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.
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
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
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.
