
note down various aspects regarding each work of art-facial
3hi-hmi7h qq qfq]q7nT, 37Tfq % qqfqr qq^f % fqfqq qig-sff qff 37k
expressions, mudras, postures, costumes, dance formations
«tr ^ k? fdq ylcqiPid f%qi qnqi qrfiqi and even the surroundings and environment.
3-^q ■qjd % Wqf qff -Jrd 7^7 3^7 klcd q^TT Pdddidl qff fqfqT^ Students from the senior school may be asked to make a
qrg37f % kfq TPq^q qq 37?qqq q><l kr fdy, qriT qfl TTqrqT 'ti study of the relationship between the dance form and specific
items of sculpture and painting. A folder with photographs,
Tqqrfqqf, f^qfkkf qqi fqqkf % 77Tq qqr qrki7 kqq fkqi qn
pictures, observations and comments may be prepared.
77q77n ii (TTikt qff ^ ^kf' % Tiq iftfqq qrrqk % %q w
(Pictures from this package may be used similarly in the
qq qqkqq 37]qffkq qqk k T?f 7fm kr fkq kfq] qrff yq>K classroom before organising an excursion in order to make
k qr^T k kf qkfq k ttttt qq TTqk ti) the students familiar with the forms).
3. *5TRf R7t RR% gTTT ki RR 1TR-TRT R R^RR kt RT# R# fRfRR 3. Students may be asked to make large drawings or collect
!RT3Tt RT ydl^hlc-Mct, % fkt R4k4d RTTR RT Rk fRR RRFt k pictures of all the different mudras or symbolic actions used
f#7 rt?t rt rrtrt ti wfe tt?rt k Tim Rcfr rst kk kir fkRT in the dance form they have seen. A large board may be

RT TTRTRT tl RTRRT ip 3TRRT I’RdlcH'* y-kJdl=b3|J| k #k R# RTTRR

prepared with traditional decorations. Under each mudra or
pictorial representation, they may be asked to write its name
RTF. 3Taf sk iM-y'lPIdl f#kt % f#r RTRT RT TTRTRT tl R# RTRT %
and meaning and what it is used for. Senior students can add
7RR RRT RT ggT/RTR rTJRR fkR kT f, RTF W FT TTlfkR RT Rfa
the Sahitya or verses of the songs where the mudralaction
■% 75R (3RJRk) Rff RRk fl dk TJgT/RTR RR fkRR RftfkffRRf Tf
is used. An attempt should be made to project the use of the
y4l‘i k <rtH % firm, y^H fd->dI RHI RTfkfl
same mudral action in different situations.
4. yyi^Pd RTR (kk % RTR)-3TfRRR ^TR RTT RRr Rg^uj %FFTT ll
4. Facial expression- Abhinaya, forms an important part of
33^41yR> I gKT WR1 RTt k 777 RRRk RTflRT Pd<=(<1JI RTT Rkr W5ft dance. The teacher should explain the nine rasas to the
k 37F[ k ffTTTFR k fRR Rt Rt TTRTRT tl students. The details of explanation can vary with each age

■?TTk RTR REF RfRRTT arkRRTffRT keT # TTRTRT tl wk RTf 7RR:

group.

RRT^ # RffffkR RT RifTI-fi RT RRT RTR RTF TJRT TTR t RTTJR RT# An interesting informal game can follow this. The students
% klR RTRT RT TTRTRT f| RTSR % RTRTf 75TRf RTt RTRTRt RRT RTT TfRT can be asked to mime a mood in a self-created situation or
story. The rest of the class may be asked to interpret the
3TfRRR R oRRR TTT RTf RRTR k iRTR RTRT RTRT RTftR1 RR-TST %
story and name the rasa that it portrays. Bhaya or fear can be
RTR RTT, RRTRRRTsI fR RRTR RT3JR fRTRT RTF TTRTRT t-afk ak RR
depicted at length, for example, a child trapped in a dangerous
RRRT R TRRTRTRT RffffkR R RTRT f3TT RRT R^TRT 3TR TTRT T5TTRRT
situation in a dark and gloomy forest with a fearsome animal
RTRRT RRRR k^T RTTRT 7T3TTI fTT RTR RTt TTTRt ^gFaff ak RRTR
chasing him. Simple movements and prominent expressions
33fRoyPWR)' gTTl y fd Pd Pd d fRTRT RT TTRTRT tl
can reflect the mood.
5. 3TRRPTRT TTTRT7RT RfkRfRRT 33TRtPdd RR% # WRf RR RRRTt RTR 5. The teacher can encourage the students to improve their
RT c77ef RPt ^RFk % fdR yloHlP^d RR RR7R tl WRp RR RF^R rhythm and tala by organising simple activities. The students
cldK RR^ % foTR RTfT RT RRRFT i?, RRI RT STTRkRT y^i] gRT should be asked to prepare charts where the beats of the
RTRTrRRT dyl R>t RTRiart (did) RR fRRTcRRT RR "4 RRJR fRRTT RRT rhythmic pattern are visually represented using attractive
R^l fR’R-fRR RRR RRR k fdM, fRd-fRd R*k y11 R cTTR dH motifs. Different motifs should be used for each different time
RlPsy,! ( did ^ fksiTR R^ ycfld) Pr-rI RR RRTR RH^l'l % idy, y,Ri cycle. (A key can be made to explain the value of the symbols
shown in the chart).
RPdt (atHdlPdRil) RRT^ RT RFRRlt tl)
More experienced students may be given another graded
SrpRRT 3RJRRt 'TJTR)' RTt ktl 3RR RfRfRpRRT gt RT RTRRTt tl RTRRT
activity. Each student may be allotted a fixed number
T5TR Rft TTRT fRf?RR RRRTT % RRR RTRRF fgt Rlt RlftR. ak R^t
of time bars and be asked to create rhythmic patterns within
RTR ak RfRRf % fRfRR ypdkl' 3k RRTRRt % WI Rf ft^ RR
the given time frame, using various permutations and
RRR % rM % rIcK RFRTTRRT klR R><d % RdR RTRT RTRT combinations of speeds and rhythm This activity will bring
■RTftpi ^ yPdPcFpR TRTRTfRRT RRRTTRRkTT RR RTRR RTTRk ^k RfgRF out the inherent creativity and develop precision and
RRT TJRRTFRT RR PdRIR RTWfl concentration.
6. The teacher may give the students a project topic, such as
6. 3THTTRRT RJTRt RR tfRRT RpRR t ^TR t|rT RftRTRRT-lRRR t RRFR
‘Dance in daily life’. The students may be asked to observe
tl RJTRf RT) 3Tkf 3TTR-RTR % eM' R?) arfRoRpTRRl RRT tRTRTRRRTRf
the actions and expressions of the people around them.
RR tRRRFRR Rrk % ftTR RTRT RT RRTRT tl fRTT T5TR krrfRRT ^cR RT
Students can then compile a list of codified dance movements
ggTat RTt TIRT Tjk RRRrr rf TTRk t, RT RfRRT kRR t TT^RR tlcft
that are akin to those in daily life and trace their origin in every
t ak ^ RRRTT RRRR yPdP4d Rt dPlPlpTR) t T|R TTRit tl Rid I Rt day actions and mannerisms. The students must be made to
fR RTR 't 3TRRR RTRRT RTfgTT tRT RTeTT 'FR 3k tfdRT dldd— Tld) realize that art forms and real life are closely linked to each
3TTRTT t Rk Tgt tl RT3TTTeT, 3-t g>s4> dHH ySIM, ^id RT kRT chg| other. In fact, they may be asked to pick out a few common
RT RRTRT t ak fRTT't Rk RKRkTRT ^RR :p3Tf t -3H ddl RTRRRT % gestures and convert them into aesthetic dance movements,
3FJRR yRdftd RTT flR>c) tl using their imagination.

