Kathakali classical danceKathakali classical dance of Kerala owes its transnational fame to the nearly 300-year-old.
Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. Themes revolve around the two great epics, the Ramayana and the Mahabharatha.
A Striking feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings from another world.
The spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or Kathakali classical danceemotions.
Costume is designed with lots of paint applied on the face of the artist. The pomp and magnificence of Kathakali is partly due to its decor, part of which include the 'Kireetam' or huge head gear, the 'Kanchukam' or the over sized jacket, and the long skirt worn over a thick padding of cushions.
Make-up which is of five types- Pacha, Kathi, Thadi, Kari and Minukku.
The Nayaka Bhava
Just like the heroines, the moods and emotions of the hero are also classified into different divisions. The main division is
- Dheerodaatta eg. Lord Rama
- Dheeroddhata eg. Demon Ravana
- Dheeralalita eg. Vatsaraaja
- Dheerashanta eg. Buddha
The other classification is
Pati - Married & faithful to his wife.
Upapati - Married but in love with another woman.
Vaisika - One who pays & enjoys women.
Further Nayaka classifications
Anukoola - Faithful to the Woman. eg. Lord Rama
Dakshina - Loves all his wives or women. eg. Arjuna
Drishta - When rejected, pleads to be accepted by his woman. eg. Vaali
Shatha - The deceitful one. eg. Lord Krishna
Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka.
Nayaka's Companion plays an important role too.This companion is categorized as
- Peetamardhana
- Vita
- Cheta
- Vidooshaka
The Nayika Bhava
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
- Kalahantarika
- Khandita
- Proshitapathika
- Swadheenapathika
- Vasakasajjika
- Virahotkantita
- Vipralabda
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 separation.
Khandita - She is the one who is angry with her lover for causing disappointment.
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 pleasant welcome to her lover.
Virahotkantita - She is the one who is separated from her lover & is yearning for reunion.
Vipralabda - She is the one who is disappointed that her lover has not turned up at the tryst as he promised.
Other classifications of the Nayika bhava are
Mugdha - Inexperienced in love.
Madhya - Partly Experienced in love.
Pragalbha - Matured in the art of love.
This Pragalbha Nayika is further classified as
- Dheera
- Adheera
- Dheeraadheera
Sweeya - Married & faithful to her husband.
Parakeeya - Married but in love with another man.
Samanya - A free woman, who truly belongs to any man for a price.
Jyeshta - The preferred one.
Kanishta - The other woman.
Further classifications are
Uttama - Self-controlled & tolerant.
Madhyama - Literally the middle one, who gives as she gets.
Adhama - Literally the low one, who has no self restraint.
The Companion to the Nayika plays an important role in any padam, javali or Ashtapadi. This Companion is the one to whom the Nayika will convey her feelings, she is the one who will take the message,if any, from the nayika to the nayaka, she is the one who will sort out the differences between the nayika & the nayaka. This companion is usually a girl who is close to the Nayika.
The classification of the Companion is as follows.
- Daasi - Servant
- Sakhi - Friend
- Kaaroo - Woman from a lower caste
- Chatriya - Step Sister
- Prativamshini - Neighbor
- Lindini - Saint
- Shilpani - Artist
- Swaa - Nayika herself as a messenger
Aspects of Abhinaya
The expressions which are shown to express poetic meanings is Abinaya. Here the emphasis is more on facial expressions than rhythmic movements. The Abinaya is divided as
- Angikabhinaya
- Vachikabhinaya
- Aharyabhinaya
- Satvikabhinaya
Angikabhinaya : Expressing the meanings of lyrics using the body parts like Head, Hands, Legs etc. is Angikabhinaya. The Bhedas which i have explained above come under Angikabhinaya.
Vachikabhinaya : Expressing the Story using narrations in the dance drama is Vachikabhinaya.
Aharyabhinaya : Imitating the Costumes, Jewellary, Make-up etc. in a dance comes under Aharyabhinaya.
Satvikabhinaya : Showing the Bhava(moods) come under Satvikabhinaya.
Lord Shiva is praised as the embodiment of the above 4 types of abinaya in this following shloka.
Angikam bhuvanam yasya
Vachicam sarva vangmayam
Aharyam chandra taradi
tam vande satvikam shivam.
Meaning for the above shloka is
We bow to Him the benevolent One
Whose limbs are the world,
Whose song and poetry are the essence of all language,
Whose costume is the moon and the stars..."
In Lord Shiva's well-known pose of NATARAJA ,
his right hand holds the drum of creation - symbolizing a new awakening
his left hand holds fire - representing destruction of the old order
his other right hand is raised in blessing
the other left hand points to his left foot, which has crushed demon Muyalaka - representing ignorance.
There are nine main or primary emotions, Sthayibhava s. It is also termed as Rasa (Mood).
- Shringara - Love
- Hasya - Mirth
- Veera - Heroism
- Roudra - Anger
- Bhayanaka - Terror
- Bheebatsa - Disgust
- Adbhuta - Wonder
- Karuna - Compassion
- Shanta - Tranquility
Vatsalya(Parental fondling) rasa is also sometimes included as one of the stayibhava.
Vibhava (cause of emotion), Anubhava (effect of emotion) and Sanchari bhava (subordinate emotions) constitute the state of rasa.
Now i would like to talk about Nayika (the Heroine) and Nayaka (the Hero) bhavas.
