1. BkE-Gopinath&RamanRAo-TheClassicalDancePosesofIndia-1955-0028

. THE CLASSICAL DANCE POSES OF INDIA

BY GOPINATH & S, V. RAMANA RAO

NA MIKETAN. * :. PRAS-B.

NATANA NIKETAN PUBLICATIONS CATHEDRAL ROAD, MADRAS-6. (Copvright reserved by Goptnath)

MUDRAS Twenty four basic gestures)

1 PATHAKA

6 SUKATHUNDA

4 MUSHTI

. 218604

2 MUDRAKHYA

7. KAPITTHA

5 KARTEARIMCESA 3 KATAr.

8. HAMSAPAKSHA

FOREWORD

The cultural revival which we are witnessing to-day all over India is nowhere more demonstrably apparent than in the realm of Dance, and in particular that type of Dancing which has come to be known as Bharata Natyam In a comprehensive sense Barata Natyam would include not only the Sadr nautch of the Tanjore School but also the Kathakalı of Malabar. It is a well- known fact that Indian Dance has a language and gram- mar of its own quite unlke the dance types of the West. This book attempts to give an account of the basic patterns of body poses and movements both by way of description as well as by illustration. The name of Srı Gopinath which is associated with the book is well- known in and out side India as that of a leading exponent of the dance forms of South India The publication will be found useful by those who practise the art It will also serve to acquaint those who are not very famılıar with the theoretical aspect of Indian Dance with the 1udiments of its language and grammar.

9th May 1955 P. V. RAJAMANNAR. Chief Justice, Madras

)

MUDRAS (The Twenty four basic gestures)

9. SIKHARA

10. BHRAMARA 12. ARDHACHANDRA

11. HAMSASYA

15 SŪCHIMUKHA

13. MUKURA 11. ANJALİ .

14. PALLAVA PRINTED AT THE SUNDAY TIMES PRESS, MADRAS-6

PREFACE

From time immemorial Dancing has been one of the most fasci- nating fine arts It is, in fact, a synthesis of several other Fine Arts, such as music, poetry, drama, painting and sculpture, combining, as it does, in itself the distinctive features of these arts-beauty, harmony, rhythm, melody and aesthetic expressions Dancing, like all other fine arts, is a natural vehicle for the sponta- neous expression of human emotions, and this is best evidenced by the fact that it comes so natural and spontaneous even to little children, as they skip about in sheer joy, keeping time and making graceful gesticulation and rhythmic curves and movements Again, as in the case of other fine arts, there is an inborn mnstinct for dancing in man, and it is this latent instinct that has found expres- sion and taken tangible shape as folk-dances all over the world

Although the instinct for dancing is universal, the development of dance as a fine art has not been unform in all countries, it has varied from country to country according to its geographical features, the culture and genius of its people In India this art has attamned such technical perfection and classical excellence which no other country has attained, and in this iespect she iemains unque and pre-eminent even to this day

It may sometimes appear to a casual observer, that the very perfec- tion in technique that dance has attained in India has made it rigid and static so much so the art has become stereotyped and mechanical; but a close study of the art would reveal that while the artist has to conform to certamn set rules and conventions, the art, as it has deve- loped, gives him free and full scope for the expression of his own indi- viduality in consonance with its time-honoured technique Tradition ascribes a legendary origin to Indian dance and even goes to the extent of considering the art as the essence of the divinely inspired VEDAS, calling it 'The Fifth Veda' But whatever be the

origin of Indian dance, there is no gamsaying the fact that the art has been from time immemorial an integral part of the cultural and reli- gious life of the people, as is evidenced by the ritualistic sanctity that 1s often ascribed to it Legend says that Bharatamuni is the author of 'Bharata Natya Sastra', a masterly treatise on Dance, Music, Drama, etc Everything pertaining to Dance has been described in detail in this monumental work This work has been the authoritative basis on which the art has developed and subsequently flourished into several distinct Schools of Dancing in different parts of India from Assam down to Cape Comerin. According to NATYA SASTRA there are three fundamental aspects of Indian dance, viz, NRITTA, NRITYA and NATYA Of these NRITTA is dancing pure and simple, depending, as it does, mamly on TALA (time-measure) It essentially consists of foot-work with appropriate movements of ANGAS and UPANGAS and it is totally devoid of ABHINAYA (gesticulatory expression) NRITYA consists of gesticu- lations without language, and it is this that enables the audience to understand and follow the thoughts and emotions of the dancer with- ' out the medium of words NRITYA, is, so to speak, a combination of BHAVA (emotional expression), RAGA (musical expression), and TALA (Time measure) and includes within its scope NRITTA also NATYA is dramatic representation in whch music, dance, emotional expression and speech are all brought to play and for this reason there is both NRITTA and NRITYA as parts of NATYA.