7. RRTR’k RlWR) R MIHlPdRi crIsk! % 3TRTTT RT WRF RT) RTg RTRT Rt 7. During important religious and social festivals, the students
TRRT RTTrT % kTTr RT?T R[ RRTRT t, fRTTt TRtRTT % RTFR Rt RRTRT RRT may be asked to compose short dances depicting — the
relevance of the festival, for example, birth of Jesus, Lord
ttl ddldTullk. tl ^ RFT, RRRT1 ^ RktTTTR RTRRT ak tlPdR.1 Rt
Buddha, the Nativity play, the story of Holika and the manner
RTgTRt RRT TRt?TT Rt HdM % d<k, fTRTfg R^T ydjd Pr'-II RT TTRTRT tl
in which the festival is celebrated. These dances may be
fR ^tr k kkr % fkr Rfri rt) ttrt r rttjr fkn rt ttrtrt tl Rf
presented at the school assembly on the day of the festival.
dPlPlPr T5TR Rit "^TT RTR RT 3TRRR RTTTRi t fRT PtvR TJRTR 3TR5Tt 3k
This activity will make the students aware of how the concept
TTcR RR fRRTT TTRt «kf RT R5TT RR1R TTRTRT tl of goodness and truth permeates all religions.
8. WRI Rff qq-llcHRidl RR <4|r4 % sbH R 3ffeqiMct,T RR Riley, fRl R 8. In order to discover the creativity of the students, the teacher
must involve them in interesting activities related to life,
RRf WWF-J q^q R, qftRR R RPR^Rc! t?pRRR MMirif R qftt'l 3W:
in general. The teacher may therefore distribute carefully
B^-RTCR! .BRRRiqf sffq qfRRR'qf 3 qTlRRHhjRRT ^ fir Wll fw
selected topics on relevant issues from newspapers and
rir! Rfl R q^id ill 3ms<unsl— magazines, for example,
- ritTr rT ariqqqqqTT
— the necessity for peace,
— Pe-Hi rR wRrt
— the futility of violence,
- RIHllRR 3RTfTPMTT
— social inequalities,
- Trcstq qqRn
— national integration,
- M^lcRUI qfTW
— conservation of the environment.
10 qf 15 WRi Rr qqjef qrt snqnpqr rri qqiRRRqt Rq 3 q^F
Groups of 10 to 15 students may be asked to form tableaux
hizrIr ^ qnRR rrtr Rr fRrr rtri qq ^irtrt ti wrU rR RIrirt
in an appealing and effective manner. The planning and
3tfc TTR-q^n 3qfq wR Rr qq^Ff giqt Rt rR rtfR ^n%qi designing of the tableaux should be done by the student
^i qfqfkfk rr r^?r ^raf k Rrri rtriri I sffq rrrR RdiaiR group themselves. The aim of the activity is to create
qfRqi rr qqRjq Rrqqi ti ?r si HR 41 rR qrqRq fqqqrf strri tRr awareness among the students and use their artistic
fqqq Rr siqqiq qq qr^gcr Irtri ^i qrRRri ii talent. These tableaux may be presented on sports day,
celebrations of national or other festivals.
9. fqqqRr R?R, RR Ropt Rr RtIRrt fRqpq qmiqfe 37«M 3RR IRrqR
9. A thematic dance ballet can be prepared for the school
qqkle Rr km; Rrr fRrRT qq qiRrqi ti qqqt sr^uw qqr qtm
annual day celebrations or any other function. The teachers
fqRTRTq RTTq RR qtRRl f 3Tjq 400-500 IJlRf RR RlRR TJRT RRRRTq can work together and organise a show involving 400-500
(?ft) qqgq rr rrri ti ?qtRr fqrq yi-h'Pi =h qrfR Rr fwi RR- students. Themes of topical interest like conservation
qrfrfq sik q^Pd rr rtr^rr, RisRRT. ’j® Rk qRRf, #q§knfqr4f of nature and culture, literacy, hunger and poverty, the
rR RTRRTq 3Tlfq RR RR1 Rll RRRT1 tl RqTT Pd^lldRId fRqW R^Rd problems of slum-dwellers, etc. may be enacted. Such a
mammoth production will reach out to the school and the
R«q qydld RRT Rf RfR RTRuTT tl
community as well.
10. rRrH (^ RRdlRlkf) rR djfRRT, RqRr ^RT rR RtfRTRl, RRHR RT^T 10. Lists of dancers, their styles of dance, the institutions where
R RRR RrR I, ^[cR Rr qfqRIR, ^pR qrqf qq TpqRr, qfqqqq;, qjfqqr they work, the academies of dance, books on dance-forms,
qfqqqq qqifqq qri qn qqqft f i iRRfRR rr k Irrh ri rrrii magazines/journals on the subject, may be compiled.
t, krak qfqqk srfqiw ^h+kI qi qn rri# ii This may be an ongoing programme in which additional
information can be noted every year.
11. 3iNRd, ^qi % qrot qgg qqqf q fqqfqq rr k ^Ri-qqqqf' rr
11. Nowadays, dance festivals are conducted regularly in all
3RRtqR fRRTl RR T?T tl WT qt % RRf k, fR4RTq, R,iu||cP
the major cities of the country. In recent years, the temples
3dlfq qsRdf % kfqr ^q ^qqf % %r^ % q^q k RR^qq of Khajuraho, Chidambaram, Konark, etc. have risen as
qind 3qk 'fi qqtRi % qqRtq Rt qqk k R^RRt % «idl centres for important Dance festivals. The Spic Macay
rrt qt qfR?l ti ?q ri4*hT rr fqqgR ^tra qql rrirr qqf k festival reaches even the students of schools in small towns.
tqqr qrrai ii wqf r4 rrirk qqi k qq Ri4*oi' % ®4kf R?f rrrR' Extensive reporting is done in all newspapers. The students
should be asked to collect newspaper cuttings, study
qRTfqq RRk, r^’ ?rrr SIKIRR RRR 3^tR RfR^R % RRk q'Rlef
them and keep a record for future reference. Names of
rr % fkq; riri rtpr Rif|q;i ^fR rr4rr4 q k qfeg: rrrirrr' artists and famous accompanists, information regarding
rri wirr4' % rtr, f¥qqR Ri ^fq qqgfRRf sfk dm, WOT rare or special items in the performances and interesting
3tTwft qq qfRRR fRRpqqf (qqqtaq) qqtrfqR Rft qipft Rifko; rri comments on tala, bhava and abhinaya may be collected
qqqq SIHTRR fRTRT RflRl RTlffTTI and studied.