Gathibhedha
There are 10 unique ways of Gathibhedha(Gait). They are
- Hamseegathi - Walk while keeping one foot in front of the other and sway with each step, hold kapitha hasta in both hands. (Walk like a Swan)
- Mayooreegathi - Stand on the tip of toes, hold kapitha in both hands and fold up the legs for each step. (Walk like a Peacock)
- Mrugeegathi - Hold tripataka in both hands and run around like a Deer
- Gajagathi - Hold pataka hasta near the ears, walk very slowly with Samapaada
- Turangineegathi - Lift the right leg, hold shikhara in left hand and pataka in right hand and jump with the left leg.(Like a Horse)
- Simheegathi - Hold shikhara hasta in both hands, jump on the toes and move forward. (Like a Lion)
- Bhujangeegathi - Hold tripataka in both hands & walk as explained in simheegathi. (Like a Snake)
- Mandookeegathi - Like simheegathi.
- Veeragathi - Hold shikhara hasta in left hand, pataka in right and walk as though coming from far.
- Maanaveegathi - Keep the left hand on the waist, katakamukha in right and walk while turning around for each step.
Paadachari
There are 8 types of Paadachari. They are
- Chalanachaari - Walk casually
- Chankramanachaari - Walk while keeping the legs sideways
- Saranachaari - Walk while dragging one feet and bringing the other together without lifting the heel from the ground
- Veginichaari - Walk fast while changing alapadma & tripataka hasta alternatively
- Kuttanachaari - Walk while tapping the feet hard on the floor
- Lunthitachaari - Stand in Swastikamandala and perform kuttanachaari in the front leg
- Lolithachaari - Perform kuttanachaari in one leg and walk slowly with the other one
- Vishamachaari - Walk while the legs are twisted together
Bhramari
There are 7 types of Bhramari. They are
- Utplutabhramari - With Samapaada Sthanaka, jump & turn around
- Chakrabhramari - Hold tripataka hasta in both the hands and turn around while dragging the legs on the floor
- Garudabhramari - Keep one of the knees on the ground, stretch the other leg and turn around
- Ekapaadabhramari - Stand on one leg and turn around with the other
- Kunchitabhramari - Jump and turn around folding the legs up
- Aakaashabhramari - Jump , spread the legs apart and turn around
- Angabhramari - Keep the legs 12 inch apart and turn the body around
Utplavana
There are 2 types of Utplavana. They are,
- Alaga - Hold Shikhara hasta on the waist and jump
- Kartaree - Hop on the toes, hold Kartareemukha hasta behind the left leg and hold shikhara hasta, upside down on the waist
- Ashvotplavana - Hop forward on one leg and bring the other leg together,hold tripataka hasta in both the hands
- Motita - Hold tripataka hasta in both the hands, jump like Kartaree Utplavana on both side
- Krupaalaga - Jump in such a way that the heel touches the back side
Mandala
There are 10 categories in Mandala. They are
- Sthanaka - Stand Straight with Ardhachandra Hasta on the waist
- Aayata - Keep 12 inch distance between the feet and bending the knees a little.
- Aaleedha - Keep the right foot 3 feet in front of the left foot, holding shikhara hasta in the left and katakamukha hasta in right hand
- Prenkhana - Stand with one foot on the knee of the other and holding koorma hasta
- Prerita - Hit the floor hard with one leg, bend the knees, keep the other foot a little further, hold shikhara in one hand, near the chest and pataka in another, stretched away
- Pratyaleedha - Opposite of Aaleedha
- Swastika - Keep right leg across the left leg and right hand across the left hand
- Motita - Sit on toes, touch the ground with knees, alternatively
- Samasoochi - Touch the ground with toes & knees
- Paarshwasoochi - Sit on toes, touch the ground with one of the knees in one side
Sthanaka Mandala is further classified as
- Samapaada - Stand Straight. While worshipping the god this is used.
- Ekapaada - Stand with one foot on the knee of the other. To show a Saint in Penance this is used.
- Naagabandha - Twist one leg with the other & one hand with the other. To show a pair of snakes this is used.
- Aindra - Bend one of the legs little and lift the knee of the other and keep the hands as usual. To show Indra this is used.
- Garuda - Bend the left leg keeping the foot completely on the floor, bend the right leg and sit on the right leg. This is used to show the bird Garuda, Lord Vishnu's Vehicle.
- Brahma - Sit down, cross the feet like Padmasana. This is used to show meditation.
Arangetram
Arangetram is a tamil word. Aranga meaning raised floor and Etram meaning climbing in Tamil,one of the south indian languages. It is also called Rangapravesha in Kannada, another south indian language, Ranga meaning Stage and Pravesha meaning Enter. Ideally this should be the first public performance of an artist. After learning bharatanatyam under the guidance of an accomplished guru, this is the occasion for the proud guru to present his/her deciple to the public. This is the testing time for both the guru & the shishya(deciple) as the guru's knowledge & the deciple's talent both are judged by the public. Hence, the guru will decide when the deciple is ready for public appearance. At least 10 - 12 years of training is necessary to give a commendable performance.
This arangetram was known as Gejjepooje in old mysore district, meaning worshiping the jingles in kannada, a south indian language.For a dancer, jingles are considered divine. In olden days, deciple's were not allowed to wear jingles till their first public performance. In their first performance, they were made to worship the jingles, wear them & then perform.
