Bharata Natyam Grade 9+

Bharata Natyam
Grade 9 +
Extended Programme
Textbook
Based on the National Curriculum Framework

2016
MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology.
Republic of Mauritius
2021
Mahatma Gandhi Institute (2021)
All rights reserved.No part of this publication may be reproduced, stored in

a retrieval system, or transmitted in any form or by any means, electronic,
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Tel: (230) 233 2500
While every effort has been made to trace the copyright holders for reproductions,
we might have not succeeded in some cases. We offer our sincere apologies and
hope that they will take our liberty in good faith. We would appreciate any
information that would enable us to acknowledge the copyright holders in our
future editions.All materials should be used strictly for educational purposes.
ISBN: 978-99949-54-57-5
i
Performing Arts (Indian Music and Dance) Panel
Mr. K. Mantadin - Project Coordinator
(organisation and development)
Senior Lecturer (Tabla),
Head, Department of Curriculum Development,
Mahatma Gandhi Institute
Ms. S. Dabee - Panel Coordinator

Senior Lecturer (Bharata Natyam),
Head, Department of Decentralisation of Music and
Dance, Distance Education and E-Learning, MGI
Writing Team Bharata Natyam
Mrs. P. D. Luchman - Team Leader, Educator (Bharata Natyam) - MGI
Mrs. A. D. Dwarka-Bania - Educator (Bharata Natyam) - M.O.E, T.E, Sc. & Tech
Mrs. K. Mahadoo Coonlic - Educator (Bharata Natyam) - M.O.E, T.E, Sc. & Tech
Contributors
Dr. D. Pentiah - Appadoo - Music Organiser - (Oriental) M.O.E, T.E, Sc. & Tech
Ms. S. Jootun - Educator (Kathak) - M.O.E, T.E, Sc. & Tech
Vetter
Mrs. S. Mungur - Former Assoc. Professor (Dance) - MGI
Proof Reading
Mrs. D. Balaghee - Deputy Rector - MGSS
Graphic Designers - MGI

(cover, illustration, layout and photography)
Ms. P. Juckhory Ms. V. Jatooa Mr. V. Napaul
Cartoonist
Mr. T. K. Mantadin - School of Fine Arts( student of MGI)
Photography
Mr. G. Moonesawmy - Pro Foto Plus
Word Processing Operator

Mrs. N. Mugon
ii
Acknowledgements
Mrs. S. N. Gayan, GOSK, Director General, Mahatma Gandhi Institute and
Rabindranath Tagore Institute for her continued advocacy for music education
especially Indian Music and Dance.
Dr. (Mrs.) V. Koonjal, Director, Mahatma Gandhi Institute for her

unwavering support to this project.
The Performing Arts (Indian Music and Dance) panel is also grateful to the
following persons:
Dr. Mrs. S. D. Ramful - Director Schooling - MGI
Mrs. U. Kowlesser - Registrar - MGI
Dr. D. Ramkalawon - Senior Lecturer (Sitar),
Head, School of Performing Arts, MGI
Dr. D. Pentiah-Appadoo - Music Organiser (Oriental),
M.O.E, T.E, Sc. & Tech.
Quality Vetting Team
Dr. J. Chemen - Assoc. Professor, Head, Centre for Quality

Assurance - MGI
Dr. (Ms.) S. D. Ramdoo - Lecturer (Bharata Natyam) - MGI
Mrs. S. Gopee - Educator (Bharata Natyam) - M.O.E, T.E, Sc. & Tech.
Ms. N. Lallmamode - Lecturer, Department of Design and
Communication - MGI
Mr. R. R. Maloo - Educator (English) - MGSS
Administrative Staff
Ms. V. Cahoolessur - Office Supervisor - MGI

Mrs. S. Appadoo - Clerical / Higher Clerical Officer - MGI
Ms. H. Ramkeelawon - Clerical Officer / Higher Clerical Officer (Temp.)
Ms. S. Pem - YEP Trainee
Mrs. P. Purmessur - Word Processing Operator- MGI
Photo Courtesy
Ms. Y. Gangabissoon Ms. M. Runglall

Ms. P. Auree Ms. T. Toory
The parents and their wards for giving us the permission to reproduce their
photographs and images in the textbook.
iii
Foreword
‘Where the mind is allowed to stumble upon cascades of emotion and where the surprise of
creative exchange comes out of tireless striving towards perfection’
Rabindranath Tagore
Should music, dance, arts, drama be taught in schools? Do such subjects matter ?
As in the case of all debate, there are those who are for and those who are against.
The decision, in the context of the reforms leading to the Nine Year Continuous Basic
Education, to include teaching of the performing arts in the secondary school curriculum
shows that ‘the ayes have it.’ At least for the time being.
Traditionally, music teaching takes place in a one-to-one mode. The piano

teacher teaches one student at a time, so does the sitar guru. Dance is more of a group
experience. But for each of these disciplines, the context of institutional level teaching
introduces opportunities of reaching a broader cross-section of population, thereby giving rise
to fresh challenges. Students come from a variety of social and cultural environments which
expose them to different types, genres and registers in the arts. Students also come with
different levels of aptitude. These are but two of challenges encountered.
From another perspective, it has been repeatedly pointed out that the ‘digital natives’, while
definitely coming to learning with resources hitherto not available, may, in the process, be
losing their ability to grasp, decipher and understand emotional language. In short they may
be losing empathy.
The ultimate aim of arts education in the curriculum is to provide a pedagogical space where
the young will be able to explore their own affective responses to forms of artistic expression,
to develop sensibility, while acquiring a whole set of skills, including not only spatial
awareness, pattern recognition or movement coordination, but also the benefits of group and
team work, of joint effort, higher level creative thinking and expression, as well as an overall
sense of shared pleasure and of achievement. This is what emotional intelligence is all about.
The specialists who prepared the syllabus and the present textbooks for Indian music and
dance had all the above in mind while undertaking the task. The teacher training for these
disciplines needs to be a continuous process of exchange between curriculum developers,
teaching practitioners, textbook-writers and learners.
The MGI is particularly happy to be part of this major development, at a time when the country
is looking at new avenues for continued economic development, and more importantly at new
avenues to enhance equity, social justice and inclusion. It is our small contribution to the
‘grande aventure’ of holistic education.
Mrs. Sooryakanti Nirsimloo-Gayan, GOSK

Director-General (MGI & RTI)
iv
Preface
This textbook is the first instructional material in the field of Performing Arts (Indian Music and
Dance) written by a team of experienced Mauritian teachers and experts in Vocal Music,
Instrumental Music and Dance.
It has been designed on the Aims, Objectives and the Teaching and Learning Syllabus of the
Performing Arts from the National Curriculum Framework (2016),for those learners who
have embarked on the Extended Programme under the Nine Years Continuous
Basic Education Programme.
The Performing Arts Curriculum is articulated around four strands: Performing, Creating,
Responding and Performing Arts and Society. Thus, the textbook takes into account the
development of key skills and understandings under the four strands.
This set of textbooks for the students of the Extended Stream lays the foundation in each
discipline and provides learners with the essential knowledge, skills and attitudes needed to
progress towards higher grades. The contents and activities have been arranged
progressively so as to attain the targets of the Nine Years continuous Basic Education. It also
takes into consideration the multicultural nature of our society and its traditions.
This textbook is a support material that gives direction to the educators in the teaching and
learning process by linking the curricular components, curricular expectations, pedagogical
principles and assessments.
A textbook is not an end in itself like any other instructional material. It is a means to facilitate
learning to take place in a continuous and continual manner.
Learning objectives in each chapter of the textbook reflect the curricular outcomes. It will help
the teacher to design his/her lesson plans which will further ease the teaching and learning
transaction towards achievement. Teachers will have to plan their work so that learning takes
place in an effective and efficient way. They will have to provide appropriate and enriched
experiences and modify the teaching and learning strategies according to the needs of
learners to cater for student diversity. Student diversity should not be seen as a
means to narrow the gap between individual students, but rather to encourage
them to fulfill their potential.
v
Preface
The practical aspects of the discipline have been integrated under “practical” with
step-by-step technique laying emphasis on the mastery of skills from one level to another.
We are aware that children construct knowledge in their own way and have different learning
styles.The textbook has been designed to cater for such needs. Special features and a
generous number of illustrations, pictures, concept maps and activities have been included to
promote collaborative learning and other additional skills like team spirit, cooperation and
understanding diverse nature of learners. These would help teachers to organise their
interactions at classroom level. Teachers may rearrange learning materials and activities to
facilitate learning. In the process of learning and teaching, educators have to pay constant
attention to learners’responses in order to adjust the strategies and progress of learning and
teaching, and to give appropriate assistance to learners wherever necessary.
Assessments in the form of activities, projects and questions are also included at the end of
each chapter. These are check points to assess the learners. It will help teachers gather
evidences about the expected level of learning taking place in the learners.
I would also request all the Educators to go through the National Curriculum Framework
(2016), the Teaching and Learning Syllabus of the Performing Arts (Indian Music and Dance)
documents and especially the “Important Note to Educators” which has been provided as
appendix in the textbook to have a thorough understanding of the Philosophy and Perspective
behind those documents and their implications in the implementation of the Reform process
in the education system.
I hope that this new journey of learning Indian Music and Dance will be an enriching one.
Mr. K. Mantadin,
Project Co-ordinator - Performing Arts (Indian Music and Dance),
Senior Lecturer (Tabla),
Head, Department of Curriculum Development,
Mahatma Gandhi Institute.
vi
Note To Educators
IMPORTANT NOTE TO EDUCATORS
This teaching and learning syllabus of Indian Music and Dance has been designed on the
spiral curriculum model in which core components and essential topics are revisited within the
three years. It caters for both the theoretical and practical aspects of each discipline.
It also comprises different blocks of knowledge and skills and each block is supported by
specific learning outcomes which cover all the three domains of learning; cognitive,
psychomotor and affective.
The Listening and Viewing component has been integrated in the syllabus as it is a key factor
in the development of music and dance abilities.
Teachers should provide a wide variety of listening and viewing experiences for learners to
stimulate active listening and viewing through questioning, prompting and suggestion.
In order to achieve the objectives of the syllabus and to keep a good balance between theory
and practical sessions, the teacher will have to plan his / her work and teaching and learning
activities according to the topics to be taught as specified in the scheme of studies. However,
educators may modify the sequence of the topics in which they wish to teach for the smooth
running of the course.
Educators should:
1. Ensure that learners use the knowledge, skills and understanding developed from grades 1-6
and build upon that prior knowledge to construct new knowledge.
2. Provide learning experiences that include opportunities for hands-on and interactive
learning, self-expression and reflection.
vii
Note To Educators
3. Find a variety of ways to align their instruction with the Aims,
Learning Outcomes and Specific Learning Outcomes by focusing on active learning and
critical thinking.
4. Provide learning activities that are appropriate in complexity and pacing.
5. Provide opportunities for individual and multiple groupings.
6. Actively engage and motivate students in the process of Learning Music and Dance.
7. Develop the ability in the learners to use and understand the language of Music and
Dance through listening and viewing as well as responding to live and recorded
repertoires.
8. Enrich the musical experience of the students by gaining an understanding of the cultural
and historical context of music and dance exploring personal connections with them.
9. Carry out active listening and viewing sessions through the use of Information Learning
Technologies (ILT’s). This will facilitate developing their investigative and methodological
abilities.
10. Model and demonstrate accurate and artistic musical and dance techniques.
11. Differentiate Music and Dance instruction to meet a wide range of students needs.
12. Educators should also ensure that learners:
• Show proper care and maintenance of classroom instruments

• Demonstrate respectful behavior as performers and listeners
• Participate in classroom protocole and traditions for music making and dance
viii
Note To Educators
13. Reinforce effort and provide recognition.
14. Discuss student performances by using peer assessment as a tool.
15. Give opportunities to students to assume various roles in music

performances, presentations and collaborations.
16. Motivate students to maintain a musical collection and portfolio of their own work over a
period of time. It can be an individual or group initiative that the learner will undertake
under the supervision of the educator.
ix
Table Of Contents
01 | Invocation 1
02 | Body Conditioning 7
03 | Mythological Origin Of Indian Dance 19
04 | Components Of Indian Classical Dances 31
05 | Samyuta Hastas And Gestures 39
06 | Indian Classical Music And Dance In Mauritius 55
07 | Adavus 63
08 | Dance Stories Of Indian God 101
09 | Exponents Of Bharata Natyam And Kathak 111
10 | Introduction To Kathak Dance 119
11 | Notation Form 125
12 | Creative Exercises 135
13 | Practice For Bharata Natyam 141
14 | Glossary Of Terms 143
x
Chapter 1
Invocation
Learning Objectives
At the end of this chapter, learners should be able to:
• Memorise the Sanskrit Shlokas on Lord Vishnu and Goddess Lakshmi.
• Recite the Sanskrit Shlokas.
• Develop a sense of discipline.
Chapter 1
Invocation
Invocation
LORD VISHNU
Lord Vishnu is one among the Hindu trinity. He is known as the preserver of the
universe. It is believed that Lord Vishnu incarnates in various forms in order to
re-establish religion, to protect the good people and to destroy evil.
SANSKRIT SHLOKA ON LORD VISHNU

Shanta karam bhujaga shayanam
Padma nabham suresham
Vishwa dharam gagana sadrisham
Megha varnam shubhangam
Lakshmi kantam kamala nayanam
Yogibhirdhyanagamyam
Vande Vishnu bhava bhaya haram
Sarva lokaika natham
2
Chapter 1
Invocation
Context translation
Lord Vishnu who has a peaceful form or nature,

He rests on the bed of serpents,
From His navel springs out a lotus and He is the Lord of Lords,
He is the upholder of the Universe, infinite and all pervasive as the sky,
His complexion is like the dark clouds and his limbs are pure and auspicious,
He is the consort of Lakshmi and His eyes are like the lotus,
He always resides in minds of yogis in their meditation,
I bow to Lord Vishnu; He, who removes all the feelings of fears in the world,
He is the one and only Lord of the whole Universe.
GODDESS LAKSHMI
Goddess Lakshmi is the consort of Lord Vishnu. She is known as the Goddess
of Wealth.
3
Chapter 1
Invocation
SANSKRIT SHLOKA ON GODDESS LAKSHMI

Namastestu Mahamaye
Sri peethe sura poojite
Shankha chakra gada haste
Mahalakshmi Namostute
Context translation
Salutations to the supreme Mahalakshmi,

The one who is auspicious and source of prosperity.
She is worshipped by the Gods,
The one who holds the conch-shell, the disc, the club and the lotus.
I bow down to the great Goddess of Wealth (Lakshmi).
Links
https://www.youtube.com/watch?v=SkBcaBz9rxY
https://www.youtube.com/watch?v=yByIevIUNN8
4
Chapter 1
Invocation
Invocation, Trinity,
KEYWORDS Incarnates.
POINTS TO REMEMBER
• Lord Vishnu is one among the Hindu trinity.

