Sunday, 20 July 2008

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.

Ananda Tandava

Ananda TandavaAnanda Tandava

Guru Mangudi Dorairaja Iyer (1900 – 1980)



Guru Mangudi Dorairaja Iyer (1900 – 1980)

Originally from Mangudi, a small village in Tanjore, the versatile exponent of the Melattur style of dance was a sanyasi who mastered the Srividya Upasana. As a music expert , he authored books on mridangam and dance, and, as an guru of Bharatanatyam, he re-established the Suddha Nrittam, Bhattasa Natyam and Perani Natyam.

Guru Mangudi Dorairaja Iyer's father was Ramanatha Bagavathar, a famous vocalist and a Hari katha exponent. The talented boy learned music from his father and the mridangam from Sri Anganna Naickar and Tanjavore Vaidhyanatha Iyer. He soon became an accompanist to many well-known musicians. His Tamil drama “Mithra Pasam” in the early 1932 was later adapted to a stage production which he directed. In 1939 he and his friend Sri P.K. Moorthy co-authored a handbook on mridangam, "Mirdanga Swabodhini"

Mangudi studied Bharatham and Nattuvangam with Melattur Natesa Iyer, a prominent figure among the Bagavatha Mela gurus of Melattur. Based on the dance drama tradition of Melattur, he developed a solo dance of this style, having learnt the theory. His work in the music and dance section of Gemini studios provided him with the opportunities to futher develop his style. Mangudi's attention now was attracted by the teachings of Sri Vidya Upasana and Bharatham. He introduced the “Chidanandha Natya Mandali”.

Guru Mangudi Dorairaja Iyer's book “Swabodha Bharatha Navaneetham” (1957) was based on years of research into rare works like”Kohaliyam”, “Nagarjuneeyam”, “Bharatha sastra Mooiam”, “Abhinaya Darpanam”, and “Natanadhi Vadya Ranjanam”. The book explored all of Bharatanatyam, and is an invaluable source of knowledge for both learners and experts. Some of his students were the famous Roshan Vajifdar, Pushpa Bhuyan and Yamini Krishnamurthy.

His style, exuberant and graceful, later evolved into what is known today as the Mangudi style, dominated by bhakti rasa. It lays emphasis on crisp adavus, accurate jathis, gathis, fluid variations or patterned korvais and perfect geometric poses. It stresses the dramatic elements, i.e. characterisation, as the themes of the performances are based mostly on stories from epics and puranas. Mangudi paid special attention to the right application of the principles of "loka dharmi" and "natya dharmi" at appropriate situations. He introduced a special protective cotton belt that the dancers are supposed to wear.

BHARATANATYAM

BHARATANATYAM



BHARATANATYAM

Sunday, 13 July 2008

About Bharatanatyam

About Bharatanatyam



Bharatanatyam is evenly divided between three elements Nritta, Nritya and Natya .



Nritta : Rhythmic Element.Interprits the language of rhythm with the help of body movements.



Nritya : Combination of Rhythm with Expression.Conveys poetic meaning with the help of expressions, rhythmic gaites and postures. eg. Varna, Shabda, Pada etc.



Natya : Dramatic Element.Performing for a theme like Ramayana, Mahabharata etc.



Nritta

Nritta can be broadly divided into Chari, Karana, Angahara and Mandala. Movement of a leg is called Chari. Movement of both the legs is Karana. 3 Karanas make a Khanda. 3 to 4 Khandas make a Mandala. 4 to 9 Karanas make a Angahara. 4 to 5 Angaharas also make a Mandala. 108 Karanas and 32 Angaharas are defined in Natyashatra. The 13 Nritta Hastas (explained later) are used to perform nritta. The rythmic body movements along with hand gestures are called Aduvus. Number of aduvus constitute a Jati. Jati will generally end with a Muktaya or Teermana.