Accompaniments play a major role in the making of a memorable dance performance. Basic accompaniments are a Singer, Mridangam player, Violin player and of course the Natuvanga. Veena,Flute and other instruments are optional. These people sit in the corner of a stage or in a place in front of the stage which will be in a lower level than that of the stage.
The artist will wear lot of Jewellary, make-up and a specially stitched dress. Jingles are a must.
Usually duration of an arangetram will be 2 1/2 - 3 hours. To perform for such long hours one must have good stamina and concentration. This time is divided into two halves.
In the first half the artists generally perform
- Pushpanjali or Alaripu
- Jathiswaram
- Shabdam
- Varnam
In the second half
- Padam
- Ashtapadi or Devaranama
- Tillana
- Managalam
Pushpanjali
This is an item where the artist salutes to god, guru and the audience. This item is a warm up item where the artist prepares the body for the next few hours of vigorous performance.
Alarippu
This is a tamil word. Alar meaning to bloom. It comprises of set of movements without any meaning or expression. The movements are performed for syllables set for a beat (Tala). The complexity of the movements gradually increase. The steps are so formed that it looks like a bud blooming into a flower. This is also a warm up piece to prepare the body for the next few hours of performance. Even though there is no meaning, this can also be considered as an item where the artist salutes god,guru and the audience. Alarippu , the opening dance of invocation, is ordinarily danced to a purely rhythmic accompaniment played on a drum capable of great variety of tonal color, the Mridangam . The chiming of small brass hand cymbals played by the nattunavar or dance master, represents certain patterns of recited vocal syllables which are used in teaching the various movements of choreography. The recited syllables, in turn, represent the sounds of the drum. The dance master, recites some of the syllable patterns aloud when a certain type of dance sequence known as tirmanam is performed in subsequent concert pieces. A Bharata Natyam dancer usually knows alarippus in three, four, five and seven beats respectively.
Jatiswaram
Jatisvaram is a musical form similar to the rondo, in which a refrain (heard first at the very beginning) alternates with three or four sections of contrasting melody. There are no words, but the melodies employ the Indian sol-fa syllables (sa, ri, ga, ma, pa, da, ni) for the seven scale degrees. These are known as swaras. Jatis are rhythmic patterns or compositions and comprise an arrangement of solfeggios in rhythmic patterns. Indian melody conforms to certain modal types known as ragas. Each raga has a particular scale, certain ornaments associated with its tones, traditional melodic phrases, various musical aesthetics, and emotional nal connotations which help to give it a unique character and mood of its own called raga bhava.
Shabdam
This is a dance item with both nritta & abinaya. Usually the theme of the lyrics will be devotional like praising lord krishna, depicting lord krishna's childhood , praising a king etc.The movements here are leisurely . Shabdam is often sung in a medley of ragas, known as ragamalika. The form is simple consisting of four or five sections of poetry in different ragas, set in seven beats (misra chapu)separated by short passages of drum syllables chanted in the raga scale. This is the only instance where the syllables are sung rather than spoken. The text usually praises a king or a specific deity. The challenge here is for the dancer to keep a steady flow of gestures and mime to this densely compact text in seven beats. Short sequences of abstract dance are done to the syllables which separate the various poetic sections. A Bharata Natyam dancer usually knows at least three shabdams.
Varnam
This is the item where the dancers are tested for their capacity to perform abinaya & nritta. This can be treated as a benchmark to judge the artist's talent.The item will contain many complex steps and will have lot of room for expressions also. To perform this item one should have lot of stamina & concentration. The lyrics can be devotional, praising a king etc. Varna can also have shrigara rasa as its theme.
Varnam is a complex music form, and the basis for an even more complex dance. The main item on the program, it may sometimes be performed from a half hour to an hour depending on the expertise of the dancer. It combines abstract dance and abhinaya (drama). One line of the music, for instance, may be used for a brilliant rhythmic tirmanam as well as for improvisation of the text in drama. The musical and poetic form is in two main, sections. The first consists of Pallavi and Anupallavi , each having two lines of text, and Muktayi (composed) swaras. The latter melody is sung first in swara syllables and then with words. The dancer interprets the syllables as abstract dance movement,and the words in drama. Sometimes the two are combined-the dancer moves about with difficult foot work called tattimettu as she does the gestures. In Pallavi and Anupallavi words are also interpreted in abhinaya , and one line may be danced for some time. Each line generally concentrates on one of the nine rasas, or emotional states: love, bravery, compassion, wonder, humor, fear, disgust, anger and serenity. When the dancer finishes abhinaya for a particular line, she usually concludes with a tirmanam in abstract dance. The second half of the Varnam begins with a refrain melody known as the caranam . This alternates with four or five sections of swaras , in the same type of rondo form found in the jatisvaram . However, in the varnam , each set of swaras also has words, and is immediately repeated with text. The swara passages are done in abstract dance, and the sections with the text in drama. As in many Indian dances, there are moments of repose in the varnam where the dancer steps out of character briefly, before beginning the next portion. This provides an excellent aesthetic device to give both audience and dancer a rest as it were before they experience the intense emotion in the last half of the dance. An experienced Bharata Natyam dancer usually knows at least seven varnams .
