Kathakali

Kathakali

Kathakali

Kathakali

Kathakali

Kathakali

Kathakali Image

Kathakali

Kathakali Image

Kathakali

Kathakali

Kathakali

Kathakali classical danceKathakali classical dance of Kerala owes its transnational fame to the nearly 300-year-old.

Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. Themes revolve around the two great epics, the Ramayana and the Mahabharatha.

A Striking feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings from another world.

The spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or Kathakali classical danceemotions.

Costume is designed with lots of paint applied on the face of the artist. The pomp and magnificence of Kathakali is partly due to its decor, part of which include the 'Kireetam' or huge head gear, the 'Kanchukam' or the over sized jacket, and the long skirt worn over a thick padding of cushions.

Make-up which is of five types- Pacha, Kathi, Thadi, Kari and Minukku.

The Nayaka Bhava

The Nayaka Bhava

Just like the heroines, the moods and emotions of the hero are also classified into different divisions. The main division is

• Dheerodaatta eg. Lord Rama
• Dheeroddhata eg. Demon Ravana
• Dheeralalita eg. Vatsaraaja
• Dheerashanta eg. Buddha

The other classification is

Pati - Married & faithful to his wife.

Upapati - Married but in love with another woman.

Vaisika - One who pays & enjoys women.



Further Nayaka classifications

Anukoola - Faithful to the Woman. eg. Lord Rama

Dakshina - Loves all his wives or women. eg. Arjuna

Drishta - When rejected, pleads to be accepted by his woman. eg. Vaali

Shatha - The deceitful one. eg. Lord Krishna



Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka.

Nayaka's Companion plays an important role too.This companion is categorized as

• Peetamardhana
• Vita
• Cheta
• Vidooshaka

The Nayika Bhava

The Nayika Bhava



The shastras have classified the basic mental status of woman, the Nayika, into Eight divisions, called Ashtanayika bhavas. These divisions portray the heroine in different situations, express different feelings, sentiments & reactions.

The Ashtanayika bhava are

• Abhisarika
• Kalahantarika
• Khandita
• Proshitapathika
• Swadheenapathika
• Vasakasajjika
• Virahotkantita
• Vipralabda

Abhisarika - She is the one who boldly goes out to meet her lover.

Kalahantarika - She is the one who is repenting her hastiness in quarrelling with her lover, which has resulted in their separation.

Khandita - She is the one who is angry with her lover for causing disappointment.

Proshitapathika - She is the one who is suffering in the absence of her beloved, who is away on a long journey.

Swadheenapathika - She is the one who is proud of her husband's or beloved's love and loyalty.

Vasakasajjika - She is the one who is preparing for the arrival of her beloved, by decorating herself and her surroundings. to provide a pleasant welcome to her lover.

Virahotkantita - She is the one who is separated from her lover & is yearning for reunion.

Vipralabda - She is the one who is disappointed that her lover has not turned up at the tryst as he promised.



Other classifications of the Nayika bhava are

Mugdha - Inexperienced in love.

Madhya - Partly Experienced in love.

Pragalbha - Matured in the art of love.

This Pragalbha Nayika is further classified as

• Dheera
• Adheera
• Dheeraadheera

Sweeya - Married & faithful to her husband.

Parakeeya - Married but in love with another man.

Samanya - A free woman, who truly belongs to any man for a price.

Jyeshta - The preferred one.

Kanishta - The other woman.



Further classifications are

Uttama - Self-controlled & tolerant.

Madhyama - Literally the middle one, who gives as she gets.

Adhama - Literally the low one, who has no self restraint.



The Companion to the Nayika plays an important role in any padam, javali or Ashtapadi. This Companion is the one to whom the Nayika will convey her feelings, she is the one who will take the message,if any, from the nayika to the nayaka, she is the one who will sort out the differences between the nayika & the nayaka. This companion is usually a girl who is close to the Nayika.

The classification of the Companion is as follows.

• Daasi - Servant
• Sakhi - Friend
• Kaaroo - Woman from a lower caste
• Chatriya - Step Sister
• Prativamshini - Neighbor
• Lindini - Saint
• Shilpani - Artist
• Swaa - Nayika herself as a messenger

Aspects of Abhinaya

Aspects of Abhinaya

The expressions which are shown to express poetic meanings is Abinaya. Here the emphasis is more on facial expressions than rhythmic movements. The Abinaya is divided as

• Angikabhinaya
• Vachikabhinaya
• Aharyabhinaya
• Satvikabhinaya

Angikabhinaya : Expressing the meanings of lyrics using the body parts like Head, Hands, Legs etc. is Angikabhinaya. The Bhedas which i have explained above come under Angikabhinaya.

Vachikabhinaya : Expressing the Story using narrations in the dance drama is Vachikabhinaya.

Aharyabhinaya : Imitating the Costumes, Jewellary, Make-up etc. in a dance comes under Aharyabhinaya.

Satvikabhinaya : Showing the Bhava(moods) come under Satvikabhinaya.



Lord Shiva is praised as the embodiment of the above 4 types of abinaya in this following shloka.



Angikam bhuvanam yasya

Vachicam sarva vangmayam

Aharyam chandra taradi

tam vande satvikam shivam.



Meaning for the above shloka is



We bow to Him the benevolent One

Whose limbs are the world,

Whose song and poetry are the essence of all language,

Whose costume is the moon and the stars..."



In Lord Shiva's well-known pose of NATARAJA ,

his right hand holds the drum of creation - symbolizing a new awakening

his left hand holds fire - representing destruction of the old order

his other right hand is raised in blessing

the other left hand points to his left foot, which has crushed demon Muyalaka - representing ignorance.



There are nine main or primary emotions, Sthayibhava s. It is also termed as Rasa (Mood).

• Shringara - Love
• Hasya - Mirth
• Veera - Heroism
• Roudra - Anger
• Bhayanaka - Terror
• Bheebatsa - Disgust
• Adbhuta - Wonder
• Karuna - Compassion
• Shanta - Tranquility

Vatsalya(Parental fondling) rasa is also sometimes included as one of the stayibhava.

Vibhava (cause of emotion), Anubhava (effect of emotion) and Sanchari bhava (subordinate emotions) constitute the state of rasa.



Now i would like to talk about Nayika (the Heroine) and Nayaka (the Hero) bhavas.

