Nandikesvara’s Abhinayadarpanam (AD) written around 1000 A.D. is the most important text on gestures used in dance and theater after Bharata’s Natyasastra. An online version of these textbooks can be found at https://archive.org/details/abhinayadarpanam029902mbp https://archive.org/details/NatyaShastraOfBharataMuniVolume1 You can download them as a PDF or for Kindle. Some key Shlokas (Verses) from these texts. “GururBrahma GururVishnu GururDevo Maheshwaraha Guru Saakshaat ParaBrahma Tasmai Sri Gurave Namaha” Guru (dispeller of darkness) is the Creator (Brahma), Guru is the Preserver (Vishnu), Guru Deva is the Destroyer (Maheshwara) Guru is the absolute (singular) Lord himself, Salutations to that Sri Guru (Salutations to the one who himself is the creator, the sustainer, the destroyer and ultimate consciousness. 1 “Aangikam Bhuvanam Yasya Vachikam Sarva Vaangmayam Ahaaryam Chandra Taaradi Tam Numah Saatvikam Shivam” • Aangikam – Body • Bhuvanam – Universe • Yasya – Whose • Vaachikam – Speech • Sarva – All • Vaangmayam – Languages (Sound) • Aaharyam – Ornaments • Chandra – Moon • Taara – Stars • Aadi – Etc. • Tam – That • Numah – Bow • Saatvikam – Pure • Shivam – Lord Shiva Whose Body is the entire universe, Whose words are all literature/sounds, Whose ornaments are the moon and the stars, To you, we bow, Oh Pure Lord Shiva! 2 “Khantaanyat Lambayat Geetam, Hastana Artha Pradakshayat Chakshubhyam Darshayat Bhaavam, Paadaabhyam Taalam Aacherait” Keep the song in your throat Let your hands bring out the meaning Your glance should be full of expression While your feet maintain the rhythm “Yato Hasta Thato Dhrishti Yato Dhristi Thato Manaha Yato Manaha Thato Bhaavaha Yato Bhaavaha Thato Rasaha” • Yato – Where • Hasta – Hand • Thato – there • Dhristi – eyes • Manaha – mind • Bhaavaha – expression • Rasaha – emotion Where the hand goes, the eyes must follow Where the eyes go, the mind must follow Where the mind goes, so follows the expression Where the expression goes, so follows the emotion 3 “Dharmyam yashasyam aayushyam, hitham buddhi vivardhanam Lokopadesha Jananam, naatyam ethadh bhavishyathi Na thath gnanam na thath shilpam, na saa vidhya na saa kalaa naasau yogo na thath karma, naatye asmin yanna drshyathe” Dance confers spirituality, success, and longevity. It promotes the growth of pure intelligence. It generates worldly wisdom, and will always be in vogue. There is no purer knowledge, no purer sculpture, no purer learning, no purer art, neither yoga nor karma, than that found in dance. “Om Sahana Vavatu Saha Nau Bhunaktu Saha Veeryam Karavaavahai Tejasvinavadi Tamastu Maa Vidvishavahai Om Shaanti Shaanti Shaantihi” • Saha – together • Nau – both • Avatu – may he protect Om, May we all be protected, May we all be nourished, May we Work Together with great energy, May our Study be Enlightening, And not giving rise to Hostility Om, Peace, Peace, Peace 4 “Eta Chatur Vidhopetam NaTanam Trividham Smrutam NaTyam Nrittam Nrityamiti Munibhir Bhartadibhihi” The four kinds (of Abhinaya) that Dance is attached to, is of 3 forms Natya, Nritta and Nritya This is according to Bharata Muni and other sages. “Vishnu Shakti Samuthpanne Chitra Varna Mahitale Natyam Karishya Bhudevi Padaghatham Kshamaswame Devatanam Shirastastu Gurunamasya Samsthithaha Vakshsthaschaiva Vipraanaam Sheshatwa Niyamo Bhavet” (Combination of 3 shlokas from NatyaShastra) Uplifted by the power of Lord Vishnu, You have many wonderful qualities (Bhudevi/Mother Earth) I am about to begin my dance, Bhudevi Please forgive my foot stampings. Salutations are offered above the head to the Gods, At the forehead to the teachers/Guru, And at the chest to the scholars. 5 Head Movements (Shiro Bhedha) (9 in number) Samam Udvahitam Adhomukham Aalolitam Dhutam Kampitamcha Paravrittam Utkshiptam Parivahitam Navadha Katheetham Sheersham NatyaShastra Vishaaradaihi Eye Movements (Drishti Bhedha) (8 in number) Samam Alokitam Saachi Pralokita Nimeelite Ullokita Anuvrittecha Thatha Chaiva Avalokitam Ithyashtau Drishti Bhedhaha Syuhu Keerthithaha Poorva Suribhihi Neck Movements (Greeva Bhedha) (4 in number) Sundari Cha Tirascheena Thathaiva Parivartita Prakampita Cha Bhaavagnaigneya Greeva Chaturvidha 6 Eyebrow Movements (Bhrikuti Bhedha) (6 in number) - From Natya Shastra Sahajam – Normal eyebrows Patitam – Bringing both eyebrows together from Sahaja position. Utkshiptam – Raising the eyebrows together Chaturam – Up-down