• Lord Vishnu is known as the preserver of the universe.
• The consort of Lord Vishnu is Goddess Lakshmi.
• Goddess Lakshmi is known as the Goddess of wealth.
5
Chapter 1
Invocation
Assessment
1. Fill in the blanks in the Shlokas given below:

Vishnu
Shanta karam …………………….. shayanam
Padma nabham ……………………..
…………………. dharam gagana sadrisham
Megha varnam ……………………………
………………………kantam kamala nayanam
………………………….bhirdhyanagamyam
Vande Vishnu bhava ……………………haram
Sarva lokaika …………………………….
Lakshmi
Namastestu …………………
Sri peethe ……………… poojite
Shankha ……………….. gada haste
………………………….Namostute
2. Rearrange in the proper sequence the Shlokas on Lord Vishnu.

Megha varnam shubhangam
Yogi bhirdhyanagamyam
Vishwa dharam gagana sadrisham
Shanta karam bhujaga shayanam
Vande Vishnu bhava bhaya haram
Lakshmi kantam kamala nayanam
Sarva lokaika natham
Padma nabham suresham
6
Chapter 2
Body conditioning
Learning Objectives
• Practise warm-up, pre-dance and cool-down exercises for safe practice.
• Execute the exercises for their benefits.
• Practise the exercises to develop flexibility, agility and endurance.
• Adhere to the practice of warm-up, pre-dance and cool-down exercises for
safe and effective practice.
Chapter 2
Body conditioning
Benefits of warm-up, pre-dance and cool down exercises
• Warm-up and pre-dance exercises benefit the body by preparing it for

the physical activity to be performed.
• Warm-up and pre-dance exercises help raise the internal body
temperature.
• Warm-up and pre-dance exercises also increase the heart rate and
blood flow to the core muscles for a better performance of the dancer.
• Warm-up and pre-dance exercises also help in the flexibility and
mobility of the joints of the body.
• Warm-up and pre-dance exercises increase the supply of oxygen and
glucose to the muscles to create energy and movements.
• Cool down exercises consist of gentle exercises and stretches to allow
the body to gradually return to normal.
• Cool down exercises allow the muscles to break away lactic acid
which can cause soreness and cramps.
Body
conditioning
exercises
Warm-up Pre-dance
exercises exercises
Cool down
exercises
8
Chapter 2
Body conditioning
WARM-UP EXERCISES
Ankle circles exercise
1. Stand upright with feet hip-width apart and the hands on the waists.
2. Lift the right leg and point the toes downward.
3. Rotate the ankle of the right foot by making small circles.
4. Repeat the exercises with the left foot as well.
Alternative side lunge touch
9
Chapter 2
Body conditioning
1. Stand tall with the feet hip-width apart.

2. Step to the side with the right leg and touch the right foot with the left hand.
3. Return to the starting position and repeat the movement with the left leg.
Boxer squat punch
1. Start in a squat position, with the feet apart and the toes pointing sideways.
2. Stand up and shift the weight to one leg and punch with the opposite arm.
3. Squat and repeat the movement on the opposite side.
10
Chapter 2
Body conditioning
Front and Back lunges
1. Stand with the feet together and take a step forward with the left foot and
then slowly bend both knees until the right knee is just above the floor.
2. Return back to the standing position then take a step forward with the right
foot and bend both knees until the left knee is just above the floor.
3. Repeat this movement five times on each side.
Cat-cow stretch
11
Chapter 2
Body conditioning
1. Start on all fours then drop the head and pull the abs in, rounding the back
and neck.
2. Hold for 10 seconds.
3. Raise the head and curve the back down towards the floor.
4. Hold for another 10 seconds and repeat.
PRE-DANCE EXERCISES
After warming up the body, dancers can execute certain pre-dance exercises
as well.
Outer Thigh Stretch
12
Chapter 2
Body conditioning
1. Sit on the floor with the legs extended infront.

2. Bend the right knee and cross the right leg over the left.
3. Place the right hand on the floor, the left arm on the right leg and rotate the
upper body to the right. Hold the stretch for 30 seconds.
4. Repeat on the left side.
Standing neck stretch
1. Stand with the feet together, hold the left wrist with the right hand and bring
it toward the right hip.
2. Bend the torso to the right toward the right shoulder.
3. Hold this stretch for 15 to 30 seconds.
4. Repeat on left side.
13
Chapter 2
Body conditioning
Oblique stretch
1. Stand with the feet shoulder-width apart.

Place the right hand on the hip and raise the left arm.
2. Bend the torso to the right until one can feel a stretch in the side of the body.
3. Hold the stretch for 20 to 30 seconds.
4. Repeat on the other side.
COOL-DOWN EXERCISES
Boat pose
1. Sit down with the legs fully extended and lean back.
2. Raise both legs to a 45-degree angle and place the hands on the floor on
both sides.
3. Stay in boat pose for 30 seconds.
14
Chapter 2
Body conditioning
Bound angle pose
1. Sit down, bend the knees, press the soles of the feet together and drop the
knees out to the sides.
2. Keep the back straight and hold the big toe for 1 minute.
Cobra pose
1. Lie on the belly, place the hands on the floor directly under the shoulders,
and keep the elbows close to the torso.
2. Inhale as one straightens the arms and lifts the chest off the floor.
3. Stay in cobra pose for 30 seconds.
15
Chapter 2
Body conditioning
Seated side bend pose
1. Sit with cross-legged on the floor.

2. Place the left hand on the floor with the elbow slightly bent.
3. Raise the right hand above the head and bend to the left side.
4. Hold the pose for 30 seconds.
5. Switch sides and repeat.
Staff pose
1. Sit with both feet together extended infront.

2. Place the hands on the floor and hold the spine straight against a wall.
3. Stay in staff pose for 2 minutes.
16
Chapter 2
Body conditioning
Warm-up exercises,
pre-dance, cool-down,
KEYWORDS
safe practice.
POINTS TO REMEMBER
• Warming up before any dance activity is important in order

to prepare the body for longer and safe training.
• Warm-up and pre-dance exercises are important to develop
coordination of the body with proper alignment, body
balance and flexibility.
• Pre-dance exercises are intended to warm up the core
muscles that are to be used during the dance class.
• Cool-down exercises are important after dancing as they
help to reduce muscle soreness.
• Cool-down exercises speed up the recovery process after
intense activity.
17
Chapter 2
Body conditioning
Assessment
1. Name any two warm-up exercises.

...........................................................................................................
...........................................................................................................
...........................................................................................................
2. Describe the cobra pose.

...........................................................................................................
...........................................................................................................
...........................................................................................................
3. Name the benefits of warm-up and pre-dance exercises.

...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
18
Chapter 3
Mythological origin of
Indian dance
Learning Objectives
• Name the text on the science of dramaturgy and its author.
• Describe the creation of Natya Veda by Lord Brahma.
• Describe the dance-drama Amrita Manthana.
• Relate how Tandava and Lasya were introduced in the dance-drama.
• Explain the purpose of Natya.
• Develop an appreciation for Indian dance.
Chapter 3
Mythological origin
of Indian dance
Mythological origin of Indian dance
Once upon a time, the daily activities of men had settled into a routine.
Meaning of the word Mythology

The Greek word, Mythos, means
story of the people and, Logos, the
spoken words of the people.
Mythology is the study and
interpretation of the sacred tales or
fables of a culture.
The Gods realised that there were no pastime or entertainment and the life of
the people had become very boring.
Consequently, a group of people went to see Indra, the Vedic Lord of heaven,
to request Him to create a pastime.
20
Chapter 3
Mythological origin
of Indian dance
Lord Indra, in turn went to see Lord Brahma, the creator of the universe, and
asked Him to create an entertainment worthy of Gods. He also mentioned that
the entertainment should be enjoyed by the people of both higher and lower
classes.
Lord Indra also requested Lord Brahma that this type of entertainment should
be pleasing to the eyes as well as to the ears.
Lord Brahma went into a deep meditation and He reflected upon the four
Vedas. He then took the essence of each of the four Vedas in order to create
an entirely new activity which He called ‘Natya’.
From the Rig Veda, He took the element of language. From the Sama Veda, He
extracted music. From the Yajur Veda, He derived the code of gestures. From
the Atharva Veda, He took the elements of sentiments and artistic beauty.
21
Chapter 3
Mythological origin
of Indian dance
Language Music
Sentiments &
Gestures
Artistic beauty
Ultimately, Lord Brahma created a fifth Veda which He named Natya Veda. He
gave the Natya Veda the same dignity and sacredness as the other four
Vedas.
Lord Brahma then gave the responsibility to Bharata Muni to put into practice
the techniques of the Natya Veda.
Bharata Muni set to work with his hundred sons to present the first
entertainment in the form of a drama on the stage.
22
Chapter 3
Mythological origin
of Indian dance
He then realised that certain aspects of the dance could only be performed by
women. To solve the problem, Bharata Muni asked for the help of Lord
Brahma, who then created the twenty-three nymphs or Apsaras.
Bharata Muni requested Vishwakarma, the architect of the world, to build a

theatre for the performance.
23
Chapter 3
Mythological origin
of Indian dance
The first performance was presented in the court of Lord Indra.
The three worlds (Triloka), that is, the people on earth, the Gods in heaven and
the Demons in hell were invited to watch the performance.
24
Chapter 3
Mythological origin
of Indian dance
The first drama was called Amrita Manthana (churning of the ocean to obtain
nectar). The dance-drama depicted a fight between Gods and Demons.
The Gods and the Demons were churning the ocean in order to get the nectar
of immortality (Amrita). In fact, both parties were eager to get the Amrita.
Ultimately, the Gods were victorious as they got the nectar of immortality in
their possession.
After watching their defeat in the dance-drama, the Demons felt insulted and
protested. They went to meet Lord Brahma as they could not accept their
people being humiliated.
Then, Lord Brahma explained that the aim of Natya was not to prove the
superiority of any being over any other one. Natya is a make-believe; it is only
a mimicry of human behaviour and the activities of the three worlds.
Natya is meant for all categories of people. It is also intended to be an endless

source of recreation and instruction for everyone.
Lord Brahma then suggested to Bharata Muni that the work be performed in
front of Lord Shiva, the God of dance, for his approval and advice.
After seeing the dance-drama, Lord Shiva was so pleased that He ordered his
disciple Tandu to further instruct Bharata Muni in the art of dancing.
25
Chapter 3
Mythological origin
of Indian dance
Tandu instructed Bharata in Shiva’s Tandava, (masculine aspect of dance),

whereas Parvati, the consort of Lord Shiva, taught Lasya (feminine aspect of
dance) to the Apsaras.
In the course of time, Bharata Muni

passed on the art to the people on earth.
Later Bharata Muni wrote a famous
treatise, on the science of dramaturgy,
called the Natya Shastra.
Activity
Enact the story of the mythological origin of

Indian dance with the help of your teacher.
Mythology,
Nectar of immortality,
KEYWORDS
Dramaturgy.
26
Chapter 3
Mythological origin
of Indian dance
POINTS TO REMEMBER
• Life became a routine without any pastime and people went

to see Indra, the Vedic Lord of heaven, to find a solution.
• Lord Indra went to see Lord Brahma to create a pastime for
the people.
• Lord Brahma went into a deep meditation and out of the
four Vedas He created the Natya Veda.
• He gave the knowledge of the Natya Veda to Bharata Muni
and asked him to create the first entertainment in the form
of drama.
• Bharata Muni, together with his hundred sons, mounted the
first drama named Amrita Manthana.
• The theme of the drama consisted of a fight between the
Gods and the Demons.
• The Gods and the Demons were churning the ocean of milk
in order to get the nectar of immortality.
• The Gods finally got the nectar of immortality.
• The Demons got angry and went to see Lord Brahma.
• Brahma then explained to them the purpose of Natya.
27
Chapter 3
Mythological origin
of Indian dance
Assessment
1. Match the element that was taken from each of the Vedas by
Lord Brahma to create the Natya Veda.
VEDAS ELEMENTS
Sentiments or
Rig
artistic flavour
Sama Words
Yajur Code of gestures
Atharva Music
2. Fill in the blanks with the appropriate words given in brackets in

the following sentences:
(Rig, Brahma, Amrita Manthana, Sama, Yajur, Natya, Atharva,
Vishwakarma, Bharata Muni, Indra, Atharva)
i. ............................ is the Vedic Lord of heaven.
ii. The creator of the universe is Lord ............................ .
iii. The four Vedas are the ............................, ............................,

............................ and ............................ .
28
Chapter 3
Mythological origin
of Indian dance
Assessment
iv. The fifth Veda was known as the ............................ Veda.
v. The theatre was built by ............................ .
vi. ............................ ............................ mounted the first drama.
vii. The first drama was named .......................... .......................... .
3. Describe the origin of dance in Indian mythology.
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
29
Chapter 3
Mythological origin
of Indian dance
NOTES
30
Chapter 4
Components of Indian
classical dances
Learning Objectives
• Explain the following dance terminologies: Nritta, Nritya, Natya, Tandava,
Lasya and Abhinaya.
• Differentiate between Nritta and Nritya.
• Differentiate between Tandava and Lasya.
Chapter 4
classical dances
Components of Indian classical dances

In Indian classical dances, there are different technical terms which explain
different aspects of dance according to the Abhinaya Darpanam and the Natya
Shastra. These aspects are known as: Nritta, Nritya, Natya, Tandava, Lasya
and Abhinaya.
Nritta
The Nritta form of dance consists of

beautiful and decorative movements.
This aspect of dance consists essentially
of rhythmic patterns of footwork and body
movements.
Nritta dance compositions do not interpret

any story or have any meaning. They are
usually accompanied by a pure rhythmic
musical composition and dance syllables.
In Nritta dance compositions, the various techniques and the beauty of pure
movements in a particular dance style are clearly seen.
Nritta dance compositions in Bharata Natyam are based on the Adavus.