Paadachari

Paadachari

There are 8 types of Paadachari. They are

• Chalanachaari - Walk casually
• Chankramanachaari - Walk while keeping the legs sideways
• Saranachaari - Walk while dragging one feet and bringing the other together without lifting the heel from the ground
• Veginichaari - Walk fast while changing alapadma & tripataka hasta alternatively
• Kuttanachaari - Walk while tapping the feet hard on the floor
• Lunthitachaari - Stand in Swastikamandala and perform kuttanachaari in the front leg
• Lolithachaari - Perform kuttanachaari in one leg and walk slowly with the other one
• Vishamachaari - Walk while the legs are twisted together

Gathibhedha

Gathibhedha

There are 10 unique ways of Gathibhedha(Gait). They are

• Hamseegathi - Walk while keeping one foot in front of the other and sway with each step, hold kapitha hasta in both hands. (Walk like a Swan)
• Mayooreegathi - Stand on the tip of toes, hold kapitha in both hands and fold up the legs for each step. (Walk like a Peacock)
• Mrugeegathi - Hold tripataka in both hands and run around like a Deer
• Gajagathi - Hold pataka hasta near the ears, walk very slowly with Samapaada
• Turangineegathi - Lift the right leg, hold shikhara in left hand and pataka in right hand and jump with the left leg.(Like a Horse)
• Simheegathi - Hold shikhara hasta in both hands, jump on the toes and move forward. (Like a Lion)
• Bhujangeegathi - Hold tripataka in both hands & walk as explained in simheegathi. (Like a Snake)
• Mandookeegathi - Like simheegathi.
• Veeragathi - Hold shikhara hasta in left hand, pataka in right and walk as though coming from far.
• Maanaveegathi - Keep the left hand on the waist, katakamukha in right and walk while turning around for each step.

Bhramari

Bhramari

There are 7 types of Bhramari. They are

• Utplutabhramari - With Samapaada Sthanaka, jump & turn around
• Chakrabhramari - Hold tripataka hasta in both the hands and turn around while dragging the legs on the floor
• Garudabhramari - Keep one of the knees on the ground, stretch the other leg and turn around
• Ekapaadabhramari - Stand on one leg and turn around with the other
• Kunchitabhramari - Jump and turn around folding the legs up
• Aakaashabhramari - Jump , spread the legs apart and turn around
• Angabhramari - Keep the legs 12 inch apart and turn the body around

Utplavana

Utplavana

There are 2 types of Utplavana. They are,

• Alaga - Hold Shikhara hasta on the waist and jump
• Kartaree - Hop on the toes, hold Kartareemukha hasta behind the left leg and hold shikhara hasta, upside down on the waist
• Ashvotplavana - Hop forward on one leg and bring the other leg together,hold tripataka hasta in both the hands
• Motita - Hold tripataka hasta in both the hands, jump like Kartaree Utplavana on both side
• Krupaalaga - Jump in such a way that the heel touches the back side

Mandala

Mandala

There are 10 categories in Mandala. They are

• Sthanaka - Stand Straight with Ardhachandra Hasta on the waist
• Aayata - Keep 12 inch distance between the feet and bending the knees a little.
• Aaleedha - Keep the right foot 3 feet in front of the left foot, holding shikhara hasta in the left and katakamukha hasta in right hand
• Prenkhana - Stand with one foot on the knee of the other and holding koorma hasta
• Prerita - Hit the floor hard with one leg, bend the knees, keep the other foot a little further, hold shikhara in one hand, near the chest and pataka in another, stretched away
• Pratyaleedha - Opposite of Aaleedha
• Swastika - Keep right leg across the left leg and right hand across the left hand
• Motita - Sit on toes, touch the ground with knees, alternatively
• Samasoochi - Touch the ground with toes & knees
• Paarshwasoochi - Sit on toes, touch the ground with one of the knees in one side

Sthanaka Mandala is further classified as

• Samapaada - Stand Straight. While worshipping the god this is used.
• Ekapaada - Stand with one foot on the knee of the other. To show a Saint in Penance this is used.
• Naagabandha - Twist one leg with the other & one hand with the other. To show a pair of snakes this is used.
• Aindra - Bend one of the legs little and lift the knee of the other and keep the hands as usual. To show Indra this is used.
• Garuda - Bend the left leg keeping the foot completely on the floor, bend the right leg and sit on the right leg. This is used to show the bird Garuda, Lord Vishnu's Vehicle.
• Brahma - Sit down, cross the feet like Padmasana. This is used to show meditation.

Arangetram

Arangetram

Arangetram is a tamil word. Aranga meaning raised floor and Etram meaning climbing in Tamil,one of the south indian languages. It is also called Rangapravesha in Kannada, another south indian language, Ranga meaning Stage and Pravesha meaning Enter. Ideally this should be the first public performance of an artist. After learning bharatanatyam under the guidance of an accomplished guru, this is the occasion for the proud guru to present his/her deciple to the public. This is the testing time for both the guru & the shishya(deciple) as the guru's knowledge & the deciple's talent both are judged by the public. Hence, the guru will decide when the deciple is ready for public appearance. At least 10 - 12 years of training is necessary to give a commendable performance.



This arangetram was known as Gejjepooje in old mysore district, meaning worshiping the jingles in kannada, a south indian language.For a dancer, jingles are considered divine. In olden days, deciple's were not allowed to wear jingles till their first public performance. In their first performance, they were made to worship the jingles, wear them & then perform.

Accompaniments play a major role in the making of a memorable dance performance. Basic accompaniments are a Singer, Mridangam player, Violin player and of course the Natuvanga. Veena,Flute and other instruments are optional. These people sit in the corner of a stage or in a place in front of the stage which will be in a lower level than that of the stage.

The artist will wear lot of Jewellary, make-up and a specially stitched dress. Jingles are a must.

Usually duration of an arangetram will be 2 1/2 - 3 hours. To perform for such long hours one must have good stamina and concentration. This time is divided into two halves.



In the first half the artists generally perform

• Pushpanjali or Alaripu
• Jathiswaram
• Shabdam
• Varnam

In the second half

• Padam
• Ashtapadi or Devaranama
• Tillana
• Managalam

Pushpanjali

This is an item where the artist salutes to god, guru and the audience. This item is a warm up item where the artist prepares the body for the next few hours of vigorous performance.



Alarippu

This is a tamil word. Alar meaning to bloom. It comprises of set of movements without any meaning or expression. The movements are performed for syllables set for a beat (Tala). The complexity of the movements gradually increase. The steps are so formed that it looks like a bud blooming into a flower. This is also a warm up piece to prepare the body for the next few hours of performance. Even though there is no meaning, this can also be considered as an item where the artist salutes god,guru and the audience. Alarippu , the opening dance of invocation, is ordinarily danced to a purely rhythmic accompaniment played on a drum capable of great variety of tonal color, the Mridangam . The chiming of small brass hand cymbals played by the nattunavar or dance master, represents certain patterns of recited vocal syllables which are used in teaching the various movements of choreography. The recited syllables, in turn, represent the sounds of the drum. The dance master, recites some of the syllable patterns aloud when a certain type of dance sequence known as tirmanam is performed in subsequent concert pieces. A Bharata Natyam dancer usually knows alarippus in three, four, five and seven beats respectively.