12. Another very important activity must be organised for the

12. 3RR R^R qqdRTJlf qfRfqfRRT ^Jjjf % fqqi 3HdlPdd R?f RH RTRuff tl
students. In order to awaken in them an interest in all the
qqi 3rr qnqqtq rri ciW ^hI % qfq «i4t k <?Pr qrqr4 'Ig
other classical and folk dance-forms, the students must be
r^ riri qnRi RTffq fRd k fkq? ^ qq^ qfqfRR t, Rqrk 3rr encouraged to compare other dances with the style they are
•Jed ^41 R>t ejddl Rkl familiar with.

qnVj>PiR) rtir q^ qfqi^r 4>q\ 'grci rrt qq Iirr Irri qR Rfikt R> By studying all the packages on dance prepared by CCRT, a
variety of activities may be organised. In addition, exhibitions
3TWTRR giqi fqfRR RRRd Rit dPlftPlRl 3Hl4lPdd Rit RH RRidl "t, qRR
with pictures, charts, costumes, musical instruments, and
sfi RKdlq ';jcq ^qt R> qfq wR rR rmrkI 4<sH % Pm, Pr4), rtR,
books can be arranged to widen the knowledge of the
RqT,»jqi. qrqtq Riki 3ltq -gqRRif rR qqkfqqf qrqif RH qiRRft ti students regarding Indian dance forms.

fqq qq 3hk4(3: ddcidRt kd< Pictures and Script: Jayalakshmi Eshwar

 5. (R?) IRgR fRR ft f?g ftt cff ?7-37ggRif RRfftR fftiRT RRI
tl mpfsf SIRNR ft, Rlftft NR Rif fRNTlfcT fftiRl
Bharatnatyam Dance RTRI tl IRfft /RRt77R?g gR7 Rif RgRR fftiRI RTRI tl

5. (7R) fstfR fRR ft 3?gg R?f tf ftftrR Rfft ftsit Rt tl

RNRT RRfR RT NRRR Rlftft ftr Rift STlft Rif sift
1. wh 'jkifui+l % srgNN, fftR ft tom ft? nn ft in RNRI RIRI t 3ift Rlftft gsft Rif gRiTRT ■Nlcll tl
gfc R?f <.Rdi Rifl y<gd ftfdcbiftld dift-R yfciHi ft RI ft? 3RJRN (RTRigfft) R?f RRfd R7 f3R?T R7T, Rlftf
R*R sgRifdd ttNt fft? g?R sift Rfi<rM RTTRT gRT-gN? gtf ^f RTR-RTR 33TRI ulldl tl Rftft R?T RR Rlftft
ft RRR?f IR RR? NNTfftR Rfl R3NR % Nftft NR ft ftr R7 RRRI tl wft /ftlrf/R1/ INf RgRR tfftf tl
■SR<" ERfft RR Hdlch t, sfk gNN life'll NR NRRt 6. y^jd fRR ft hus1 STgg rr rr7 -qj
Rif NR8NT y<?M Rlftf tg RdlRil NRfgN "4 33T gSfT '§'1
■Rtgft ftHRft-STRRRT RTf RRftfl fftiRl RRT tl RlftRT ftr
3JRRRK t?R R7 <at dd<M, STRTR RR RTRT R?T R?f RRI-RI Rfft RR fftTRI RRI t sift ?ftft RR RR Rig ftr
NRRRT RRT UTR ft -ST^cT Riftf tl RT tl /RRt?7R?7-RN7 gR7 R?1 3RRftl Rtftf NRf ft? fftig
NNIHIftMg ftRINft ft? NN ft RfftR t, fftNft gR? tfcTT tl
RftRff SlftR? gfftRRSrf Rif y<ftftd RiNlf tl gfR ft? 7. fftiR cfRi RR? filialh-R<ddiegg g?R ^ftff RR gR? 3RR
NRRTR-fftlR-Rif R3NR ft? NN ft Nftf g?R ilR-lfti ft RNR'jft 3?gg tl tft RI^ NRffW tfRR RTRR RRift
■srcgR fftiN ntrt ti nnjr sTrafft* fftR ft sin rninIr t, ftft tf 37^f NRffRR tfRR R??7R7t RTRR? SigRiR
HftRi % NN ft dd<M Rff gN y*gd <=ti<cft dftRif R?f fRRfftR R?ftf tl RR g?R NR1RTR? (R33RRR) NR
ftN NRft tl RftRff ft 3NRT NflRT NR 37NR gN ft, S-^dRd RTRRRR? ST^ftf ft? NTR fR SigRiftf Rif RNN
'I'l'lll ft glftd 4NHI °FR N? RRdl Rif NTSNT ftft % fftiRT RTcII t, RR 'Nt Wf<7 R?N RIRT tl Rferf SftT
fftg 33TRT gSR tl fRTgR R7?RR? R?f cfliRH^ R?N RIRI tl dliRH^ R?f gR?
2. NNTRIHRg, JR 3TRRT Sigft RiRRRT sift JcR STRfg JR fftfftRR Rfft ft? NIR ftfR RT7 ttlR RR RRTRT fftryi NIRI
sftT 3jfRRR (3Tfi|oqfdd) NN? ftf Ng® Riftf ft gRR t sift 3IR7 fRR ft y^Rfd Rfft-/ftid RRT R77? fid (7?R
eldi tl NR NRf Rff Rfft sift gsm., fft>ft) y<+)K Rff tl RftR? RdlRiK, fRRgRR NR Rif snft fRNTlftR RR,
Sift 3Tf^°drdd Rtf TOf, Rig gcR-NNjfft ft NlfftiR Rlt Rif 3i£cftR NRRR R^RIRTR Rfft TRgR RR 3?gg
3^ffr ^fcTf-fRfRRRT eTTcff t, RR 3ft 1 Jf R?N R1RT tl RR RRTRR RRRI tl Wf' Rr77^7 sift 3Vri/4<(R INI RR
JR ft, RTR % NRNR sift Rfft ft NNcR (SR fnid), nftfR fftiRl RRT tl
Srk-//qW (RTRR), RfR URt (RcJcllRiK Rfft) sift RR? 8. W ft RR?5 sift 3ftftRR gRT fRRftftl RiRR R?f ^cR
(RM) NTgR lift tl 3?ftfRR RcftR? Rft ft? Rift 3NRR R?N RTIRT tl SftftRR R?f INI NR srfftoqcKI fftiRl 'Nidi
tl t, ftf RRftfR RTRftfR grR Rif gR? fftfftl^ fftftw tl
y*gd [ft ft) ft IN PlH Rfft sift ysiy, tN <Hdirl t : R73R777W RRT 3#RRRrW?; ftft RRR fftfRKgftRi ?7R
RR 3Rftr§ R?rft tl 3R?gRR RRT R^RR (fttlR NR)
wr-^r(A rn ^Ri'mfqRi ^ ^ Ri Rirt t sffc
sift 3RRR TJRftl ((iPtH'l) fftiftl ftf fftRR-RNJ sift
37Ff Rif 3lft SffftgN tft tl
NRiRRRI Rif 3ftftsj^I, srft RfftRlfftR sift RftifR RR
rn 3nn: % -hWI^hT ft fk# NRift tl
RfTft tl
■5RgR fftR ft, SmR^R I7R Ri? IKftfd fi^JT RR7 tl
'Rftft'RTN srRRT 3RRI IN I7R Rif RTNRT, RjJcllRiK Rfft, gft RR, nI*r4, ft?RT
3. 3TUfmgf RT mi RRRI3RR '=JRT ^ftft Rft 3R? gR, ftldK, Rift, 3?RTt, gfNT, NRfNT RT ftiRN g<a Rif
rjn WNi t, fftrrft ^ <Hftd, ftr djpfcf: fftft^s R?rft tg RgRR fft?Ri nt nr?rt ti
RTF7 Rft sift RT# mm ft tfft tl RWdlftdft 9. 3#NRR sift R7R Rif ftiRRT gurfft^lfftR (giRgsO) NR
ft fN RRR Rft 3fft 'gt ig gdd) Rif SR^SIT Rif ftf °4RR fftiRl RIT NRiRI tl R7 IN7 gN RR NRftT,
37^ftR§eft RT SchbHIRUzZd1 % RN ft ftf NTRT NTRT t NRfRTftf Rif NRTR?TTRff NN ft SlfftoRRR ft? R7R ft
3fft |N 37R7NT Rif R^Ri STfiidiftl fft^=S •Jrd Srfftshftl gf5 r?trt ti y<gd fftg ft RftRff int (muR^R) NR
ft y^Rd RRft t l NfNft R?f fftlftfR RN Ttf tl
4. snRirgR gR gRiRi Rft s?gg rnt rnr ti r? TRt Tfft 10. iftcff sift 3Rfftrftf RR NRTRR RRI 3Rft? RRTRR Rif
Rif RRTR gN (T^ffRRT) ftft sfft R1R Rif Rft (Rft?)
ftRfft ft? SRRN R7 IN7 NR R?f RRR7 Rif STRffftsrfRR
RRT S|MRi|Rri INI g^I (JR IN7) RR NRftlR tl 3J^ tf NRiftf 11 ytgd fftR ft RftRff IN7-37R77RgN RR yftl'i
ft ftt ygo NR3Ri tfft t—<77cR (NRR RN) sift cTRl Ri<d gg ft? NNN gN7 gN Rif IrrMr R?7 Rff tl
3?gg fti NWT 10 ft 12 Ng? tfft f, fftRft ft RcftRi
11. RftRff ft? Nftft NR ft ggfidINI RR RlftR tfN t,
ft? R7i? <fiHld< tfft tl STIR Rif ftfR Rffttf ft RNJR fftiRl
RIRfR? RTRT NR W7R57 IN? Rif SRRTftR? S||<jifd TTNR
R1RT t-gcT, ggR sift ftlgRI yNj,d fftR ft IR ftt
R?NTI tl
t?g rf! R?f ftlR RRift tl fft ftfft Rif 3ift ld<tfl
gRT RiT y<gd fR?RT RTRI tl tNf NRf ft? fftlft fRRR7R?7 12. gcR-R7gfft ft NRf Rif RgRR R?Rf R?f ftfft (NNR) Rif
IN7 R?1 yti'l fR?RT RTRT tl Rift ?TR Rft 3RR 33IRT IN737N7 R?N NTN tl 3R%ftf Rif RftRlfftlR sift RgRR
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 5. (a) This picture shows the adavu—tat tey ta ha. In
Araimandi position, the right hand is extended.
Bharatnatyam Dance The mudra used is tripatakam.