Indian Dance could be roughly divided into two types, viz, THANDAVA and LASYA Of these THANDAVA consists of more virile and vigorous movements and is essentially masculine in character, more suitable for male dancers, suggesting as it does vitality and strength The supreme example of this kind of dance is the SIVA THANDAVA which symbolises in itself the cosmic dance of destruction In LASYA, on the other hand, the movements are softer and more measured, sug- gesting grace and beauty, and it is more suitable for female dancers ABHINAYA (gesticulatory expression) is the backbone of Indian Classical Dance, in fact, Indian Dance is incomplete without ABHI- NAYA. ABHINAYA is usually divided into four kinds ANGIKA, VACHIKA. AHARYA. and SATVIKA

NGIKA ABHINAYA Is evpression of the BHAVA by using ANGAS, PRATYANGAS and UPANGAS, KARANAS and ANGAHARAS (body po-es) and MUDRAS (restures of the hand) Facial eypressions too come und: ABHINAYA ANGIKA ABHINAYA is of three kinds MUKH WA (factal evpressions), SARIRA (poses of the body such as KARANAS Ind ANGAH\RAS), CHESTA (movements of ANGAS, UPNGAS rnd PRATYANGAS) ANGAS are head hands, waist, chest, sides ond lers Thest me the main limbs of the body UPANGAS are e,cs, eve-brows, nove, lower-lip, chin and cheeks The movements of the 1GAS and UPANGAS are deserlbed with minute details in the NATYA SASTR1 Hand gestures otherwise known as MUDRAS consti- tute a distinct language by themselves There are twenty-four ASAMYUTA HASTAS (hand gestures oi Mudias), thiteen SAMYUTA HASTAS, thirteen poses of the head (SIROBHEDA), thnty-six kinds of glances (DRISHTI BHEDA), seven movements of the eye-biows and a number of other movements of the ANGAS, UPANGAS and PRATYANGAS By means of these ANGAS and UPANGAS, the dancer must espress the full meaning of the specch, song oi story ABHINAYA of the face is the indes of RASA (acsthetic emotion)

VACHIKA ABHINAYA is evpression of the BHAVA by the song or speech, ie, singing or speaking according to the situation and mood. AHARYA ABHINAYA is expression of the mood with the aid of appropilate costumes, omnaments, make-up, ete, befitting the occasion of the story, song oi speech and the status of the chniacter the dancer portrays SATVIKA ABHINAYA is evpression of the vaiying mental states that the characters are supposed to feel such as honpilation, tems etc SATVIKA ABHINAYA is by fai the most dimcult part of ABHINAYA At present there are four types of popular classical dances now in vogue in India They are KATHAKALI of Kerala, BHARATANATYAM of South India, MANIPURI of Assam and Bengal, and KATHAK of Northern India All these four types of dances are distinct fiom one another in their movements and technique, though all of them have their origin in NATYA SASTRA. KATHAKALI KATHAKALI is a type of dance-drama that had its origmn and is still in vogue in Kerala (the western coast of South

iv

India) It is full of dance movements and combines in itself NRITTA, NRITYA and NATYA in a remarkable manner In KATHAKALI dances are performed while depicting stories selected from Ramayana and Maha-Bharatha KATHAKALI is one of the very few types of classical dances that have attamned perfection in NRITTA, NRITYA, and NATYA, in all their aspects KATHAKALI has got a peculiar type of make-up, which does not allow the dancer to open his mouth easily, so much so he has to express the varying emotions only through ges- tures, and facial expressions