Jatiswaram

Jatisvaram is a musical form similar to the rondo, in which a refrain (heard first at the very beginning) alternates with three or four sections of contrasting melody. There are no words, but the melodies employ the Indian sol-fa syllables (sa, ri, ga, ma, pa, da, ni) for the seven scale degrees. These are known as swaras. Jatis are rhythmic patterns or compositions and comprise an arrangement of solfeggios in rhythmic patterns. Indian melody conforms to certain modal types known as ragas. Each raga has a particular scale, certain ornaments associated with its tones, traditional melodic phrases, various musical aesthetics, and emotional nal connotations which help to give it a unique character and mood of its own called raga bhava.



Shabdam

This is a dance item with both nritta & abinaya. Usually the theme of the lyrics will be devotional like praising lord krishna, depicting lord krishna's childhood , praising a king etc.The movements here are leisurely . Shabdam is often sung in a medley of ragas, known as ragamalika. The form is simple consisting of four or five sections of poetry in different ragas, set in seven beats (misra chapu)separated by short passages of drum syllables chanted in the raga scale. This is the only instance where the syllables are sung rather than spoken. The text usually praises a king or a specific deity. The challenge here is for the dancer to keep a steady flow of gestures and mime to this densely compact text in seven beats. Short sequences of abstract dance are done to the syllables which separate the various poetic sections. A Bharata Natyam dancer usually knows at least three shabdams.





Varnam

This is the item where the dancers are tested for their capacity to perform abinaya & nritta. This can be treated as a benchmark to judge the artist's talent.The item will contain many complex steps and will have lot of room for expressions also. To perform this item one should have lot of stamina & concentration. The lyrics can be devotional, praising a king etc. Varna can also have shrigara rasa as its theme.

Varnam is a complex music form, and the basis for an even more complex dance. The main item on the program, it may sometimes be performed from a half hour to an hour depending on the expertise of the dancer. It combines abstract dance and abhinaya (drama). One line of the music, for instance, may be used for a brilliant rhythmic tirmanam as well as for improvisation of the text in drama. The musical and poetic form is in two main, sections. The first consists of Pallavi and Anupallavi , each having two lines of text, and Muktayi (composed) swaras. The latter melody is sung first in swara syllables and then with words. The dancer interprets the syllables as abstract dance movement,and the words in drama. Sometimes the two are combined-the dancer moves about with difficult foot work called tattimettu as she does the gestures. In Pallavi and Anupallavi words are also interpreted in abhinaya , and one line may be danced for some time. Each line generally concentrates on one of the nine rasas, or emotional states: love, bravery, compassion, wonder, humor, fear, disgust, anger and serenity. When the dancer finishes abhinaya for a particular line, she usually concludes with a tirmanam in abstract dance. The second half of the Varnam begins with a refrain melody known as the caranam . This alternates with four or five sections of swaras , in the same type of rondo form found in the jatisvaram . However, in the varnam , each set of swaras also has words, and is immediately repeated with text. The swara passages are done in abstract dance, and the sections with the text in drama. As in many Indian dances, there are moments of repose in the varnam where the dancer steps out of character briefly, before beginning the next portion. This provides an excellent aesthetic device to give both audience and dancer a rest as it were before they experience the intense emotion in the last half of the dance. An experienced Bharata Natyam dancer usually knows at least seven varnams .



Padam

In this dance item the dancer's abhinaya is put into test. It narrates expression of divine love or pangs of separation in love. The tempo is slow and the performance is based on a specific mood of love.Padams will have Nayaka (Hero, Supreme lover, Divine Lord)& Nayika (Heroine, the yearning soul). Heroine will talk to her friend(sakhi) and narrate her feelings towards her hero. The lyrics can be about how the hero has betrayed, how he has delayed the arrival, how she is angry with her beloved hero etc. Padams follow the intermission and are considered the piece de resistance of this style. They are love songs in slow tempo sung to a highly ornamented and expressive melody. The text is interpreted on many levels; one text, for example, might be treated as the relationship of a lover and beloved, or as the devotee and deity. The ragas are called rakti ragas that are rich in emotional expression.



It is here in padam interpretation that the dancer relies heavily on raga bhava , her ability to sense the underlying mood of the raga . The luxuriant movement of the melodic ornamentation has a direct influence upon the movement of gestures and entire body. A padam is interpreted solely through drama, and the rhythm, though often slow, is the subtle foundation for every movement that the dancer makes. The musical form is tripartite: pallavi, anupallavi, and caranam

Ashtapadi

These are poet Jayadeva's Sanskrit compositions called Geetagovinda , an extremely romantic composition. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. The songs are sung by Krishna or Radha or by Radha's maid. Each Canto is named differently considering Krishna's status of mind.

• Saamodadamodara - Joyful Krishna
• Aakleshakeshava - Careless Krishna
• Mugdhamadhusoodhana - Bewildered Krishna
• Snigdhamadhusoodhana - Tender Krishna
• Saakankshapundareekaksha - Longing Krishna
• Kuntavaikunta - Indolent Krishna
• Naagaranaaraayana - Cunning Krishna
• Vilakshalakshmeepatihi - Abashed Krishna
• Mandamukunda - Languishing Krishna
• Chaturachaturbhuja - Intellegent Krishna
• Saanandadamodara - Blissful Krishna
• Supreetapeetambara - Ecstatic Krishna

Expressions are given foremost importance while performing these poems. Needs lot of grace. The artist should be mature enough to understand the lyrics and the situation to show the rasas.



Devaranama

This item is a devotional piece where the lyrics are in praise of god, describing the god etc. This is a pure abhinaya item with almost no emphasis on nritta. Usually the lyrics are in Kannada. These songs are the compositions of great mystics like Purandharadaasa, Kanakadaasa, Vijayadaasa, Vyasaraaja to name a few. The compositions are popularly known as Daasa Sahitya. It is a devotional literatures written in simple language understood by common man. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching philosophy of Love, Devotion and Peaceful Coexistence.