5. (b) The second picture shows the continuous

movement of the same adavu. The right leg is

1. According to Indian mythology, Siva as Nataraja extended in front placing the sole of the foot on
created the universe. From this bronze statue, which the ground with the right knee bent. The left heel
belongs to the Chola period, it is clear that both the is raised simultaneously resting the toe on the
arts of dance and sculpture influenced each other to a ground. The body weight falls on the right leg. The
great extent. One of the right hands of Nataraja holds tripataka hasta is used.
the damaru signifying sound, the other right hand in 6. This picture shows a portion from the mandi adavu
the pataka hasta mudra is raised to give protection or full sitting position, the right foot is taken back
to his Bhaktas. He stands on the dwarf Apasmara, slightly and part of the body weight is on the left leg.
crushing out ignorance thereby illuminating the world The tripataka hasta mudra is used for both hands.
with light and knowledge.
7. Kita tak dari kitatom is another important adavu in
Bharatnatyam is described as ekaharya, in which Bharatnatyam. Just as words combine to form a
one dancer depicts many roles. Siva as Nataraja, the sentence, adavus combine to form a sequence known
Lord of dance is depicted in all dance forms. In this as korvai. These sequences, when performed with the
inset picture, one sees the dancer showing the pose accompaniment of rhythmic syllables (sollukattus),
of Nataraja as the cosmic dancer. The dancer raises recited by a dance conductor (nattuvanar) are called
her right hand in abhaya mudra for giving protection Jatis. Complicated and elaborate Jatis are called
to those who seek salvation from the Lord. Teermanams. Teermanams conclude with a certain
2. Bharatnatyam consists of two major elements Nritta movement repeated thrice and the movement shown
or abstract dance and Nritya combination of Nntta and above is kita tak dari kitatom. The dancer concludes
Abhinaya (expression). When the movements and with a circular movement of the arm over the head
poses of the hands do not convey any meaning but and extends the hand in front as shown. The hastas
only serve to add grace and variety of form to a dance used are pataka and alapadma.
then it is called Nrittta. The position and movements 8. The aspect of dance which relates to rasa and
of the feet gives rise to mandata (posture), utplavana depicted through abhinaya is called Nritya. Abhinaya
(leaping movement), Nritta bhramari (circular is expressed with the help of hastas, which is a
movement) and chari (gait). Each one of the above unique feature of Indian classical dance.
category has several variations.
Treatises like Natyashastra and Abhinaya darpanam
One sees in these pictures : deal with hastas in detail. The Asamyuta and
Sama - The feet are in natural position and point Samyuta and their usages (viniyogas) can express,
straight ahead. interpret and narrate any theme and concept.

Swastika - Feet are crossed in a variety of The hasta in this picture is alapadma. This hasta
combinations. can be used to denote lotus, circular movement, full
moon, beauty, hairknot, tower, village, height, anger,
Chari - Gait or walk
praise or just a face.
3. The Araimandi or Parshva is another basic position
in Bharatnatyam where the legs are in a fully out- 9. Abhinaya and Bhava can also be expressed only with
turned position with bent knees. This outward knee the facial expression. But the usage of hasta mudra
bent position in Bharatnatyam is also known as the enhances the bhava to interpret the sentiments
ardha mandali or ukkara mandaii and this position is effectively. This picture shows the dancer depicting
maintained by the dancer in most of the pure dance the beauty with the help of the hasta-alapadma.
sequences. 10. Hastas, depending on the direction of the palm and
4. The basic dance unit is known as adavu. It is a fingers and their positions can indicate several types
combination of basic standing posture (sthanaka), of meaning. This picture shows the dancer using the
the movement of the legs and feet (chari) and the hasta - alapadma to depict a face as beautiful as a
decorative hand gesture (nritta hasta). Adavu has moon.
two main constituents tala (time measure) and 11. The right hand of the dancer shows the mukula
laya (rhythm). There are about 10 to 12 groups of hasta, the left hand forms a base with the pataka
adavus each consisting of several variatious. Adavu hasta.
is practiced in three speeds - Starting, Double and
Quadruple. The Adavu one sees in this picture is fey 12. The manner in which the hands are used is known
fey tat ta. This is performed leaning back diagonally. as hasta prana. The way the fingers are moved and
Tripataka hasta is used for both hands. Right hand used create flavour or aesthetic beauty depicting a
is raised and the left is stretched to form a diagonal concept in a symbolic or suggestive way. This picture
line. The body weight is supported by the right leg, shows the dancer using the mudra sikaram in right
and the left foot is raised as shown in the picture. hand depicting the end of the trident, and the left
 hand in Trisula symbolizes the trident. This pose Shringara is one of the important rasas and various
suggests the destruction of evil forces. aspects of this rasa are portrayed in the abhinaya of
Indian dance - the love between man and woman,
13. Abhinaya embraces two modes - Lokadharmi
of the human for the divine, the mother for the child,
(the realistic) and Natyadharmi (the conventional
between friends, etc. In this picture the dancer
and stylised). Lokadharmi expression is easily
depicts that aspect of Shringara rasa which shows
understandable because of its closeness to
the shyness of the nayika, who is face to face with
everyday life. In Natyadharmi expression, stylized
her beloved.
hand gestures, conventional movements and rules
of the classical idiom are applied. 18. Compassion or Karuna is a very natural emotion
of human beings, in dance, it is stylised. Flere the
(a) This picture shows the dancer expressing fear in dancer uses facial abhinaya and the chatura mudra
Natyadharmi mode. The hasta used is mrigasirsa. for depicting Karuna rasa.
Feet are in swastikam position.
19. Raudra or anger is also very much a part of human
(b) This picture shows the dancer showing the gesture nature. In dance, it is expressed with exaggerated
for beckoning in Natyadharmi mode. The hasta used facial expressions and sometimes vigorous body
is mrigasirsa. Feet are in chari gait. movements. In this picture, the raudra rasa is shown
14. (a) The hasta shown in this picture in known as through abhinaya and the mushti hasta mudra.