BHARATA NATYAM BHARATA NATYAM is another type of classical dancing based on NATYA SASTRA, which is very popular mn South India It was formerly called 'DASIATTAM' As it is performed today, it constitutes a number of items BHARATA NATYAM was originally performed by 'DEVA DASIS', in temples and is particularly suitable for women It combines in itself NRITTA and NRITYA in a large measure and NATYA to a lesser extent This type of dance is usually performed by a single girl and she dances with suitable Abhinaya and movements to the time-measure kept by the NATTU- VANAR (dance-tutor) and adapting to the time of the song sung by him, supported by a suitable orchestra A BHARATA NATYAM performance begins with ALARIPPU, followed by JATISWARAM (both of Nritta type), SABDAM, VARNAM, PADAMS, and it usually closes with TILLANA which is dominated by NRITYA Most of the songs for which Bharata Natyam is performed are in the Telugu language

MANIPURI MANIPURI dance is popular in Assam and Bengal This is a graceful type of dance with soft movements of the ANGAS and PRATYANGAS This is essentially a LASYA type of dance more suitable for women MANIPURI dancers wear a gorgeous type of costume, which is very attractive KATHAK KATHAK is a popular type of dance in Northein India There is more of NRITTA than ABHINAYA in it as it is per- formed now KATHAK is full of NRITTA especially foot-work and BHRAMARIS TALA (time-measure) has reached perfection in this type of dance There are other types of classical dances also prevalent in India, but they are not so popular as those mentioned above ANDHRA is

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famous for some types of classical dances like the DEVADASI DANCE and KUCHIPUDI DANCE etc The latter one derives its name from the village where it had started in Andhra KUCHIPUDI is a dance- drama like KATHAKALI and has a good deal of vigorous dance movements

Whatever may be the type of dance the dancer learns and per- forms on the stage, the ultimate goal or ideal the dancer has in view is RASOTPATTI (the rousing of aesthetic emotion) by which the dancer not only feels and expresses his various emotions but also make the audience feel the same emotions The art of carrying away the audience along with him in whatever emotion he expresses through the medium of his dance is called RASOTPATTI To arouse this feel- ing in the audience the dancer must attain a state of TADATMYAM, i e, the dancer must himself get into the spirit of the character he portrays and 'of the BHAVA he expresses Without practising con- stantly for a number of years, after attaining a thorough knowledge, it is indeed very difficult to attam this state of perfection, as in dance, unlike in drama every gesture is rigidly fixed by rules and conven- tions The dancer is not allowed to deviate from the rules and conven- tions

To attain this state of perfection one must learn under a compe- tent teacher Mere theoretical knowledge from books cannot help the pupil to master the art of dancing The pupil should not be satisfied with taking lessons from a competent teacher and reproducing them blindly Some poses of the body, some gestures and some expressions suit some people admirably, but the same may not be suitable for others if copied blindly The dancer must adapt the technique to the shape of his own body and features The dancer should not forget that the aim of dancing is to arouse aesthetic emotions more than any- thing else First impressions are always best and everlasting Exhi- biting the dance one learns and practices, is the goal of a young dancer In a dance performance the audience first witness the personalty of the dancers before knowing about their ability to perform the dance properly and express the various emotions correctly Along with the personality is watched the pose of the body The pose of the body enhances the personality and is called KARANA The movement from one KARANA to another and several KARANAS constitute an ANGAHARA KARANAS and ANGAHARAS are most important -as

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they give exquisite grace and beauty to the Dance and the Dancer. For this purpose particular attention has to be paid to the KARANAS (poses of the body) which form an important part of ANGIKA ABHINAYA, as has already been mentioned

This book is a modest attempt to describe the KARANAS given in the NATYA SASTRA in detail, and to discuss their uses in the Art of Dancing The usages given for Each Karana in this book do not fully express the meaning unless they are co-ordinated with proper move- ment of facial features and of the body. Each Karana is either the beginning or the ending of a usage given It is fervently hoped that this book will be found useful and instructive to all those who are interested in Indian Dance

GOPINATH & S V RAMANA RAO

Natana Nıketan, Madras, 1955

CLASSICAL DANCE POSES OF INDIA

CLASSICAL DANCE POSES OF INDIA

1. SAMANAKHA

Usage Before commenoing the Dance, and Astomished or Stunned expression.