movement of the eyebrows together Rechitam – Raising one eyebrow at a time Kunchitam – Bringing both eyebrows together from Utkshipta position 7 Single Hand Gestures (Asamyuta Hasta) (28 in number) Pataaka-s Tripataako Ardhapataaka-h Kartarimukha-ha Mayura-akhyo Ardhachandra-scha Araala-h Shukatundaka-ha Mushti-scha Shikhara-akhyascha Kapiththa-h Katakamukha-ha Soochee Chandrakala Padmakosha-h Sarpashira-sthatha Mrigasheersha-h Simhamukha-ha Kangula-scha Alapadmaka-ha Chaturo Bhramara-schaiva Hamsasyo 8 Hamsapakshaka-ha Sandamsho Mukula-schaiva Tamrachooda-h Trishulaka-ha Itya Asamyuta Hastaanaam Ashta Vishati Reerithaa Double Hand Gestures (Samyuta Hasta) (23 in number) Anjali - shcha Kapota - shcha Karkata - ha Svastika – statha Dolahasta - ha PushpapuTa Utsanga - ha Shivalingaka - ha Katakavardhana - shchaiva Kartarisvastika - statha ShakaTam Shankha Chakre - cha SampuTa - ha 9 Paasha Keelaka - u Matsaya - ha Koormo Varaha-shcha Garudo Naagabandhaka - ha KhaTva BheruNDa Ityete Sankhyaata Samyutaha Karaha Trayavimshati Rityuktaha Poorvagai Bharatadibhihi 10 Terms specific to Kathak (Some definitions from “Ang Kavya” by Pt. BirJu MaharaJ) Maatra – Beat (unit of measuring duration of a Taal) Taal – Timecycle (cyclic arrangement of beats to measure time) Sum – First beat of a Taal from the next cycle, which is usually the most accented Taali – Clap (accent) Khaali – Blank beat (negative accent) Bol – Syllables Vibhaag – Division of the Taal into different Taali/Khaali combinations THeka – Rhythmic arrangement of syllables of any Taal played on the Tabla/percussion Nagma/Lehra – Melodic phrase that supports the rhythmic structure of any Taal 11 Gati – Speed Laya – Tempo (The gap between two strokes/beats determines this). Three stages are Vilambit – slow, Madhya – medium and Drut – Fast Barabar/Ekgun – 1:1 ratio of Bol to Maatra Dugun – 2:1 ratio of Bol to Maatra Chaugun – 4:1 ratio of Bol to Maatra ATThgun – 8:1 ratio of Bol to Maatra Padhant – To recite Some common Taals danced in Kathak – Teen Taal (16 beats), Jhaap Taal (10 beats), Kaharwa Taal (8 beats), Dadra Taal (6 beats), Rupak Taal (7 beats), Ek Taal (12 beats), Dhamaar Taal (14 beats) Ginti – Counting (numerical patterns) Bedam – without a pause/gap in the rhythmic structure Dam – with a gap in the rhythmic structure Tihai – rhythmic phrases/patterns repeated 3 times. Chakradhaar – Three times repeated 12 Tukra/Tora – small phrases of rhythmic compositions performed with the entire body (Natwari, Tatkaar, Sangeet, Paramelu) Paran – rhythmic phrases composed of only Pakhawaj syllables (bols) executed with vigor and virtuosity Jaati – The arrangement of syllables (bols) against the number of beats (maatra), in measuring the musical time. Five main varieties are: • Tisra (3 in 1 maatra), • Chatusra (4 in 1 maatra), • Khanda (5 in 1 maatra), • Misra (7 in 1 maatra), • Sankeerna (9 in 1 maatra). Yati – the imaginative shape formed by the arrangement of bols in any rhythmic composition. Five popular varieties are: • Sama (even format), • Shrotgataa (narrow to broad), • Pipilikaa (heavy on both ends, light in the middle), • Gopuchcha (tapering) and • Mridangaa (small at the ends, broad in the center). Layakari – Rhythmic interplay Edi – Heel Panja – Toe 13 Ardhaagath – Side stroke of feet Hatheli – Palm Nazar – Glance Kalaas/GaTTaa – Wrist movements Kasak – Twist of the upper torso Masak – Movement of chest due to inhalation and exhalation Gardan ka dora – subtle, sideways neck movements Meend – A circular movement overhead (connecting the space around) Palta – Reverse (back and forth) turns Chaal – Gait, stylized walk Lachak – Grace Andaz – Poise Adaa – Style Chakkar/Pheri – Pirouttes/spins 14 Basic Kathak hand movements with stance Naman – Both hands in loosely clasped position, 6 inches in front of chest center, right palm over left. Legs are straight and feet are in a small V. This is the main posture of the hands for all footwork. Utpatti – Both hands brought near chest center, first finger tip and thumb touching each other (Arala hasta), palms facing downward. Almost all Nritta hastakas start from this position. 15 Sthira – One hand remains at Utpatti position, the other extends firmly on one side of the body, palm facing down. The leg is also extended 5-6 inches on the same side as the hand. Palat – Turning the palm over with the rotation of the wrist. Slight rotation of the upper torso 16 .