........... Bharata Natyam is poetry in motion,
tracing its hoary origins in the Natya Shastra, written by the great
sage, Bharata, it is a highly traditional and stylized dance form.
Crystallized in the cast-iron mould of Bharata's technique, this art
form grossly disallows new-fangled innovations or gimmicks except in
repertoire and forms of presentation. Emerging far back in the
labyrinthine twists of ancient history (as information for the date
conscious, 4000 B.C. is the ascribed date to the Natya Shastra),
Bharatanatyam has been immortalized in successive generations, as
much by the sinuous grace of great dancers as by the nimble fingers
of renowned sculptors who have demonstrated the perfection of
Bharata's technique in the flowing lines of temple sculptures.
The general interpretation for the name is
BHA va(expression) + RA ga (music) + TA la(rhythm) + NATYAM (dance)
The Gods & Goddesses pleaded Lord Brahma to create
another veda which would be simple for the common man to understand.
It is believed that considering this request Lord Brahma created the
Panchamaveda , Fifth veda, Natyaveda , an
essence of the other four vedas. It is believed that he has taken
pathya (words) form the Rigveda, abhinaya (gesture) from the
Yajurveda, get (music and chant) from Samaveda and rasa
(sentiment and emotional element) from Atharvaveda to form the
fifth veda, Natyaveda.
After creating this natyaveda, Lord Brahma gave the same to sage
Bharata and asked him to popularize this veda on earth. Following
the words of Lord Brahma, sage Bharata wrote Natyashastra or the
Science of Dramaturgy, a great, comprehensive work on the science
and technique of Indian drama, dance and music. Bharatanatyam might
have got its name from sage Bharata also.The dancers still follow
this work to perform.
There is also another story which says that Goddess Parvathi taught
this dance form to Usha, daughter of Banasura, a demon. Usha taught
the same to the Gopikas of the city of Dwaraka, Lord Krishna's birth
place. Thus the divine dance form Bharatanatyam was introduced to
In Indian mythology, Lord Shiva is considered as the supreme lord of
dance. This divine art form is performed by Lord Shiva & his wife
Goddess Parvathi. The Dance performed by Lord Shiva is known as
Tandava , which depicts his violent nature as the destructor of
the universe. The tandava performed with joy is called Ananda
Tandava and performed in violent mood is called Rudra
Tandava . There are 7 types of Tandava. Namely Ananda Tandava,
Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma
Tandava and Gauri Tandava. There are few people who believe that
there are 16 types of Tandava. Tandava has vigorous, brisk
movements.The dance performed by Goddess Parvathi is known as
Lasya , in which the movements are gentle, graceful and
sometimes erotic also. Some scholars call Lasya as the feminine
version of Tandava. Lasya has 2 kinds. Jarita Lasya and
Yauvaka Lasya .
The art form has definitely gone through lot of changes over the
years. In olden days it was performed mostly by female artists. They
were called Devadasi s, who would perform in the temples.
These devadasis were accomplished artists who would sing, dance,
play many instruments. They were well worsed in sanskrit & other
languages which helped them to interpret compositions which they
would perform. But this tradition came to an end as the devadasis
lost their position in the society.
Then the dance entered the royal courts. Here the artists called
Rajanartakis , performed in the courts of kings who gave them
shelter.Even these were accomplished artists like devadasis
The next well-documented period of dance history is far more recent.
In the first half of the 19th century the dance tradition was
revitalized and defined anew through the contributions of four
talented brothers (known today as the Tanjore Quartet)Chinniah,
Sivanandam, Ponniah and Vadivelu. By coordinating their diverse
talents, the four managed to organize all the basic dance movements
of pure dance into a progressive series of lessons [adavu chapters].
Each adavu (basic unit of motion) was taught in systematic order and
then combined with others to produce choreographed sequences based
upon the rhythmic contour of a musical composition (Krishnamoorthy
Pillai). In addition the brothers composed new music specifically
for the dance, and introduced a different sequence of items which
integrated the various aspects of dance and music into a carefully
coordinated, aesthetically sound progression. This infusion of
creative energy marks the early 19th century as one of the most
innovative periods in the history of Indian dance.
