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BHARATHANATYAM
Junior exam notes
Greeva bedha : Neck movement
Atah Chaturvidha Greeva bedha Nerroopyanthe
Sundarischa Thirashina thathiva Parivarthitha prakampitha cha
Bhavagneyi Argyeya Greeva chaturvidha.
Sundari - Neck movements from left to right and right to left
continuously in a straight forward manner.
1.Beauty 2. Shyness 3. Romance
4. Friendship
Thirashchina – snake like movements between left and right and up and
down.
1.Sword fight 2. Snake movement
Parivarthitha – neck movements in the form of crescent moon between
left and right .
1.Romantic movement
Prakampita- Movement front and back of the neck
1.Depicting me and you 2. Swing 3. Calculating
4. Peacock neck movement

Dhrishti Bedha: Eye movements

Atah ashta drishtibedha lakshyanthe
Samam alokitham Saachi Pralokitham Nimilithe Ullokitham
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Anuvrutta cha Tatha chaiyava Avalokitham

Ethyashta drishtibedhasthu KirthithoBarathagame
1.Sama- Looking forward, without blinking.
1. Starting of dancing 2. Weighing machine
3 Surprise 4. Devatarupa
2.Alokitam- circling the eye balls
1. Seeing the wheel 2. Showing the desire of heart
3.Saachi – From Sama, taking the eyeballs to the tip of the eyes
1. Aiming 2. Looking at parrot
3.Twisting the mustache
4.Pralokitham- Moving eyeballs between sides
1. Looking at things on two different side
2. Movement of anything
5.Nimilithe- looking through half lid closed
1. Welcoming 2. Meditating
3. In the form of saint
6.Ullokitham- looking on top
1. Flag 2. Looking at the sky
7.Anuvrutta- looking up and down rapidly
1. Showing anger 2. Calling the partner
8.Avalokitham- Looking at your feet
1. Showing sky nature 2. Studying
Shirobedha : – Head movments
Atah navavidha Shirobedha Lakshyanthe
Samam Udvahitam Adomukham Alolitam Dhutam Kampitam cha
Paravruttam Ukshiptam Parivahitham
Navadha Kathitham Shirsham Natya Shasthra Vichakshanaihi
1.Samam- Steady and straight and no movement in the sides or direction
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1. Natyarambhe 2. Meditation 3. Pride

4. Love 5. Anger 6. Surprise
2.Udhvahitham- Looking on the top and staying still.
1. Looking at the sky
3.Adhomukham- head bent down staying still
1. Shy 2. Wicked think 3. Namskar
4. Giddiness 5. Illusion 6. Looking down at things
4.Alolitham- turning your head in circular motion.
1. Hyper anger 2. Illusion
3 Laughter 4. Addiction
5.Dhutha- Head movement between left and right in straight position
1. No 2.Burning sensation 3.Fear
4. Anger 5.Looking at sides and calling
6.Kampitha- Head movements up and down
1. Anger 2. Questioning 3. Intimidating
4. Wait 5. Talking

7.Paravruttam- head movements are still and remains looking at the

back.
1. Haterdness 2. Looking at your hair 3. Shy
8.Ukshiptam- Head movements from side looking upward briskly.
1. Harassment 2. Argument
9.Parivahita- Head movements from right to left in a slanting position
1. Prayer 2. Happy 3. Separation
4. Affection 5. Resembling acceptance

Bruh Bedha: Eye brow movement

Atah Granthanthashastra Bruh Bedha neroopyanthe
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Sahajam Pathitham Ukshiptha Chatjura Rechitham Tatha KUnchita

Shade Vathra Bruh Chaturyavate kriyaha.
1.Sahaja- No movements of eyebrows
1. Showing still poses
2.Pathitha- bringing and placing the eyebrows a little down.
1. Prettiness 2. Sad 3. Jealous
4. Stinking smell
3.Ukshiptam – both the eyebrows raised
1. Anger 2. Love
3 Doubt 4. Surprise
4.Chatura- Raising the eyebrows up and down continuously
1. Wow! 2. Love
3 Romance 4. Friendship
5.Rechitam- Raising one eyebrow gracefully
1. Listening Eagerly 2. Compliment
6.Kunchitam- Crushing your eyebrows
1. Loving 2. Anger