Examples of Nritta dance compositions are: Alarippu, Jatiswaram and Tillana.
Nritya
Nritya dance form consists of

expressional dance. Nritya dance
compositions are used to interpret the
lyrics of the accompanying song through
the use of facial expressions, hand
gestures and body movements.
32
Chapter 4
classical dance
Nritya dance compositions may express just a sentence, a poem, small

episodes or a whole story. The themes of Nritya dance compositions are
mostly based upon divine love and devotion towards God.
Examples of Nritya dance compositions in Bharata Natyam are: Shabdam and

Padam.
There are also dance compositions such as the Shabdam, and Varnam where
both Nritta and Nritya aspects are used.
Natya
The word Natya is derived from ‘Nat’,

which means moving or acting. Natya form
of dance is considered to be a
combination of acting with dialogue, music
and dancing. Natya dance form is dance
combined with drama.
Examples of Natya are: dance ballets in

Bharata Natyam, Kathakali and Kuchipudi
classical dances.
Tandava
Tandava is considered as the masculine

aspect of dance. This form of dance
consists of forceful and vigorous
movements with heavy steps. The music
is usually very rhythmic and fast in tempo.
Tandava dance is mostly appropriate for

the masculine body, but women also can
perform the Tandava dance.
33
Chapter 4
classical dances
According to Hindu mythology, it is believed that the dances of Lord Shiva are
known as Tandava dances.
Lasya
Lasya is considered as the opposite of

Tandava. Hence, it is the feminine aspect
of dance.
Lasya is the graceful, soft and gentle

body movement with light steps in dance.
It is executed at a reduced speed
compared to the Tandava. According to
Hindu mythology, this dance was
performed by Goddess Parvati.
Abhinaya
Abhinaya is the art of expression in

Indian classical dances.
Abhinaya is a Sanskrit word, which is

made of the prefix ‘abhi’ meaning
‘towards’ and the root ‘ni’ meaning ‘to
carry’ or ‘to represent’. Abhinaya means
to carry the expression of the dancer
towards the audience so as they
experience the sentiments expressed.
Abhinaya, in Indian classical dance, is

the expressional aspect of dance where
the dancer interprets the lyrics of a song.
The dancer has to visualise the mental and physical conditions of the character
to be depicted and conveys them through the use of the body, codified hand
gestures and facial expressions.
34
Chapter 4
classical dance
Abhinaya or expression is divided into four types namely; Angika, Vachika,

Aharya and Sattvika.
• Angika Abhinaya
Anga means limbs and other parts of the body. Angika Abhinaya is expression
made through the use of the physical body, that is, Anga, Pratyangas and
Upangas.
• Vachika Abhinaya
Vacha means speech and Vachika Abhinaya is the verbal expression in dance.
It is the expression made through the use of dialogue, poetry, song and
recitation.
• Aharya Abhinaya
Aharya Abhinaya is the expression of a character through the use of costumes,
make-up and jewelleries. Stage decors are also included in Aharya Abhinaya.
• Sattvika Abhinaya
Sattvika Abhinaya is the expression of the feelings which have been produced
through the manifestations of different mental and emotional states. The
various states can be represented through facial expressions, gestures and
dance movements. Some examples are laughing, weeping, shivering and so
on.
Activity
VIEWING SESSION
View the videos of the dance performances and with
help of the teacher identifiy the different components
of the Indian classical dances.
https://www.youtube.com/watch?v=3Vf_kxiyIJs
https://www.youtube.com/watch?v=Tl3UKV1z9lM
https://www.youtube.com/watch?v=JWhA3ldZcyY
https://www.youtube.com/watch?v=XQI0T5Kjw9E
35
Chapter 4
classical dances
Pure dance,Abstract dance,

Expressional dance, Dramatic
elements, Masculine aspect,
KEYWORDS
Feminine aspect, Forceful,
Graceful.
POINTS TO REMEMBER
• Nritta is a form of pure movement in dance.

• Nritya is an expressional dance.
• Natya is the dramatic element in Indian classical dance.
• Tandava is the masculine aspect of dance and consists of
forceful and vigorous movements.
• Lasya is the feminine aspect of dance and consists of soft
and graceful movements.
• Abhinaya is the art of expression in Indian classical dances.
• Abhinaya is divided into four categories namely: Angika,
Vachika, Aharya and Sattvika.
• Angika Abhinaya is expression through the use of Anga,
Pratyanga and Upanga.
• Vachika Abhinaya is expression made through speech,
dialogue and lyrics.
• Aharya Abhinaya is expression made through the use of
costumes, make-up and jewellery as well as stage décors.
• Sattvika Abhinaya is the physical expression of the mental
and emotional states.
36
Chapter 4
classical dance
Assessment
1. State whether the following statements are either TRUE or FALSE.
a) Natya is a form of pure movement in dance .
b) Nritya is an expressional dance.
c) Nritta is a form of dance and drama.
d) Tandava is forceful dance.
e) Lasya is a graceful and feminine dance form.
2. Match the following terms with the correct description.
(a)Angika Abhinaya expression made through the use of

costumes, make-up and jewelleries.
(b)Vachika Abhinaya is the physical expression of the

mental and emotional states.
(c)Aharya Abhinaya is the use of verbal expression in

dance.
(d)Sattvika Abhinaya expression made through the use

of the physical body.
37
Chapter 4
classical dances
Assessment
3. Explain the following terms:

a) Tandava
...........................................................................................................
...........................................................................................................
b) Lasya
...........................................................................................................
...........................................................................................................
c) Nritta
...........................................................................................................
...........................................................................................................
d) Nritya
...........................................................................................................
...........................................................................................................
e) Natya
...........................................................................................................
...........................................................................................................
4. (a) Explain the term Abhinaya.

...........................................................................................................
...........................................................................................................
...........................................................................................................
(b) Name the four types of Abhinaya.

...........................................................................................................
...........................................................................................................
...........................................................................................................
38
Chapter 5
Samyuta hastas
and gestures
Learning Objectives
• Recall the Asamyuta Hastas.
• Memorise the names of the first 11 Samyuta Hastas.
• List the names of the last 12 Samyuta Hastas.
• Enumerate and demonstrate the last 12 Samyuta Hastas.
• Recite the Shlokas and demonstrate the 23 Samyuta Hastas according
to Abhinaya Darpanam.
• Identify the Asamyuta and Samyuta Hastas in the Adavus.
• Recall the Asamyuta Hastas, Samyuta Hastas and basic dance postures.
• Memorise the names and Shlokas of the Shiro Bhedas, Drishti Bhedas and
the Greeva Bhedas.
• List the names of the 9 Shiro Bhedas, 8 Drishti Bhedas and the 4 Greeva Bhedas.
• Identify the 9 Shiro Bhedas, 8 Drishti Bhedas and the 4 Greeva Bhedas.
Chapter 5
Samyuta hastas
and gestures
Samyuta Hastas
(Double Hand Gestures)
Samyuta Hastas are gestures that are performed with both hands combined
together. According to Abhinaya Darpanam, there are twenty-three Samyuta
Hastas. One additional gesture called Avahitta has been recently added.
RECAP Asamyuta Hastas
1. Pataka 2. Tripataka 3. Ardhapataka 4. Kartarimukha

5. Mayura 6. Ardhachandra 7. Arala 8. Shukatunda
9. Mushti 10. Shikhara 11. Kapittha 12. Katakamukha
13. Suchi 14. Chandrakala 15. Padmakosha 16. Sarpashirsha
17. Mrigashirsha 18. Simhamukha 19. Kangula 20. Alapadma
21. Chatura 22. Bhramara 23. Hamsasya 24. Hamsapaksha
25. Samdamsha 26. Mukula 27. Tamrachuda 28. Trishula
Names and pictures of the last twelve Samyuta Hastas
Chakra Samputa Pasha Kilaka
Matsya Kurma Varaha Garuda
40
Chapter 5
Samyuta hastas
and gestures
Names and pictures of the last twelve Samyuta Hastas
Nagabandha Khatwa Bherunda Avahitta
Names of the last 12 Samyuta Hastas RECAP

(Double Hand – Gestures)
Quick recap
1. Chakra 5. Matsya 9. Nagabandha of the first 11
2. Samputa 6. Kurma 10.Khatwa Samyuta Hastas
3. Pasha 7. Varaha 11.Bherunda Anjali

4. Kilaka 8. Garuda 12. Avahitta Kapota
Karkata
Swastika
Dola
Pushpaputa
Utsanga
Notes to student Shivalinga
Katakavardhana
It is to be noted that Kartariswastika
twenty-three combined hand Shakata
gestures are mentioned in
Shankha
the Abhinaya Darpanam.
Avahitta hand gesture has
been added afterwards and
is now recognised as the
twenty-fourth combined
hand gesture.
41
Chapter 5
Samyuta hastas
and gestures
SHLOKA FORM OF THE TWENTY-THREE

SAMYUTA HASTAS ACCORDING TO THE
ABHINAYA DARPANAM
Anjalishcha Kapotashcha Karkatah Swastikastatha/

Dolahastah Pushpaputa Utsanga Shivalingakaha//
Katakavardhanashchaiva Kartariswastikastatha/
Shakatam Shankha Chakrecha Samputah Pashakilakau//
Matsyah Kurmo Varahashcha Garudo Nagabandhakaha/
Khatwa Bherunda Ityete Samkhyata Samyutaha Karaha//
Trayavimshatirityuktaha Purvagayabharadibhihi/
SHIRO BHEDAS
Shiro Bhedas are the different head movements. The Shiro Bhedas refer to the
head positions while executing dance movements. According to Abhinaya
Darpanam, there are nine types of head movements.
SHLOKA FORM OF SHIRO BHEDAS
Samam udhvahitam adhomukham alolitam dhutam/

Kampitam cha paravrittam utkshiptam parivahitam//
Navadha kathitam shirsham natya shastra vishardeyhi/
The meaning of the last line of the Shlokas is as follows:

Thus the head movements are said to be of nine types according to Natya
Shastra.
42
Chapter 5
Samyuta hastas
and gestures
Names of the Shiro Bhedas
Sama, Udhvahita, Adhomukha, Alolita, Dhuta

Kampita, Paravritta, Utkshipta, Parivahita
Names and pictures of the Shiro Bhedas
1 Sama 2 Udhvahita
(straight) (head raised up)
3 Adhomukha 4 Alolita
(head bent down) (head turning in a circular
movement)
43
Chapter 5
Samyuta hastas
and gestures
5 Dhuta
(head moving from right to left)
6 Kampita
(nodding - head moving up and down)
7 Paravritta 8 Utkshipta
(head turned on the (Head turned on the
side and bent down) side and raised up)
44
Chapter 5
Samyuta hastas
and gestures
9
Parivahita
(Head moving side to side)
Activity
• Students are required to pair up for this
activity.
• Use head movements to express and ask
your friend to identify which Shiro Bhedas
is used.
DRISHTI BHEDAS
Drishti Bhedas are the different eye movements. They are the different eye
movements used in Indian classical dances. According to the Abhinaya
Darpanam there are eight types of eye movements.
SHLOKAS OF THE DRISHTI BHEDAS
Samam alokitam sachi pralokita nimilite/

Ullokita anuvrittecha tathacheiva avalokitam//
Ityashtao drishti bhedaha syuhu kirtitah purva suribhihi.
45
Chapter 5
Samyuta hastas
and gestures

These are the eight types of eye movements according to ancient scholars.
Names of the eight Drishti Bhedas
1. Sama 2. Alokita 3. Sachi 4. Pralokita

5. Nimilite 6. Ullokita 7. Anuvritta 8. Avalokita
Names and pictures of the Drishti Bhedas
1 Sama
(Straight)
3
2 Alokita
Sachi
(The eyes move in
(Looking from the
a circular movement)
corner of the eyes)
4 Pralokita
(Looking from side to side)
46
Chapter 5
Samyuta hastas
and gestures
5 Nimilite 6 Ullokita
(Tip of the nose) (Looking up)
7 Anuvritta 8 Avalokita
(Looking up and down) (Looking down)
GREEVA BHEDAS
Greeva Bhedas are known as the neck movements. There are four types of
Greeva Bhedas according to Abhinaya Darpanam.
SHLOKA FORM OF THE GREEVA BHEDAS

Sundarishcha tirashchina tathaiva parivartita//
Prakampitam cha bhavagyei gyeiya greeva chaturvidha//

Scholars on Bhavas know that Greeva Bhedas are of four types.
47
Chapter 5
Samyuta hastas
and gestures
Names of the Greeva Bhedas
1. Sundari 2. Tiraschina 3. Parivartita