The contribution of Udayshankar, Rukminidevi Arundale and
Balasaraswathi, in the 20th century, cannot be forgotten at this
Even though Bharatanatyam has gone through lot of changes, it still
has its roots deep into the religious and rich mythological heritage
of India. In the modern day scenario it is performed by both male &
female artists. Many learn as a hobby and few make it as a
profession. Whether taken as a hobby or a profession it certainly
needs lot of practice,concentration and dedication.
Bharatanatyam is evenly divided between three
elements Nritta, Nritya and Natya .
Nritta : Rhythmic Element.Interprits the language
of rhythm with the help of body movements.
Nritya : Combination of Rhythm with Expression
.Conveys poetic meaning with the help of expressions, rhythmic gaits
and postures. e.g.. Varna, Shabda, Pada etc.
Natya : Dramatic Element. Performing for a theme
like Ramayana, Mahabharata etc.
Nritta can be broadly divided into Chari, Karana, Angahara and
Mandala. Movement of a leg is called Chari. Movement of both the
legs is Karana. 3 Karanas make a Khanda. 3 to 4 Khandas make a
Mandala. 4 to 9 Karanas make a Angahara. 4 to 5 Angaharas also make
a Mandala. 108 Karanas and 32 Angaharas are defined in Natyashatra.
The 13 Nritta Hastas (explained later) are used to perform nritta.
The rhythmic body movements along with hand gestures are called
Aduvu s. Number of aduvus constitute a Jati . Jati
will generally end with a Muktaya or Teermana .
There are varieties of Aduvus like,
There are 12 aduvus in each of the above explained. Hence 120 aduvus
exist in total. Only about 70 - 80 are in practice. The aduvus are
more or less Karanas. Hence can be concluded that there are 108
aduvus. The 108 Karanas or Aduvus are carved in the Chidambaram
Temple in Tanjore, Tamilnadu, India. To perform an aduvu
aramandi , bending of the knees is very very important.
The entire body is divided as Anga, Pratyanga and
Anganyatra shirohastau vaksha paarshwakateetatau
Paadaviti shaduktaani greevamapyapare jaguhu
Head, Hands, Chest, Waist, Bottom, Legs are the Six Angas. Some
people include Neck also.
Pratyangaani twathaskandhau baahoo prushtam tathodaram
ooroo janghe shadityahurapare manibandhakau
jaanooneekoorparamiti trayamapyadhikam jaguhu
Shoulders, Arms, Stomach, thighs, Knee are the Six Pratyangas. Some
people include Wrist, elbow and Ankle also.
Drushtibhrooputatarashcha kapolau naasikaahanuhu
Adharodashanaa jihwaa chubukam vadanam tatha
Upaangani dwadashitaanyanyaanyangaani santi cha
Paarshnee gulbautathangulyaa karayoho padayostale
Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose, Gums, Lower Lip,
Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include
Heels, Fingers, Feet, Palm also into upaangas.
Pratynaga and Upaangas should move along with the Angas.
Anga Lakshana , the way of moving body parts, are described
- Shirobhedha - Head Movement
- Greevabhedha - Neck Movement
- Drushtibhedha - Eye Movement
- Mandala - Standing Posture
- Utplavana - Leaps
- Bhramari - Circling Movement
- Chari - Leg Movement
- Gatibhedha - Characteristic walks and
- Hastas or Mudras - Hand Movements
- Asamyuta Hasta
- Samyuta Hasta
- Deva Hasta
- Dashavatara Hasta
- Navagraha Hasta
- Jaati Hasta
- Bandhu Hasta
- Nritta Hasta
Samam Udvahitam Adhomukham Alolitam Dhutam
Kampitancha Patavruttam Utkshiptam Parivahitam.
Samam = Keeping head straight
Udvahitam = Lifting the head up
Adhomukham = Putting the head down
Alolitam = Rotating the Head Clockwise & Anti-clockwise
Dhutam = Nodding the head as if to say "NO"
Kampitam = Shaking the Head
Paravruttam = Lifting the head from right side
Utkhiptam = Lifting the head from left side
Parivahitam = Nodding the head as if to say "YES".