chaturam. The dancer is showing the action of 20. The face is the mirror of human expressions.
‘listening’. Adbhuta rasa or the expression of wonder or surprise
is expressed through facial abhinaya and the hand
14. (b) The same mudra in this picture shows ’offering’.
gestures in this picture.
This mudra is also used to denote musk, gold,
copper, iron, eyes, etc. 21. (a) There are many ways to portray various gods
and goddesses according to the mythological
15. There are four kinds of Abhinaya - angika, vachika,
references. For example, Vishnu can be shown
aharya and satvika.
holding the conch and wheel or Vishnu can be seen
Angika abhinaya is the representation by means of reclining on the Shesh Nag (the Snake God). In
physical gestures. Angika is named as such because this picture, the dancer portrays Vishnu according
it is expressed in three ways by Anga, Pratyanga and to the text Abhinayadarpanam. Tripataka mudra is
Upanga, which includes different limbs of the body used and the feet position is in Swastikam.
representing physical gestures. This picture shows 21. (b) This pose in Bharatnatyam shows Saraswati,
Narasimha, an avatara of Vishnu. The dancer is in the Goddess of learning. Both hands holding
Araimandi position in an action of tearing apart. The mudra mrigasirsa represents playing the stringed
body above the waist is leaning forward and the head instrument Veena.
and eyes are raised with the wrist turned inwards at
22. (a) Episodes from stories of Krishna are very popular
an angle.
in all dance forms. In this picture, Krishna is shown
16. (a) Vachika abhinaya constitutes poems (kavyas) playing the flute. The mrigasirsam hasta mudra
and drama (natakas) which provides the literary using both hands shows the flute. The feet are
content in dance. In Vachika abhinaya content crossed in Swastikam.
of the kavyas is Lokadharmi however, singing 22. (b) The various attributes of Rama, an avatar of
is Natyadharmi as the music comprises the Vishnu are represented in all dance forms. Rama
classical Karnatak Music. The dancer shows the is shown here holding a bow and an arrow, the
expression of speech or singing using the mudra feet position is in Swastikam.
chandrakala.
23. From sculptures of different periods, information
16. (b) Aharya abhinaya includes decoration of the body on dance poses and musical instruments can be
by means of ornaments, costumes, etc., the dancer obtained. Music and dance are an integral part of
depicts the action of wearing an earring using worship in the temples in all parts of India. This
the mudra katakamukam. The fourth abhinaya is sculpture on the walls of the Chidambaram temple
Satvika. The exhibition of emotions through subtle shows a dancer with an accompanying musician.
abhinaya and imagination - like tears, trembling,
24. The accompanying orchestra in Bharatnatyam,
sweating, fainting, love, peace, etc.
usually comprises a vocalist, a mridangam player,
17. The Natyashastra of Bharat Muni (200 B.C. to 200 a flutist and a cymbal player. The person who
A.D.) mentions eight main rasas namely, Shringara, conducts the recital is the Nattuvanar who also plays
Veera, Karuna, Raudra, Hasya, Bhayanaka, Bibhatsa the Nattuvangam (cymbals).
and Adbhuta, which can be portrayed through dance
and drama. Shanta, the ninth rasa was introduced
much later as it was believed that it is difficult to
portray a state of complete bliss or Shanta. Flowever,
today we know of nine rasas.
 V>i.

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 Bharatnatyam Dance

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1. According to Indian mythology, Siva as Nataraja created the universe. From this
bronze statue, which belongs to the Chola period, it is clear that both the arts of
dance and sculpture influenced each other to a great extent. One of the right hands of
Nataraja holds the damaru signifying sound, the other right hand in the pataka hasta
mudra is raised to give protection to his Bhaktas. He stands on the dwarf Apasmara,
crushing out ignorance thereby illuminating the world with light and knowledge.

Bharatnatyam is described as ekaharya, in which one dancer depicts many roles.

Siva as Nataraja, the Lord of dance is depicted in all dance forms. In this inset
picture, one sees the dancer showing the pose of Nataraja as the cosmic dancer.
The dancer raises her right hand in abhaya mudra for giving protection to those who
seek salvation from the Lord.

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 Bharatnatyam Dance

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2. Bharatnatyam consists of two major elements Nritta or abstract dance and

Nritya combination of Nritta and Abhinaya (expression). When the movements
and poses of the hands do not convey any meaning but only serve to add
grace and variety of form to a dance then it is called Nrittta. The position and
movements of the feet gives rise to mandaia (posture), utplavana (leaping
movement), Nritta bhramari (circular movement) and chari (gait). Each one of
the above category has several variations.
One sees in these pictures :
Sama - The feet are in natural position and point straight ahead.
Swastika - Feet are crossed in a variety of combinations.
Chari - Gait or walk

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 Bharatnatyam Dance

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tl

3. The Araimandi or Parshva is another basic position in Bharatnatyam where

the legs are in a fully out-turned position with bent knees. This outward
knee bent position in Bharatnatyam is also known as the ardha mandali or
ukkara mandali and this position is maintained by the dancer in most of the
pure dance sequences.

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 Bharatnatyam Dance

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4. The basic dance unit is known as adavu. It is a combination of basic

standing posture (sthanaka), the movement of the legs and feet {chart) and
the decorative hand gesture (nritta hasta). Adavu has two main constituents
tala (time measure) and laya (rhythm). There are about 10 to 12 groups of
adavus each consisting of several variatious. Adavu is practiced in three
speeds - Starting, Double and Quadruple. The Adavu one sees in this
picture is teyteytatta. This is performed leaning back diagonally. Tripataka
hasta is used for both hands. Right hand is raised and the left is stretched
to form a diagonal line. The body weight is supported by the right leg, and
the left foot is raised as shown in the picture.

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 Bharatnatyam Dance

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RR Rlfgk kt RT RRRT tl fWWFFT W^T R^RR tkt tl

5. (a) This picture shows the adavu—tat tey ta ha. In Araimandi position, the
right hand is extended. The mudra used is tripatakam.