Hasta Beda Lakshana

Hasta means palm. It has 3 types

Samyukta – using two palms = 24
Asamyukta- using one palm = 28
Nrutha- used in Nrithya = 13

Summary of Asamyukta hastas:

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By using one palm, different mudras are shown and these are
called Asamyukta hastas. According to Nandikeshwaras Abhinaya
Darpana, there are 28 Asamyukta Hastas .
Patakascha, Tripatako, Ardhapataka, Kartaharimukaha,
Mayurakhyo, Ardhachandraschapi, Aralashcha Sukatundaka,
Mushishta , Shikarashchapi, Kapithaha, Katakamukhaha, Soochi,
Chandrakala, Padmakosho, Sarpashirastatha, Mrugashirsha,
Simhamukho, Kangulasya, Alapadmakaha, Chaturo, Brahmaraschaiva,
Hamsasyo, Hamsapakshaka, SAndamsho, Mukulaschaiva,
Thamrachuda, Trishulakaha. Ashta vimshati Hastanam Evam Namani
Vykramath.

Kangula/Langula - Both are same.

Alapadma/Solapadma – Both are same.

USES / BENEFITS
1. Pataka : Bending the thumb finger a little and keeping all the other
finger together debicts pataka hasta.
Natyarambha-Starting of dance, Megha – Clouds, Vana – Forest,
Vastu Nishedne- Saying no to things, Rathri – Night, Havouring –
Water, Devasabhe- Gods shabhe, Ashva – Horse, Kandana – Rejection,
Air, Shayane -Sleep, Pratapa – Bravoury, Bagalutatidaru –
Knocking the door, Gandha : Applying the paste, Gandha – Ocean,
Detecting or Investigating.
2. Tripataka: In pataka bending the ring finger depicts tripataka
hasta.
1 Kirita (Crown), 2. Tree, 3. Lamb, 4. Raise of fire, 5. Cheeks,
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6. Writing a letter, 7 Arrow.

3. Ardhapataka: In Tripataka bending the little finger depicts
Ardhapataka hasta.
1. Chiguru(creep), 2. Plank, 3. Shore/Border(sada),
4. Two people, 5. Second, 6. Flag,
7. Peak, 8. Horn.
4. Kartarimukha: In Ardha pataka hasta, little finger moves a little
back fore finger and middle finger cross to form like a scissor, then
the kartarimukha hasta is formed.
1. Men and Women separation, 2. Eye tip, 3. Death,
4. Differentiative, 5. Lightening, 6. Deppression,
7. Branches, 8. Alone time, 9. Falling.
5. Mayura Hasta: In pataka , joining ring finger and thumb and
keeping the other fingers straightdepictsmayurahasta.
1.Peacocks face, 2.Branches, 3. Vomit, 4. Correcting the front cures,
5.Bindi, 6. Crying- Showing the tears
6. Ardhachandra Hasta: Opening the thumb in pataka, depicts
Ardhachandra
1. Full moon, 2. Spear, 3. Abhishekha to God, 4. Plate filled with food,
5. Raising up, 6. Waist, 7. Worry, 8. Meditation, 9. Prayer, 10.
Unwanted touch
7. Arala Hasta: Bending the index finger in Pataka, depicts Arala
1. Leaving the arrow, 2. Whispering, 3. Cyclone, 4. Holding the Thala,
5. Prison, 6. Drinking Amruta
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8. Shukatunda Hasta: Bending the ring finger in Arala depicts