Sundareecha tirashcheena tathivaparivartita
prakampitachabhavagny gneyagreeva chaturvidha
Sundari = Neck movement on both sides
Tirashcheena = Above movement with increase in speed
Parivartita = Movement to the corners
Prakampita = Moving the neck like a rooster
Samam Alolitam sachi pralokita nimeelite Ullokita
Samam = Looking Straight
Alolitam = Turing eye balls clockwise & anti-clockwise
sachi = Looking to the sides without turning the head
Pralokana = Looking to the sides alternatively without turning the
Nimeelana = Looking down
Ullokana = Looking Up
Anuvrutta = Looking Up & Down
Avalokana = Looking deep down.
There are 10 categories in Mandala. They are
- Sthanaka - Stand Straight with Ardhachandra Hasta on the
- 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,
- 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
- 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
- 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.
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
There are 7 types of Bhramari. They are
- Utplutabhramari - With Samapaada Sthanaka, jump & turn
- 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
- Kunchitabhramari - Jump and turn around folding the legs up
- Aakaashabhramari - Jump , spread the legs apart and turn
- Angabhramari - Keep the legs 12 inch apart and turn the body
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
- Kuttanachaari - Walk while tapping the feet hard on the
- 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
There are 10 unique ways of Gathibhedha(Gait).
- 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
- 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
- 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.
The way a hasta/mudra is held, is divided into 12
Pranalakshana ie 12 different ways of
holding a hand.
- 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
- Apaveshtita Hasta - The fingers are bent down
- Prerita Hasta - The fingers are bent back or moved
- Udveshtita Hasta - Holding the hands UP while
- 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
- 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
The hand gestures are divided as
- 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.
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.
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.
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
Stretch all the fingers & hold them tightly
together to show Pataka Hasta.
Nattyaarambhe Vaarivaahe Vane Vastunishadhane
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
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
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
Sambhodhane Purogepi Khadgarupasyadharane
to address a person, going forward, sword
Maase Samvatsare Varshaadine Samaarjane tatha
month, year, rainy season, to sweep
these are the different usages of Pataka Hasta
Bend the fourth finger & hold the rest tightly,
like in pataka hasta to show Tripataka Hasta.
Makute Vrukshabhavecha Vajre Taddharavasave
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.
Bend the fourth & the last finger and hold the
rest tightly like in Tripataka Hasta to show Ardhapataka Hasta.
Pallave Phalake Teere Ubhayoritivachake
Sprouts, Board, Banks of rivers, to show two persons
Krukache Churikayancha Dhwaje Gopura Shrungayoho
Hack Saw, Sword, Flag, Shrine, Horns
Ardhapataka is used to show all these things.
Hold Ardhapataka Hasta. Then make an angle between
the second & third fingers (like in scissors) to show Kartareemukha
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.
Hold Tripataka Hasta but touch the fourth finger
with the thumb to show Mayura Hasta.
Mayurasye Latayancha Shakune Vamanetatha
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.
Leave the thumb in the Pataka Hasta to show
Chandre Krishnashtameebhaje Galahastadikepicha
Moon, Krishna's Birthday, pushing out holding the neck
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
To salute the common man Ardhachandra Hasta is used.
Fold the second finger in Pataka Hasta to show
Drinking Poison or Nectar, Thunder storm
Arala Hasta is used to show all these things.
Bend the fourth finger in Arala Hasta to show
Baanaprayoge Kuntarthe Marmoktaaugrabhavane
To Shoot an Arrow, Weapon, Saying Cunning things, Showing Fury
Shukatunda Hasta is used for all these things.
Fold all the fingers in to the palm & keep the
thumb on them to show Mushti Hasta(like a fist).
Sthire Kachagrahe Dardhye
Strength, Dragging by the Hair, Courageous, Holding Things
Mallanaam Yudha bhavecha Mushtihastoyamuchyate
Wrestling To show all these Mushti Hasta is used.
Stretch the thumb finger in Mushti Hasta to show
Madane Karmukhe Sthambe Nishabdhe Pitrutarpane
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
Tying around the waist, Hugging
Shaktitomarayormokshe Ghantanadecha Peshane
Weapon names Shakti, Weapon called Tomara, Ringing the Bell,
Shikharo Yujyatesoyam Bharatagamavedhibhihi
Shikhara Hasta is used to show all these things.