4. Prakampita
Names and pictures of the Greeva Bhedas
1 Sundari
2 Tirashchina
(moving like a question mark ( ) on both sides)
48
Chapter 5
Samyuta hastas
and gestures
3 Parivartita
(moving from right to left)
(Side View)
4 Prakampita
(moving from back to front)
Activity
VIEWING SESSION
View the videos of the links given below and try to recite and execute the
gestures along with the performer.
LINKS
Shiro Bhedas
https://www.youtube.com/watch?v=-lSOjUCQ944
Drishti Bhedas
https://www.youtube.com/watch?v=Qm_TrdMGbdk
Greeva Bhedas
https://www.youtube.com/watch?v=Zugvq1BcSe8
https://www.youtube.com/watch?v=FOUclU41yPk
49
Chapter 5
Samyuta hastas
and gestures
Double hand gestures,

combined hand
KEYWORDS
gestures.
POINTS TO REMEMBER
• Gestures are non- verbal movements which are used to

convey a message.
• According to Abhinaya Darpanam, there are nine head
movements, eight eyes movements and four neck
movements.
• Head movements are called Shiro Bhedas.
• Eyes movements are called Drishti Bhedas.
• Neck movements are called Greeva Bhedas.
50
Chapter 5
Samyuta hastas
and gestures
Assessment
1. Match the pictures of the Samyuta Hastas with their appropriate

names.
Pasha Samputa Khatva Varaha Kilaka Chakra
2. Identify and name the Samyuta Hastas given in the pictures below:
......................... ......................... .........................
......................... ......................... .........................
51
Chapter 5
Samyuta hastas
and gestures
Assessment
3. List the names of the Samyuta Hastas in sequence.
...........................................................................................................
...........................................................................................................
...........................................................................................................
4. Name the hand gestures used in the following Adavus.
i. The second step of Shutru Adavu

...........................................................................................................
...........................................................................................................
...........................................................................................................
ii. The second step of Pakka Adavu

...........................................................................................................
...........................................................................................................
...........................................................................................................
iii. The third step of Sarikkal Adavu

...........................................................................................................
...........................................................................................................
...........................................................................................................
iv. The fourth step of Pakka Adavu

...........................................................................................................
...........................................................................................................
...........................................................................................................
52
Chapter 5
Samyuta hastas
and gestures
Assessment
5. Match each of the picture of the Shiro Bhedas with its appropriate
name.
Dhuta
Alolita
Sama
Kampita
53
Chapter 5
Samyuta hastas
and gestures
Assessment
6. Rearrange in sequence the names of the Drishti Bhedas given

below:
Sachi, Pralokita, Sama, Nimilite, Alokita, Ullokita, Avalokita, Anuvritta
...........................................................................................................
...........................................................................................................
...........................................................................................................
7. Write the missing alphabets in the names of the Greeva Bhedas:
a) S _ _ _ ar _
b) _ iras_ _ _ n _
c) P_ _ _ var _ _ _ _
d) P _ _ kam _ _ t _
54
Chapter 6
Indian classical music
and dance in Mauritius
Learning Objectives
• Identify the Indian classical dances practised in Mauritius.
• Describe how the Indian classical dances were introduced in Mauritius.
• Describe the propagation of Indian classical dances in Mauritius.
• Develop gratitude and respect towards the pioneers of Indian classical
music and dance in Mauritius.
Chapter 6
Indian classical dances in Mauritius

In Mauritius, only three Indian classical dance forms are practised. The three
classical dance forms are Bharata Natyam, Kathak and Kuchipudi.
Bharata Natyam Kathak Kuchipudi
Ancestors who came from India had their roots from the South, South-East,
South-West and the Northern regions of India. As Bharata Natyam originated
from Tamil Nadu, Kuchipudi from Andhra Pradesh and Kathak from the
Northern regions, these classical dance forms had an influence on the people
of Mauritius and got established in the island.
Recap
The 7 main Indian

classical dance forms are:
Bharata Natyam, Kathak,
Kathakali, Manipuri,
Kuchipudi, Odissi, and
Mohini Attam
56
Chapter 6
How were Indian classical music and dance introduced in Mauritius?
India became independent in 1947, and

the Indian Embassy was set up in
Mauritius in 1948.
DID YOU KNOW?
Since then, various Indian classical music Before the setting up
and dance experts have visited Mauritius of the Indian Embassy
for public performances, in Mauritius, Indian
In 1962, Pandit Ram Gopal and his troupe indentured labourers
presented dance performances in Bharata were only adept in folk
Natyam, Kathakali and Kathak, which led music and dance.
to an increase of interest for learning the
classical dance forms in the country.
With the growing interest of Mauritians for Indian music and dance, Sir
Veerasamy Ringadoo, the then Minister of Education set up the School of
Indian Music and Dance at Beau-Bassin in 1964.
The School was established with the collaboration of the Indian High
Commission and the British government as Mauritius was still a British colony.
It was inaugurated by Lady Rennie, wife of the then Governor, Sir John Shaw
Rennie, on 11th April 1964.
The Indian Government sent Mr. and Mrs. Nandkishore to Mauritius to teach
Indian music and dance. They were experts in Indian classical music and
dance and taught the following disciplines: Vocal Hindustani music, Sitar,
Harmonium, Tabla, Bharata Natyam, Kathak, Kathakali, and folk dances.
With the increase in the number of students, the School of Indian Music and
Dance integrated the Mahatma Gandhi Institute with the mission to promote
education and Indian culture, including Indian music and dance. As a matter of
fact, the foundation stone of the Mahatma Gandhi Institute at Moka was laid on
the 3rd June 1970 and the Mahatma Gandhi Institute was inaugurated in 1975
by late Shrimati Indira Gandhi, the then Prime Minister of India.
57
Chapter 5
Indian classical dance
terminologies
Pioneers of Indian classical Music and Dance in Mauritius
The High Commission of India annually granted scholarships to Mauritian

students to study Indian classical music and dance in India. In 1950, the first
Mauritian, Mr Ishwarduth Nundlall, was offered a scholarship by the Indian
Government to study Indian classical music in India. Dr Ishwarduth Nundlall
came back to Mauritius in 1958 with degrees in Vocal Hindustani, Sitar and
Violin from the National Academy of Music, Lucknow.
Dr. I. Nundlall started performing all over the island, arousing interest in many
Mauritians to learn the art of music. He is considered to be the first Mauritian to
teach, train and propagate Indian classical music in Mauritius.
Furthermore, Indians and Mauritians who got training in eminent Institutions

from India contributed enormously in the propagation of Indian classical
dances in Mauritius.
Some of them are: Mrs. Padma Naidu-Ghurbhurun, Mrs. Sandhya Mungur and
Mrs. Rekha Deerpaul in Bharata Natyam; Mr Ramesh Nundoo and Mrs
Nirmala Gobin in Kathak; Mrs Damayantee Algoo in Manipuri and Mrs Premila
Balakrishna Uppamah in Kuchipudi.
Many Mauritians, who were initiated in these classical art forms by the above
named mentors, went to India to pursue further studies in the field of Tabla,
Kathak, Violin, Vocal Hindustani, Vocal Carnatic, Sitar, Bharata Natyam,
Mridangam, Kuchipudi, Mohini Attam and Veena.
Since 1975 onwards, there has been a continuous effort of the Mahatma
Gandhi Institute staff to propagate Indian classical music and dance.
Regional Centres were set up in 1982 throughout the island by the

Mahatma Gandhi Institute so that these art forms could reach out to
the population at large.
58
Chapter 5
terminologies
The Ministry of Education, Ministry of Arts and Culture, Indira Gandhi Centre
for Indian Culture, Indian socio-cultural associations, and private dance
schools have all played important roles in preserving, promoting and
propagating Indian classical music and dance in Mauritius.
Indian classical dance has been part of the secondary school curriculum for
more than 40 years. Today, Indian classical music and dance have attained
such a standard that they are being taught up to tertiary level at the Mahatma
Gandhi Institute in collaboration with the University of Mauritius.
The Mahatma Gandhi Institute, through its various initiatives in the domains of
music and dance education, performance and production, has contributed
immensely to enrich the cultural landscape of the nation.
59
Chapter 5
terminologies
Originate, practised,
classical, pioneers,
KEYWORDS
embassy, culture.
POINTS TO REMEMBER
• Bharata Natyam, Kathak and Kuchipudi are practised in

Mauritius.
• Ishwarduth Nundlall is known as the first pioneer of Indian
classical music in Mauritius.
• After the setting up of the Indian Embassy in Mauritius in
1948, Indian classical dances were introduced in Mauritius.
• The School of Music and Dance was inaugurated in 1964.
• The Mahatma Gandhi Institute was inaugurated in 1975 by
late Shrimati Indira Gandhi.
• Regional Centres were set up in 1982 throughout the island
by the Mahatma Gandhi Institute to teach Indian classical
music and dance.
• Indian classical dance has been part of the secondary
school curriculum for more than 40 years.
60
Chapter 5
terminologies
Assessment
1. State whether the following statements are TRUE or FALSE.
1) Bharata Natyam, Kathakali and Odissi are the three

Indian classical dance forms commonly practised in
Mauritius.
2) Dr. Ishwarduth Nundlall is known as the first pioneer

of Indian classical music in Mauritius.
3) Indian classical dances were introduced in Mauritius

before the Independence of India.
4) The School of Music and Dance was inaugurated

in 1964.
5) Regional Centres were set up in 1982 throughout

the island by the Mahatma Gandhi Institute to teach
Indian classical music and dance.
6) Indian classical dance has been part of the

secondary school curriculum for more than
70 years.
61
Chapter 5
terminologies
Assessment
2. Name the three Indian classical dance forms commonly practised

in Mauritius.
...........................................................................................................
...........................................................................................................
...........................................................................................................
3. Write a summary of how Indian classical dances were introduced

in Mauritius.
...........................................................................................................
...........................................................................................................
...........................................................................................................
62
Chapter 7
Adavus
Learning Objectives
• Memorise the sequence of movements in the prescribed Adavus.
• Recite the Sollukattus of the series of Adavus.
• List the names of the series of Adavus.
• Demonstrate the prescribed Adavus in three Kalas with Anga Shuddham.
• Align and coordinate movements of the body.
• Identify the different hand gestures and basic dance postures as performed
in the Adavus.
Chapter 7
Adavus
Adavus
Adavus are the basic rhythmic unit of steps in Bharata Natyam.
Adavus consist of short sequences of movements which coordinate all the

parts of the body, that is, the head, the eyes, the hands and the feet.
Practical
SHUTRU ADAVUS
The Shutru Adavu usually consists of the Notes to student

twisting and turning movements of the body.
Recall the first four
The Sollukattus of the Shutru Adavus are: steps in the Shutru
Adavus series.
Tat Tai Tam Dhit Tai Tam
Fifth Adavu
Method
• The Adavu starts in Araimandi

posture with the right hand in Tripataka
in front of the chest.
• The left hand is held above the head
in Tripataka gesture.
• Jump on toes on the syllables ‘Tat Tai’.
64
Chapter 7
Adavus
• Kick the right foot up at waist level on the

side, on the syllable ‘Tam’.
• The right arm is stretched on the side
simultaneously.
• Repeat the same movements again on the

syllables ‘Dhit Tai Tam’.
Basic Dance Postures RECAP
Samapada Sausthava Natyarambhe Muzhumandi Araimandi
Notes to teacher
Notes to teacher
Adavus may differ
according to different Note that the
schools of learning. movements for
the 5th Adavu can
Ensure that the
differences are clearly
also be executed
explained to learners so diagonally.
as not to create any
confusion.
65
Chapter 7
Adavus
• Jump on the side by lifting the right and the

left leg consecutively while crossing the left
foot at the back on the syllables ‘Tat Tai’.
• The right hand is extended on the right side
simultaneously.
• On the syllable ‘Tam’ jump back and cross

the right foot at the back, while the right hand
returns in front of the chest.
• Strike the right toes at the back on the syllable ‘Dhit’, then stamp the left foot,
which is in front, on the syllable ‘Tai’ and end the movement on the syllable
‘Tam’ by joining both feet.
• The right arm is extended in the Natyarambhe position on the last syllable.
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Chapter 7
Adavus
Sixth Adavu
• The Adavu starts in Samapada position with

the right arm stretched down on the side and
the left hand is placed above the head.
• Both hands are in Tripataka gestures.
• Jump slightly forward with both feet together

on the syllables ‘Tat Tai’.
• Then jump again on the toes and sit down in
Muzhumandi posture on the syllable ‘Tam’.
• The right hand is brought in front of the chest
on the same syllable.
• Stamp the left foot while rising in the

Araimandi posture and lift the right leg at waist
level, on the side, on the syllables ‘Dhit Tai’.
67
Chapter 7
Adavus
• On the syllable ‘Tam’ the right foot is

crossed at the back.
• On the syllables ‘Tat Tai Tam’ repeat

number 4 and 5 of fifth Adavu.
• Then stamp the right foot away from the left

foot, followed by the stamping of the left and
again the right foot on the syllables ‘Dhit Tai
Tam’.
• The right arm is extended on the side.
YETTA ADAVU
The Yetta Adavu series consist of Adavus that are executed in the same place.
The feet movements comprise mainly stamping and small jumps on the toes
with both feet simultaneously. In this series, only the Tripataka hand gesture is
used in all the steps.
The syllables for Yetta Adavu series are:

Tat Tai Ta Ha Dhit Tai Ta Ha
68
Chapter 7
Adavus
First Adavu
Method
• The first Adavu starts in the Araimandi

posture with both hands in Tripataka gestures,
which are placed in front of the chest.
• Stamp the right foot while the right hand stretches on the right side at
shoulder level on the syllable ‘Tat’.
• The right Tripataka hand is turned with the palm facing up.
• The left Tripataka hand is turned with the palm facing down.
• The same movement is repeated on the opposite side on the syllable ‘Tai’.
• The eyes follow the hand movements.
69
Chapter 7
Adavus
• On the syllable ‘Ta’ jump on the toes with

both feet simultaneously while keeping the
hands in the same position.
• Look at the right hand.
• Stamp the right foot while the left foot

remains on the toes.
• The palm of the right hand is turned up and
the left arm is changed into the Natyarambhe
position on the syllable ‘Ha’.
• The above sequence of movements from

numbers 1 to 4 is repeated on the left side
on the syllables ‘Dhit Tai Ta Ha’.
• Stamp the right foot and stretch the right

hand diagonally in front, pointing to the left
hand corner on the syllable ‘Tat’.
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Chapter 7
Adavus
• On the syllable ‘Tai’ stamp the left foot and

bring the right hand in front of the chest and
stretch the left hand on the left side at
shoulder level.
• Jump on toes with both feet while the hands

remain in the same position on the syllable
‘Ta’.