Shukatunda Hasta
1. Leaving the arrow, 2. Whispering, 3. Showing anger
9. Mushti Hasta: Folding all four fingers in your fist and keeping the
thumb on it, depicts Mushti.
1. Strength, 2. Pulling the hair, 3. Firm, 4. Holding the finger, 5.
Wrestling
10.Shikara Hasta: Showing the thumb finger out, in Mushti depicts
Shikara Hasta
1.Gentlemen, 2. Piller , 3. Dips, 4. Thinking, 5. Pulling somebody from
their waist, 6. Bell
11.Kapitha Hasta: In Shikara tip of both thumb and the index finger
are joined to form Kapitha Hasta.
1.Applying Kajal, 2. Weaving a saree, 3. Aarthi, 4. Garland, 5. Taking
milk from cow
12.Katakamukha Hasta: To join the thumb, index finger and the
middle finger, and jeep the other fingers straight.
1. Plucking flowers, 2. Garland, 3. Folding bettle leaf, 4. Manmathas’s
arrow, 5. Making a paste, 6. Aroma, 7. Talking
13. Suchi Hasta: In Kapitha, the index finger is kept straight and the
thumb is kept on the the three fingers
1. To show one, 2. Village, 3. World, 4. Wheels, 5. Umbrella, 6.
Surprise, 7. Sum, 8. Showing hair
14. Chandrakala Hasta: In suchi, pointing the thumbs out
1.Wonderful moon
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15.Padmakosha Hasta: Bringing all the fingers, towards the centre not
touching
1. Ball, 2. Breast, 3. Pound, 4. Flowers rain, 5. Ant hills, 6. Lotus, 7.
Bunch, 8. Eating in small quantity.
16. Sarpashira: Bending the fingers slighting in pataka.
1 . Snake, 2. Slow, 3. Skrimble, 4. Care, 5. Giving out the tarpava.
17. Mrugha Shira: Bending the three fingers except for little and
thumb fingers.
1. Women, 2. Cheeks, 3. Method, 4. Respect, 5. Fear, 6. Walking,
7. Message for, 8. Grouping, 9. Rangoli, 10. Neibour, 11. Argument,
12. Stairs, 13. Pressing the legs.
18. Simha Mukha: Joining the middle and ring finger to the thumbs
and stretching the index and little finger straight.
1. Pearl, 2. Small, 3. Elephant, 4. Lion.
19.Kangula: Bending the ring finger inwards is Kangula.
1.Small girl chest, 2. Chacora bird, 3. Gejji.
20.Alapadma: Bending of the little and thumb finger towards centre of
turning.
1. Lotus, 2. Chest, 3. Beautiful thing, 4. Bun(Hair), 5. Village, 6. Mirror,
7. Wheel art, 8. Separation, 9. Height, 10. Anger, 11. Noise

21. Chatura: Almost like Mrugashirsha but the thumb is kept below the
root of ring finger
1. A little, 2. Gard, 3. Copper, 4. Wet, 5. Sad, 6. Chair, 7. Ghee,
8. Romance, 9. Eyes, 10. Quantity, 11. Gold.
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22. Bramarah: The index finger is bent between the middle and thumb
finger.
1.Parrot, 2. Yoga, 3. Nightingale, 4. Koyal.
23. Hamsasya: Joining the Pointer and thumb and keeping others
straight.
Mangalasuthra, 2. Forest fly, 3. Jasmine, 4. Search/Investigation,
5. No, 6. Goose bumps, 7. Drawing, 8. Due.
24. Hamsapaksha: In Chatura , the thumb is placed on the root of
pointing finger
1.Bridge, 2. Method, 3. Nail mark, 4. 6-depicting, 5. Procedure.
25. Samdamcha: Joining and releasing the five fingers continuously.
1. Generously, 2. Fear, 3. Show-5, 4. Archana, 5. Insect,
6. Sacrificing animals.
26. Mukula: Joining all the five fingers.
1. Bud, 2. Food, 3. Seal/Stamp, 4. Novel, 5. Flower,
6. Manmatha(Godess of love)

27. Thamdrachuda: Almost like suchi but bending the index finger.
1. Crow, 2. Chicken, 3. Write, 4. Cow, 5. Camel.
28. Trishula: Almost like pataka but joining the thumb and little finger.
1.To Show 3, 2. Trishula, 3. Bhilva patra.

SAMYUKTHA HASTAS:
There are 24 of them.
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Combined hand gestures is called samyukha hastas. According to

Abhinaya Darpana there are 24 Samyuktha hastas.
Anjali 2. Kapotha 3. Karkata
4. Swastika 5. Dola 6. Pushpata
7. Utsanga 8. Shivalinga 9. Katakavardhana
10. Karthariswasthika11. Shakata 12. Shanka 13.
Chakra 14. Samputa 15. Pasha
16. Kilako 17. Matsya 18. Kurma
19. Varaha 20. Garuda 21. Nagabandaka
22. Katva 23. Bherunda 24. Avahita