Fold the second finger on the thumb in the
Shikhara Hasta to show Kapitha Hasta.
Lakshmyamchiva Saraswatyam Veshtane
To show Goddess Lakshmi, Saraswati, Going Around, Holding the
Milking the cows, Putting eye liners, Holding Flowers
Holding the Saree(pallu), Draping a cloth on the face
To Hold Lamp and Incense, Kapitha Hasta is Used.
Bring together the thumb, index & middle fingers &
stretch the other two fingers at an angle to show Katakamukha Hasta.
Kusumapachaye Muktasrajaam Daamnancha Dharane
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.
Stretch the index finger & bring together all
others to show Suchi Hasta.
Ekarthepi Parabrahmabhavanayam Shatapicha
Showing Number One, Showing Para Brahma, To show 100
Ravou Nagaryam Lokarthe Tathepivachanepicha
Sun, City, Universe, Saying 'That's how it is'
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.
Stretch the thumb finger in Suchi Hasta to show
Yesha Chandrakalaa chandrakallayame Vyujyate
This Chandrakala Hasta is used to show Moon.
Bend all the fingers towards the palm to show
Phale Bilwa Kapithadou Streenaamcha
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.
Bend the fingers a little in Pataka Hasta to show
Chandane Bhujage Mande Prokshane Poshanadishu
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.
Stretch the thumb & the little fingers in
Sarpasheersha Hasta to show Mrugasheersha Hasta.
Streenamarthe Kapolecha Krama Maryadayorapi
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.
Touch the middle & the ring finger with thumb &
stretch the second & little fingers to show Simhamukha Hasta.
Vidrume Mouktikechiva Sugandhe Alakasparshane
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
Langoola Hasta or Kangoola Hasta
Fold the ring finger in Padmakosha Hasta to show
Lakuchasya Phale Balakuche Kalharake tatha
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.
Stretch & hold all the fingers at an angle to each
other to show Alapadma Hasta.
Vikachabje Kapithadiphale Chaavartake Kuche
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.
Stretch all the fingers, hold the little finger at
an angle to the other fingers & fold the thumb & touch the bottom of
the ring finger to show Chatura Hasta.
Fragrance called Kastoori, To show small quantity, Gold and other
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.
Touch the Middle finger with thumb, bend the
second finger completely, stretch the last two fingers at an angle
to show Bhramara Hasta.
Bhramarecha Shuke Yoge Saarase Kokiladishu
To show Honey Bee, Parrot, Meditation(Yoga),
Birds Called Sarasa & Kokila
Bhramaraabidhahastoyam Keertito Bharatagame
Bhramara Hasta is used.
Touch the index finger with thumb & hold the other
fingers at an angle to show Hamsasya Hasta.
Mangalyasootrabandhe Chapyupadeshe Vinishchaye
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
Holding garland, To say 'i am Brahma'
Saying 'No', Looking at the polished article
Krutakrutyepi Hamsasyaha Eerito Bharatagame
Hamsasya Hasta is used to show all these things.
Stretch the Little finger in Sarpasheersha Hasta
to show Hamsapaksha Hasta.
To show number 6, Bridge, Impression of the nails
Vidhane Hamsapakshoyam Keertito Bharatagame
Way of doing thing Hamsapaksha Hasta is used.
Hold the Padmakosha Hasta, close & open the
fingers often to show Samdamsha Hasta.
Udaare Balidanecha Vrane Keete Manobhaye
To show Generosity, Sacrificial Offering, Wound, Insects, Fear
Archane Panchavakravye Samdamshakyobhidheeyate
Offering Worship, Number 5 Samdamsha Hasta is used.
Touch the tips of all the fingers to show Mukula
Kumude Bhojane Panchabane Mudradidharane
To show Lilly, Eating, Cupid,Smearing sacred marks on the body
Naabhoucha Kadaleepushpe Yujyate Mukulakaraha
Belly button, Banana Flower Mukula Hasta is used.