Padam
In this dance item the dancer's abhinaya is put into test. It narrates expression of divine love or pangs of separation in love. The tempo is slow and the performance is based on a specific mood of love.Padams will have Nayaka (Hero, Supreme lover, Divine Lord)& Nayika (Heroine, the yearning soul). Heroine will talk to her friend(sakhi) and narrate her feelings towards her hero. The lyrics can be about how the hero has betrayed, how he has delayed the arrival, how she is angry with her beloved hero etc. Padams follow the intermission and are considered the piece de resistance of this style. They are love songs in slow tempo sung to a highly ornamented and expressive melody. The text is interpreted on many levels; one text, for example, might be treated as the relationship of a lover and beloved, or as the devotee and deity. The ragas are called rakti ragas that are rich in emotional expression.
It is here in padam interpretation that the dancer relies heavily on raga bhava , her ability to sense the underlying mood of the raga . The luxuriant movement of the melodic ornamentation has a direct influence upon the movement of gestures and entire body. A padam is interpreted solely through drama, and the rhythm, though often slow, is the subtle foundation for every movement that the dancer makes. The musical form is tripartite: pallavi, anupallavi, and caranam
Ashtapadi
These are poet Jayadeva's Sanskrit compositions called Geetagovinda , an extremely romantic composition. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. The songs are sung by Krishna or Radha or by Radha's maid. Each Canto is named differently considering Krishna's status of mind.
- Saamodadamodara - Joyful Krishna
- Aakleshakeshava - Careless Krishna
- Mugdhamadhusoodhana - Bewildered Krishna
- Snigdhamadhusoodhana - Tender Krishna
- Saakankshapundareekaksha - Longing Krishna
- Kuntavaikunta - Indolent Krishna
- Naagaranaaraayana - Cunning Krishna
- Vilakshalakshmeepatihi - Abashed Krishna
- Mandamukunda - Languishing Krishna
- Chaturachaturbhuja - Intellegent Krishna
- Saanandadamodara - Blissful Krishna
- Supreetapeetambara - Ecstatic Krishna
Expressions are given foremost importance while performing these poems. Needs lot of grace. The artist should be mature enough to understand the lyrics and the situation to show the rasas.
Devaranama
This item is a devotional piece where the lyrics are in praise of god, describing the god etc. This is a pure abhinaya item with almost no emphasis on nritta. Usually the lyrics are in Kannada. These songs are the compositions of great mystics like Purandharadaasa, Kanakadaasa, Vijayadaasa, Vyasaraaja to name a few. The compositions are popularly known as Daasa Sahitya. It is a devotional literatures written in simple language understood by common man. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching philosophy of Love, Devotion and Peaceful Coexistence.
Tillana
This is usually the last item in any bharatanatyam performance. Tillana is full of complicated movements & postures. This will also have complicated Muktayas or Sholkattu , ending of any step or aduvu. This is mainly a nritta piece which might have a charana , a meaningfully lyrics for which abinaya is shown. Tillana is the concluding item of abstract dance counter-balancing the alarippu , and is performed to a rhythmic composition using sol-fa and drum syllables with a small amount of text. A Bharata Natyam dancer usually knows at least four tillanas
Mangalam
Meaning ending the performance. Here the artist will again salute god, guru & the audience for making the performance a success.
HASTA PRANALAKSHANA
- Prasarana Hasta - The fingers are stretched
- Kunchita Hasta - The fingers are folded
- Rechita Hasta - The fingers are given movement
- Punchita Hasta - The fingers are folded or moved or stretched
- Apaveshtita Hasta - The fingers are bent down
- Prerita Hasta - The fingers are bent back or moved or stretched
- Udveshtita Hasta - Holding the hands UP while dancing
- Vyavrutta Hasta - Hands help UP in the sides
- Parivrutta Hasta - Hands are brought together from sides (like a namaskara)
- Sanketa Hasta - Hands used to convey Implied Meanings
- Chinha Hasta - While dancing a dancer tries to show lot of things which are visible & invisible like a person's physical appearence, face, weapons, places of limbs & other parts of the body, his/her influence on others, their mannerisms etc. Hands used to show such things are called Chinhe
- Padarthateeke - Hands used to confirm the meanings of certain words
- Asamyuta Hasta - Single hand gestures
- Samyuta Hasta - Double hand gestures
There are 28 asamyuta hastas & 24 Samyuta hastas. Each hasta has a defined usage called Viniyoga. These viniyogas are again sanskrit shlokas written in Natyashastra.
Asamyuta Hasta Watch: Mudras - Asamyutha Hasta
Pataka tripatakordhapataka kartareemukhaha
Mayurakyordhachandrashcha arala shukatundakaha
Mushtishta shikarakyashcha kapitha katakamukhaha
Suchee chandrakala padmakosham sarpashirastata
Mrugasheersha simhamukho langulasolapadmakaha
Chaturo bramarashchiva hamsasyo hamsapakshakaha
Samdamsho mukulashchiva tamrachooda trishoolakaha
Ashtavimshatihastanaam evam naamaanivikramat.
Samyuta Hasta
Anjalishcha kapotashcha karkata swastikastatha
Dolahasta pushpaputaha Utsanga shivalingakaha
Katakavardhanashchiva kartaree swatikastata
Shakata shankha chakrecha samputa pasha keelakau
Matsya Koorma Varahashcha Garudonagabandakaha
Khatwa bherundakakhyashcha avahitastathivacha
Chaturvimshatisankhyakaha samyuta katithakaraha
The Viniyoga (usage) of these are described below.