Anjalischa, kapotascha, Karkata, Swastikastata, Dola hasta, Pushpaputa,

Utsanga, Shivalingakaha, Ktakavardhanaschaiva,
Karthariswasthikastaka, Shakata, Shanka, Chakraucha, Samputa,
Pasha,Kilako, Matsya, Kurma, Varahascha, Garudo, Nagabandakaha,
Katva, Bherundakakyascha, Aahitasyataivascha.
Characteristics of each Hasta
1.Anjali: Joining the two pataka hasta depicts Anjali Hasta
Use: Used to indicate solutions to ‘God ‘ preceptors and elders
2.Kapota Hasta: Raising the middle part of Anjali Hasta is known as
Kapota Hasta
Uses: Promise, Obedience, Argument, Respect
3.Karkata Hasta: Widening the fingers of Anjali Hasta, locking them
together, and separating the joined palm is called Karkata
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Use: Used to indicate crowd, dense forest, bending the branches of trees,
showing fat.
4.Swastika Hasta: Placing the Pataka Hasta crossed at the wrist with
fingers facing Upward is known as a swastika.
Use: Indicate dispute with crocodile and sparkling in fear
5.Dola Hasta: Placing the Pataka Hasta on their respective side mear
thighs and living them loose at their wrist.
Use: Used in dance, and walking(Nadai addra)
6.Pushpaputa Hasta: Joining two sarpashira hasta from the wrist to the
finger, palm facing upward is known as pushpaputa hasta.
Use: Holding fruits, lamps, flowers
7.Uthsanga hasta: Holding the mrugasheesha hasta, crosswise and
placing them near the armpits as the swastika is known as uthsanga
hasta.
Use: Indicate embracement, shyness, and shoulder.
8.Shivalinga hasta: Holding the ardhachandra hasta in the left hand near
the stomach and placing the shikhara in the right hand, with the thumb
facing upward is called Shivalinga hasta.
Use: Indicate Shivalinga
9.Kartakavardhana hasta: Placing katakamukha hasta at the wrist
crosswise is known as katakavardhana hasta.
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Use: Indicate worship, marriage

10.Kartariswastika Hasta: Holding Kartarimukha Hasta crosswise near
the wrist is known as Kartariswasthika Hasta.
Use: Indicate branches of a tree, mountain peak, etc….
11.Shakata Hasta: Separating the joined finger of Bramara Hasta is
known as Shakata Hasta.
Use: Indicates Demon
12.Shanka Hasta: Catching the left thumb from the right fingers,
placing the right thumb on the left middle finger, and turning the wrist
Use: Indicates couch
13.Chakra Hasta: Joining the left and right Ardha Chandra Hasta in
such a way that the fingers Appear to be crosswise on the palms is
known as Chakra Hasta
Use: Indicate wheel, disk, etc…
14.Samputa Hasta: Folding the Chakra Hasta and raising the middle
part of the palm is known as Samputa Hasta
Use: Indicates putting a lid on things to tell a secret
15.Pasha Hasta: Bending the tips of Suchi Hastas forefingers like a
hook and joining them as a chain in such a way that right hand should be
kept below facing downwards and left hand should be kept up, palm
facing upward.
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Use: Indicate Quaralle, rope, chain, and so on

16.Kilaka Hasta: Bending the little finger of murgashirsha like hook
and joining them with a bent little finger known as Kilaka hasta
Use: Indicate friendship, romance, and join.
17.Mathsya hasta : Placing ardhachandra hasta, one upon the other,
both the palms facing downwords, is known as mathsya hasta.
Use: Indicate fish and animals which live in.
18. Kurma hasta: Placing the ardhachandra hasta one upon the other by
joining their palms and bending their ring and middle finger, is known as
Kurma hasta.
Use: Tortise.
19. Varaha hasta : Placing the mrugasheersha hasta one upon the
other, both the palm facing downwards is known as varsha hasta.
Use: Indicate pig.
20.Garuda hasta: Bending the thumb of Ardhachandra hasta touching
them at the bent thumbs with unmukha hasta(or finger spread) is called
garuda hasta.
Use: Indicates garuda pakshi and flying birds.
21. Nagabandaka hasta: Nagabanda hasta means placing sarpasheersha
hastas or they are inter woven.
Use: Indicate canopy of creepers and Arthavana.
22. Katva hasta: Streching the index finger of chathura hasta and
placing their bend middle fingers on upon the other, palms facing
upward, is known as the Katva hasta.
Use: Cut and so on, bed.
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23. Berunda hasta: Placing kapitha crosswise at the wrist is known as

berunda hasta.
Use: Indicate berunda bird.
24. Awahitha hasta: Holding alapadma hasta in front of chest crosswise
is known as awahitha hasta.
Use: Indicates Romance, Ball etc., chest.