Tillana

This is usually the last item in any bharatanatyam performance. Tillana is full of complicated movements & postures. This will also have complicated Muktayas or Sholkattu , ending of any step or aduvu. This is mainly a nritta piece which might have a charana , a meaningfully lyrics for which abinaya is shown. Tillana is the concluding item of abstract dance counter-balancing the alarippu , and is performed to a rhythmic composition using sol-fa and drum syllables with a small amount of text. A Bharata Natyam dancer usually knows at least four tillanas



Mangalam

Meaning ending the performance. Here the artist will again salute god, guru & the audience for making the performance a success.

HASTA PRANALAKSHANA, Hastas

HASTA PRANALAKSHANA

The way a hasta/mudra is held, is divided into 12 Pranalakshana ie 12 different ways of holding a hand.

• Prasarana Hasta - The fingers are stretched
• Kunchita Hasta - The fingers are folded
• Rechita Hasta - The fingers are given movement
• Punchita Hasta - The fingers are folded or moved or stretched
• Apaveshtita Hasta - The fingers are bent down
• Prerita Hasta - The fingers are bent back or moved or stretched
• Udveshtita Hasta - Holding the hands UP while dancing
• Vyavrutta Hasta - Hands help UP in the sides
• Parivrutta Hasta - Hands are brought together from sides (like a namaskara)
• Sanketa Hasta - Hands used to convey Implied Meanings
• Chinha Hasta - While dancing a dancer tries to show lot of things which are visible & invisible like a person's physical appearence, face, weapons, places of limbs & other parts of the body, his/her influence on others, their mannerisms etc. Hands used to show such things are called Chinhe
• Padarthateeke - Hands used to confirm the meanings of certain words

The hand gestures are divided as

• Asamyuta Hasta - Single hand gestures
• Samyuta Hasta - Double hand gestures

There are 28 asamyuta hastas & 24 Samyuta hastas. Each hasta has a defined usage called Viniyoga. These viniyogas are again sanskrit shlokas written in Natyashastra.



Asamyuta Hasta



Pataka tripatakordhapataka kartareemukhaha

Mayurakyordhachandrashcha arala shukatundakaha

Mushtishta shikarakyashcha kapitha katakamukhaha

Suchee chandrakala padmakosham sarpashirastata

Mrugasheersha simhamukho langulasolapadmakaha

Chaturo bramarashchiva hamsasyo hamsapakshakaha

Samdamsho mukulashchiva tamrachooda trishoolakaha

Ashtavimshatihastanaam evam naamaanivikramat.



Samyuta Hasta



Anjalishcha kapotashcha karkata swastikastatha

Dolahasta pushpaputaha Utsanga shivalingakaha

Katakavardhanashchiva kartaree swatikastata

Shakata shankha chakrecha samputa pasha keelakau

Matsya Koorma Varahashcha Garudonagabandakaha

Khatwa bherundakakhyashcha avahitastathivacha

Chaturvimshatisankhyakaha samyuta katithakaraha



The Viniyoga (usage) of these are described below.

Hasta Viniyogas

Asamyuta Hasta

Samyuta Hasta



Using the above two, one can show lot of other things in dance like

• Deva Hasta
• Dashavatara Hasta
• Navagraha Hasta
• Jaati Hasta
• Bandhu Hasta
• Nritta Hasta

Asamyuta Hastas

Pataka Hasta

Stretch all the fingers & hold them tightly together to show Pataka Hasta.

Nattyaarambhe Vaarivaahe Vane Vastunishadhane

to begin the dance, clouds, forest, to refuse something

Kuchasthale Nishanyaamcha Nadhyaam Amaramandale

to show breasts, night sky, river, the heavens

Turage Khandane Vaayau Shayane Gamanodyame

horse, strike down, wind, sleeping, to go quietly

Prataapecha Prasaadecha Chandrikaayam Ghanaatape

to indicate greatness, to offer something, moonlight, bright sunlight

Kavaattapaattane Saptavibhaktyarthe Tarangake

to open a door, seven scriptures, waves

Vithipraveshabhaavepi Samatvecha Angaraagake

to enter a street, to show equality, to anoint ones body

Aatmaarthe Shapathechaapi Tushnimbhaavanidarshane

to show oneself, to take an oath, to show silence

Aashirvaadakriyaayaamcha Nripashreshtasyabhaavane

to bless,ideal king,

Taalapatrecha Khettecha Dravyaadisparshane tatha

palm leaf, shield, to touch things

Tatratatretivachane Sindhautu Sukrutikrame

to indicate such and such person, ocean, to indicate everything is alright

Sambhodhane Purogepi Khadgarupasyadharane

to address a person, going forward, sword

Maase Samvatsare Varshaadine Samaarjane tatha

month, year, rainy season, to sweep

Evamartheshuyujyante Pataakahastabhavanah

these are the different usages of Pataka Hasta

Tripataka Hasta

Bend the fourth finger & hold the rest tightly, like in pataka hasta to show Tripataka Hasta.

Makute Vrukshabhavecha Vajre Taddharavasave

Crown, Tree, Weapon of Lord Indra, Lord Indra

Ketakee kusume Deepe Vanhijwalavigrumbhane

Ketakee Flower, Lamp, to show flames

Kapole Patralekhayaam Baanarthe Parivartane

Cheeks, Letter writing, Arrow, Changing

Streepumpsayosamayoge Yujyate Tripatakakaha

Getting together of Man & Woman Tripataka is used.

Ardhapataka Hasta

Bend the fourth & the last finger and hold the rest tightly like in Tripataka Hasta to show Ardhapataka Hasta.

Pallave Phalake Teere Ubhayoritivachake

Sprouts, Board, Banks of rivers, to show two persons

Krukache Churikayancha Dhwaje Gopura Shrungayoho

Hack Saw, Sword, Flag, Shrine, Horns

Yujyaterdhapatakoyam Tatatkarmaprayogataha

Ardhapataka is used to show all these things.

Kartareemukha Hasta

Hold Ardhapataka Hasta. Then make an angle between the second & third fingers (like in scissors) to show Kartareemukha Hasta.

Streepumsayostuvishleshe Viparyasapadepicha

Separation of Man & Woman,differentiation

Lunthane Nayanantecha Marane Bhedabhavane

Stealing, Glance, Death, Showing Difference

Vidyudarthe Ekashayya Virahe Patanetatha

Lightning, Single Bed, Pain of Separation, Falling Down

Latayaam Yujyatechayam Kartareemukha Isyate

Creeper Kartareemukha is used for all these things.

Mayura Hasta

Hold Tripataka Hasta but touch the fourth finger with the thumb to show Mayura Hasta.

