UPANGABHINAYAM – (PART-2)

(Expression through major, subsidiary and minor limbs).

Indian classical dance, or Shastriya Nritya, is an umbrella term for various

performance arts rooted in musical theatre styles, whose theory and practice can be
traced to the Sanskrit text NATYA SHASTRA. The root of the Sanskrit word
Natya is Nat (नाट) which means "act, represent". The word Shastra (शास्त्र)
means "precept, rules, manual, compendium, book or treatise", and is generally
used as a suffix in the Indian literature context, for knowledge in a defined area of
practice. The purpose of any dance is to create the Ras, which is an estate
of the spirit created by the dancer in front of the viewer’s according to
the expression. India presents many different styles of classical dance,
each of which relates to different parts of the country. Each form
represents the ethos of a particular region or group of individuals. The
Sangeet Natak Academy recognizes eight different forms of classical
dance in India which are Bharatanatyam, Kathak, Kuchipudi,
Kathakali, Manipuri, Mohiniyattam, Odissi and Sattriya.

Kuchipudi is one of the major classical dance forms of the South India. Kuchipudi is a
dance-drama performance art that originated in a village of Krishna district Andhra Pradesh,
India. This ancient dance form finds place in the 10th century copper inscriptions and in 15th
century texts like ‘Machupalli Kaifat’ (a court document of 1505 A.D). Traditionally it is
regarded that the sanyasis (Hindu monks) of Advaita Vedanta philosophical tradition, Tirtha
Narayana Yati, and his disciple Siddhendra Yogi initiated, methodized and arranged the
present day version of the dance form in 17th century. Andhra Pradesh is associated with
Kuchipudi dance performance art form. It is famous for its grace, elegance and charm. (It was
Abdul Tana Shah, the grandnephew of Sultan Mohammed Quli Qutb Shah of the Qutb Shahi
dynasty, who bestowed the name of “Kuchipudi” upon this renowned dance form of Andhra
Pradesh.)

Kuchipudi is named after the village in Krishna district of Andhra Pradesh named
kuchipudi. Shortened form of the full name Kuchelapuram or Kuchilapuri– where it
developed. The name of village is itself derived from Sanskrit Kusilava-puram, which
means "the village of actors". Kusilava is a term found in ancient Sanskrit texts and
refers to "traveling bard, dancer”.
 Khanteenaa Lambayat Geetam
Hastena Artha Pradakshayat
Chakshubhyam Darshayat Bhavom
Padabhyam Tala Acherait

Khanteenaa Lambayat Geetam : sing the song by the throat

Hastena Artha Pradakshayat: express the meaning of the song through hand gestures

Chakshubhyam Darshayat Bhavom: show the state of feelings in the song by eyes

Padabhyam Tala Acherait: express the rhythm with his or her feet

The Abhinaya Darpanam (a descriptive primer for dancers) mentions that the dancer should
sing the song by the throat, express the meaning of the song through hand gestures, show the
state of feelings in the song by eyes, and express the rhythm with his or her feet.

From the Natya Shastra, a text on the arts, this beautiful quotation and translation is often
quoted by Indian classical dance instructors:

"Yato hastastato drishtihi"

"Yato drishtistato manaha”
"Yato manastato bhavaha"
"Yato bhavastato rasaha"

"Where the hand is, the eyes follow"

"Where the eyes go, the mind follows"
"Where the mind is, there is the feeling"
"Where there is feeling, there is mood/flavour, sweetness (appreciation of art; aesthetic
bliss)

Hence as 'hasta' form a distinct coded language which brings a unique poetic element while
performing, so too when abhinaya (traditional facial expressions), pose (attitude), and rhythm
complete the language, the dancer may express practically anything and everything to an
attentive audience.

Kuchipudi dance classes help in broadening the esteem of this traditional art form and
endorse the cultural legacy of India.
Dance involves mainly three sets of body parts namely: angas, pratyangas, upangas.

Angas: All major parts of the body are the Angas ,

o Sirah- head.
o Hastou- the two palms.
o Vakshah- chest.
 o Paarswou- the two sides.
o Katitatou- the two sides of the waist.
o Paadou- the two feet.

Some other scholars include the neck also.