Origin of dance according to Natyashastra

Explain the origin of dance according to Natyashastra
Since ancient times, Natya has occupied a prominent place in India. It is
also known as the fifth Veda or Natya Veda.
The origin of dance can be traced back to the Vedic times. Lord Brahma,
the creator, borrowed literature from Rigveda, Abhinaya from
Yajurveda, music from Samaveda, and Rasa from Atharvana Veda to
create Natya Veda.
All these necessary elements of dance were combined and composed by
Lord Bhramha and “Natyashastra “ came into existence. sage Bharatha
learned this art from Bhrama, exhibited it in front of Shiva, and learned
Thandava from Thandu. Sage Bharata practiced and demonstrated this
art and propagated it along with his 100 disciples and 24 celestial beings
“Extra Information”
Once, the celestials along with Devendra approached Lord Bhramha as
the Tretaa yuga which had started after the ending of Kruta yuga the
whole world was filled with anger, kama, jealousy, and was filled with
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injustice all over. Hence the celestial Gods along with Devendra went to
Lord Brahma and asked him to create a new Vedha called Natya Veda.
Natya Veda originated from 4 Veda namely, Rigveda from which
literature was taken, Yajurveda from which Abhinaya was taken,
musical aspects were taken from Samaveda, and Rasas from Atharvana
Veda. Bhrama thought this Natya Veda to Bharatha and asked him to
practice it. Bharata practiced this Veda along with 100 children and
performed it in front of Shiva. After watching these performances Shiva
added Kaishiki vrutti to Natya Veda. To perform Kaishiki Vrutti
Bhramha again created Nymphs( mythological spirits apsaras) and
Kaishiki vrutti was added to Natya Veda was added. Thereafter,
Bharatha learned Thandava from Thandu who was a disciple of Shiva,
and Lasya from Parvati. Thus Natya was originated by Sage Bharta, he
began the 3 vruttis – Sathwati, Arbathi, & started performing it.
(Bharathi means Vachika, Satwati means meaningful or soulful, Arbathi
means which includes strength or which has loud movements in it.)
According to theorigin of Natya Bharata, 24 apsaras learnt Natyaveda &
propogated it on Earth. Usha, daughter of Bansura, was an, ardent
devotee of Goddess Parvati pleased by Usha’s devotion, Parvati taught
Lasya to her.
Usha practiced this along with her friends & propogated this dance on
Earth as well. Hence the Natyaveda originated in the above manner and
got its different forms through various locations.
Classical Dance forms
1. The birth of Bharatanatyam and its development.
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Natya was created by Bhrama was practiced and propogated on Earth by

