|
|
|
|
|
|
|
HASTA- MUDRA |
|
Use of
hasta mudra, that is hand gestures, is one of the
distinctive aspects of Indian classical dances. There
are two kinds of hasta mudra, Asamyuta (with only one
hand) and Samyukta (using both the hands). |
| |
|
|
|
 |
|
 |
|
Shakata : Both hand is
showing this asamyukta hasta mudra |
|
The lower samyukta hasta
is showing pushpa-puta and the upper one is kapota |
| |
|
|
|
 |
|
 |
|
While the lower left hand
is showing the alapadma-hasta and the upper right hand
is showing bhramar-hasta |
|
This samyukta hand
gesture is called karkata hasta |
| |
|
|
| |
|
Ritwika
Sharma
Akanksha
Singh
Class: V A |
| |
|
|
|
LEG
MOVEMENT IN DANCE |
| |
|
|
|
The position and movements of the feet
give rise to posture, taping movement, circular movement
and walk. Each one of the above category has several
variations |
| |
|
|
|
 |
|
 |
|
Chari- Gait or
Walk |
|
Swastika- Feet are
crossed in a variety of combinations |
| |
|
|
|
 |
|
 |
|
Variety of swastika mudra |
|
Sama- The feet are
in natural position and point straight ahead |
| |
|
|
| |
|
Ritwika
Sharma
Akanksha
Singh
Class: V A |
| |
|
|
|
INDIAN CLASSICAL
DANCES |
| |
|
|
|
According to Indian mythology, Siva as Nataraj created
the Universe. From the bronze statue, which belongs to
chola period, it is clear that both the arts of dance
and sculpture influenced each other to a great extent.
One of the right hand of Nataraj holds the damru
signifying sound, the other right hand in pataka hasta
mudra is raised to give protection to his bhaktas. He
stands on the dwarf apasmara crushing ignorance thereby
illuminating the world with eight and knowledge.
Dance
is described as ekharaya, in which one dancer depicts
many roles. Siva as Nataraj the Lord of dance is
depicted in all dance forms.
Dance consists of two major elements
nritta or abstract dance and nritya combination of
nritta and abhinaya (expression). |
| |
|
|
|
 |
|
|
Bharatnatyam |
| |
|
There are four
kinds of Abhinaya- Angika, Vachika, Aharya and
Satvika. |
| |
|
Angika abhinaya is the representation by means of
physical gestures. Angika is named as such because
it is expressed in three ways by Anga, Prataynga
and Upanga, which includes different limbs of the
body representing physical gestures. This picture
shows Narasimha, an avatara of Vishnu. The dancer
is in Araimandi position in an action of tearing
apart. The body above the waist is leaning forward
and the head and eyes are raised with the wrist
turned inwards at an angle. |
| |
|
| |
|
|
|
| |
| |
|
Kathak |
| |
| |
|
Chakkar is an extraordinary
feature of the Kathak dance style. The dancer
takes 3, 9, 27, 81, 108 or even more
pirouettes or chakkars at a time. Rhythmic
accompaniment is provided by the tabla or the
pakhawaj. |
| |
| |
|
 |
|
|
|
|
|
|
 |
|
Manipuri |
| |
| |
|
Khandita
nayika, a rejected beloved is angered at the
late coming of her lover and asks him to go
away. The lyrical quality of the Manipuri
style is maintained, inspite of the
situation which demands show of anger |
| |
| |
| |
| |
|
|
|
|
|
|
|
|
Odissi |
| |
| |
|
The Indian dancer enacts the nine rasas and all
aspects of life through abhinaya. Many poses show
the dancer decorating her body, wearing her dress,
her ornaments, all these form part of the ‘shringara’.
In the darpani bhangi, the dancer gazes at herself
in the mirror after she has finished her make-up. |
| |
| |
| |
|
 |
|
|
|
|