2. LINA Usage : In prayer and Hindu salutation or greeting

CLASSICAL DANCE POSES OF INDIA

S. VISHKAMBA Usage: Showing & woman's breasts, and showing separation (of lovers.)

4 KATICHINNA

Usage : Amusement and wonder.

. CLASSICAL DANCE POSES OF INDIA

• 5. ARDHA RECHITA

Usage : Looking at the Heroie with joy and before self-introduction.

6. GANDA SUCHI Usage: Requesting to hear and obediently stanđıng.

CLASSICAL DANCE POSES OF INDIA

7 AAVARTA

Usage: Showing KUBERA and saying excellent.

8. DOLAPADA

Usage : Showing the movement of a cradle and showing 'Sudden Fear'

CLASSICAL DANCE POSES OF INDIA

9. GAJAKRIDITA

Usage : Showing the Ears of an Elephant and showing the Crown.

10, DANDA RECHITA

Usage: Showing power and strength and showing the cobra bed of Lord Vishnu.

CLASSICAL DANCE POSES OF INDIA

11. VRISHABHA KREEDITA

Usage Showing the face and showing the hazr and curls.

12. CHATURA Usage: Showing the cobra on Lord Shiva's body and showing crook-edness

CLASSICAL DANCE POSES OF INDIA

13. BHUJANGANCHITA

Usage Afraid of & cobra and showing horse-ridıng.

14. KARIHASTA Usage . Showing an Elephant's Trunk and showing the length of hair.

CLASSICAL DANCE POSES OF INDIA

15 PADAPAVIDDHA Usage Showing a beetle (Bhramara) and showing separation

16. GHŪRNITA Usage Showing 'For that purpose' and Thinking.

CLASSICAL DANCE POSES OF INDIA

17. BHUJANGATRASTA RECHITA C Usage ; Showing the Breeze, and showing 'Going with.'

18. VRISCHIKA RECBITA

Ucage: Flying in the air and Swimming in tho water.

.

CLASSICAL DANCE POSES OF INDIA

19. NIKUTTA Usage: Showing & boulder (Rook) and showing 'going back with fesr.'

20. UDVRITTA Usage . Showing 'Embracing a child' and showing the sucklng of s baoy.

CLASSICAL DANCE POSES OF INDIA

21. VINIVRITTA

Usage · Looking at the mountams a n d showing superlority.

22. UDGHATITA

Usage. Showing the heaviness of the breasts, and showing affection.

..

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CLASSIOAL DANCE POSES OF INDIA

23. NĀGĀPĀSARPITA

Usage: Showing the movements of Oobra; and Looking at a DEN.

24. UPASRITA Usage Counting the beads in Prayer and showing a BUD.

CLASSICAL DANCE POSES OF INDIA

25 SWASTIKA RECHITA Usage . Waiting and Mocking.

26. VIVRITTA

Usage: Showing a bed of flowers, and uted when 'Pacifying.'

.

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CLASSICAL DANCE POSES OF INDIA

27. PARIVRITTA

Usage : Showing a flower and used when Eaying 'a litfle.'

20. GARCDAELUTA

Srage. S-cwing the 'Rite', ste teed wien saring

OLASSICAL DANCE POSES OF INDIA

29. ARDHAMATTALI

Usage. Challenging the opponent, and Resdy to defend.

30. TALASAMSPHOTITA

Usage : A famous pose of Lord Siva, and Right hand showing blessing and the left hand offering protection.

CLASSICAL DANCE POSES OF INDIA

31. NUPURA

Usagc Showing the sound of anklets and show- ing tying of feet.

32. KATISAMA Teage. Waiting and looking with con- tempt.

CLASSICAL DANCE POSES OF INDIA

33. TALASANGHATITA Usage : Holding oymbals and showing sympathy.

34. UNMATTA Usage : Showing Boastfulness, and showing the branches of a tree.

CASSCL DINCE POSES OF IDIL

CLASSICAL DINCE POSES OF INDI

37. NIVESA

Utage: Showing the testing of Vcena (stringed masical instrument), and Hero waiting for the Herome.