Bharata, Tandava was learnt from Shiva, Lasya from Goddess Paravati
through Usha and along with 24 Nymphs & Gandharvas Bharata
propogated this to the Earth. This dance became very popular in South
India as Bharatanatyam by assuming various forms in different regions
and by adopting it to their culture. From then, these dances were
performed in temples during special occasions. The dancers were called
‘Devadasis’ and they were asked to participate in the daily rituals and
were asked to perform on special occasions as well. The emperor’s
helped and supported this culture and was given devotional importance.
This dance form was spread to the western countries and achieved
respect. In early times, this dance was prevalent in temples. In due
course, this dance developed through dynasties such as Kadamba
dynasty, Ganga, Pallava, Chalukya, Hoysala etc. hae helped for the
development of this dance form. It is learnt that according to Pampa
works uring the 10th century, there were many scholars who were well
versed in this art. King Raja Raja Chola is said to have appointed 400
courtisans to dance in the Brihadeshwara temple in Tanjavur. According
to Badhami temple sources, this art is said to have been at its Zenith in
those days. Even prince and princess were highly proficient in this art.
During the period od Chalukyas, Sovaladevi was well versed in dance.
Vishnuvardana’s queen Shantala Devi was also an expert in dance and
music. This art was at the peak of its popularity during the rule of King
Krishna Devaraya of Vijayanagara. Ther are several versions of
descriptions pertaining to dance in the book ‘Bharata Vaibhava’ written
in the 16th century by ‘King Simhabhuhala’ he also wrote Lasyaranjana
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on dance in Kannada during the 17th century. During the 19th century, the
art assumed its present formdue to the Tanjavur Brothers. King Swati
Thirunal and Maharajas of Mysore patronized and developed this art.
During the 20th century due to several reasons this art went into decline.
It regained its former glory due to the stremous efforts of Sri
Rangagopal, Krishna Iyer 7 Sadhashivaiah and Smt. Rukmini Devi
Arundale.
These brothers under Kings named Tulajaji, Sarbhoji were responsible
for the upliftment of this culture. They along with their students
performed at Brihadeshwara temple . Then their elder Brother Chinmaya
taught dance many in the Mysore dynasty under the king Krishnaraja
wodeyar. The youngest propogated and taught dance in Thiruwankar
where maharaja Swathi Tirunal was the king. Swathi thirunal himself
was a great scholar and was a lyricist, the lover of art, god father to
develop art and was a great singer as well likewise Mysore dynasty
Mummudi Krishnaraja wodeyar, Chamaraja Wodeyar, patronized and
developed this art.
2. Describe the process of learning Bharatanatayam or how
Bharatanatyam is learnt?
To begin, the salutation is taught. Thereafter various physical exercises
and different kinds of Adavus in their Kalas, are taught. As for Adavus,
first the movements of legs are taught, and then the mode of practicing
by joining the various nrutta hastas, eyes, head, and neck movements are
taught, the combination of such Adavus is known as ‘korvai’ it becomes
jati. Thereafter Alaripu, Jatiswara, Shabdha, Padhavarna, Padha, 3
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Javali, Ashtapadhi, 4 Tillana, 2 Shloka, and such other items are taught
consecutively, which is known as ‘marga’.
3. Describe a Bharatanatyam program.
Generally, a Bharatanatyam program begins with a song in praise of
Lord Ganesha. After performing all the items ranging from Alaripu to
Tillana, it ends with Mangalam of late the tendency to perform a
Keertana in place of Shabdam is in vogue. Even so, Pushpanjali,
Devaranama, Thodayanrangalam, Nachana, and so on are performed. In
Bharatanatyam, there are various styles like Madras, Mysore, Tanjore,
Pandhanallu, Vallur, Kalakshetra, etc….
4. Name the different instruments used in Bharatanatyam.
1) Crystals made of iron or bronze for Nattuvangam.
2) Mridhangum
3) Veena
4) Thambura
In the present days, there are Electonic Thambura, Charionet Violin,
Flute, Morching, Mridangam, and Tabala. Sometimes for special effects,
chande and Keyboards are used.

III. Benefits of dance:

Dancers and spectators derive pleasure from dance. Further brightness in
eyes, strength in hands and eyes, memory improvement, gracefulness in
walking, endurance, smiling face suppleness, concentration is achieved
by practicing dance. Further dancers will get aquitance with god,
dhurma, legends, country, language, culture, goddess blessings to
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devotee, punishment of evil persons, protection of persons, anger,

hatredness, love, happiness, such huminity feelings, concentration,
creativeness, mental imbalance, devotion in studies and respectfulness
towards teachers would be secured by practicing classical dance. These
are the benefits of dance.
IV. Different classical dance forms of India:
1. Mention the seven types of classical dance of India
or
Name the Indian classical dance.
After independence the gazette of India and the constitution of
India have recognized seven classical dances as Indian classical dances,
namely.
1. Bharatanatyam 2. Kathakali 3. Mohiniyattam
4. Kuchipudi 5. Manipuri 6. Kathak
7. Odissi. 8. Sattriya (added after 2017)
◊ Karnataka and Tamilnadu’s classical dance is Bharathanatyam.
◊ Kuchipudi is the classical dance of Andhra Pradesh.
◊ Mohiniyattam and Kathakali are the classical dance of Kerala.
◊ Odissi is the classical dance form of Orissa.
◊ Manipuri is the classical dance form of Manipur.
◊ Kathak is the classical dance form of Uttarpradesh or Rajasthan.
◊ Sattriya is the classical dance form of Assam.

Summary about Kathakali:

Kathakali is a famous traditional dance of Kerala. It is performed by

selecting themes from Ramayana, Mahabharatha and Bhagavadgita. This
is a dance performed by onle men. Hence its called Arbhati(Enegetic
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vrithi). The students begin to learn this dance from 7th year and practice.
In this dance form, there are 3 types of characters. Namely.
1. Sathvika (Good character)
2. Thamasika (Bad character)
3. Rajasika (Demon)
Demon’s role is very popular in this dance form. King swathi thiranal’s
time kathakali was prevalent. There are 2 items called Ramattam and
Krishnattam.