Mayurasye Latayancha Shakune Vamanetatha

Peacock, Creeper, Bird, Vomiting

Alakasyapanayane Lalate Tilakeshucha

Curls, Forehead, Dot on the Forehead(bindi)

Netrasyodakavikshepe Shastravade Prasidhake

Tears, Predictions, Famous

Yevamartyeshu Yujyante Mayurakarabhavanaaha

To show all these meanings Mayura Hasta is used.

Ardhachandra Hasta

Leave the thumb in the Pataka Hasta to show Ardhachandra Hasta.

Chandre Krishnashtameebhaje Galahastadikepicha

Moon, Krishna's Birthday, pushing out holding the neck

Bhallayudhe Devatanaamabhishechanakarmanee

Weapon, worshipping the gods

Bhukpatrecha Udbhave Katyaam Chintayaam Aatmavachake

Plate, Creation, Waist, Worrying, Saying that "It is mine"

Dhyanecha Prarthanechapi Angasamsparshane tatha

Meditation, Praying, Touching the Limbs

Prakrutanaamnamaskarepyardhacahndroniyujyate

To salute the common man Ardhachandra Hasta is used.

Arala Hasta

Fold the second finger in Pataka Hasta to show Arala Hasta.

Vishamrutadipaneshu Prachandapavanepicha

Drinking Poison or Nectar, Thunder storm

Yujyateraalahastoyam bharattagamakovidhihi

Arala Hasta is used to show all these things.

Shukatunda Hasta

Bend the fourth finger in Arala Hasta to show Shukatunda Hasta.

Baanaprayoge Kuntarthe Marmoktaaugrabhavane

To Shoot an Arrow, Weapon, Saying Cunning things, Showing Fury

Shukatundakarogneyo Bharatagamavedhibhihi

Shukatunda Hasta is used for all these things.

Mushti Hasta

Fold all the fingers in to the palm & keep the thumb on them to show Mushti Hasta(like a fist).

Sthire Kachagrahe Dardhye Vastraadeenaanchadharane

Strength, Dragging by the Hair, Courageous, Holding Things

Mallanaam Yudha bhavecha Mushtihastoyamuchyate

Wrestling To show all these Mushti Hasta is used.

Shikhara Hasta

Stretch the thumb finger in Mushti Hasta to show Shikhara Hasta.

Madane Karmukhe Sthambe Nishabdhe Pitrutarpane

Cupid, Bow, Pillar, Silence, Offerings to the dead ancestors

Oshte Pravishtaroopecha Radane Prashnabhavane

Lips, Entering, Teeth, Questioning

Ange Naasteetivachane Smarane Abinayaantare

Limbs, saying 'NO', Recollection, At he end of an expression

Katibandhakarshanecha Parirambhavidhoudhave

Tying around the waist, Hugging

Shaktitomarayormokshe Ghantanadecha Peshane

Weapon names Shakti, Weapon called Tomara, Ringing the Bell, Churning

Shikharo Yujyatesoyam Bharatagamavedhibhihi

Shikhara Hasta is used to show all these things.

Kapitha Hasta

Fold the second finger on the thumb in the Shikhara Hasta to show Kapitha Hasta.

Lakshmyamchiva Saraswatyam Veshtane Taladharane

To show Goddess Lakshmi, Saraswati, Going Around, Holding the symbols(Tala)

Godohanechanjanecha Leelattasumadharane

Milking the cows, Putting eye liners, Holding Flowers

Chelanchaladigrahane Patasyivavakuntane

Holding the Saree(pallu), Draping a cloth on the face

Dhoopadeepaarchanechapi Kapithasamprayujyate

To Hold Lamp and Incense, Kapitha Hasta is Used.

Katakamukha Hasta

Bring together the thumb, index & middle fingers & stretch the other two fingers at an angle to show Katakamukha Hasta.

Kusumapachaye Muktasrajaam Daamnancha Dharane

Plucking the flowers, Pearl necklace, Wearing Flowers

Sharamandaakarshanecha Nagavallee Pradanake

Getting attracted by the cupid arrows, Giving Beetle Leaf

Kastoorikadi Vastoonaam peshane Gandhavasane

Showing Kastoori & other Perfumes, Enjoying the perfumes,

Vachane Drushtibhavecha Katakamukha Ishyate

To show Talking & Seeing Katakamukha Hasta is used.

Suchi Hasta

Stretch the index finger & bring together all others to show Suchi Hasta.

Ekarthepi Parabrahmabhavanayam Shatapicha

Showing Number One, Showing Para Brahma, To show 100

Ravou Nagaryam Lokarthe Tathepivachanepicha

Sun, City, Universe, Saying 'That's how it is'

Yachabdepichatatchabdhe Vyajanarthepitarjane

Asking 'when, why, who, how?', Scaring

Karshye Shalakavapushe Ashcharye Venibhavane

Thin or Skinny, Wonder, Showing the hair

Chatre Samarthe Konecha Romalyam Bheribhedhane

Umbrella, Capable, Room, Excitement,

Beating an instrument called Bheri

Kulalachakrabhramane Rathange Mandaletatha

Showing potter's Wheel, Wheel of a chariot, Group of People

Vivechane Dinantecha Suchi Hasta Prakeertithaha

Thinking, Evening all these are shown using Suchi Hasta.

Chandrakala Hasta

Stretch the thumb finger in Suchi Hasta to show Chandrakala Hasta.

Yesha Chandrakalaa chandrakallayame Vyujyate

This Chandrakala Hasta is used to show Moon.

Padmakosha Hasta

Bend all the fingers towards the palm to show Padmakosha Hasta.

Phale Bilwa Kapithadou Streenaamcha Kuchakumbhayoho

To show Fruits like Bilwa & Kapitha, Breasts

Vartule Kanduke Swalpabhojane Pushpakoshake

Round, Ball, Small quantity of food, Bud

Sahakaraphale Pushpavarshe Manjarikadishu

Mango, Rain of flowers, Bunch of Flowers

Japakusumabhavepi Ghantaroopa Vidhanake

To show Flowers, Bell

Valmeeke Kumude Ande Padmakoshobhidheeyate

Anthill, Lilly, Egg Padmakosha Hasta is used.

Sarpasheersha Hasta

Bend the fingers a little in Pataka Hasta to show Sarpasheersha Hasta.

Chandane Bhujage Mande Prokshane Poshanadishu

Sandalwood paste,Snake, Slow, Sprinkling, Caring

Devarshudakadaaneshu Hyaspale Gajakumbhayoho

Holy water, Elephant's Forehead

Bhujaasphaletu Mallanaam Yujyate Sarpasheershakaha

To show the muscles of wrestlers Sarpasheersha hasta is used.