5. (b) The second picture shows the continuous movement of the same adavu.
The right leg is extended in front placing the sole of the foot on the ground
with the right knee bent. The left heel is raised simultaneously resting the
toe on the ground. The body weight falls on the right leg. The tripataka
hasta is used.

RRRikRj klfl RR ylyiSRR Centre for Cultural Resources and Training

 Bharatnatyam Dance

TOpf fept 3 3J&1 ^TT T3=F wr ^TT TFjrf eft y^ld ft^TT TRT tl
dlis-lltf TRI-TIT 41^ TiT Rrldl TTT t 3fk 4!l<k °BT ,J7R TTg tt Tt tl fkW&H-W&f
g£7 TTT WT^T tttf ^Tsf % %tr ttcTT tl

This picture shows a portion from the mandi adavu or full sitting position, the
right foot is taken back slightly and part of the body weight is on the left leg.
The tripataka hasta mudra is used for both hands.

wV'jifci'h Tito yfynjrnT Centre for Cultural Resources and Training

 Bharatnatyam Dance

7. ftt RRT wt fazRfa-'RRHRRRf ^JrR RR RRT RRT R^RR1^ 37^ fl ^ RRR

TTRffRR sIrr qiqq qqid t\ ^ tft RRr^r ■uq'lPdd elq-R R)<q// -iihri RTJRRT RqiRnd

RRcl 'fl RR -Jd4 f-HldRi ( dtidqd/<) 'gRI d^Rd ddlcHRi 37$Rf % 7TTR fR 3RJRRTI

RTt RRJR fRRTT RTTRT t, RR R7fRR7TT RTTRT tl ^TfeRT 37^ fRRTR WffTdf Rpf f#R77R^

RTTT RTRT tl tfkWPl RTT RRT RRlRd RfR % RTR #T RR RffTT RR RRTRR fRRTT RTRT

t sffc RRR fRR ”4' R<tRfd RfR-/%R f7RT ^ fcz c#R tl RcfRT RxHIRK, fRRJRR

?TR RTf 3TFf fRWlRd RR, Rf? RTf RREfc*T RRRR RTfRTTRRT RfR TOJR RR 37^f RR

■HHIMH RRRT tl W7R77 3th 37p77R^R eRR RR RRRt fRRTT RRT fl

7. Kita tak dari kitatom is another important adavu in Bharatnatyam. Just as

words combine to form a sentence, adavus combine to form a sequence
known as korvai. These sequences, when performed with the accompaniment
of rhythmic syllables (sollukattus), recited by a dance conductor (nattuvanar)
are called Jatis. Complicated and elaborate Jatis are called Teermanams.
Teermanams conclude with a certain movement repeated thrice and the
movement shown above is kita tak dari kitatom. The dancer concludes with
a circular movement of the arm over the head and extends the hand in front
as shown. The hastas used are pataka and alapadma.

RRRifRRi RfR RR VfVlJ^nT Centre for Cultural Resources and Training

 Bharatnatyam Dance

VR ^ TRS 3^7 srfmR STTT Pd^Pfld ^RTT jTR TRT WI i\ 3jfmR ^Ft ?Td ?TCT
3Tf»TRTT fTTT RRT t, Rf 'qRcfa THTTfa ^ falw f^RcTT tl 'ildWIIW
cT«TT 3fRdR^W{ ^ WJ fVWK^cP*) FT7 W] dcrltsl ^T7l tl 3JWpRr cT«TT WpR7
(T^TT TT*T) 3ffT T^FT TRfr (f¥¥fhT) fTTTt R\ Rm-^ afft #FRHT ^
3tRrr7t, 3T«J yfdmRd afh; ti

Tt^d f^R 3, 37c?/WRT T?t wrald fRRJl W #/ ?TT WRT TTf dRct, drjcllFK dfd,
Tjpf rt, tr, ttRttt. tr, ■aNn^, tjtht, wtttt tt tjr Trt faPRa
dRt 3R]=fd fdRT R1 TTTRT tl

The aspect of dance which relates to rasa and depicted through abhinaya
is called Nritya. Abhinaya is expressed with the help of hastas, which is a
unique feature of Indian classical dance.

Treatises like Natyashastra and Abhinaya darpanam deal with hastas

in detail. The Asamyuta and Samyuta and their usages (viniyogas) can
express, interpret and narrate any theme and concept.

The hasta in this picture is alapadma. This hasta can be used to denote
lotus, circular movement, full moon, beauty, hairknot, tower, village, height,
anger, praise or just a face.

til a TR ylyi^mT Centre for Cultural Resources and Training

 Bharatnatyam Dance

9. 3rf*FFJ 3tfr W gsiftoitfed (*f!sl^l) STTT ofj TT3uTT tl

''TT gfrt 5^T ^T yql'l, ^ ^ % *77^ ^
ti toitt 1%r 3 W7<r (sm^R) iri 4^4 ^fr fn^fsiid Tgt ii

9. Abhinaya and Bhava can also be expressed only with the facial expression.
But the usage of hasta mudra enhances the bhava to interpret the sentiments
effectively. This picture shows the dancer depicting the beauty with the help
of the hasta-alapadma.

TJtrT TTcf mO.^TTTT Centre for Cultural Resources and Training

 Bharatnatyam Dance

10. 37k knfkkf rt wkidH rrt RRkr wm Rk fkifk kr r?trr rt ?rt srt r^
RRRT Rk 3T?7ffkc^kk1 ^ RRnft tl RRJR fRR k RtfRk ^R7-3VW/y<{R RR RRtR RRR

fir RR 7RTR TpR "gTI Rk P^Pkcl RR Tk tl

10. Hastas, depending on the direction of the palm and fingers and their positions
can indicate several types of meaning. This picture shows the dancer using
the hasta - alapadma to depict a face as beautiful as a moon.

rurTh* ktR Tret ^rkrsm kr^ Centre for Cultural Resources and Training
 Bharatnatyam Dance

11. ^ iftu t, ^Tqf m mmi wrv

sntufef 3TT^if?T TI^T ^TcTT ti

11. The right hand of the dancer shows the mukula hasta, the left hand forms a
base with the pataka hasta.

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 v'fe'fc*

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 Bharatnatyam Dance

12. grq-qgjfd 3 ^rm qff qgcRT qft TtfcT (^ertt) qft t\

Mp^irdd 3^ qqqq TtfcT ^ TH ^TT ^ ^?qf% ^fcft t, f^RTTl

ydl + lrM4) 3}sqqT arfqsf^T 3 q'+cddl 3}S!Rn f^fR Pd^fd #TT tl 3TRpT fqq
■4' Rffaft, qr%^ ^t«t Tt gsv fmtvi qrt q?gd t# t, ^ft fq^ % 3fffPT M qn
wf^ i 3fo ^ ^ra srt fayj?r q#fr tojct ii grq RPm viRdqT
% “rttt” qrr fPm qR?ft ti

12. The manner in which the hands are used is known as hasta prana. The
way the fingers are moved and used create flavour or aesthetic beauty
depicting a concept in a symbolic or suggestive way. This picture shows
the dancer using the mudra sikaram in right hand depicting the end of
the trident, and the left hand in Trisula symbolizes the trident. This pose
suggests the destruction of evil forces.