• The right hand is turned up and the left
arm is changed into the Natyarambhe position
on the syllable ‘Ha’.
• The movements of number 6 to 9 are
repeated on the left side.
71
Chapter 7
Adavus
10
• Jump with both feet on the toes with the

hands in Tripataka gestures placed in front
of the chest on the syllable ‘Tat’. Look up.
11
• On the syllable ‘Tai’ stamp the right foot.

• Stretch the right arm and bend on the
right side.
12
• Repeat movements number 10 and 11 on

the left side on the syllables ‘Ta Ha’.
13
• Stretch the right arm in front and keep the left

hand in front of the chest with the palm facing
up. Jump on the toes with both feet on the
syllable ‘Dhit’.
72
Chapter 7
Adavus
14
• The right foot is stamped on the syllable

‘Tai’ while the Tripataka hands are turned in
the opposite direction simultaneously.
15

Second Adavu
Method
• The second Adavu starts in the Araimandi

posture with both hands in Tripataka gestures
in front of the chest.
• Stamp the right foot while the right hand

moves slightly forward on the syllable ‘Tat’.
• Then the left foot is stamped while the left
hand moves slightly forward on the syllable
‘Tai’.
• The eyes look at the hands on the syllable
‘Tat’ and then in front on the syllable ‘Tai’.
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Chapter 7
Adavus
• Stamp the right foot and stretch the right hand on the right side at shoulder
level on the syllable ‘Ta’.
• The right Tripataka hand is turned with the palm facing up.
• The left Tripataka hand is turned with the palm facing down.
• The same movement is repeated on the opposite side on the syllable ‘Ha’.
• The eyes follow the hand movements.
• On the syllable ‘Dhit’, jump on the toes with

both feet simultaneously while keeping the
hands in the same position.
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Chapter 7
Adavus

• The palm of the right hand is turned up
and the left arm is changed into the
Natyarambhe position on the syllable ‘Tai’.
• Repeat movements number 5 and 6 once

more on the syllables ‘Ta Ha’.
• The above sequence of movements from

number 1 to 6 is repeated on the left side on
the syllables ‘Tat Tai Ta Ha Dhit Tai Ta Ha’.
• Stamp the right foot while the right hand

moves slightly forward on the syllable ‘Tat’.
• Then the left foot is stamped while the left
hand moves slightly forward on the syllable
‘Tai’.
• The eyes look at the hands on the syllable
‘Tat’ and in front on the syllable ‘Tai’.
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Chapter 7
Adavus
• Stamp the right foot while stretching the

right hand diagonally in front, pointing to the
left hand corner on the syllable ‘Ta’.
10
• On the syllable ‘Ha’ stamp the left foot and

bring the right hand in front of the chest and
stretch the left hand on the left side at
shoulder level.
11
• Jump on toes with both feet while the hands

remain in the same position on the syllable
‘Dhit’.
76
Chapter 7
Adavus
12

13
• Repeat movements numbers 11 and 12

once more on the syllables ‘Ta Ha’.
• The movements of numbers 9 to 12 are

repeated on the left side on the syllables
‘Tat tai Ta Ha Dhit Tai Ta Ha’.
• Jump on toes with both feet with the
hands in Tripataka gestures in front of the
chest on the syllable ‘Tat’.
• Look up at the same time.
14
• Stamp the right foot on the syllable ‘Tai’

and stretch the right arm into Tripataka hand
gesture while bending on the right side.
• Look up at the same time.
15

77
Chapter 7
Adavus
16
• Stretch the right arm in front and keep the left

hand, palm facing up, in front of the chest
while jumping on the toes with both feet on the
syllable ‘Dhit’.
17

while the Tripataka hands turn in the opposite
directions simultaneously.
18
• Repeat movements numbers 16 and 17

on the left side on the syllables ‘Ta Ha’.
Third Adavu
• Start in Araimandi posture with the hand in

Tripataka gestures in front of the chest.
78
Chapter 7
Adavus
• The right foot is stamped followed by the left

foot on ‘Tat Tai’.
• The right arm is stretched downward on
the side along with the body bent sideways.
• On the syllable ‘Ta’ jump on toes with both

feet while the right hand is raised up above
the head.
• The body is bent on the left side while the
head is raised to look at the hand.
• Stamp the right foot and lower the right arm

down on the side on the syllable ‘Ha’.
• Repeat the movements of number 2 to 4 on

the left side on the syllables ‘Dhit Tai Ta Ha’.
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Chapter 7
Adavus
• The right and the left foot are again

stamped one after the other on the syllable
‘Tat Tai’ while the right hand is stretched in
front.
• On the syllable ‘Ta’ jump on the toes with
both feet.
• Stamp the right foot while both hands, in

Tripataka gestures, turn in the opposite
direction on the syllable ‘Ha’.
• Repeat the movements of numbers 6 and 7

on the left side on the syllables ‘Dhit Tai Ta
Ha’.
Fourth Adavu
• Start in Araimandi posture with the hands

in Tripataka gestures in front of the chest.
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Chapter 7
Adavus
• Stamp the right and left foot four times

alternately on the syllables ‘Tat Tai Ta Ha’.
• Stretch the right arm downwards on the side

while the body bends sideways.
• On the syllable ‘Dhit’ jump on toes with

both feet while the right hand is raised up
above the head.
• The body is bent to the left side while the

• Stamp the right foot and lower the right

arm down on the side on the syllable ‘Tai’.
• Repeat the movements of numbers 3 to 4

81
Chapter 7
Adavus
• The right and the left foot are stamped four

times alternately on the syllables ‘Tat Tai Ta
Ha’ while the right hand is stretched in front.
• On the syllable ‘Dhit’ jump on the toes with

both feet.

while both hands, in Tripataka gestures, turn
in the opposite direction.
• Repeat movements numbers 7 and 8 once

more on the syllables ‘Ta Ha’.
• Then, repeat the whole step on the left side.
Fifth Adavu
• Start in the Araimandi posture with the hands

in Tripataka gestures, palm facing upwards in
front of the chest.
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Chapter 7
Adavus
• In the Araimandi posture jump on the left

hand corner in front with both feet.
• Stretch the arms forward with the palms of
the Tripataka hands facing upwards on the
syllable ‘Tat’.
• Stamp the right foot to return to the initial

place while both hands return in front of the
chest on the syllable ‘Tai’.
• Stamp the left foot close to the right foot

and extend the left arm in Natyarambhe on
the syllable ‘Ta’.
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Chapter 7
Adavus
• Stamp the right foot while opening the right

arm in the Natyarambhe position on the
syllable ‘Ha’.
• The eyes follow the movements of the
hands.
• On the syllable ‘Dhit’ jump on the toes of

both feet and the right hand is brought in
front of the chest with the palm of the
Tripataka hand facing down while the left arm
is stretched on the left side at shoulder level
with the palm of the Tripataka hand facing up.

• Repeat the movements of numbers 6 and 7

• Repeat the whole step on the left side.
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Chapter 7
Adavus
DHITTENDA TATAI ADAVU
This series of Adavus consists mainly of jumps with the hands extended on the
sides or turning in circular movements.
The syllables of Dhittenda Tatai Adavu are as follows:
Dhittenda Tatai Dhittenda Tatai
First Adavu
Method

in Katakamukha gestures in front of the chest.
• Lift up the right and then the left leg to jump on the right side.
• The left foot lands on the toes while crossing at the back of the right foot on
the syllables ‘Dhittenda Tatai’.
• Simultaneously, the right hand in Alapadma gesture is stretched upwards and
moves to the right side in a semi-circular movement, to finally extend at
shoulder level.
• Repeat number 2 on the left side on the syllables ‘Dhittenda Tatai’.
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Chapter 7
Adavus
• The right and then the left leg are lifted to

jump in front.
• The left foot lands on the toes on the side
of the right foot.
• The right hand is stretched in front in
Alapadma gesture while the left hand is
placed above the head in the Katakamukha
gesture in an upside down position on the
syllables ‘Dhittenda Tatai’.
• The left and then the right foot are lifted to

jump back.
• The right foot lands on the toes on the side of
the left foot on the syllables ‘Dhittenda Tatai’.
• The right hand is brought back in front of
the chest in Katakamukha gesture and the
eyes follow the hand movements.
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Chapter 7
Adavus
• Repeat the whole set of movements on the left side.
Second Adavu
Method
• Start in the Araimandi posture with the hands in Katakamukha gestures in

front of the chest.
• Repeat the movements of the first adavu from number 1 to 3.
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Chapter 7
Adavus
• Lift the right and then the left foot to jump and sit down in Muzhumandi
posture in front, with the body turned sideways so as to face the left side on the
syllables ‘Dhittenda Tatai’.
• The hands in Alapadma move in a circular movement from down to above the
head, where they change into Katakamukha gestures in an upside down position.
• The eyes follow the right hand’s movements.
• From the Muzhumandi posture get up in

Araimandi posture and place the left foot at
the back on the heel.
• The right hand is brought in Katakamukha
gesture in front of the chest and the left hand
is placed above the head in Katakamukha
gesture upside down on the syllable ‘Dhit’.
88
Chapter 7
Adavus
• Take a turn of 360 degrees with the right

foot placed on the left knee, and the right
hand opens and turns along on the syllables
‘Tenda Tatai’.
• The movement ends in a standing posture
with the right hand in Katakamukha gesture in
front of the chest and the left hand remains
above the head.
• Repeat the whole set of movements on the
left side.
(Front View)
Third Adavu
Method

in Shikhara gestures in front of the chest.
• Lift the right and then the left foot to jump, and stretch the left leg at the
back while the body turns so as to face the left side.
• The right leg remains bent in front.
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Chapter 7
Adavus
• The right arm, in the Pataka hand gesture, rotates around the side of the body
to end up in front on the syllables ‘Dhittenda Tatai’.
• The same movements are repeated for the left side on the syllables
‘Dhittenda Tatai’.
• This is followed by executing the same movement on the right and left while
the body turns in front on the syllables ‘Dhittenda Tatai’.
• The eyes follow the hand movements throughout the execution of the Adavu.
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Chapter 7
Adavus
Second Adavu
TIRMANAM ADAVUS
Tirmanam Adavus are usually used in patterns of three consecutive

movements to form the ending part of dance sequences in dance
compositions.
Tirmanam Adavus consists of two series of steps namely:
Gi Na Tom and Dhari Kita Tom.
1st series
Gi Na Tom
The syllables are:- Gi Na Tom

Tadi Gina Tom
Taka Tadi Gina Tom
Taka Diku Tadi Gina Tom
First Adavu
Method
• The Adavu starts in the Araimandi posture

with both hands, in Tripataka gestures, in front
of the chest.
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Chapter 7
Adavus
• Stretch the right leg in front with the foot

resting on the heel, on the syllable ‘Gi’.
• The right arm, with the palm facing up, is
also stretched in front on the same syllable.
• The left elbow is stretched at the back to
form one line with the right arm.
• Stamp the left foot at the back while moving

slightly forward on the syllable ‘Na’.
• The right hand is then brought in front of
the chest.
• On the syllable ‘Tom’ the right foot is

stamped to join the left foot while the right
arm is stretched at the back.
• The eyes follow the movements of the right
hand.
• Repeat the whole set of movements on the
left side.
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Chapter 7
Adavus
Second Adavu
Method
• The Adavu starts in the Araimandi posture with both hands, in Tripataka
gestures, in front of the chest.
• Stamp the right foot on the syllable ‘Tadi’ and move the right hand slightly
forward in a crisp movement.
• The eyes look at the hands, then in front on the syllable ‘Ta’.
• On the syllables ‘Gi Na Tom’ repeat movements of the first adavu from
number 2 to 4.
Third Adavu
Method
• Stamp the right, and then the left foot on the syllables ‘Taka Tadi’ and move
the right and then the left hand slightly forward in a crisp movement.
• Then look at the hands in front on the syllables ‘Taka Tadi’.
• On the syllables ‘Gi Na Tom’ repeat the movements of the first adavu from
number 2 to 4.
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Chapter 7
Adavus
Fourth Adavu
Method
• Stamp the right, the left and then again the right foot on the syllables ‘Taka
Diku Tadi’. Move the right and then the left hand slightly forward in a crisp
movement on the syllables ‘Taka Diku’. Then on the syllables ‘Tadi’ open the
arms in the Natyarambhe position with the Pataka hand gestures.
• Look at the hands then in front on the syllables ‘Taka Diku’, then look at the
right hand on the syllables ‘Tadi’.
• On the syllables ‘Gi Na Tom’ repeat the movements of the first adavu from
number 2 to 4.
2nd Series
Dhari Kita Tom
The syllables are:- Dhari Kita Tom
Kitataka Dhari Kita Tom
Taka Kitataka Dhari Kita Tom
Taka Diku Kitataka Dhari Kita Tom
First Adavu
Method
• Start in the Araimandi position with the

arms in the Natyarambhe position.
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Chapter 7
Adavus
• On the syllable ‘Dhari’ lift the right foot

and place it in front on the heel.
• Extend the left arm at the back in the left
hand corner with the hand in Katakamukha
gesture.
• The body turns slightly on the left side.
• The body is bent on the right side while the

• Stamp the left foot in the same position while
the left hand moves above the head on the
syllable ‘Kita’.
• The right foot finally returns and stamps near
the left foot on the syllable ‘Tom’.
• The left hand goes down from the front in
Alapadma gesture on the same syllable. The
body is bent on the left side.
• The eyes follow the left hand’s movements.
• Look at the left hand throughout the
execution.
• Repeat the movements on the left side.
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Chapter 7
Adavus
Second Adavu
Method
• Start in Araimandi posture with the hands in

Pataka gestures.
• Strike the right foot and move the right arm in

front while the hand in Pataka gesture
gives a slight jerk outwards on the syllable
‘Kitataka’.
• On the syllables ‘Dhari Kita Tom’ repeat the
movements of the first adavu from number
2 to 3.
Third Adavu
Method
• The starting posture is in Araimandi with

the hand in the Natyarambhe position.
96
Chapter 7
Adavus
• Strike the right and then the left foot, and

simultaneously move the right arm in front
while the hand, in Pataka gesture, gives a
slight jerk outwards and then inwards on the
syllable ‘Taka Kitataka’.
• On the syllables ‘Dhari Kita Tom’ repeat the
movements of the first adavu from number
2 to 3.
Fourth Adavu
Method
• The starting posture is in Araimandi with

the hand in the Natyarambhe position.
• Strike the right and the left foot, then again

the right foot on the syllables ‘Taka Diku
Kitataka’ while simultaneously extending the
right arm in front at chest level, and move
the right hand in Pataka gesture 3 times.
• On the syllables ‘Dhari Kita Tom’ repeat
the movements of the first adavu from number
2 to 3.
97
Chapter 7
Adavus
Basic units, dance

composition,
KEYWORDS dance sequence.
POINTS TO REMEMBER
• Adavus are the basic units of steps in Bharata Natyam.