Mrugasheersha Hasta

Stretch the thumb & the little fingers in Sarpasheersha Hasta to show Mrugasheersha Hasta.

Streenamarthe Kapolecha Krama Maryadayorapi

To show Women, Cheeks, Way of doing things, To show respect

Bheete Vivade Nepathye Aavasecha Tripundrake

Scare, Argument, Back Stage, The place of living, Forehead

Mukhamukhe Rangavalyom Paadasamvahanepicha

Meeting of people, Sacred Design on the floor, Massaging the feet

Sarvasammelanekaarye Mandire Chatradharane

Getting people together, house, Holding an umbrella

Sopane Padavinyase Priyahvane Tathivacha

Stairs, Gait, To call the loved one

Sancharecha Prayujyeta Bharatagamakovidhihi

To show Movement this hasta is used.

Simhamukha Hasta

Touch the middle & the ring finger with thumb & stretch the second & little fingers to show Simhamukha Hasta.

Vidrume Mouktikechiva Sugandhe Alakasparshane

to show Coral, Pearl, Fragrance, Curls

Aakarnanecha Prushati Moksharthe Hrudisamstitaha

Hearing, Point, Salvation, Heart

Home Shashe Gaje Darbhachalane Padmadamini

Sacred fire, Rabbit, Elephant, Sacred Grass, Flower

Simhanane Vaidyapakashodhane Simhavakrakaha

Lion's face, Examine the medicinal preparations Simhamukha Hasta is used.

Langoola Hasta or Kangoola Hasta

Fold the ring finger in Padmakosha Hasta to show Langoola Hasta.

Lakuchasya Phale Balakuche Kalharake tatha

To show Lemon, Breasts of a teenager, Flower called Kalhara

Chakore Kramuke Baalakinkinyam Ghutikadike

A bird called Chakora, Beetle nut, Jingles, Tablets

Chaatake Yujyatechayam Kangoolakaranaamakaha

A bird called Chataka Kangoola Hasta is used.

Alapadma Hasta

Stretch & hold all the fingers at an angle to each other to show Alapadma Hasta.

Vikachabje Kapithadiphale Chaavartake Kuche

Lotus, Fruit Called Kapitha, Turning, Breasts

Virahe Mukure Poornachandre Soundaryabhajane

Pain of seperation, Mirror, Full moon, Beautiful things

Dhammille Chandrashalayaam Grame Uddhata Kopayoho

Knotted Hair, Moon Chamber, Village, Height, Anger

Tataake Shakate Chakravake Kalakalaarave

Lake, Cart, Bird Called Chakravaka, Sound of Birds, wind, water

Shlaghane Solapadmashcha Keertito Bharatagame

To Praise Alapadma Hasta is used.

Chatura Hasta

Stretch all the fingers, hold the little finger at an angle to the other fingers & fold the thumb & touch the bottom of the ring finger to show Chatura Hasta.

Kastooryaam Kinchidapyarthe Swarnataamraadilohake

Fragrance called Kastoori, To show small quantity, Gold and other metals

Aardre Khede Rasaaswade Lochane Varnabhedake

Wetness, Sadness, Taste, Eye, Differentiate colors

Pramane Sarase Mandagamane Shakaleekrute

Promise, Romance, Slow movement, Breaking

Aasane Ghruta Tailadou Yujyate Chaturakaraha

Seat, Melted Butter, Oil Chatura Hasta is used.

Bhramara Hasta

Touch the Middle finger with thumb, bend the second finger completely, stretch the last two fingers at an angle to show Bhramara Hasta.

Bhramarecha Shuke Yoge Saarase Kokiladishu

To show Honey Bee, Parrot, Meditation(Yoga),

Birds Called Sarasa & Kokila

Bhramaraabidhahastoyam Keertito Bharatagame

Bhramara Hasta is used.

Hamsasya Hasta

Touch the index finger with thumb & hold the other fingers at an angle to show Hamsasya Hasta.

Mangalyasootrabandhe Chapyupadeshe Vinishchaye

Tying the sacred thread of marriage, Advice, Decision

Romanche Mouktikadoucha Chitrasamlekhane tatha

Excitement, Pearls & other precious stones, Drawing

Damshetu Jalabindoucha Deepavarteeprasarane

Fly, Drop of water, Wick of the lamp

Nikashe Shodhane Mallikadou Rekhavalekhane

Polishing, Searching, Jasmine & other flowers, Drawing a line

Malayaamvahane SohambhavanayanchaRoopake

Holding garland, To say 'i am Brahma'

Naasteetivachanechapi Nikashanamchabhavane

Saying 'No', Looking at the polished article

Krutakrutyepi Hamsasyaha Eerito Bharatagame

Hamsasya Hasta is used to show all these things.

Hamsapaksha Hasta

Stretch the Little finger in Sarpasheersha Hasta to show Hamsapaksha Hasta.

Shatsankhyayaam Setubandhe Nakharakankhanetatha

To show number 6, Bridge, Impression of the nails

Vidhane Hamsapakshoyam Keertito Bharatagame

Way of doing thing Hamsapaksha Hasta is used.

Samdamsha Hasta

Hold the Padmakosha Hasta, close & open the fingers often to show Samdamsha Hasta.

Udaare Balidanecha Vrane Keete Manobhaye

To show Generosity, Sacrificial Offering, Wound, Insects, Fear

Archane Panchavakravye Samdamshakyobhidheeyate

Offering Worship, Number 5 Samdamsha Hasta is used.

Mukula Hasta

Touch the tips of all the fingers to show Mukula Hasta.

Kumude Bhojane Panchabane Mudradidharane

To show Lilly, Eating, Cupid,Smearing sacred marks on the body

Naabhoucha Kadaleepushpe Yujyate Mukulakaraha

Belly button, Banana Flower Mukula Hasta is used.

Tamrachooda Hasta

Hold the Mukula Hasta, separate the index finger, bend a little to show Tamrachooda Hasta.

Kukkutadou Bake Kaake Ushtre Vatsecha Lekhane

To show Rooster,A bird called Baka, Crow, Camel, Calf and to show letters

Tamrachooda Karakhyasou Keertito Bharatagame

Taamrachooda Hasta is used.

Trishoola Hasta

Fold the thumb & the little finger, stretch the other fingers & hold them together to show Trishoola Hasta.

Bilwapatre Tritwayukte Trishoolakara Eeritaha

To show a leaf called Bilwa & to show the number 3

Trishoola Hasta is used.

Samyuta Hastas

Anjali Hasta

Hold Pataka in both the hands & join the palms to show Anjali Hasta.