Hasta Viniyogas
Samyuta Hasta
Using the above two, one can show lot of other things in dance like
- Deva Hasta
- Dashavatara Hasta
- Navagraha Hasta
- Jaati Hasta
- Bandhu Hasta
- Nritta Hasta
Asamyuta Hastas
Pataka Hasta
to begin the dance, clouds, forest, to refuse something
Kuchasthale Nishanyaamcha Nadhyaam Amaramandale
to show breasts, night sky, river, the heavens
Turage Khandane Vaayau Shayane Gamanodyame
horse, strike down, wind, sleeping, to go quietly
Prataapecha Prasaadecha Chandrikaayam Ghanaatape
to indicate greatness, to offer something, moonlight, bright sunlight
Kavaattapaattane Saptavibhaktyarthe Tarangake
to open a door, seven scriptures, waves
Vithipraveshabhaavepi Samatvecha Angaraagake
to enter a street, to show equality, to anoint ones body
Aatmaarthe Shapathechaapi Tushnimbhaavanidarshane
to show oneself, to take an oath, to show silence
Aashirvaadakriyaayaamcha Nripashreshtasyabhaavane
to bless,ideal king,
Taalapatrecha Khettecha Dravyaadisparshane tatha
palm leaf, shield, to touch things
Tatratatretivachane Sindhautu Sukrutikrame
to indicate such and such person, ocean, to indicate everything is alright
Sambhodhane Purogepi Khadgarupasyadharane
to address a person, going forward, sword
Maase Samvatsare Varshaadine Samaarjane tatha
month, year, rainy season, to sweep
Evamartheshuyujyante Pataakahastabhavanah
these are the different usages of Pataka Hasta
Tripataka Hasta
Crown, Tree, Weapon of Lord Indra, Lord Indra
Ketakee kusume Deepe Vanhijwalavigrumbhane
Ketakee Flower, Lamp, to show flames
Kapole Patralekhayaam Baanarthe Parivartane
Cheeks, Letter writing, Arrow, Changing
Streepumpsayosamayoge Yujyate Tripatakakaha
Getting together of Man & Woman Tripataka is used.
Ardhapataka Hasta
Sprouts, Board, Banks of rivers, to show two persons
Krukache Churikayancha Dhwaje Gopura Shrungayoho
Hack Saw, Sword, Flag, Shrine, Horns
Yujyaterdhapatakoyam Tatatkarmaprayogataha
Ardhapataka is used to show all these things.
Kartareemukha Hasta
Separation of Man & Woman,differentiation
Lunthane Nayanantecha Marane Bhedabhavane
Stealing, Glance, Death, Showing Difference
Vidyudarthe Ekashayya Virahe Patanetatha
Lightning, Single Bed, Pain of Separation, Falling Down
Latayaam Yujyatechayam Kartareemukha Isyate
Creeper Kartareemukha is used for all these things.
Mayura Hasta
Peacock, Creeper, Bird, Vomiting
Alakasyapanayane Lalate Tilakeshucha
Curls, Forehead, Dot on the Forehead(bindi)
Netrasyodakavikshepe Shastravade Prasidhake
Tears, Predictions, Famous
Yevamartyeshu Yujyante Mayurakarabhavanaaha
To show all these meanings Mayura Hasta is used.
Ardhachandra Hasta
Moon, Krishna's Birthday, pushing out holding the neck
Bhallayudhe Devatanaamabhishechanakarmanee
Weapon, worshipping the gods
Bhukpatrecha Udbhave Katyaam Chintayaam Aatmavachake
Plate, Creation, Waist, Worrying, Saying that "It is mine"
Dhyanecha Prarthanechapi Angasamsparshane tatha
Meditation, Praying, Touching the Limbs
Prakrutanaamnamaskarepyardhacahndroniyujyate
To salute the common man Ardhachandra Hasta is used.
Arala Hasta
Drinking Poison or Nectar, Thunder storm
Yujyateraalahastoyam bharattagamakovidhihi
Arala Hasta is used to show all these things.
Shukatunda Hasta
To Shoot an Arrow, Weapon, Saying Cunning things, Showing Fury
Shukatundakarogneyo Bharatagamavedhibhihi
Shukatunda Hasta is used for all these things.
Mushti Hasta
Strength, Dragging by the Hair, Courageous, Holding Things
Mallanaam Yudha bhavecha Mushtihastoyamuchyate
Wrestling To show all these Mushti Hasta is used.
Shikhara Hasta
Cupid, Bow, Pillar, Silence, Offerings to the dead ancestors
Oshte Pravishtaroopecha Radane Prashnabhavane
Lips, Entering, Teeth, Questioning
Ange Naasteetivachane Smarane Abinayaantare
Limbs, saying 'NO', Recollection, At he end of an expression
Katibandhakarshanecha Parirambhavidhoudhave
Tying around the waist, Hugging
Shaktitomarayormokshe Ghantanadecha Peshane
Weapon names Shakti, Weapon called Tomara, Ringing the Bell, Churning
Shikharo Yujyatesoyam Bharatagamavedhibhihi
Shikhara Hasta is used to show all these things.
Kapitha Hasta
To show Goddess Lakshmi, Saraswati, Going Around, Holding the symbols(Tala)
Godohanechanjanecha Leelattasumadharane
Milking the cows, Putting eye liners, Holding Flowers
Chelanchaladigrahane Patasyivavakuntane
Holding the Saree(pallu), Draping a cloth on the face
Dhoopadeepaarchanechapi Kapithasamprayujyate
To Hold Lamp and Incense, Kapitha Hasta is Used.