Pratyanga:

o Skahdhe- the two shoulders.

o Bahu- the two arms.
o Prishtham- back.
o Udaram- stomach.
o Ooru- thighs.
o Jaangha- shanks.

According to some scholars, the wrists knees and elbows are also pratyangas.

Upanga:

o Drishti – eyes.
o Bhru – eye brows.
o Puta- eye lids.
o Tarah – pupils.
o Kapolou – cheeks.
o Naasika – nose.
o Hanu – jaws.
o Adharah – lower lip.
o Dasana – teeth.
o Jihwa – tongue.
o Cubukam – chin.
o Vadanam – face.

Some scholars also add to these the heels, ankles, fingers and soles.
The movements of the pratyangas and upangas depend upon the movements of the angas.
As seen in any form of dance, the movement of the body is one of the most important tools of
communication and expression.
 The hands depict multiple meanings through the mudras, both in nritta as well the
natya aspect of a dancer’s performance.
 The footwork adds rhythm and technique to the rendition of jatis and adavus, which
involves the movements of all the other limbs of the body too.
 In all non-narrative dances, for example, jatiswaram or tillana, they play the most
important role along with the use of some Upangas such as the eyes and face.
  When performing narrative sequences which involve rasa and bhava and demand
emotional appeal, the Upangas again prove very useful along with the movements of
the angas and pratyangas.
 Whether it be the representation of people, gods, demons, nature or animals, a
combination of all aspects of Angika Abhinaya help in creating realistic
interpretations of the ideas or episodes that need to be expressed in front of the
audiences.
 It is therefore an undeniable fact that Angika Abhinaya is one of the strongest modes
of expression in Kuchipudi.

Today we see some of the upangas like: Dhristi (eye), Bhru (eyebrow), Uro (chest), Parsva
(sides), Kati (waist).

Dhrishti Bhedas

Sama malokitham sachi pralokitha-nimilithe|

Ullokithanuvrthecha thathachaiva-avalokitham||
Ithyashta drshti bhedah syuh kirthithah purvasuribhih|

 Sama Drishti:

Definition: Gazing without winking and with pleasant face like a suranari is
Sama Dishti.

Usage: Sama Drshti used to denote beginning of dance, scales, thinking of some
Other matter, Surprise and Image of God.

 Alokita Drishti:

Definition: Swiftly turning and shrewd glance is Alokita Drshti.

Usage: Alokita Drishti is used to denote: turning of the potter's wheel, showing
all objects around & beggining.

 Saci Drishti:

Definition: looking out the corners of the eyes obliquely without moving head is
Saci drishit.

Usage: It is used to denote: desire, twisting the mustache, aiming an arrow,

Parrot, remembrance suggesting work to be done & natya.

 Pralokita Drishti:
 Definition: When the glance turns from side to side, it becomes Pralokita Drishti.

Usages: It is used to denote: Pointing objects on both sides, speaking about

them, moving & disordered mind.

 Nimilita Drishti:

Definition: Looking with eye half opened is Nimilita Drishti.

Usage: It is used to denote: appearance of sage subjection to another’s wills,

prayer, meditation, obeisance, madness & knee insight.

 Ullokita Drishti:

Definition: Looking up keenly is called Ullokita Drishti.

Usage: It is used to denote: top of flag, tower of temple, thinking of previous

birth, heights, moon light etc.

 Anuvrtta Drishti:

Definition: Glancing quickly up & down is Anuvrtta Drishti.

Usage: It is used in depicting, angry looks as well as friendly or affectionate

Invitations/greetings.

 Avalokita Drishti:

Definition: Looking downwards is called Avaloktia Drishti.

Usage: It is used to looking at shadow, reflection, working, study, fatigue,

Looking at one's own body.

BHRU BHEDAS -- EYEBROW MOVEMENTS

Sahaja pathithokshiptha chathura rechitha thatha|

Kunchithechi shadeva-athra bhru chathuryavati kriyah||
 SAHAJA:

DEFINITION: The natural eye-brow in a smootha face is sahaja bhru.

USAGE: This indicates normal, starting of the dance.

 PATHITHA:

DEFINITION: When the eye-brows are at rest and then drop, it is Pathitha
Bhru.

USAGE: This indicates disgust, astonishment and jealousy.