• The Shutru Adavu series consists of the twisting and
turning movements of the body.
• The Yetta Adavu series consists of Adavus that are
executed in the same place.
• The Dhittenda Tatai series of Adavus consists mainly of
jumps with the hands extended on the sides or turning in
circular movements.
• Tirmanam Adavus are usually used in patterns of three
consecutive movements to form the ending part of dance
sequences in dance compositions.
• Tirmanam Adavus consist of two series of steps, namely
the Gi Na Tom and the Dhari Kita Tom.
98
Chapter 7
Adavus
Assessment
1. List the hand gestures and basic dance postures used in the
Shutru Adavus learnt in this chapter.
...........................................................................................................
...........................................................................................................
...........................................................................................................
2. Answer the following short questions:
a. Name one step where only Tripataka hand gesture is used.

...........................................................................................................
...........................................................................................................
...........................................................................................................
b. Name one step where Araimandi and Muzhumandi postures

are used.
...........................................................................................................
...........................................................................................................
...........................................................................................................
c. Name one step where Shikhara and Pataka hand gestures

are used.
...........................................................................................................
...........................................................................................................
...........................................................................................................
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Chapter 7
Adavus
Assessment
3. Identify the hand gestures used in the steps of Shutru Adavu

series.
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
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Chapter 8
Dance stories of
Indian Gods
Learning Objectives
• Describe Urdhva Tandava.
• Describe the dance story Rasa Lila.
• Explain the moral teachings underlying the dance stories of Lord Shiva
and Krishna.
• Identify the various Indian Gods and Goddesses.
• Value the virtues of good over evil.
Chapter 8
Dance stories of
Indian Gods
URDHVA TANDAVA
Once upon a time in the city of Chidambaram in the forest of Tillai, there lived
Queen Kali who governed the city. One day, Lord Shiva accepted the invitation
of His devotees to visit the city of Chidambaram.
Unfortunately, when Lord Shiva came down

to visit Chidambaram, the gate-keepers and
soldiers of Kali did not allow him to enter the city.
Lord Shiva was disappointed and felt insulted.
He then made a plan to challenge Queen Kali.

He proposed her to take part in a dance
competition with him. The condition was that the
winner of this dance competition would rule the
city of Chidambaram and whereas the loser
would have to leave the city for ever. Kali
accepted the challenge of this dance
competition.
All the Gods were invited to witness and judges the dance competition. During
the performance, both Kali and Shiva danced with enthusiasm.
As the dance competition started Lord Shiva and Queen Kali imitated each other
and even tried to do better than the other. For a long time they continue to dance
and both of them were able to copy the movements of each other.
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Indian Gods
At last, Lord Shiva got impatient and he

lifted his leg above his head and touched
his crown with his foot. Queen Kali being a
lady, could not imitate Lord Shiva out of
modesty and in respect for the audience.
So, Lord Shiva was declared the winner of
the competition.
This dance came to be known as Urdhva
Tandava because Lord Shiva danced with
his upraised foot touching his crown. The
word ‘Urdhva’ means upward.
As per the condition of the competition,
the loser, Queen Kali, left the city of
Chidambaram forever. The devotees of
Shiva built a temple at the place where the
competition took place and later it was
developed as the huge temple of Nataraja
at Chidambaram.
The followers of Kali also built a small
shrine for Kali near Chidambaram where
she settled down.
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Chapter 8
Dance stories of
Indian Gods
The philosophical aspect of this dance is that God shows the path towards
freeing the self from ego and arrogance.
THE RASA LILA DANCE
The Rasa Lila dances of Krishna cover almost the entire episodes of Krishna’s
life from his childhood to his adulthood.
There are four main Rasa Lila dances, namely Vasanta Rasa, Maha Rasa,
Kunja Rasa and Nitya Rasa. The main formation which recurs in every aspect
of Rasa dances is the circle.
The Maha-Rasa is performed on the full moon night of Kartik in November.

On this night, Lord Krishna performs the Rasa-Lila with the Gopis.
Charmed by the music of his flute, Radha and the Gopis abandon their work
and set out to meet him.
Their intense love is satisfied only when they meet Lord Krishna and dance
with him in joy. As the Gopis dance with lord Krishna they become conscious of
their good fortune and are overcome with pride, Lord Krishna perceives their
feelings and disappears with Radha. On the other side when Radha considers
herself more fortunate than the Gopis, Lord Krishna disappears from her as
well. The Gopis become restless and pray ardently for Krishna to re-appear
before them.
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Chapter 8
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Indian Gods
In their persistent search, they sadly request the trees, birds and animals to
help them find their beloved. Instead, they find Radha, also weeping and
wandering in search of her Lord.
This separation remove their pride and Lord Krishna appears again, not as one
person but in multiple forms. There are as many Krishnas as Gopis and all of
them dance in joy, performing the Rasa. At the end of the Rasa dance, Krishna
suggests to Radha and the Gopis that they should return to their homes.
The moral teachings underlying the Maha-Rasa are:
Krishna’s beautiful dances with the Gopis at Brindavan, on the banks of

the Yamuna river, are symbolic.
Lord Krishna is the divine lover, dancer and musician. The Gopis
represent human beings in search of the Divine. This represents the
freedom of man from earthly attachments, thus taking the path of
renunciation of the self.
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Chapter 8
Dance stories of
Indian Gods
Activity
• Students will enact the dance stories of

Indian Gods with the help of the teacher.
Dance competition,
challenge, divine,
KEYWORDS
renunciation.
POINTS TO REMEMBER
• The Urdhava Tandava is the dance where Lord Shiva lifts

his leg to his crown and wins the dance competition over
Queen Kali.
• Rasa Lila is the dance of Lord Krishna where he dances
with the Gopis on the full moon night of Kartik month.
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Chapter 8
Dance stories of
Indian Gods
Assessment
1. Answer the following short questions with reference to the dance

story Urdhava Tandava:
(a) In which forest did Queen Kali live?

...........................................................................................................
...........................................................................................................
...........................................................................................................
(b) Who challenged Queen Kali for a dance competition?

...........................................................................................................
...........................................................................................................
...........................................................................................................
(c) Who were invited to see the competition?

...........................................................................................................
...........................................................................................................
...........................................................................................................
(d) Who finally won the competition?

...........................................................................................................
...........................................................................................................
...........................................................................................................
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Chapter 8
Dance stories of
Indian Gods
Assessment
2. Rearrange the words to make complete sentences with reference

to the dance story Urdhava Tandava and Rasa Lila.
a. in /Queen/ to/ Kali/ forest/ of/ live// city /the /of /used/ in /Chidam
baram/ the Tillai.
...........................................................................................................
...........................................................................................................
b. Kali /a /Queen/ Lord/ competition/ Shiva /for/ challenged/ dance.

...........................................................................................................
...........................................................................................................
c. The/ declared/ at/ end/ the/ of/ winner/ Lord/ the / Shiva/
competition/ was.
...........................................................................................................
...........................................................................................................
d. full /Kartik /the /November/ performed /night /is /Maha/ on /Rasa/

the /moon/ of /in
...........................................................................................................
...........................................................................................................
e. bank/ the /Lord /Krishna/ with /Gopis /of /the /river /performs
/the /Rasa-Lila /Yamuna /the /on
...........................................................................................................
...........................................................................................................
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Indian Gods
Assessment
3. Describe the dance stories Urdhava Tandava and Rasa Lila.

...........................................................................................................
..........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
..........................................................................................................
...........................................................................................................
...........................................................................................................
...........................................................................................................
..........................................................................................................
...........................................................................................................
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...........................................................................................................
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Chapter 8
Dance stories of
Indian Gods
NOTES
110
Chapter 9
Exponents of Bharata
Natyam and Kathak
Learning Objectives
• Name the exponents of Bharata Natyam and Kathak.
• Write about the contributions of the exponents of Bharata Natyam
and Kathak.
• Develop respect and gratitude towards the exponents who contributed to the
upliftment and propagation of Bharata Natyam and Kathak.
• Get inspired through the work and contributions of the exponents.
Chapter 9
Exponents of Bharata Natyam
and Kathak
Exponents of Bharata Natyam and Kathak

Exponents of Bharata Natyam and Kathak are persons who helped and
promoted the spread and preservation of these dance forms in India and
abroad. They will always be remembered as great dancers who highlighted to
the world the grandeur and beauty of Indian classical dances. They have
contributed immensely in popularising classical dances through their superb
performances, thus helping in the propagation and preservation of the
classical dance form. They have even received several honours in India and
abroad for their outstanding contribution to Indian classical dance.
Exponent of Bharata Natyam
MRINALINI SARABHAI
Mrinalini Sarabhai was an Indian classical

dancer, choreographer and instructor. She
was born in Kerala in the year 1918. Her Mrinalini Sarabhai was
father, S. Swaminathan, was a lawyer who born on the 11th of May
practised criminal law at Madras High 1918 and died on the
Court, and her mother, A. V. Ammukutty, a 21st of January 2016.
social worker and activist. She spent her
childhood in Switzerland, where she learnt
her first dance movements in Dalcroz.
112
Chapter 9
and Kathak
Mrinalini Sarabhai began her training in Bharata Natyam under the guidance of
Guru Muthukumar Pillai and learnt Kathakali as well as Mohini Attam on her
return to India. She also received training in voice culture and dramatic arts in
the United States.
Mrinalini Sarabhai started her professional career as the partner of

Ram Gopal, then began to perform as a soloist. She was the lead performer in
Rabindranath Tagore’s dance-dramas at Shantiniketan. She was one among
the first women to perform Kathakali when only men used to play all characters
traditionally.
In 1948, she founded the dance academy called Darpana Academy of

Performing Arts, an institute for imparting training in dance, drama, music, and
puppetry, in the city of Ahmedabad. She trained over 18,000 students in
Bharata Natyam and Kathakali. The credit for Bharata Natyam being
appreciated in Gujarat goes to Mrinalini Sarabhai.
She received many awards and citations in recognition for her contribution to
the art. Besides choreographing more than three hundred dance-dramas, she
has also written many novels, poetry, plays and stories for children. She gave
many performances on behalf of her Academy, in India and abroad, which
helped in projecting the image of independent India.
Awards and Accolades of Mrinalini Sarabhai

1965 Padma Shri (India’s fourth highest civilian award)
1968 Honoured with gold medal by the Mexican Government
1991 Pandit Omkarnath Thakur Award by the Gujarat Government
1992 Padma Bhushan (the third highest National civilian award by the
Indian Government)
1997 Honoured with the Degree of Doctor of Letters by the University of
East Anglia, Norwich, UK.
2013 First beneficiary of the Nishagandhi Puraskaram
(an annual award by the Government of Kerala)
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Chapter 9
and Kathak
Exponents of Kathak
PANDIT BIRJU MAHARAJ
Pandit Birju Maharaj is a renowned Kathak dancer belonging to a family

practising the Kathak art form. He was born on 4 February 1938 and started
learning Kathak at a very young age. He is also known as an accomplished
musician, percussionist, composer, teacher, choreographer and poet.
Pandit Birju Maharaj is still contributing in the field of Kathak. Pandit Birju
Maharaj spread the awareness of Kathak worldwide through workshops,
lectures and performances.
He also choreographed dance ballets that were appealing to the audience and
popularised the ballets on the Radha-Krishna legend. He used Kathak dance
to express non-mythological and social issues. One of his biggest
achievements was to choreograph Kathak dance sequences in Bollywood
movies.
114
Chapter 9
and Kathak
MADAME MENAKA
Leila Roy Sokhey, whose artist name was