There are varieties of Aduvus like

  • Tattaduvu
  • Mettaduvu
  • Nataduvu
  • Kattaduvu
  • Kudittamettaduvu
  • Maiaduvu
  • Mandiaduvu
  • Jati
  • Nadai
  • Ardi



There are 12 aduvus in each of the above explained. Hence 120 aduvus exist in total. Only about 70 - 80 are in practice. The aduvus are more or less Karanas. Hence can be concluded that there are 108 aduvus. The 108 Karanas or Aduvus are carved in the Chidambaram Temple in Tanjore, Tamilnadu, India. To perform an aduvu aramandi, bending of the knees is very very important.



The entire body is divided as Anga, Pratyanga and Upaanga.

Anga

Anganyatra shirohastau vaksha paarshwakateetatau

Paadaviti shaduktaani greevamapyapare jaguhu


Head, Hands, Chest, Waist, Bottom, Legs are the Six Angas. Some people include Neck also.



Pratyanga

Pratyangaani twathaskandhau baahoo prushtam tathodaram

ooroo janghe shadityahurapare manibandhakau

jaanooneekoorparamiti trayamapyadhikam jaguhu


Shoulders, Arms, Stomuch, thighs, Knee are the Six Pratyangas. Some people include Wrist, elbow and Ankle also.



Upaanga

Drushtibhrooputatarashcha kapolau naasikaahanuhu

Adharodashanaa jihwaa chubukam vadanam tatha

Upaangani dwadashitaanyanyaanyangaani santi cha

Paarshnee gulbautathangulyaa karayoho padayostale


Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include Heels, Fingers, Feet, Palm also into upaangas.

Pratynaga and Upaangas should move along with the Angas.

Anga Lakshana, the way of moving body parts, are described below.

  • Shirobhedha - Head Movement
  • Greevabhedha - Neck Movement
  • Drushtibhedha - Eye Movement
  • Paadabhedha
    • Mandala - Standing Posture
    • Utplavana - Leaps
    • Bhramari - Circling Movement
    • Chari - Leg Movement
  • Gatibhedha - Charecteristic walks and
  • Hastas or Mudras - Hand Movements
    • Asamyuta Hasta
    • Samyuta Hasta
    • Deva Hasta
    • Dashavatara Hasta
    • Navagraha Hasta
    • Jaati Hasta
    • Bandhu Hasta
    • Nritta Hasta







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 achive this perfection. The Natyashastra, which talks about all aspects of Bharatanatyam, quotes shlokas to perform all the above movements. All the above said movements are dealt in detail in the respective links.



Shirobedha



Samam Udvahitam Adhomukham Alolitam Dhutam

Kampitancha Patavruttam Utkshiptam Parivahitam.




Samam = Keeping head straight

Udvahitam = Lifting the head up

Adhomukham = Putting the head down

Alolitam = Rotating the Head Clockwise & Anti-clockwise

Dhutam = Nodding the head as if to say "NO"

Kampitam = Shaking the Head

Paravruttam = Lifting the head from right side

Utkhiptam = Lifting the head from left side

Parivahitam = Nodding the head as if to say "YES".

Greevabhedha



Sundareecha tirashcheena tathivaparivartita prakampitachabhavagny gneyagreeva chaturvidha



Sundari = Neck movement on both sides

Tirashcheena = Above movement with increase in speed

Parivartita = Movement to the corners

Prakampita = Moving the neck like a rooster



Drushtibedha



Samam Alolitam sachi pralokita nimeelite Ullokita anuvruttecha tathachivavalokanam



Samam = Looking Straight

Alolitam = Turing eye balls clockwise & anti-clockwise

sachi = Looking to the sides without turning the head

Pralokana = Looking to the sides alternatively without turning the head

Nimeelana = Looking down

Ullokana = Looking Up

Anuvrutta = Looking Up & Down

Avalokana = Looking deep down.

Origin of Bharatanatyam

Origin of Bharatanatyam



The Gods & Godesses pleaded Lord Brahma to create another veda which would be simple for the common man to understand. It is believed that considering this request Lord Brahma created the Panchamaveda, Fifth veda, Natyaveda, an essence of the other four vedas. It is believed that he has taken pathya (words) form the Rigveda, abhinaya (gesture) from the Yajurveda, geet (music and chant) from Samaveda and rasa (sentiment and emotional element) from Atharvaveda to form the fifth veda, Natyaveda.