RTRffof; TtfrT qq qf^nT Centre for Cultural Resources and Training

 ^TTrRT^T^ irM

Bharatnatyam Dance

13. ofcFwfi (diFdl^) sfk ^izmmf (hArpm ^ ^fc'id) jk ^ ^Rd^' ^rf

sff! TraTRre ^rr ti rrtemf 3?f«^rfeT srrant 3 ^ 3 3=rmt t,
^ % TFtfa ^cft tl SrfHoAlfdd 3 ^ % 3TJHR, ?Td
^T3Tf, MtltHId TrfcFTf 3^7 TTTTTfa TJttWTf % fwff TT^T f^U ^TTcTT tl

(^f) 3 jfcft (t^Rt) *ra ^rr srfq^psRT t# ti ft

T^wfi W7d ^T TPTFT ftrsr W tl RT^t w/Wqb^ 3 tl

(T3) fR f^f 3, =77ZdWfi'fcft $ ^cfart “37TfH” (sjRJTTT) % *m pKPsfld

TR TfjP 1? I TFT TR tpwftf PHI TTT UdHl Pkdl FTT ^ sfk TTT WRf W7e7 3TTTT d=H
3 STTfTTTT tl

13. Abhinaya embraces two modes - Lokadharmi (the realistic) and Natyadharmi
(the conventional and stylised). Lokadharmi expression is easily
understandable because of its closeness to everyday life. In Natyadharmi
expression, stylized hand gestures, conventional movements and rules of
the classical idiom are applied.

(a) This picture shows the dancer expressing fear in Natyadharmi mode. The
hasta used is mrigasirsa. Feet are in swastikam position.
(b) This picture shows the dancer showing the gesture for beckoning in
Natyadharmi mode. The hasta used is mrigasirsa. Feet are in chari gait.

*ii+<2>Pic*} tiln yR’i*^ui ck-s Centre for Cultural Resources and Training
 Bharatnatyam Dance

14.(a) top fer -$ Ryia aa frt ac^aa 3 ara aa ti afat wa-/aa g<4f?fd
aT aft i?l
14.0a) ^a fat 3aat ‘snW’ ar aa y^Hffd ^ta ti a? ‘ g^’ aapt, ala, »,
<n)ei, aM ^?aR a) OiRm ard % far at y^ai alat i?i

14. (a) The hasta shown in this picture in known as chaturam The dancer is
showing the action of ‘listening’.

14. (b) The same mudra in this picture shows ‘offering’. This mudra is also used
to denote musk, gold, copper, iron, eyes, etc.

ra ylvnsar %a Centre for Cultural Resources and Training

 Bharatnatyam Dance

15. rrtr % 37lwr ^ t- sjjfn^r, crrfew, 3wrf sfk w/r^r/

3#rer 37fs77R Rrt ^f(|R=h ^Tsrf ?rt rritt RfRir ^rmT ti fR gsj Rk sjffh^ rtr
^Rut, fTRT RRT t, spff% 3R7, J7RR7 sfk 3W £RT RfwiRR fRRTT RRTT t,
krok 5!ik1R+ ^T3rf rtt rRtRiRrr rr t# rrR % fafiRR srt ti ^
fkR, Rr*jj tFTRH % RTfW 3RRTR Rk RftRTfRR RRRT f I RRpT R?R R' Rft
W&Utfl 3RnRTT k TJ*RF RRT k RR RTR RTRld RR^ RkRIcI RfRR RRT tl fR^ Rtfs

^RRt RRI RT> RRt ^pFRFR fTR RRT 3R#' RTt RRR RRlk I R*TT R^7 RlfiMd rTR RT
didl^ Rpf 3RRT Rft sfk RteT RfTRT ill

15. There are four kinds of Abhinaya - angika, vachika, aharya and satvika.

Angika abhinaya is the representation by means of physical gestures.

Angika is named as such because it is expressed in three ways by
Anga, Pratyanga and Upanga, which includes different limbs of the body
representing physical gestures. This picture shows Narasimha, an avatara
of Vishnu. The dancer is in Araimandi position in an action of tearing apart.
The body above the waist is leaning forward and the head and eyes are
raised with the wrist turned inwards at an angle.

RR^ifctR) RtfT RR yRli^ui cF>-£ Centre for Cultural Resources and Training
 Bharatnatyam Dance

16. (R) qf/Afqb *!7 3 RfRRf (WJ&r) 3^ RR7 TdNRdd t, fRTrf ^R TR 3

RTftfRR rtR ^ TOJd PfRT RRT f| clinch 3rfiFFJ 3 RRT 7R*jt fownRJ Rt
dlcfrtpjf d>6l WcfT 'f, 'd'dPb dldd TRRf fRR RfcJ Rf :?7RWf digl RT7TT 't',
cRlPti •H'ilrl, TITRfR cbdfcRi ^<rfl RT $ldl f'l f^R ^ -icf'+Tl ^<^dl 3£7 RT
RTbT RRf flT sffcp} 3T5RI ^ ■^RTf^c^Pw y<P^ld RT T?t tl

16. (^) 3MFf 3TfrFFl % 3TR% STT^pnff, ^T^RSTf 37Tpf £R TKk % 3RRTRT Rt RTJd
fTRT RTrTT ill RjT dctal, g^7 qbdqhyqbU RT TRR Ipr RR RT ^1 HS-lA Rf
f^RT pRp'fd RI Ttff 1?l SjfV'iq ydil< Rt 777f^hW di6l RRI l?l 577^1 d51
*TRf cf«7T RRRTRf ^-3RJ, cTRRT, RTftT 3TFTT, 'tffR #fl, ffa, Tlffo 37TfR *TRf
% ydl'l cT^TT Rt^-RT^ 37fRR HR RIRH13Tt Rl 3Tf«RR7T Phdl RRT 'tl

16. (a) Vachika abhinaya constitutes poems (kavyas) and drama (natakas)
which provides the literary content in dance. In Vachika abhinaya content
of the kavyas is Lokadharmi however, singing is Natyadharmi as the
music comprises the classical Karnatak Music. The dancer shows the
expression of speech or singing using the mudra chandrakala.

16. (b) Aharya abhinaya includes decoration of the body by means of ornaments,
costumes, etc., the dancer depicts the action of wearing an earring using
the mudra katakamukam. The fourth abhinaya is Satvika. The exhibition of
emotions through subtle abhinaya and imagination - like tears, trembling,
sweating, fainting, love, peace, etc.

RRiffR) tilfl TR UtVl^VT Centre for Cultural Resources and Training

 Bharatnatyam Dance

17. *KdyPH Tf^RT TRd?77?d (200 ^ 3 200 TRft Mf) 3 3TR 3Tgg Wf-’f777, dk, WWT,
ik, wim, k*im $fc sj^r dd rctI'® fd^di ddT t, fzk ^?d w dRd? grcr dMd
%dt m MTdT ti mrm kl dddft dTd 3 TtfNdtd fdRn ddi, ddffdr, dHT Mdi
dT fdT ipf 7M ftdfd dft dRJd dbTTT 31ddT fdfdd dd/dT d?fed tl dT, 37T3T W d3 R7 ^ 7Td
deft Ml dPlPdd tl

kw tm wdMpt m t sfk fpr m k fdfdd ■q^^arr 43-ddt afk ^ dn ifa, oiMfodi

WTTrRT % dfd JW TRiar dd ■frq, dMdr % fdTC; dl dd ltd, dtTdf % dtd T3TR 3dfd dft dRdtd
^Rd dff 3#S7dd if'^d fdddT MdT tl ddjd fdd if dcfdft fdd % TRgdd #f dT, HlPddd
% TRdT did dft ddMd dR itt t ^fl ^777 777 dd T(d7 Hdcd^l dfd^tl

17. The Natyashastra of Bharat Muni (200 B.C. to 200 A.D.) mentions eight main rasas
namely, Shringara, Veera, Karuna, Raudra, Hasya, Bhayanaka, Bibhatsa and
Adbhuta, which can be portrayed through dance and drama. Shanta, the ninth rasa
was introduced much later as it was believed that it is difficult to portray a state of
complete bliss or Shanta. However, today we know of nine rasas.