38. SKIIALITA Usage : Showing a horse, nnd showing the Lord of Cobras.

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CLASSICAL DANCE POSES OF INDIA

39 URDEVAJANU Usage: A pose of Lord Krishna's 'Kalınga Mardana,' and listening with impatience.

40 SIMHAKARSHITA Usage Showing 'Fright', and requesting for mercy.

CLASSICAL DANCE POSES OF INDIA

41 GRIDHRAVALĪNAKA Usage. Dsed when saying 'Go', 'Please Go', and saying .Once upon a time.'

42. VIDYUDBHRĀNTA Usage: Remembering, and sying 'No.'

CLASSICAL DAXCE POSES OF INDIA

43. APAKRENTA

Usage: Holamg a flower garlanc, and showing Pearls'.

44 LALITA Csage: Showing carls en te forehead, snd showing she combing of the Esir

CLASSIOAL DANCE POSES OF INDIA

45. SUCHIVIDDHA Usage: Showing 'Beatifal' and asking to Wait-

46. BHRAMARA Usage: Showing the chest decorated with Pearls, and saying 'My Darling', and showing a 'Beetle' (Bhramars)

.

CLASSICAL DANCE POSES OF INDIA .

47. KUNCHITA Usage: Showing 'Reverence', and showing the 'Stomach', and holding oymbals and dancing.

48 MATTALI Usage . Showing the passion of a youthful woman and Looking at the heroine with

OLASSICA L DANCE POSES OF INDIA

49. PARASARPITA Usage: Looking with affection and saying 'What about me'.

50. ŪRUDVRITTA Usage : Saying 'I am at your service', or 'I am your slave', and expreseing Regret or Repentence.

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CLAESICAL DANCE POSES OF INDIA

51 KATIBHRANTA

Csage: Saying 'Like the Moon, 9ud asking 'Is it for me'.

52 TYANSITA Lsagt 'Tenchng a cbild', showing Taken Alack', Showing 'Surprise'.

CLASSICAL DANCE POSES OF INDIA

53. PRISTASWASTIKA Usage : Mediation and Prayer.

54. DIKSWASTIKA Usage. Showing 'Indifference', showing 'wounded pride'.

OLASSICAL DANCE POSES OF INDIA

55. VYASAKHARECHITA Usage Showing Fearful donbt, and showing 8 (eight).

56. ARGALA Usage Showing 'Barred' and showing Resting.

CLASSICAL DANCE POSES OF INDIA

57. CHHINNA Usage: Expressing a perpleving situstion, and Looking with sympathy.

58. MANDALASWASTIKA Usage: Showing 'surrounded by', Showing 'Relations'.

CLASSICAL DANCE POSES OF INDIA

59. NIKUNCHITA

Usage: Showing a 'Monkey', and showing & lame, dissbled or old person.

GO PARSVAJANU Usage. Tornicg back snd questioning while gcing sway, and Rrady to defend.

CLASSIOAL DANCE POSES OF INDIA

61. AKSBIPTA Csage Looking aronnd with dignity and showing a king sitticg on a throne.

62. VIVARTITA Urage: Saying haughtily 'I will go' and showing 'There'

CLAESICAL DANCE POSES OF INDIA

63. ALATA

Toage. Showing 'Valour', and Reeling writh 'Rage' or 'Passion'.

64. ERANTA Tsage Showing 'Is that all', and 'No, not for me'.

OLASSIOAL DANOE POSES OF INDIA

65. LOLITA Usage : Asking 'what about me', and showing the body.

66. ARDHANIKUTTA Usage: Showing 'Pleasure', Praising one's self (self adoratlon).

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CLASSIOAL DANCE POSES OF INDIA

67. VIKSHIPTA Usage: Waiting for an order and obediently Lstening.

68. TALAVILĀSITA Usage: Throwing away, and Showing a Swinging movement.

OLASSIOAL DANOE POSES OF INDIA

69. VRISOHIKA Usage: Showing a 'Scorpion', and Hearing an unpleasant eound.

70. DANDAPĀDA Usage: Showing the path and offering water to God in a conch.

C

CLASSICAL DANCE POSES OF INDIA

71. DANDAPAK8HA

Usage: Showing Majesty, and Dignity, and Showing Arroganace.