Hold the Mukula Hasta, separate the index finger,
bend a little to show Tamrachooda Hasta.
Kukkutadou Bake Kaake Ushtre Vatsecha Lekhane
To show Rooster,A bird called Baka, Crow, Camel, Calf and to show
Tamrachooda Karakhyasou Keertito Bharatagame
Taamrachooda Hasta is used.
Fold the thumb & the little finger, stretch the
other fingers & hold them together to show Trishoola Hasta.
Bilwapatre Tritwayukte Trishoolakara Eeritaha
To show a leaf called Bilwa & to show the number 3
Trishoola Hasta is used.
Hold Pataka in both the hands & join the palms to
show Anjali Hasta.
Devataguru Vipranaam Namaskarepyanukramaat
To salute God, Teacher & the Learned hold the Anjali Hasta
above the head, in front of the face &
in front of chest respectively.
In Anjali Hasta, only the borders of the hands are
joined(Palm should not touch one another) to show Kapota Hasta.
Pramaana Gurusambhasha Viniyogeekrutishwayam
To make promise, Speak to the teacher, To be Polite,
To Agree this hasta is used.
Bring the fingers of both the hands between one
another to show Karkata Hasta.
Samoohadarshane Tundadarshane Shankhapoorane
To show Crowd, Thick articles, Blowing of Shankha
Angaanaam Motane Shakhonnamanecha Niyujyate
Stretching Limbs, Bending the branches of a tree this hasta is used.
Hold Pataka Hands & cross the hands at the wrist
so that the hands are opposite to each other to shoe Swastika Hasta.
Samyogena Swastikakhyo Makararthe Niyujyate
This hasta is used to show Alligator
Bhayavade Vivadecha Keertane Swastikobhavet
To Talk in fear, to Argument and to praise this hasta is used.
Hold Pataka Hasta, stretch the arms & keep the
hasta upside down along the hip line to show Dola Hasta.
Naatyarambhe Prayoktavya Iti Natyavidovidhuhu
This hasta is used in the beginning of a dance.
Hold Sarpasheersha in both the hands & join them
at the wrist to show Pushpaputa Hasta.
Neerajanavidhou Baala Phaladigrahane tatha
To show Lamp Offering, Children, Accept Fruits
Sandhyayaamarghyadanecha Mantrapushpe Niyojayet
Offering to the Sun in the evenings, Chant Holy prayers
This hasta is used.
Hold Mrugasheersha Hasta in both the hands, cross
the hands, touch opposite shoulders to show Utsanga Hasta.
Aalinganecha Lajjayaam Angadaadipradarshane
To Embrace, To show shyness, To show one's body
Baalaanaamshikshanechaayam Utsango Yujyatekaraha
To deciplinne children Utsanga hasta is used.
Hold Ardhachandra Hasta in the left hand(palm up),
keep shikhara Hasta in right hand & place it on the left hand to
show Shivalinga Hasta.
This Hasta is used to show Shivalinga (Lord Shiva).
Hold Katakamukha Hasta in both hands, cross the
hands at the wrist to show Katakavardhana Hasta.
Pattabhisheke Poojayam Vivahadishu Yujyate
To show Coronation, To worship and to show weddings
this hasta is used.
Hold Kartareemukha Hasta in both the hands & cross
the hands at the wrist to show Kartareeswastika Hasta.
Shakhaasucha Adri Shikhare Vruksheshucha
To show the branches of a tree, tip of Mountains, Trees
This hasta is used.
Leave the thumb & the middle fingers in Bhramara
Hasta. Hold like this in both the hands & cross at the wrist to show
Shakata Hasta. Another way of showing Shakata Hasta is to cross the
Arala Hastas at the wrist.
This hasta is used to show Demons.
Hold the Left thumb with the last three fingers of
the right hand, stretch the other fingers of the left hand, stretch
& touch the thumb & index fingers of the right hand with the
stretched fingers of the left hand to show Shankha Hasta.
Shankhaadishuniyujyoya Mityevam Bharataadayaha
This hasta is used to show Conch.
Hold Ardhachandra hasta in both the hands, place
them one above the other like a Plus(+) mark to show Chakra Hasta.