Mohiniyattam:

This is another traditional classical dance of Kerala. Elegance is a main

feature of this dance. Only women perform this dance. Hence, lasya is
prominent here. The word Mohini implies dazzling beauty. Sholkattu
and pardhattam are its main items. Amrutha manthana’s demons were
attracted by the dazzling beauty of mohini (Vishnu disguised as a
beautiful women to save amrutha).
The mohini who burnt demon Bhasmasura into ashes, Mohini who was
attracted by lord shiv, extremely beautiful, mesmerizing and stunning
beauty was mohini’s character. May be due to all the above nature, this
dance was named after mohini as mohiniattam as their dance too consists
of very graceful movements. Golden border with red, green pallu
sometimes and the white body, frills which is tied in the front like a
slave. The bun or turubu is tied in the right side and white flowers
around it.

Kuchipudi:
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The dance over its origin to the Brahmins of kuchipudi, avillage in

Andhra Pradesh. It develops a dance – drama from the 15th century. It is
as old as 300 years. This was performed only by the men of Brahmins
family. But from past 40 years even womens has involved themselves in
practicing and performing this dance from the items like Padam,
Shabdam which comes under Nrithya NAtakas is practiced by women
and have started giving solo performanes. “Bhamakalpam” and
“Prahlada charitham” are someof the polpular dance dramas of
kuchipudi.

Kathak:

It is famous classical dance form of North India namely Uttarpradesh

and Rajasthan. Those who narrated mythological stories were called
kathakas. Kathakas were even dancing while narrating the stories. Thus,
the name kathak originated. The dance was very popular during the
period of the Mughals. During Akbars era, it got it prominence and
during Jahangirs era, it was in its zenith.
As time passed the artists joined different Nawab and different Rajputs
Empire and got separated in to different styles or Gharanas took birth. In
thie dance form, there are two main gharanas namely Jaipur and
Lucknow there are many other gharanas nmely Banaras or Banarati,
Amadh that, Thoda, param, Gathbhav, Arthbhav, Tukuda, Chakradhr,
Thathkar is rhythmically very strong. Gathbhav and Arthbhav are
prominent Abhinaya items.

Odissi:
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This is a classical dance of odissa. According to the Ranigumpha

inscription, the history of this dance goes back to the 3rd century B.C. In
Rathnagiri, Udayagiri, Lalithagiri, Ranigumpha, Hathi caves we could
see the sculptures related to odissi. There are many dance in
Bhuvaneshwara and konark temple. Bhumi pranam, Swarapallavi and
Sabhinaya Moksha are its main dance. Astapati is the main item in
Sabhinaya.

Manipuri:

1.Who gave the birth to Manipuri dance? Which Raja extended his
support to Ras dance in Manipuri? Story about Ras and name some of
Ras dances.
Ans: Since 154 AD this dance was declared popular by Raja Khoviya
Thampuk. But in 1714 Vyshnav culture were stron Raja Ghamhiba gave
a strength for the unliftment of this dance and ‘Ras’ dance came into
existence. This dance dates back to the 2nd century. This is a classical
dance of Manipuri as well as India. ‘Ras’ dance is the main part of this
dance.
Theme of this dance is Krishna Leela.
1. Nrith Ras
2. Vasanth Ras Are its main Ras dances.
3. Kunj Ras
4. Maha Ras
Men perform Pungcholan and Gurudev Rabindranath Tagore gave new
life to this dance. Since then this is very popular all over the world Raja
Ghamhiba gave support to this dance. Ras dances main theme is Krishna
Leela.
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Sathriya:

This is a dance of Assam of, it is recognized as one of the classical

dances of India.

V. Asanas or useful exercises:

1. Describe the usefulness of exercises before performing dance
or to perform dance?
Ans- The body is the medium of dance. Therefore it is very important
that it should be strong. By practicing exercises we get elegant posture,
suppleness and a healthy body. Dance needs a very prominent feature of
our body that is the Angha (or body) which comes under
Anghikabhinaya. Angha, Upanga and Prananga’s extremely good
movements, we need a physical fit and a healthy body, practice