Devataguru Vipranaam Namaskarepyanukramaat

To salute God, Teacher & the Learned hold the Anjali Hasta

Karyasshiromukhorassu Viniyojyonjalikaraha

above the head, in front of the face &

in front of chest respectively.

Kapota Hasta

In Anjali Hasta, only the borders of the hands are joined(Palm should not touch one another) to show Kapota Hasta.

Pramaana Gurusambhasha Viniyogeekrutishwayam

To make promise, Speak to the teacher, To be Polite,

To Agree this hasta is used.

Karkata Hasta

Bring the fingers of both the hands between one another to show Karkata Hasta.

Samoohadarshane Tundadarshane Shankhapoorane

To show Crowd, Thick articles, Blowing of Shankha

Angaanaam Motane Shakhonnamanecha Niyujyate

Stretching Limbs, Bending the branches of a tree this hasta is used.

Swastika Hasta

Hold Pataka Hands & cross the hands at the wrist so that the hands are opposite to each other to shoe Swastika Hasta.

Samyogena Swastikakhyo Makararthe Niyujyate

This hasta is used to show Alligator

Bhayavade Vivadecha Keertane Swastikobhavet

To Talk in fear, to Argument and to praise this hasta is used.

Dola Hasta

Hold Pataka Hasta, stretch the arms & keep the hasta upside down along the hip line to show Dola Hasta.

Naatyarambhe Prayoktavya Iti Natyavidovidhuhu

This hasta is used in the beginning of a dance.

Pushpaputa Hasta

Hold Sarpasheersha in both the hands & join them at the wrist to show Pushpaputa Hasta.

Neerajanavidhou Baala Phaladigrahane tatha

To show Lamp Offering, Children, Accept Fruits

Sandhyayaamarghyadanecha Mantrapushpe Niyojayet

Offering to the Sun in the evenings, Chant Holy prayers

This hasta is used.

Utsanga Hasta

Hold Mrugasheersha Hasta in both the hands, cross the hands, touch opposite shoulders to show Utsanga Hasta.

Aalinganecha Lajjayaam Angadaadipradarshane

To Embrace, To show shyness, To show one's body

Baalaanaamshikshanechaayam Utsango Yujyatekaraha

To deciplinne children Utsanga hasta is used.

Shivalinga Hasta

Hold Ardhachandra Hasta in the left hand(palm up), keep shikhara Hasta in right hand & place it on the left hand to show Shivalinga Hasta.

Viniyogastutatsyva Shivalingapradarshane

This Hasta is used to show Shivalinga (Lord Shiva).

Katakavardhana Hasta

Hold Katakamukha Hasta in both hands, cross the hands at the wrist to show Katakavardhana Hasta.

Pattabhisheke Poojayam Vivahadishu Yujyate

To show Coronation, To worship and to show weddings

this hasta is used.

Kartareeswastika Hasta

Hold Kartareemukha Hasta in both the hands & cross the hands at the wrist to show Kartareeswastika Hasta.

Shakhaasucha Adri Shikhare Vruksheshucha Niyujyate

To show the branches of a tree, tip of Mountains, Trees

This hasta is used.

Shakata Hasta

Leave the thumb & the middle fingers in Bhramara Hasta. Hold like this in both the hands & cross at the wrist to show Shakata Hasta. Another way of showing Shakata Hasta is to cross the Arala Hastas at the wrist.

Raakshasaabhinayechaayam Niyukto Bharatadibhihi

This hasta is used to show Demons.

Shankha Hasta

Hold the Left thumb with the last three fingers of the right hand, stretch the other fingers of the left hand, stretch & touch the thumb & index fingers of the right hand with the stretched fingers of the left hand to show Shankha Hasta.

Shankhaadishuniyujyoya Mityevam Bharataadayaha

This hasta is used to show Conch.

Chakra Hasta

Hold Ardhachandra hasta in both the hands, place them one above the other like a Plus(+) mark to show Chakra Hasta.

Chakrahastassa vigneya chakrarthe viniyujyate

This Hasta is used to show Chakra, the weapon of Lord Vishnu.

Samputa Hasta

Hold Chakra Hasta, fold the thumb & little fingers in both the hands to show Samputa Hasta.

Vastvaacchchade Samputecha Samputahkara Eeritaha

To cover things and to show the sacred box in which the

idols are placed this Samputa Hasta is used.

Paasha Hasta

Hold Suchi Hasta in both hands, bend the index finger a little & join these fingers like a chain to show Paasha Hasta.

Anyonyakalahe Paashe Shynkhalaayaam Niyujyate

To show Playful Quarrel, Rope, Chains this hasta is used.

Keelaka Hasta

Hold Mrugasheersha Hasta in both hands, bend the little finger a little & join these fingers like a chain to show Keelaka Hasta.

Snehecha Narmalaapecha Viniyogosya Sammataha

To show friendly talk this hasta is used.

Matsya Hasta

Hold Pataka hasta in both the hands, place them one above the other, stretch the thumb a bit (like fins of fish) to show Matsya Hasta.

Etasya Viniyogastu Matsyarthe Sammatobhavet

This hasta is used to show Fish.

Koorma Hasta

Opposite of Chakra Hasta is Koorma Hasta i.e Stretch the thumb & little fingers & fold the other fingers in Chakra Hasta to show Koorma Hasta.

Koormahastasyavigneyaha Koormarthe Viniyujyate

This Hasta is used to show Turtle, Tortoise

Varaha Hasta

Hold Mrugasheersha hasta in both hands, place them one above the other to show Varaha Hasta.

Etasyaviniyogastu Varaharthe tu Yujyate

This Hasta is used to Show Boar (Wild Pig)

Garuda Hasta

Hold Ardhachandra in both the hands, turn them & hold them with the thumbs to show Garuda Hasta.

Garudo Garudarthe cha Yujyate Baratagame

This Hasta is used to show a bird called Garuda.

Nagabandha Hasta

Hold Sarpasheersha in both the hands & cross them at the wrist to show Nagabandha Hasta.

Bhujagadampatee Bhaave Nikunchanaamcha darshane

To show Snakes, Creeper Chamber

Athrvanasya mantreshu Yojyo Bharatakovidhihi

Atharvana Veda Shlokas this hasta is used.

Khatva Hasta

Hold Chatura Hasta in both hands, place the hands one above the other, stretch the index fingers down to show Khatva Hasta.

Khatvahastobhavedeshaha Khatvaadishu Niyujyate

This Hasta is used to show Bed.

Bherundha Hasta

Hold Kapitha Hasta & cross them at the wrist to show Bherundha Hasta.