Madame Menaka (1899-1947), learnt Kathak
from great masters like Sitarama Mishra, Ram
Dutt and Lachchu Maharaj.
Madame Menaka is known to be one of the

pioneers of Kathak as she was the first
performer to break the concept of ‘Nautch’ that
was linked to Kathak during the decline period
of the dance. She was the first dancer to
conceive a dance-drama in Kathak and used
narratives of Sanskrit dramas in her
choreographies.
Madame Menaka brought changes to make Kathak presentable on stage. She

also brought innovations in the costume of the Kathak dance.
She worked with professional musicians on orchestral arrangements to

innovate from the traditional Thumri and Ghazal musical forms, which were
associated with ‘Nautch’ performances.
Finally, she toured all over India, South-East Asia and Europe to promote the
classical art form of Kathak.
Exponents, Pioneer,
Propagation, Awards,
KEYWORDS
Contribution.
115
Chapter 9
and Kathak
POINTS TO REMEMBER
• Mrinalini Sarabhai, Madame Menaka and Pandit Birju

Maharaj were among the main exponents of Bharata
Natyam and Kathak.
• These exponents have helped in popularising Bharata
Natyam and Kathak in India and abroad.
• Each exponent has his own Academy where even today
students are learning the Indian Classical dance form.
• Mrinalini Sarabhai learnt Bharata Natyam, Kathakali and
Mohini Attam.
• Mrinalini Sarabhai was the lead performer in Shantinoketan.
• Mrinalini Sarabhai founded the dance academy called
Darpana Academy of performing arts.
• Mrinalini Sarabhai received many awards and citations in
recognitions for her contributions to Bharata Natyam.
• Madame Menaka is known as the first performer to break
the concept of ‘Nautch’ that was linked to Kathak.
• Madame Menaka was the first lady dancer to conceive a
dance-drama in Kathak.
• Madame Menaka brought innovations in the costumes of
Kathak dance.
• Pandit Birju Maharaj popularised the ballets on the
Radha-Krishna legend.
• Pandit Birju Maharaj used Kathak dance to express
non-mythological and social issues.
• Pandit Birju Maharaj choreographed Kathak dance
sequences in Bollywood movies.
116
Chapter 9
and Kathak
Assessment
1. State whether the following statements are True or False.
1. Mrinalini Sarabhai was the lead performer in

Rabindranath Tagore’s dance-dramas at Shantiniketan.
2. Mrinalini Sarabhai began her training in Bharata

Natyam under the guidance of Guru Muthukumar Pillai.
3. Mrinalini Sarabhai founded the dance academy called

Kalakshetra.
4. Madame Menaka was also known as Leila Roy

Sokhey.
5. Pandit Birju Maharaj choreographed kathak dance

sequences in Bollywood movies.
6. Madame Menaka brought innovations in the costumes

of Bharata Natyam.
7. Mrinalini Sarabhai was a Kathak dancer.
8. Mrinalini Sarabhai had also learnt the Kathakali and

Mohini Attam dances.
117
Chapter 9
and Kathak
Assessment
2. Summarise the contribution of Mrinalini Sarabhai, Madame

Menaka and Pandit Birju Maharaj in propagating Indian classical
dances.
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3. Write about two contributions made by each of the exponent

mentioned above.
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118
Chapter 10
Introduction to
Kathak dance
Learning Objectives
• State the place of origin of Kathak.
• Explain the derivation of the word kathak.
• Write an introduction to kathak.
• Name the traditional languages used in the lyrics for Kathak dance.
• State the musical system prevalent in Kathak dance.
• List the musical instruments used for Kathak dance.
Chapter 10
Introduction to
Kathak dance
Introduction to Kathak
Kathak traces its origin to the northern part of India, in the states of Uttar
Pradesh and Rajasthan. The word Kathak is derived from the word ‘Katha’,
meaning story. The one who narrates a story is called a Kathakar, that is, a
story-teller.
Long ago, the community of Kathakars, that is, musicians and dancers used to
travel from village to village to narrate mythological stories from Hindu epics.
Gradually, the Kathakars added music, body movements, mime and facial
expressions to make the stories more fascinating.
During the Bhakti movement, also known as the

Krishna cult in India, the Rasa-Lila plays, which
were based on the Radha-Krishna legend,
became very popular. The art of story-telling of
the Kathakars, together with the play of the
Rasa-Lila, developed into a dance form called
Kathak.
Later with the invasion of the Mughal, Kathak

dance was taken from the temple to the court.
Kathak came to be regarded as a form of
entertainment in both Hindu courts of
Rajasthan and Mughal courts of Uttar Pradesh.
During the Mughal period, dancers were brought from Persia and Kathak
adopted certain Persian dance elements like elaborate footwork and pirouette
(chakkar). Dancers started to wear ankle bells with more than 100 bells tied to
each ankle.
During the British rule, the art of Kathak dance suffered a decline as it was
misunderstood and considered as an entertainment designed only for the
purpose of seduction. In the 1930s, pioneers like Maharaj Kalka Prasad,
Maharaj Bindadin and Madame Menaka revived the Kathak dance by adding
new elements.
120
Chapter 10
Introduction to
Kathak dance
Traditional Languages used in Kathak.

Hindi, Sanskrit and Braj languages are used in the various dance compositions
of Kathak.
Musical system prevalent in Kathak.

Kathak is a North Indian dance form and makes use of the North Indian
classical music system, also known as Hindustani music.
Musical Instruments used for Kathak dance.

Pakhawaj, Tabla, Sitar, Harmonium, Sarangi and Flute are the musical
instruments used in a Kathak dance performance.
Pakhawaj Tabla Sitar
Sarangi Harmonium Flute
Activity
VIEWING SESSION
Viewing of the choreography of Shri Pandit Birju
Maharaj for the Bollywood movie Bajirao Mastani.
https://www.youtube.com/watch?v=FmPZIzynesw
121
Chapter 10
Introduction to
Kathak dance
Story-teller, Mythology,
KEYWORDS Pirouette, Invasion.
POINTS TO REMEMBER
• Kathak is a North Indian classical dance form from Uttar

Pradesh and Rajasthan.
• Stories of the Hindu epics and mythologies were narrated
by a group of story-tellers called ‘Kathakars’.
• Music, dance and mime were used by the Kathakars to
narrate the stories.
• During the Mughal invasion Kathak became an
entertainment in their courts.
• During the British period, Kathak dance suffered from a
decline.
• Pioneers like Maharaj Kalka Prasad, Maharaj Bindadin
and Madame Menaka had a major contribution in the revival
of the Kathak dance.
122
Chapter 10
Introduction to
Kathak dance
Assessment
1. Encircle the instruments used for the accompaniment of Kathak

dance.
123
Chapter 10
Introduction to
Kathak dance
Assessment
2. State whether the statements given below are True or False:
1. Kathakars are a group of Mughal kings who

travelled from village to village narrating stories.
2. Tabla is one of the musical instruments used in

Kathak.
3. During the British period, Kathak moved out from

the courts to the temples.
4. Kathak uses Hindustani music system.
5. Chakkar is a feature of Kathak dance.
3. Fill in the blanks with the appropriate words given in brackets:
a) …………….. is one of the musical instruments used for the

accompaniment of Kathak. (Pakhawaj, Guitar)
b) Kathak is derived from the word ‘Katha’ meaning …………………

(dance, story)
c) Kathak originated from the regions of ……………….. and

Rajasthan. (Kerala, Uttar Pradesh)
d) ………………… is one of the traditional languages used in

Kathak. (Tamil, Braj)
e) Kathak is a …………………. dance form. (classical, folk)
124
Symbols 4 o o Symbols 4 o
sharakalas
Chapter 11Aksharakalas
Notation Form
1st speed Ta Tai Tai Tat Dhit Tai Tai Tat 1st speed Ta Tai Tai Tat Dhit T
Ta Tai Dhit Tai Ta Tai Dhit Tai Ta Tai Dhit Tai Ta T

2nd speed Tai Tat Tai Tat Tai Tat Tai Tat 2nd speed Tai Tat Tai Tat Tai T
Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta D

3rd speed Tai Tai Tai Tai Tai Tai Tai Tai 3rd speed Tai Tai Tai Tai Tai T
Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai T
Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat T
Symbols 4 o o Symbols 4 o
sharakalas Aksharakalas
1st speed Ta Tai Tai Tat Dhit Tai Tai Tat 1st speed Ta Tai Tai Tat Dhit T
Ta Tai Dhit Tai Ta Tai Dhit Tai Ta Tai Dhit Tai Ta T

2nd speed Tai Tat Tai Tat Tai Tat Tai Tat 2nd speed Tai Tat Tai Tat Tai T
Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta Dhit Ta D

3rd speed Tai Tai Tai Tai Tai Tai Tai Tai 3rd speed Tai Tai Tai Tai Tai T
Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai T
Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat Tat T
Learning Objectives
• Describe Adi Tala.
• Recognise the Angas of Adi Tala.
• State the number of Aksharakalas in Adi Tala.
• Demonstrate the Kriyas (actions of the hand) of Adi Tala.
• Count Adi Tala in the three speeds.
• Notate the Sollukattus of the Adavus in the three speeds of Adi Tala.
• Recite and count the Sollukattus of the Adavus in the three speeds
of Adi Tala.
Chapter 11
Notation Form
Notation form
Recap
• Adi Tala is the most common Tala used in
Carnatic music.
• The symbol of Adi Tala is I400
• There are 8 Aksharakalas in one Avartana of Adi Tala.
• Another name for Adi Tala is Chaturasra Jati Triputa Tala.
• Kriyas of Adi tala
1 2 3 4
5 6 7 8
126
Shutru Adavu in notation form of Adi Tala
Symbols 14 0 0
Aksharakalas 1 2 3 4 5 6 7 8
1st Speed Tat Tai Tam __ Dhit Tai Tam __
2nd Speed Tat Tai Tam __ Dhit Tai Tam __ Tat Tai Tam __ Dhit Tai Tam __
3rd Speed Tat Tai Tam __ Dhit Tai Tam __ Tat Tai Tam __ Dhit Tai Tam __ Tat Tai Tam __ Dhit Tai Tam __ Tat Tai Tam __ Dhit Tai Tam __
127
Yetta Adavu
Symbols 14 0 0
1st Speed Tat Tai Ta Ha Dhit Tai Ta Ha
2nd Speed Tat Tai Ta Ha Dhit Tai Ta Ha Tat Tai Ta Ha Dhit Tai Ta Ha
3rd Speed Tat Tai Ta Ha Dhit Tai Ta Ha Tat Tai Ta Ha Dhit Tai Ta Ha Tat Tai Ta Ha Dhit Tai Ta Ha Tat Tai Ta Ha Dhit Tai Ta Ha
Notation Form
Chapter 11
Chapter 11
Dhitenda Tatai Adavu

Notation Form
Symbols 14 0 0
1st Speed Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai
2nd Speed Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai
Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai
3rd Speed Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai Dhit Tenda Ta Tai
128
Gi Na Tom
Symbols 14 0 0
1st Speed Gi Na Tom __ Gi Na Tom __
2nd Speed Gi Na Tom __ Gi Na Tom __ Gi Na Tom __ Gi Na Tom __
Gi Na Gi Na Gi Na Gi Na Gi Na Gi Na Gi Na Gi Na
3rd Speed Tom __ Tom __ Tom __ Tom __ Tom __ Tom __ Tom __ Tom __
Tadi Gina Tom
Symbols 14 0 0
1st Speed Tadi Gina Tom __ Tadi Gina Tom __
2nd Speed Tadi Gina Tom __ Tadi Gina Tom __ Tadi Gina Tom __ Tadi Gina Tom __
Tadi Gina Tadi Gina Tadi Gina Tadi Gina Tadi Gina Tadi Gina Tadi Gina Tadi Gina
129
Taka Tadi Gina Tom
Symbols 14 0 0
1st Speed Taka Tadi Gina Tom __ Taka Tadi Gina Tom __
2nd Speed Taka Tadi Gina Tom __ Taka Tadi Gina Tom __ Taka Tadi Gina Tom __ Taka Tadi Gina Tom __
Taka Tadi Taka Tadi Taka Tadi Taka Tadi Taka Tadi Taka Tadi Taka Tadi Taka Tadi
3rd Speed Gina Tom __ Gina Tom __ Gina Tom __ Gina Tom __ Gina Tom __ Gina Tom __ Gina Tom __ Gina Tom __
Notation Form
Chapter 11
Chapter 11
Notation form (Adi Talam) of Taka Diku Tadi Gina Tom

Notation Form
Symbols 14 0 0
1st Speed Taka Diku Tadi Gina Tom __ __ __
2nd Speed Taka Diku Tadi Gina Tom __ __ __ Taka Diku Tadi Gina Tom __ __ __
Taka Diku Tom __ Taka Diku Tom __ Taka Diku Tom __ Taka Diku Tom __
3rd Speed Tadi Gina __ __ Tadi Gina __ __ Tadi Gina __ __ Tadi Gina __ __
130
Notation form (Adi Talam) of Dhari Kita Tom
Symbols 14 0 0
1st Speed Dhari Kita Tom __ Dhari Kita Tom __
2nd Speed Dhari Kita Tom __ Dhari Kita Tom __ Dhari Kita Tom __ Dhari Kita Tom __
Dhari Kita Dhari Kita Dhari Kita Dhari Kita Dhari Kita Dhari Kita Dhari Kita Dhari Kita
Kitataka Dharikita Tom
Symbols 14 0 0
1st Speed Kitataka Dharikita Tom __ __ Kitataka Dharikita Tom __ __
Kitataka Kitataka Kitataka Kitataka

2nd Speed Dharikita Tom __ __ Dharikita Tom __ __ Dharikita Tom __ __ Dharikita Tom __ __
Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka

3rd Speed Dharikita Dharikita Dharikita Dharikita Dharikita Dharikita Dharikita Dharikita
Tom __ __ Tom __ __ Tom __ __ Tom __ __ Tom __ __ Tom __ __ Tom __ __ Tom __ __
131
Taka Kitataka Dharikita Tom
Symbols 14 0 0
1st Speed Taka Kitataka Dharikita Tom __ Taka Kitataka Dharikita Tom __
Dharikita Dharikita Dharikita Dharikita

2nd Speed Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka
Tom __ Tom __ Tom __ Tom __
Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka Taka Kitataka
3rd Speed Dharikita Tom __ Dharikita Tom __ Dharikita Tom __ Dharikita Tom __ Dharikita Tom __ Dharikita Tom __ Dharikita Tom __ Dharikita Tom __
Notation Form
Chapter 11
Chapter 11
Taka Diku Kitataka Dharikita Tom

Notation Form
Symbols 14 0 0
1st Speed Taka Diku Kitataka Dharikita Tom __ __ __ __ __ __ __
Kitataka __ __ Kitataka __ __
2nd Speed Taka Diku Tom __ __ Taka Diku Tom __ __
Dharikita Dharikita
Taka Diku Taka Diku Taka Diku Taka Diku

Tom __ Tom __ Tom __ Tom __
3rd Speed Kitataka __ __ __ Kitataka __ __ __ Kitataka __ __ __ Kitataka __ __ __
Dharikita Dharikita Dharikita Dharikita
132
Activity
Divide the class into 3 groups.

