Nandikesvara’s Abhinayadarpanam (AD) written around 1000 A.D.

is
the most important text on gestures used in dance and theater after
Bharata’s Natyasastra.

An online version of these textbooks can be found at

https://archive.org/details/abhinayadarpanam029902mbp

https://archive.org/details/NatyaShastraOfBharataMuniVolume1

You can download them as a PDF or for Kindle.

Some key Shlokas (Verses) from these texts.

“GururBrahma GururVishnu
GururDevo Maheshwaraha
Guru Saakshaat ParaBrahma
Tasmai Sri Gurave Namaha”

Guru (dispeller of darkness) is the Creator (Brahma), Guru is the

Preserver (Vishnu),
Guru Deva is the Destroyer (Maheshwara)
Guru is the absolute (singular) Lord himself,
Salutations to that Sri Guru

(Salutations to the one who himself is the creator, the sustainer, the
destroyer and ultimate consciousness.

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“Aangikam Bhuvanam Yasya
Vachikam Sarva Vaangmayam
Ahaaryam Chandra Taaradi
Tam Numah Saatvikam Shivam”

• Aangikam – Body
• Bhuvanam – Universe
• Yasya – Whose
• Vaachikam – Speech
• Sarva – All
• Vaangmayam – Languages (Sound)
• Aaharyam – Ornaments
• Chandra – Moon
• Taara – Stars
• Aadi – Etc.
• Tam – That
• Numah – Bow
• Saatvikam – Pure
• Shivam – Lord Shiva

Whose Body is the entire universe,

Whose words are all literature/sounds,
Whose ornaments are the moon and the stars,
To you, we bow, Oh Pure Lord Shiva!

2
“Khantaanyat Lambayat Geetam,
Hastana Artha Pradakshayat
Chakshubhyam Darshayat Bhaavam,
Paadaabhyam Taalam Aacherait”

Keep the song in your throat

Let your hands bring out the meaning
Your glance should be full of expression
While your feet maintain the rhythm

“Yato Hasta Thato Dhrishti

Yato Dhristi Thato Manaha
Yato Manaha Thato Bhaavaha
Yato Bhaavaha Thato Rasaha”

• Yato – Where
• Hasta – Hand
• Thato – there
• Dhristi – eyes
• Manaha – mind
• Bhaavaha – expression
• Rasaha – emotion

Where the hand goes, the eyes must follow

Where the eyes go, the mind must follow
Where the mind goes, so follows the expression
Where the expression goes, so follows the emotion

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“Dharmyam yashasyam aayushyam, hitham buddhi vivardhanam
Lokopadesha jananam, naatyam ethadh bhavishyathi
Na thath gnanam na thath shilpam, na saa vidhya na saa kalaa
naasau yogo na thath karma, naatye asmin yanna drshyathe”

Dance confers spirituality, success, and longevity. It promotes the

growth of pure intelligence.
It generates worldly wisdom, and will always be in vogue.
There is no purer knowledge, no purer sculpture, no purer learning,
no purer art, neither yoga nor karma, than that found in dance.

“Om Sahana Vavatu

Saha Nau Bhunaktu
Saha Veeryam Karavaavahai
Tejasvinavadi Tamastu Maa Vidvishavahai
Om Shaanti Shaanti Shaantihi”

• Saha – together
• Nau – both
• Avatu – may he protect

Om, May we all be protected,

May we all be nourished,
May we Work Together with great energy,
May our Study be Enlightening,
And not giving rise to Hostility
Om, Peace, Peace, Peace

4
“Eta Chatur Vidhopetam
NaTanam Trividham Smrutam
NaTyam Nrittam Nrityamiti
Munibhir Bhartadibhihi”

The four kinds (of Abhinaya) that

Dance is attached to, is of 3 forms
Natya, Nritta and Nritya
This is according to Bharata Muni and other sages.

“Vishnu Shakti Samuthpanne

Chitra Varna Mahitale
Natyam Karishya Bhudevi
Padaghatham Kshamaswame
Devatanam Shirastastu
Gurunamasya Samsthithaha
Vakshsthaschaiva Vipraanaam
Sheshatwa Niyamo Bhavet”

(Combination of 3 shlokas from NatyaShastra)

Uplifted by the power of Lord Vishnu,

You have many wonderful qualities (Bhudevi/Mother Earth)
I am about to begin my dance, Bhudevi
Please forgive my foot stampings.
Salutations are offered above the head to the Gods,
At the forehead to the teachers/Guru,
And at the chest to the scholars.