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72 VALITORU Usaje :& Atking for help and protection and sying 'I am at your service'.

CLASSICAL DANCE POSES OF INDIA

73. VIKSHIPTAKSHIPTA Usage : 'Thinking' and showing a 'Deer' (anımal)

R. VARTITA

CLASSIOAL DANCE POSES OF INDIA

75. RECHITANIKUTTA Usage: About to go and sayng 'You may go'

76 LATAVRISCHIKA Usage. Dropping to the earth and showing the Jumping of birds.

CLASSICAL DANOE POSES OF INDIA

77. SWASTIKA Usage: Thinking of a Plan and Saying 'Please do it'.

T IRCJANGATRASITA

*: ror cf Natx-xra (Lord Sira)

OLASSICAL DANCE POSES OF INDIA

79. APAVIDDHA Usage: Showing Envy, and saying 'If'.

80. ARDHASŪOHI Usage. Showing Tender leaves, and showing coolness which gives happiness.

OLASSICAL DANCE POSES OF INDIA

81. SUCHI Usage: Stamping the earth in rage and asking to go away.

82. UROMANDALA Usage. Showing 'Helplessness', and Showing 'Misery'. .

OLASSICAL DANCE POSES OF INDIA

83 PARSVAKRĀNTA Usage . Showing 'Fighting mood' and asking for 'Explanation'.

84. ARDHASWASTIKA Usage. 'Explaining' and saying 'What can I do'.

CLASSICAL DANCE POSES OF INDIA

85. SANNATA Usage . Showing 'Bhramaris' or oirchng about and showing the movements of Bırds.

86 NITAMBA Usage . Showing 'childhood', and showing sorrow, pity or sympathy

CLASSICAL DANCE POSES OF INDIA

87. SAMBHRANTA Usage: Showing 'Bewilderment' and showing 'wearness'.

88. ANCHITA Usage: Offering shelter and showing a dance pose of Nataraja.

CLASSICAL DANCE POSES OF INDIA

89. TALAPUSHPAPUTA Usage : Showing dropping flowers and saying 'at this moment' and 'to-day', and showing 'Here'.

90. AKSHIPTARECHITA Usage. Saying 'Accordingly', Showing & 'Hare' (anımal).

GLASSICAL DANCE POSES OF INDIA

91. VALITA Usage. Blessing and showing Lora 'Subrahmanya' (a pose)

92 VAKSHASWASTIKA Usage Prayer and Meditstion and sbowing 'Bound hand and foot'.

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OLASSIOAL DANOE POSES OF INDIA

93. NISUMBBITA Usage . A difficult dance pose in Siva's Tandava of Destruction, and showing Earth and Heaven.

94. ELAKĀKRIDITA Usage : Refusing to give in a playfnl, mood, and offering flowers in worship of God.

CLASSIGAL DANCE POSES OF INDIA

95. PARSVANIEUTTA Usage: Spresding flowers and showing a lotus leaf.

96 TRISCHIEAKUTTITA Usage. Hesnng a feariul sound and showing 'an unbearable sight'

CLASSICAL DANOE POSES OF INDIA

.

97. SIMHAVIKRĪDITA Usage: Showing the monkey king, and Showing a Lnon about to jump.

98 HARINAPLUTA Uage: Showing the Ears of sn Elephant and showing jumping of a DEER.

CLASSICAL DANCE POSES OF INDIA

99. PRENEHOLITA Usage . Showing the bead of an Elephant, and sitting on s horse.

100. SARPITA Usage: Showing 'Satisfachon', Icoking passionately.

OLASSIOAL DANOE POSES OF INDIA

101. MAYURALITA Usage: Showing the movement of & Peacock, and showing the combing of harr.

102. GANGAVATARANA Usage: Used in the exercises of the body.

CLASSICAL DANCE POSES OF INDIA

108. CHAKRAMANDALA Usage: Used m the exercises 104. ATIKRANTA

of the body. Usage Used in the exercise of the body.

105. SAKATĀSYA Usage: Used in the exercise of the body.