Chakrahastassa vigneya chakrarthe viniyujyate
This Hasta is used to show Chakra, the weapon of Lord Vishnu.
Hold Chakra Hasta, fold the thumb & little fingers
in both the hands to show Samputa Hasta.
Vastvaacchchade Samputecha Samputahkara
To cover things and to show the sacred box in which the
idols are placed this Samputa Hasta is used.
Hold Suchi Hasta in both hands, bend the index
finger a little & join these fingers like a chain to show Paasha
Anyonyakalahe Paashe Shynkhalaayaam Niyujyate
To show Playful Quarrel, Rope, Chains this hasta is used.
Hold Mrugasheersha Hasta in both hands, bend the
little finger a little & join these fingers like a chain to show
Snehecha Narmalaapecha Viniyogosya Sammataha
To show friendly talk this hasta is used.
Hold Pataka hasta in both the hands, place them
one above the other, stretch the thumb a bit (like fins of fish) to
show Matsya Hasta.
Etasya Viniyogastu Matsyarthe Sammatobhavet
This hasta is used to show Fish.
Opposite of Chakra Hasta is Koorma Hasta i.e
Stretch the thumb & little fingers & fold the other fingers in
Chakra Hasta to show Koorma Hasta.
Koormahastasyavigneyaha Koormarthe Viniyujyate
This Hasta is used to show Turtle, Tortoise
Hold Mrugasheersha hasta in both hands, place them
one above the other to show Varaha Hasta.
Etasyaviniyogastu Varaharthe tu Yujyate
This Hasta is used to Show Boar (Wild Pig)
Hold Ardhachandra in both the hands, turn them &
hold them with the thumbs to show Garuda Hasta.
Garudo Garudarthe cha Yujyate Baratagame
This Hasta is used to show a bird called Garuda.
Hold Sarpasheersha in both the hands & cross them
at the wrist to show Nagabandha Hasta.
Bhujagadampatee Bhaave Nikunchanaamcha
To show Snakes, Creeper Chamber
Athrvanasya mantreshu Yojyo Bharatakovidhihi
Atharvana Veda Shlokas this hasta is used.
Hold Chatura Hasta in both hands, place the hands
one above the other, stretch the index fingers down to show Khatva
Khatvahastobhavedeshaha Khatvaadishu Niyujyate
This Hasta is used to show Bed.
Hold Kapitha Hasta & cross them at the wrist to
show Bherundha Hasta.
To show a bird couple called Bherundha this hasta is used.
Hold Alapadma in both the hands, cross them at the
wrist, place them near chest to show Avahitha Hasta.
Srungara Natanechiva Leelaa
To show Love, Catching the ball
Kucharthe Yujyate Soyamavahitthakaraabhidhaha
Breasts Avahittha Hasta is used.
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
The 13 Nritta Hastas are
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. All the above said movements are dealt in
detail in the respective links.
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 : 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
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
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.
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 &
The Ashtanayika bhava are
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
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
Sweeya - Married &
faithful to her husband.
Parakeeya - Married but in love with
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
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
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
Vaisika - One who pays & enjoys women.
Further Nayaka classifications
Anukoola - Faithful to the Woman. eg. Lord
Dakshina - Loves all his wives or women.
Drishta - When rejected, pleads to be
accepted by his woman. eg. Vaali
Shatha - The deceitful one. eg. Lord
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
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
In the second half
- Ashtapadi or Devaranama
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.
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.
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
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.
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 .
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
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
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
- Saamodadamodara - Joyful Krishna
- Aakleshakeshava - Careless Krishna
- Mugdhamadhusoodhana - Bewildered
- Snigdhamadhusoodhana - Tender
- Saakankshapundareekaksha - Longing
- Kuntavaikunta - Indolent Krishna
- Naagaranaaraayana - Cunning
- Vilakshalakshmeepatihi - Abashed
- Mandamukunda - Languishing Krishna
- Chaturachaturbhuja - Intellegent
- Saanandadamodara - Blissful
- Supreetapeetambara - Ecstatic
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
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.
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
Meaning ending the performance. Here the artist will again salute
god, guru & the audience for making the performance a success.
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