Katakamukha Hasta
Plucking the flowers, Pearl necklace, Wearing Flowers
Sharamandaakarshanecha Nagavallee Pradanake
Getting attracted by the cupid arrows, Giving Beetle Leaf
Kastoorikadi Vastoonaam peshane Gandhavasane
Showing Kastoori & other Perfumes, Enjoying the perfumes,
Vachane Drushtibhavecha Katakamukha Ishyate
To show Talking & Seeing Katakamukha Hasta is used.
Suchi Hasta
Showing Number One, Showing Para Brahma, To show 100
Ravou Nagaryam Lokarthe Tathepivachanepicha
Sun, City, Universe, Saying 'That's how it is'
Yachabdepichatatchabdhe Vyajanarthepitarjane
Asking 'when, why, who, how?', Scaring
Karshye Shalakavapushe Ashcharye Venibhavane
Thin or Skinny, Wonder, Showing the hair
Chatre Samarthe Konecha Romalyam Bheribhedhane
Umbrella, Capable, Room, Excitement,
Beating an instrument called Bheri
Kulalachakrabhramane Rathange Mandaletatha
Showing potter's Wheel, Wheel of a chariot, Group of People
Vivechane Dinantecha Suchi Hasta Prakeertithaha
Thinking, Evening all these are shown using Suchi Hasta.
Chandrakala Hasta
This Chandrakala Hasta is used to show Moon.
Padmakosha Hasta
To show Fruits like Bilwa & Kapitha, Breasts
Vartule Kanduke Swalpabhojane Pushpakoshake
Round, Ball, Small quantity of food, Bud
Sahakaraphale Pushpavarshe Manjarikadishu
Mango, Rain of flowers, Bunch of Flowers
Japakusumabhavepi Ghantaroopa Vidhanake
To show Flowers, Bell
Valmeeke Kumude Ande Padmakoshobhidheeyate
Anthill, Lilly, Egg Padmakosha Hasta is used.
Sarpasheersha Hasta
Sandalwood paste,Snake, Slow, Sprinkling, Caring
Devarshudakadaaneshu Hyaspale Gajakumbhayoho
Holy water, Elephant's Forehead
Bhujaasphaletu Mallanaam Yujyate Sarpasheershakaha
To show the muscles of wrestlers Sarpasheersha hasta is used.
Mrugasheersha Hasta
To show Women, Cheeks, Way of doing things, To show respect
Bheete Vivade Nepathye Aavasecha Tripundrake
Scare, Argument, Back Stage, The place of living, Forehead
Mukhamukhe Rangavalyom Paadasamvahanepicha
Meeting of people, Sacred Design on the floor, Massaging the feet
Sarvasammelanekaarye Mandire Chatradharane
Getting people together, house, Holding an umbrella
Sopane Padavinyase Priyahvane Tathivacha
Stairs, Gait, To call the loved one
Sancharecha Prayujyeta Bharatagamakovidhihi
To show Movement this hasta is used.
Simhamukha Hasta
to show Coral, Pearl, Fragrance, Curls
Aakarnanecha Prushati Moksharthe Hrudisamstitaha
Hearing, Point, Salvation, Heart
Home Shashe Gaje Darbhachalane Padmadamini
Sacred fire, Rabbit, Elephant, Sacred Grass, Flower
Simhanane Vaidyapakashodhane Simhavakrakaha
Lion's face, Examine the medicinal preparations Simhamukha Hasta is used.
Langoola Hasta or Kangoola Hasta
To show Lemon, Breasts of a teenager, Flower called Kalhara
Chakore Kramuke Baalakinkinyam Ghutikadike
A bird called Chakora, Beetle nut, Jingles, Tablets
Chaatake Yujyatechayam Kangoolakaranaamakaha
A bird called Chataka Kangoola Hasta is used.
Alapadma Hasta
Lotus, Fruit Called Kapitha, Turning, Breasts
Virahe Mukure Poornachandre Soundaryabhajane
Pain of seperation, Mirror, Full moon, Beautiful things
Dhammille Chandrashalayaam Grame Uddhata Kopayoho
Knotted Hair, Moon Chamber, Village, Height, Anger
Tataake Shakate Chakravake Kalakalaarave
Lake, Cart, Bird Called Chakravaka, Sound of Birds, wind, water
Shlaghane Solapadmashcha Keertito Bharatagame
To Praise Alapadma Hasta is used.
Chatura Hasta
Fragrance called Kastoori, To show small quantity, Gold and other metals
Aardre Khede Rasaaswade Lochane Varnabhedake
Wetness, Sadness, Taste, Eye, Differentiate colors
Pramane Sarase Mandagamane Shakaleekrute
Promise, Romance, Slow movement, Breaking
Aasane Ghruta Tailadou Yujyate Chaturakaraha
Seat, Melted Butter, Oil Chatura Hasta is used.
Bhramara Hasta
To show Honey Bee, Parrot, Meditation(Yoga),
Birds Called Sarasa & Kokila
Bhramaraabidhahastoyam Keertito Bharatagame
Bhramara Hasta is used.
Hamsasya Hasta
Tying the sacred thread of marriage, Advice, Decision
Romanche Mouktikadoucha Chitrasamlekhane tatha
Excitement, Pearls & other precious stones, Drawing
Damshetu Jalabindoucha Deepavarteeprasarane
Fly, Drop of water, Wick of the lamp
Nikashe Shodhane Mallikadou Rekhavalekhane
Polishing, Searching, Jasmine & other flowers, Drawing a line
Malayaamvahane SohambhavanayanchaRoopake
Holding garland, To say 'i am Brahma'
Naasteetivachanechapi Nikashanamchabhavane
Saying 'No', Looking at the polished article
Krutakrutyepi Hamsasyaha Eerito Bharatagame
Hamsasya Hasta is used to show all these things.