Count syllables of Adavus in the three speeds.
Each group will count only one speed.
Assessment
1. Fill in the blanks in the table given below as appropriate.
Symbols 14 0 0
1st Speed Taka Gina Tom __ __ __

.............. ..............
133
2nd Speed Taka ....... ....... Gina Tom __ __ __ Taka ....... ....... Gina Tom __ __ __
Taka ....... Tom __ Taka ....... Tom __ Taka ....... Tom __ Taka ....... Tom __
3rd Speed ....... Gina __ __ ....... Gina __ __ ....... Gina __ __ ....... Gina __ __
Notation Form
Chapter 11
Chapter 11
Notation Form
Assessment
2. Write in the notation form of Adi Tala the syllables of Dhitenda

Tatai Adavu in the three speeds.
3. Write in the notation form of Adi Tala the syllables Dharikita

Tom in the three speeds.
134
Chapter 12
Creative Exercises
Learning Objectives
• Develop the basic skills of communicating through the medium of
Bharata Natyam movements.
• Communicate through the medium of Bharata Natyam movements.
• Enact in small groups an idea or a small story in sequences of movements.
• Develop an appreciation for non-discursive communication.
Chapter 12
Creative exercises
Expression through the medium of Bharata Natyam

In Indian classical dances, there is the use of vocabulary of movements and
facial expression to interpret and convey any feeling or experience. The use of
bodily movements to convey a message is known as non-discursive
communication.
In a non-discursive communication the dancer interprets ideas, episodes or a

whole dramatic story through the use of body movements, codified hand
gestures and facial expressions. In order to develop the basic skills of
communicating through the medium of Bharata Natyam, the learner has to
learn how to make independent choices in creating movements within the
scope and preset parameters of the dance style.
The learner has to choose appropriate dance movements from among all other
possibilities so as to be able to interpret, the given theme, correctly. Beside the
movements, the rhythmic aspect has also to be taken into consideration.
The whole choreography should be created so as to fit in the structure of the
preset rhythm.
Activity
• Walk in the Bharata Natyam style (Nadai) in different
floor patterns around the classroom in group, or in
pairs.
• Walk in Nadai in different rhythms and speeds with
the help of your teacher.
Nadai (Bharata Natyam walking style)
136
Chapter 12
Creative exercises
Activity
Express through the medium of Bharata Natyam
the sentences given below:
Note that each student will create their own movements individually.
• I am walking in a garden and the sun is shining in the sky.
• I can see beautiful flowers with bees flying around.
• There is a pond in which colourful fishes are swimming.
• Suddenly I hear the sound of thunder and get scared.
• I look up and see dark clouds covering the blue sky.
• It starts raining and I am completely wet.
• My clothes are wet and I try to wring out the water from my dress.
• I walk back home all drenched and sad.
137
Chapter 12
Creative exercises
Uses of some Asamyuta and Samyuta Hastas are given so as to facilitate

the creativity process.
Pataka - Dark clouds, forest, me, night, river, riding a horse,

cutting, waves of the ocean.
Ardhapataka - Tree, knife
Arala - Wind, sprinkling of water
Mushti - Grasping something, showing firmness
Kapittha - Bird
Katakamukha - Picking a flower
Suchi - Showing everywhere, showing you
Chandrakala - Crescent moon
Sarpshirsha - Serpent
Mrigashirsha - Deer’s head
Simhamukha - Lion’s face
Alapadma - Flower
Notes to teacher
Brahmara - Bee Demonstrate the
Swastika - Crocodile usage of the hand
Pushpaputa - Holding flower gestures (Viniyogas)
to the students
Shakata - Demon
Shankha - Conch
Samputa - Hiding something
Pasha - Enmity
Kilaka - Friendship
Matsya - Fish
Kurma - Tortoise
Garuda - Bird
Nagabandha - Serpent
138
Chapter 12
Creative exercises
Hand gestures representing various things:
139
Chapter 12
Creative exercises
Activity
• Enact a short story in groups while using

the medium of Bharata Natyam
140
Chapter 13
Practice for
Bharata Natyam
Learning Objectives
• Develop an awareness of the importance of safe practice.
• Follow the guidelines for practice of Bharata Natyam.
• Adhere to a regular practice schedule.
• Develop a positive attitude towards the practice of dance with full
dedication and devotion.
Chapter 13
Practice for
Bharata Natyam
Importance of practice
Practice always makes a dancer better. It is the only way to improve and gain
confidence. Of course, practising takes a lot of dedication, hard work and
effort. Consistent practice improves the dancer’s skills. Practice is one of the
key aspect of dance that separates exceptional dancers from the rest.
Practice is also meant to correct mistakes and remedy the weaknesses. Any
correction made by the teacher in class should be taken into consideration
while practising. If practice is done carelessly without any correction, no
improvement will be achieved.
Practising correctly with the right techniques is very important. Video

recordings of the dance steps may also help in identifying wrong postures and
mistakes.
Here are some tips to help you to get the most out of your practice.
Guidelines for practice

• Start with a few warm-up and pre-dance exercises.
• Focus on the correct techniques while executing the exercises.
• Practise Adavus that have been already learnt in class in the 3 Kalas.
• Recite the Sollukattus while practising the steps in order to memorise them.
• Practise the Adavus you are unsure about in slow speed at first then shift
to other degrees of speed.
• Count the Sollukattus of Adavus in the three speeds of Adi Tala.
• Maintain regular interval (Laya) in between each count.
• Recite the names and demonstrate the Shiro, Drishti and Greeva Bhedas
several times so as to facilitate memorisation.
• Revise the Shlokas of the Asamyuta and Samyuta Hastas while
demonstrating the gestures.
• Execute some cool-down exercises after the dance practice.
• Practise on a regular basis.
142
Glossary of terms
Abhinaya – the expression used to convey a theme, mood or idea in

Indian classical dances.
Abhinaya Darpanam – a text on gestures for Indian classical dances written by
Nandikeshwara
Adavu – the basic rhythmic unit of Bharata Natyam.
Adi Tala – one of the oldest Tala in the Carnatic music system.
Aharya Abhinaya – the expression through costume, make-up and jewellery.
Aksharakala – a count of a Tala.
Amrita Manthana – refers to the churning of the ocean for the nectar of
immortality.
Anga – a constituent of the Tala.
Anga Shuddham – the clarity and purity of the body movements in Indian
classical dances.
Angika Abhinaya – the expression through body movements.
Apsara – a celestial nymph.
Araimandi – the half-sitting basic dance posture in Bharata Natyam.
Asamyuta Hastas – the single hand gestures used in Indian classical dance.
Avartana – one revolution or cycle of a Tala.
Bharata Muni – the author of Natya Shastra.
Bharata Natyam – a classical dance style from Tamil Nadu in South India.
Brahma – the first God of the Hindu Trinity known as the creator.
Brindavan – a holy town in Uttar Pradesh, Northern India.
Carnatic Music – the South Indian music system.
Chidambaram – a Hindu temple dedicated to Nataraja as the Lord of
dance, located in Tamil Nadu, India.
Dalcroz – a method to teach music and dance originated in Switzerland.
Drishti bhedas – the eye movements in Indian classical dance.
Druta – an invariable Anga in the South Indian Tala system
comprising of two beats.
Gopis – a group of cow herd girls.
Greeva Bhedas – the neck movements in Indian classical dance.
Harmonium – a keyboard type of instrument that generates sound as air
flows through reeds.
Hastas – the hand gestures or hand movements used in Indian
classical dances.
143
Glossary of terms
Hindustani Music – the North Indian system of music.

Indra – the Vedic king of Heaven.
Kala – a term used for speed or tempo in Indian music and dance.
Kali – a Hindu Goddess.
Kathak – a classical dance style from North India.
Kathakali – a classical dance from Kerala, South West of India.
Kathakars – the storytellers form North India.
Krishna – the major deity in Hinduism worshipped as the eighth
incarnation of Lord Vishnu.
Kriya – the action of the hands when counting a Tala.
Kuchipudi – an Indian classical dance originated in Andhra Pradesh in
India
Laghu – the variable Anga in South Indian Tala system having the
symbol I.
Lakshmi – the consort of Lord Vishnu who is known as the Goddess
of wealth.
Lasya – the feminine aspect in Indian dance which consists of soft
and graceful movements.
Laya – speed or tempo in music and dance.
Manipuri – a classical dance from Manipur in the North-Eastern part
of India.
Mohini Attam – an Indian classical dance from Kerala, South-Western
part of India.
Mridangam – a two-headed percussion instrument used in South India.
Mughal – a Muslim empire in the Indian subcontinent.
Muzhumandi – the full-sitting basic dance posture used in Bharata Natyam.
Nataraja – Lord Shiva as the King of Dance.
Natya – the term used for dramatic element in Indian Classical dance.
Natyarambhe – a basic dance posture in Bharata Natyam where the arms
are stretched out in a semi-circular position at shoulder level.
Natya Shastra – a Sanskrit text on Performing Arts written by Bharata Muni.
Natya Veda – the fifth Veda created by Brahma.
Nritta – the term used for pure dance in Indian classical dance.
Nritya – the term used for expressional or emotive dance in
Indian classical dance.
144
Glossary of terms
Parvati – the consort of Lord Shiva.

Radha – the beloved of Lord Krishna.
Rasa Lila – the dance-drama of Lord Krishna recounting his life history.
Samyuta Hastas – the double or combined hand gestures used in Indian
classical dances.
Sanskrit – the language of ancient India.
Sattvika – the expression of the inner emotions.
Shiro bhedas – the head movements in Indian classical dance.
Shiva – the Hindu God known as the destroyer in the Hindu trinity.
Shloka – a couplet of Sanskrit verse.
Sollukattus – the rhythmic dance syllables used in Bharata Natyam.
Sitar – a string instrument used in Indian classical music.
Tabla – a percussion instrument used in North Indian music
and dance.
Tandava – the masculine aspect in Indian classical dances
where vigorous and forceful movements are used.
Tandu – the name of one of the disciples of Lord Shiva.
Vachika – expression made through speech or language.
Vedas – the most ancient sacred scriptures in Hinduism.
Veena – a long-necked Indian stringed instrument.
Viniyoga – usage of hand gestures in Indian classical dances.
Violin – a stringed musical instrument of treble pitch, played
with a bow.
Vishnu – the Hindu God known as the Preserver in the Hindu Trinity.
Vishwakarma – the architect of heaven in Indian mythology.
Yamuna – a river found in North India.
145

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Bharata Natyam

Based on the National Curriculum Framework

MAHATMA GANDHI INSTITUTE

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Traditionally, music teaching takes place in a one-to-one mode. The piano

Mrs. Sooryakanti Nirsimloo-Gayan, GOSK

4. Provide learning activities that are appropriate in complexity and pacing.

5. Provide opportunities for individual and multiple groupings.

12. Educators should also ensure that learners:

• Show proper care and maintenance of classroom instruments

14. Discuss student performances by using peer assessment as a tool.

15. Give opportunities to students to assume various roles in music

03 | Mythological Origin Of Indian Dance 19

04 | Components Of Indian Classical Dances 31

05 | Samyuta Hastas And Gestures 39

06 | Indian Classical Music And Dance In Mauritius 55

08 | Dance Stories Of Indian God 101

09 | Exponents Of Bharata Natyam And Kathak 111

10 | Introduction To Kathak Dance 119

11 | Notation Form 125

12 | Creative Exercises 135

13 | Practice For Bharata Natyam 141

14 | Glossary Of Terms 143

SANSKRIT SHLOKA ON LORD VISHNU

Lord Vishnu who has a peaceful form or nature,

SANSKRIT SHLOKA ON GODDESS LAKSHMI

Salutations to the supreme Mahalakshmi,

• Lord Vishnu is one among the Hindu trinity.

1. Fill in the blanks in the Shlokas given below:

2. Rearrange in the proper sequence the Shlokas on Lord Vishnu.

Benefits of warm-up, pre-dance and cool down exercises

• Warm-up and pre-dance exercises benefit the body by preparing it for

Alternative side lunge touch

1. Stand tall with the feet hip-width apart.

Boxer squat punch

Front and Back lunges

Outer Thigh Stretch

1. Sit on the floor with the legs extended infront.

Standing neck stretch

1. Stand with the feet shoulder-width apart.

Bound angle pose

Seated side bend pose

1. Sit with cross-legged on the floor.

1. Sit with both feet together extended infront.

• Warming up before any dance activity is important in order

1. Name any two warm-up exercises.

2. Describe the cobra pose.

3. Name the benefits of warm-up and pre-dance exercises.

Mythological origin of Indian dance

Meaning of the word Mythology

Bharata Muni requested Vishwakarma, the architect of the world, to build a

The first performance was presented in the court of Lord Indra.