Shringara is one of the important rasas and various aspects of this rasa are portrayed
in the abhinaya of Indian dance - the love between man and woman, of the human
for the divine, the mother for the child, between friends, etc. In this picture the dancer
depicts that aspect of Shringara rasa which shows the shyness of the nayika, who is
face to face with her beloved.

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 m.*ti/F m
TLl'! '• '• ’' *V1“
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 Bharatnatyam Dance

18. TTI3T ^1 -QcfT STc^RT T^iTTfe ^TT'qR f 7T*H

^eft % 3TJHR TOJ?T f^TT ^TM fl ^T m 777 ^ ffffrfe: ihj ^77
q%i 37k '5® 3jftFFT urrW =r Tiff ill

18. Compassion or Karuna is a very natural emotion of human beings, in dance,

it is stylised. Here the dancer uses facial abhinaya and the chatura mudra
for depicting Karuna rasa.

ei^frt'b tilu 13^ vfyrsrvr Centre for Cultural Resources and Training
 Bharatnatyam Dance

ife ^ sFfa toto % wro to rff tot 3hPho||4 tot f i gro 3 ^ sTfroratfrorof
"5® TOtTOi tot tott TOqt-TO»rt wro mtfror Tjf^jf to srfwro fron tot ti
3Rg?T fro 3 ffc TU ^ 3#S7W TO gfe WRT g£7 TO TOfcfa fTOTT TOT tl

Raudra or anger is also very much a part of human nature. In dance, it is

expressed with exaggerated facial expressions and sometimes vigorous
body movements. In this picture, the raudra rasa is shown through abhinaya
and the mushti hasta mudra.

win TO TTf^m ct>-£ Centre for Cultural Resources and Training

 Bharatnatyam Dance

20. *'5®’ ■RPR-'CFfhTRf ^BT T'fcl ifctT tl 3T^^T TV V\ 3T8RTT fawt % TTtTTR
tojcT 3, rpmfmv ct*tt ^rcr y^fd t^rr trt f i

20. The face is the mirror of human expressions. Adbhuta rasa or the expression
of wonder or surprise is expressed through facial abhinaya and the hand
gestures in this picture.

trifji Iclct) til cl TJR irfTTCST'JT i-5; Centre for Cultural Resources and Training
 Bharatnatyam Dance

21.(30 4rif331 333? % STJTTR M-^3313^' 37) f^lT+d 377^1 % 3fT3 3 3lt% tl
3<lg<u||«1-f3TOJ 33313 3i) W 4l 337 31^ f3; 31 TfWT (TFf ^331) 31 313f?33

33, yd1=h 733 "4 ij'kjd 13)31 31 773731 'll 377J3 f33 ft, dddfl, 33313 37)

ariWW^ioi'H % ‘'J31 313 % 37^7117 3313 33 TSl tl 3lf37t % 3t3t' 313 fclWI<*l
5^7 3 t 3lk 313 W/W3)^ 3ft 313731 3l

21. (13) 31(737333 3t3f1 f33T7 3ft ^3t-77T733) 3ft 33t33333 3353 3773) tl 3?f3ft

% 3t3t F3 337 ipmfof 3 f, 3ft 317 3IH-3Wl % 3133 33 33t37 tl

21. (a) There are many ways to portray various gods and goddesses according to
the mythological references. For example, Vishnu can be shown holding
the conch and wheel or Vishnu can be seen reclining on the Shesh Nag
(the Snake God). In this picture, the dancer portrays Vishnu according to
the text Abhinayadarpanam. Tripataka mudra is used and the feet position
is in Swastikam.
21. (b) This pose in Bharatnatyam shows Saraswati, the Goddess of learning.
Both hands holding mudra mrigasirsa represents playing the stringed
instrument Veena.

3T3|)f33> tdlfl 3^ Wlyi^’JI Centre for Cultural Resources and Training

 Bharatnatyam Dance

22. (^r) ^ Mtan #cnr ^stTsrf =tf wr Tmt #cn<ii 3 3tW?t cT^Ffira ti
ytrdd R* $ -icj<=h1 ^)MJ| di^'Cl 3*1 ir) |Trr pK^d Tiff i?l TFT Tf-Tt FTTf TTT
Min tr^ fir Tcfrft ywilifu TRjft tt! wtrr tm 4 TRdt ti
Ttfaft % #ff TTT fq//w<f>^ 4 Tjf f? ti

22. (n§) r^ouj, % 3no(dK tit % frfrT ■yni (Mediant') tt! Trrt ^jtr s^Rd^T "4 y^d frrrT
Tldl 't‘1 ynjd Ry d^dO TT Tit TJT-slIT Tpr Udldi TT ^ y*^d TR TFt
ij sftr tit tti ttttt w/w<*n 3 f i

22. (a) Episodes from stories of Krishna are very popular in all dance forms. In this
picture, Krishna is shown playing the flute. The mrigasirsam hasta mudra
using both hands shows the flute. The feet are crossed in Swastikam.
22. (b) The various attributes of Rama, an avatar of Vishnu are represented in all
dance forms. Rama is shown here holding a bow and an arrow, the feet
position is in Swastikam.

wnfrffw #t Ticf Tfrsm Centre for Cultural Resources and Training

 Bharatnatyam Dance

23. f¥*Ft wf fwq ^ w araRrid ^ sfProatf afa

^raf Tft dH<+lfl tftt tl ■qRcT % TT*ft t TFTfa affc ^rq, ¥t T3°F
^rndi4 wt ti Pd<WH, qff ttart' qr sraft«RT toitt fwr ^tfat tfh
cbdl=bK TFftcT? % TTT*T fH<R>Id T3T tl

23. From sculptures of different periods, information on dance poses and

musical instruments can be obtained. Music and dance are an integral part
of worship in the temples in all parts of India. This sculpture on the walls of
the Chidambaram temple shows a dancer with an accompanying musician.

Ttfa UcT y%$TUT Centre for Cultural Resources and Training

I
 Bharatnatyam Dance

24. 'HWHI<4H ^ % W 413 <3-4 3 UIHMd: 7TFW TJcfT iJ^T ^T^7, Ti^
^fgrt ark ^Rtt ii ^rargRr ^t trRtep ?Rtt ti ttt*t
#, w ^zzcthv?{(^Rfkr) wr *ft 4RdT ti

24. The accompanying orchestra in Bharatnatyam, usually comprises a vocalist,

a mridangam player, a flutist and a cymbal player. The person who conducts
the recital is the Nattuvanar who also plays the Nattuvangam (cymbals).

^iT^iIrtch win TJ^ yfyiSTOT Centre for Cultural Resources and Training
No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permission of the Centre for Cultural Resources and Training
Published by Director, Centre for Cultural Resources and Training, New Delhi
Printed at Viba Press Pvt. Ltd., New Delhi -110 020
2016