Hamsapaksha Hasta
To show number 6, Bridge, Impression of the nails
Vidhane Hamsapakshoyam Keertito Bharatagame
Way of doing thing Hamsapaksha Hasta is used.
Samdamsha Hasta
To show Generosity, Sacrificial Offering, Wound, Insects, Fear
Archane Panchavakravye Samdamshakyobhidheeyate
Offering Worship, Number 5 Samdamsha Hasta is used.
Mukula Hasta
To show Lilly, Eating, Cupid,Smearing sacred marks on the body
Naabhoucha Kadaleepushpe Yujyate Mukulakaraha
Belly button, Banana Flower Mukula Hasta is used.
Tamrachooda Hasta
To show Rooster,A bird called Baka, Crow, Camel, Calf and to show letters
Tamrachooda Karakhyasou Keertito Bharatagame
Taamrachooda Hasta is used.
Trishoola Hasta
To show a leaf called Bilwa & to show the number 3
Trishoola Hasta is used.
Samyuta Hastas
Anjali Hasta
To salute God, Teacher & the Learned hold the Anjali Hasta
Karyasshiromukhorassu Viniyojyonjalikaraha
above the head, in front of the face &
in front of chest respectively.
Kapota Hasta
To make promise, Speak to the teacher, To be Polite,
To Agree this hasta is used.
Karkata Hasta
To show Crowd, Thick articles, Blowing of Shankha
Angaanaam Motane Shakhonnamanecha Niyujyate
Stretching Limbs, Bending the branches of a tree this hasta is used.
Swastika Hasta
This hasta is used to show Alligator
Bhayavade Vivadecha Keertane Swastikobhavet
To Talk in fear, to Argument and to praise this hasta is used.
Dola Hasta
This hasta is used in the beginning of a dance.
Pushpaputa Hasta
To show Lamp Offering, Children, Accept Fruits
Sandhyayaamarghyadanecha Mantrapushpe Niyojayet
Offering to the Sun in the evenings, Chant Holy prayers
This hasta is used.
Utsanga Hasta
To Embrace, To show shyness, To show one's body
Baalaanaamshikshanechaayam Utsango Yujyatekaraha
To deciplinne children Utsanga hasta is used.
Shivalinga Hasta
This Hasta is used to show Shivalinga (Lord Shiva).
Katakavardhana Hasta
To show Coronation, To worship and to show weddings
this hasta is used.
Kartareeswastika Hasta
To show the branches of a tree, tip of Mountains, Trees
This hasta is used.
Shakata Hasta
This hasta is used to show Demons.
Shankha Hasta
This hasta is used to show Conch.
Chakra Hasta
This Hasta is used to show Chakra, the weapon of Lord Vishnu.
Samputa Hasta
To cover things and to show the sacred box in which the
idols are placed this Samputa Hasta is used.
Paasha Hasta
To show Playful Quarrel, Rope, Chains this hasta is used.
Keelaka Hasta
To show friendly talk this hasta is used.
Matsya Hasta
This hasta is used to show Fish.
Koorma Hasta
This Hasta is used to show Turtle, Tortoise
Varaha Hasta
This Hasta is used to Show Boar (Wild Pig)
Garuda Hasta
This Hasta is used to show a bird called Garuda.
To show Snakes, Creeper Chamber
Athrvanasya mantreshu Yojyo Bharatakovidhihi
Atharvana Veda Shlokas this hasta is used.
Khatva Hasta
This Hasta is used to show Bed.
Bherundha Hasta
To show a bird couple called Bherundha this hasta is used.
Avahittha Hasta
To show Love, Catching the ball
Kucharthe Yujyate Soyamavahitthakaraabhidhaha
Breasts Avahittha Hasta is used.
Deva Hasta
Name of the Deity
|
Left Hand
|
Right Hand
|
Brahma Hasta
|
Chatura Hasta
|
Hamsasya Hasta
|
Shambhu Hasta
|
Mrugasheersha Hasta
|
Tripataka Hasta
|
Vishnu Hasta
|
Tripataka Hasta
|
Tripataka Hasta
|
Saraswati Hasta
|
Kapitha Hasta, in line with the shoulder
|
Suchi Hasta
|
Parvati Hasta
|
Ardhachandra Hasta, held downwards
|
Ardhachandra Hasta, held upwards
|
Lakshmi Hasta
|
Kapitha Hasta, in line with shoulder
|
Kapitha Hasta, in line with shoulder
|
Vinayaka Hasta
|
Kapitha Hasta, in front of chest
|
Kapitha Hasta, in front of chest
|
Manmatha Hasta
|
Shikhara Hasta
|
Katakamukha Hasta
|
Shanmukha Hasta
|
Trishoola Hasta
|
Shikhara Hasta
|
Indra Hasta
|
Tripataka Hasta
|
Swastika Hasta
|
Agni Hasta
|
Kangoola Hasta
|
Tripataka Hasta
|
Yama Hasta
|
Paasha Hasta
|
Suchi Hasta
|
Niruti Hasta
|
Khatva Hasta
|
Shakata Hasta
|
Varuna Hasta
|
Shikhara Hasta
|
Pataka Hasta
|
Vaayu Hasta
|
Ardhapataka Hasta
|
Arala Hasta
|
Kubera Hasta
|
Padmakosha Hasta
|
Ardhachandra Hasta
|
Dashavatara Hasta
Name of the Avatara
|
Left Hand
|
Right Hand
|
Position of the Hands
|
Matsya (Fish)
|
Tripataka Hasta
|
Tripataka Hasta
|
First show the Matsya hasta and then hold tripataka hasta in both the hands, in line with shoulders.