 UTHKSHIPTHA:

DEFINITION: Rising up one or both eye-brows is Uthkshiptha bhru.

USAGE: This is used in denoting women’s anger, telling the truth, amorous
feeling and dalliance.

 CHATHURA :

DEFINITION: Moving both the eye-brows in a pleasing manner is Chathura

Bhru.

USAGE: This is used to denote touching another’s face, heart bliss and
Excitement.

 RECHITHA:

DEFINITION: When one brow is contracted with charm and sweetness it

Becomes Rechitha bhru.

USAGE: This is used to denote listening to a secret, Looking at a particular place.

 KUNCHITHA:

DEFINITION: When one eye-brow or both the eye-brows are arched or bent,
it becomes Kunchitha bhru.

USAGE: This is used to denote mottayitha, kuttamitha, vilasa and

kilikimchitha.

URO BHEDAS – CHEST MOVEMENTS

 Abhugnamatha nirbhugna tatha chaiva prakampitam!
Udvahitam samam chaiva urah panchavidham smritam!!

The Chest is known to be five kinds:

1. Abhugna (slightly bent)
2. Nirbhugna (unbent)
3. Prakampita (shaking)
4. Udvahita (raised)
5. Sama (natural)

 Abhugna (slightly bent)

Definition: the chest lowered, back high, shoulder slightly bent at times loose
(not stiff).
Usage: In hurry, despair, fainting, sorrow, fear, sickness, broken heart,
touching of cold objects, rains and being ashamed of some act.

 Nirbhugna (unbent)

Definition: The chest stiff, back depressed, shoulder not bent and raised.

Usage: In paralysis, having resentment, look of surprise, assertion of truth,

mentioning oneself haughtily, and excess of pride.

 Prakampita (shaken)

Definition: The chest incessantly heaved up and down.

Usage: In laughter, weeping, weariness, panic, asthma, hiccup and misery.

 Udvahita (raised)

Definition: The chest raised up.

Usage: In representing deep breathing, viewing some lofty (objects), yawing.

 Sama (natural)

Definition: All the limbs being in the chatutasra and with Sauthava the chest
will be called Sama (natural).

Usage: starting position.

 PARSVA BHEDAS – SIDES MOVEMENT

Natam samunnatam chaiva prasaritavivartite!

Ththapasritameva tu parsvayoh karma pancadha!!

Sides are of five kinds.

1. Nata (bent)
2. Unnata (raised)
3. Prasarita (extended)
4. Vivartita (turned round)
5. Apasrita (drawn away)

 Nata (bent)

Definition: the waist slightly bent, one side slightly bent, one shoulder drawn
away slightly.

Usage: in approaching anything or anybody.

 Unnata (raised)

Definition: The other side (on the assumption of the Nata position ) will be
Unnata (raised), because in relation of it) the waist, the side, the
arm and the shoulder will be raised.

Usage: in going backwards.

 Prasarita (stretched)

Definition: The stretching of the sides in their respective directions.

Usage: in joy and the like.

 Vivartita (turned round)

Definition: The Trika (sacrum) is to be turned round.

Usage: in turning about

 Apasrita (drawn away)

Definition: The side restored to its original position from the Vivartita
Movement.
 Usage: in returning.

KATI BHEDAS -WAIST MOVEMENTS

Chinna caiva nivritta ca recita kampita tatha!

Udvahita ceti kati natye nritte ca paccadha!!

The waist in dance and drama is of five kinds.

1. Chinna (turned aside): In turning the middle of the waist.

Usage: In exercising, hurry and looking round

2. Nivritta (turned around): In turning to the front from the reverse position.

Usage: In turning around.

3. Recita (moved about): In moving in all directions.

Usage: In movements of the general type.

4. Prakampita (shaken): In obliquely moving up and down.

Usage: In the walking of hunch-backs, dwarfts and persons of the inferior type.

5. Udvahita (raised): In raising the two sides of the waist slowly.

Usage: In the movement of corpulent persons and the amorous movements of women.

Dance is a conversation between body and soul. Indian Classical Dance is sustained
by a profound philosophy. Form seeks to merge with the formless, motions seeks to
become a part of the motionless and the dancing individual seeks to become one with
the eternal dance of the Cosmos.