After creating this natyaveda, Lord Brahma gave the same to sage Bharata and asked him to popularise this veda on earth. Following the words of Lord Brahma, sage Bharata wrote Natyashastra or the Science of Dramaturgy, a great, comprehensive work on the science and technique of Indian drama, dance and music.Bharatanatyam might have got its name from sage Bharata also.The dancers still follow this work to perform.



There is also another story which says that Godess Parvathi tought this dance form to Usha, daughter of Banasura, a demon. Usha taught the same to the Gopikas of the city of Dwaraka, Lord Krishna's birth place. Thus the divine dance form Bharatanatyam was introduced to the mankind.



In Indian mythology,Lord Shiva is considered as the supreme lord of dance. This divine art form is performed by Lord Shiva & his wife Goddess Parvathi. The Dance performd by Lord Shiva is known as Tandava, which depicts his violent nature as the distructor of the universe. The tandava performed with joy is called Ananda Tandava and performed in violent mood is called Rudra Tandava. There are 7 types of Tandava. Namely Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are few people who believa that there are 16 types of Tandava. Tandava has vigourous, brisk movements.The dance performed by Goddess Parvathi is known as Lasya, in which the movements are gentle, graceful and sometimes erotic also. Some scholars call Lasya as the feminine version of Tandava. Lasya has 2 kinds. Jarita Lasya and Yauvaka Lasya.



The art form has definitely gone through lot of changes over the years. In olden days it was performed mostly by female artists. They were called Devadasis, who would perform in the temples. These devadasis were accomplished artists who would sing, dance, play many instruments. They were well worsed in sanskrit & other languages which helped them to interpret compositions which they would perform. But this tradition came to an end as the devadasis lost their position in the society.





Then dance entered the royal courts. Here the artists called Rajanartakis, performed in the courts of kings who gave them shelter.Even these were accomplished artists like devadasis.



The next well-documented period of dance history is far more recent. In the first half of the 19th century the dance tradition was revitalized and defined anew through the contributions of four talented brothers (known today as the Tanjore Quartet)Chinniah, Sivanandam, Ponniah and Vadivelu. By coordinating their diverse talents, the four managed to organize all the basic dance movements of pure dance into a progressive series of lessons [adavu chapters]. Each adavu (basic unit of motion) was taught in systematic order and then combined with others to produce choreographed sequences based upon the rhythmic contour of a musical composition (Krishnamoorthy Pillai). In addition the brothers composed new music specifically for the dance, and introduced a different sequence of items which integrated the various aspects of dance and music into a carefully coordinated, aesthetically sound progression. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Indian dance.



The contribution of Udayshankar, Rukminidevi Arundale and Balasaraswathi, in the 20th century, cannot be forgotten at this juncture.



Even though Bharatanatyam has gone through lot of changes, it still has its roots deep into the religious and rich mythological heritage of India. In the modern day scenario it is performed by both male & female artists. Many learn as a hobby and few make it as a profession. Whether taken as a hobby or a profession it certainly needs lot of practice,concentration and dedication.

BHARATANATYAM

BHARATANATYAM

This is a very popular dance form in South India. It is oldest of all classical dance forms in India. Dance of mind & soul. It is extremely traditional and known for its grace, purity, tenderness, staturesque & sculpturesque poses. It uplifts the dancer and the beholder to a higher level of spiritual consciousness. The dancer is considered as a worshiper, worshiper of the Divine. An embodiment of beauty, charm and gracefulness.

The general interpretation for the name is

BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dance) = Bharatanatyam

Bharata Natyam is one of the oldest dance forms of India. It was nurtured in the temples and courts of southern India since ancient times. Later it was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet whose musical compositions for dance form the bulk of the Bharata Natyam repertoire even today. The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its beauty. By this time the Devadasis had fallen upon evil days due to lack of state patronage and changed social mores. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage though it retained its essentially devotional character.