|
Koorma (Tortoise)
|
Tripataka Hasta
|
Tripataka Hasta
|
Show the Koorma hasta and then hold tripataka hasta in both the hands, in line with shoulders.
|
Varaha (Wild Bore)
|
Show the Varaha hasta and then keep both hands on the waist.
| ||
Narasimha (Half Man & Half Lion)
|
Simhamukha Hasta
|
Tripataka Hasta
|
Hold the hands in front of the chest.
|
Vamana (Dwarf)
|
Mushti Hasta
|
Mushti Hasta, turned down
|
Hold the left hand little below the left shoulder and the right hand little above the waist, like showing the sacred thread.
|
Parashuraama
|
Keep the hand on the waist
|
Ardhapataka Hasta
|
Stretch the right hand above the head at an angle.
|
Raama
|
Shikhara Hasta
|
Kapitha Hasta
|
Hold the left hand above the shoulder level, like holding a bow and stretch down the right hand, like holding an arrow.
|
Balaraama
|
Mushti Hasta
|
Pataka Hasta
|
Hold the hands in front of the chest.
|
Krishna
|
Mrugasheersha Hasta
|
Mrugasheersha Hasta
|
Both the hands are held near the mouth with mrugasheersha hasta opposite to one another, like holding the Flute
|
Kalki
|
Tripataka Hasta
|
Pataka Hasta
|
Hold the hands in front of the chest.
|
Navagraha Hasta
Name of the Graha
|
Left Hand
|
Right Hand
| |
Surya
|
Alapadma Hasta
|
Kapitha Hasta
| |
Chandra
|
Alapadma Hasta
|
Pataka Hasta
| |
Kuja or Mangala or Angaraka
|
Suchi Hasta
|
Mushti Hasta
| |
Budha
|
Mushti Hasta, held horizontally
|
Pataka Hasta
| |
Bruhaspati or Guru
|
Shikhara Hasta
|
Shikhara Hasta, both hands held like showing the showing the sacred thread.
| |
Shukra
|
Mushti Hasta
|
Mushti Hasta, held upside down
| |
Shani
|
Shikhara Hasta
|
Trishoola Hasta
| |
Raahu
|
Sarpasheersha Hasta
|
Suchi Hasta
| |
Ketu
|
Suchi Hasta
|
Pataka Hasta
|
Jaati Hasta
| Name of the Jaati | Left Hand | Right Hand |
| Rakshasa Hasta | Shakata Hasta | Shakata Hasta, help near the mouth |
| Brahmana Hasta | Shikhara Hasta | Shikhara Hasta |
| Kshatriya Hasta | Shikhara Hasta, held horizontally | Pataka Hasta |
| Vyshya Hasta | Hamsasya Hasta | Katakamukha Hasta |
Bandhu Hasta
Relationship
|
Left Hand
|
Right Hand
|
Dampati (Married Couple)
|
Shikhara Hasta
|
Mrugasheersha Hasta
|
Maatru (Mother)
|
Ardhachandra Hasta , held near the stomach
|
Samdamsha Hasta
|
Pitru (Father)
|
Ardhachandra Hasta , held near the stomach
|
Shikhara Hasta
|
Swashru (Mother-in-law)
|
Hamsasya Hasta, held near the neck
|
Samdamsha Hasta
|
Swashura (Father-in-law)
|
Hamsasya Hasta, held near the neck
|
Shikhara Hasta
|
Bhartru Bhaatru (Brother-in-law)
|
Shikhara Hasta
|
Kartareemukha Hasta
|
Nanand (Sister-in-law)
|
Show the above hasta and then show Mrugasheersha Hasta in right hand
| |
Sodara (Brother
|
Mayura Hasta
|
Mayura Hasta
|
Putra (Son)
|
Shikhara Hasta
|
Samdamsha Hasta, held near the stomach
|
Snusha (Daughter-in-law)
|
Show the above hasta and then show Mrugasheersha Hasta in right hand
| |
Sapatni (Second Wife)
|
Mrugasheersha Hasta
|
First Paasha Hasta and then Mrugasheersha Hasta
|
Nritta Hasta
13 Hastas are categorized under Nritta Hasta. They are so named because of their usage in Aduvus. There are different ways of holding the Nritta Hastas. They can be held
- Facing Upward
- Facing Downward
- To the Right
- To the Left
- In Front
Depending on the footwork, the nritta hastas should be held in proper places.
The 13 Nritta Hastas are
- Pataka
- Swastika
- Dola
- Anjali
- Katakavardhana
- Shakata
- Paasha
- Keelaka
- Kapitha
- Shikhara
- Koorma
- Hamsasya
- Alapadma
When all Angas(main body parts) coordinate (along with pratyanga and upaanga) the artist is said to have Angashudhi. Anga meaning body parts and shudhi , meaning perfect. Any dancer should try to achieve this perfection. The Natyashastra, which talks about all aspects of Bharatanatyam, quotes shlokas to perform all the above movements.
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