Bherundhapakshi Dampatyorbherundhaka Eteeritaha

To show a bird couple called Bherundha this hasta is used.

Avahittha Hasta

Hold Alapadma in both the hands, cross them at the wrist, place them near chest to show Avahitha Hasta.

Srungara Natanechiva Leelaa Kandukadharane

To show Love, Catching the ball

Kucharthe Yujyate Soyamavahitthakaraabhidhaha

Breasts Avahittha Hasta is used.

Deva Hasta

Name of the Deity	Left Hand	Right Hand
Brahma Hasta	Chatura Hasta	Hamsasya Hasta
Shambhu Hasta	Mrugasheersha Hasta	Tripataka Hasta
Vishnu Hasta	Tripataka Hasta	Tripataka Hasta
Saraswati Hasta	Kapitha Hasta, in line with the shoulder	Suchi Hasta
Parvati Hasta	Ardhachandra Hasta, held downwards	Ardhachandra Hasta, held upwards
Lakshmi Hasta	Kapitha Hasta, in line with shoulder	Kapitha Hasta, in line with shoulder
Vinayaka Hasta	Kapitha Hasta, in front of chest	Kapitha Hasta, in front of chest
Manmatha Hasta	Shikhara Hasta	Katakamukha Hasta
Shanmukha Hasta	Trishoola Hasta	Shikhara Hasta
Indra Hasta	Tripataka Hasta	Swastika Hasta
Agni Hasta	Kangoola Hasta	Tripataka Hasta
Yama Hasta	Paasha Hasta	Suchi Hasta
Niruti Hasta	Khatva Hasta	Shakata Hasta
Varuna Hasta	Shikhara Hasta	Pataka Hasta
Vaayu Hasta	Ardhapataka Hasta	Arala Hasta
Kubera Hasta	Padmakosha Hasta	Ardhachandra Hasta

Dashavatara Hasta

The 10(Dasha) incarnations(Avatara) of Lord Vishnu can be shown like this.

Name of the Avatara	Left Hand	Right Hand	Position of the Hands
Matsya (Fish)	Tripataka Hasta	Tripataka Hasta	First show the Matsya hasta and then hold tripataka hasta in both the hands, in line with shoulders.
Koorma (Tortoise)	Tripataka Hasta	Tripataka Hasta	Show the Koorma hasta and then hold tripataka hasta in both the hands, in line with shoulders.
Varaha (Wild Bore)			Show the Varaha hasta and then keep both hands on the waist.
Narasimha (Half Man & Half Lion)	Simhamukha Hasta	Tripataka Hasta	Hold the hands in front of the chest.
Vamana (Dwarf)	Mushti Hasta	Mushti Hasta, turned down	Hold the left hand little below the left shoulder and the right hand little above the waist, like showing the sacred thread.
Parashuraama	Keep the hand on the waist	Ardhapataka Hasta	Stretch the right hand above the head at an angle.
Raama	Shikhara Hasta	Kapitha Hasta	Hold the left hand above the shoulder level, like holding a bow and stretch down the right hand, like holding an arrow.
Balaraama	Mushti Hasta	Pataka Hasta	Hold the hands in front of the chest.
Krishna	Mrugasheersha Hasta	Mrugasheersha Hasta	Both the hands are held near the mouth with mrugasheersha hasta opposite to one another, like holding the Flute
Kalki	Tripataka Hasta	Pataka Hasta	Hold the hands in front of the chest.

Navagraha Hasta

Name of the Graha	Left Hand	Right Hand
Surya	Alapadma Hasta	Kapitha Hasta
Chandra	Alapadma Hasta	Pataka Hasta
Kuja or Mangala or Angaraka	Suchi Hasta	Mushti Hasta
Budha	Mushti Hasta, held horizontally	Pataka Hasta
Bruhaspati or Guru	Shikhara Hasta	Shikhara Hasta, both hands held like showing the showing the sacred thread.
Shukra	Mushti Hasta	Mushti Hasta, held upside down
Shani	Shikhara Hasta	Trishoola Hasta
Raahu	Sarpasheersha Hasta	Suchi Hasta
Ketu	Suchi Hasta	Pataka Hasta

Jaati Hasta

Name of the Jaati	Left Hand	Right Hand
Rakshasa Hasta	Shakata Hasta	Shakata Hasta, help near the mouth
Brahmana Hasta	Shikhara Hasta	Shikhara Hasta
Kshatriya Hasta	Shikhara Hasta, held horizontally	Pataka Hasta
Vyshya Hasta	Hamsasya Hasta	Katakamukha Hasta

Bandhu Hasta

Relationship	Left Hand	Right Hand
Dampati (Married Couple)	Shikhara Hasta	Mrugasheersha Hasta
Maatru (Mother)	Ardhachandra Hasta , held near the stomach	Samdamsha Hasta
Pitru (Father)	Ardhachandra Hasta , held near the stomach	Shikhara Hasta
Swashru (Mother-in-law)	Hamsasya Hasta, held near the neck	Samdamsha Hasta
Swashura (Father-in-law)	Hamsasya Hasta, held near the neck	Shikhara Hasta
Bhartru Bhaatru (Brother-in-law)	Shikhara Hasta	Kartareemukha Hasta
Nanand (Sister-in-law)	Show the above hasta and then show Mrugasheersha Hasta in right hand
Sodara (Brother	Mayura Hasta	Mayura Hasta
Putra (Son)	Shikhara Hasta	Samdamsha Hasta, held near the stomach
Snusha (Daughter-in-law)	Show the above hasta and then show Mrugasheersha Hasta in right hand
Sapatni (Second Wife)	Mrugasheersha Hasta	First Paasha Hasta and then Mrugasheersha Hasta

Nritta Hasta

13 Hastas are categorized under Nritta Hasta. They are so named because of their usage in Aduvus. There are different ways of holding the Nritta Hastas. They can be held

- Facing Upward

- Facing Downward

- To the Right

- To the Left

- In Front

Depending on the footwork, the nritta hastas should be held in proper places.

The 13 Nritta Hastas are

• Pataka
• Swastika
• Dola
• Anjali
• Katakavardhana
• Shakata
• Paasha
• Keelaka
• Kapitha
• Shikhara
• Koorma
• Hamsasya
• Alapadma

When all Angas(main body parts) coordinate (along with pratyanga and upaanga) the artist is said to have Angashudhi. Anga meaning body parts and shudhi , meaning perfect. Any dancer should try to achieve this perfection. The Natyashastra, which talks about all aspects of Bharatanatyam, quotes shlokas to perform all the above movements.