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Head Movements (Shiro Bhedha) (9 in
number)
Samam Udvahitam Adhomukham Aalolitam Dhutam
Kampitamcha Paravrittam Utkshiptam Parivahitam
Navadha Katheetham Sheersham NatyaShastra Vishaaradaihi

Eye Movements (Drishti Bhedha) (8 in

number)
Samam Alokitam Saachi Pralokita Nimeelite
Ullokita Anuvrittecha Thatha Chaiva Avalokitam
Ithyashtau Drishti Bhedhaha Syuhu Keerthithaha Poorva Suribhihi

Neck Movements (Greeva Bhedha) (4 in

number)
Sundari Cha Tirascheena Thathaiva Parivartita
Prakampita Cha Bhaavagnaigneya Greeva Chaturvidha

6
Eyebrow Movements (Bhrikuti Bhedha) (6 in
number)
- From Natya Shastra

Sahajam – Normal eyebrows

Patitam – Bringing both eyebrows together from Sahaja position.
Utkshiptam – Raising the eyebrows together
Chaturam – Up-down movement of the eyebrows together
Rechitam – Raising one eyebrow at a time
Kunchitam – Bringing both eyebrows together from Utkshipta
position

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Single Hand Gestures (Asamyuta Hasta) (28
in number)
Pataaka-s
Tripataako
Ardhapataaka-h
Kartarimukha-ha
Mayura-akhyo
Ardhachandra-scha
Araala-h
Shukatundaka-ha
Mushti-scha
Shikhara-akhyascha
Kapiththa-h
Katakamukha-ha
Soochee
Chandrakala
Padmakosha-h
Sarpashira-sthatha
Mrigasheersha-h
Simhamukha-ha
Kangula-scha
Alapadmaka-ha
Chaturo
Bhramara-schaiva
Hamsasyo

8
Hamsapakshaka-ha
Sandamsho
Mukula-schaiva
Tamrachooda-h
Trishulaka-ha
Itya Asamyuta Hastaanaam Ashta Vishati Reerithaa

Double Hand Gestures (Samyuta Hasta) (23

in number)
Anjali - shcha
Kapota - shcha
Karkata - ha
Svastika – statha
Dolahasta - ha
PushpapuTa
Utsanga - ha
Shivalingaka - ha
Katakavardhana - shchaiva
Kartarisvastika - statha
ShakaTam
Shankha
Chakre - cha
SampuTa - ha

9
Paasha
Keelaka - u
Matsaya - ha
Koormo
Varaha-shcha
Garudo
Naagabandhaka - ha
KhaTva
BheruNDa

Ityete Sankhyaata Samyutaha Karaha

Trayavimshati Rityuktaha Poorvagai Bharatadibhihi

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Terms specific to Kathak
(Some definitions from “Ang Kavya” by Pt.
Birju Maharaj)
Maatra – Beat (unit of measuring duration of a Taal)

Taal – Timecycle (cyclic arrangement of beats to measure time)

Sum – First beat of a Taal from the next cycle, which is usually the
most accented

Taali – Clap (accent)

Khaali – Blank beat (negative accent)

Bol – Syllables

Vibhaag – Division of the Taal into different Taali/Khaali

combinations

THeka – Rhythmic arrangement of syllables of any Taal played on the

Tabla/percussion

Nagma/Lehra – Melodic phrase that supports the rhythmic structure

of any Taal

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Gati – Speed

Laya – Tempo (The gap between two strokes/beats determines this).

Three stages are Vilambit – slow, Madhya – medium and Drut – Fast

Barabar/Ekgun – 1:1 ratio of Bol to Maatra

Dugun – 2:1 ratio of Bol to Maatra

Chaugun – 4:1 ratio of Bol to Maatra

ATThgun – 8:1 ratio of Bol to Maatra

Padhant – To recite

Some common Taals danced in Kathak – Teen Taal (16 beats), Jhaap
Taal (10 beats), Kaharwa Taal (8 beats), Dadra Taal (6 beats), Rupak
Taal (7 beats), Ek Taal (12 beats), Dhamaar Taal (14 beats)

Ginti – Counting (numerical patterns)

Bedam – without a pause/gap in the rhythmic structure

Dam – with a gap in the rhythmic structure

Tihai – rhythmic phrases/patterns repeated 3 times.

Chakradhaar – Three times repeated

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Tukra/Tora – small phrases of rhythmic compositions performed
with the entire body (Natwari, Tatkaar, Sangeet, Paramelu)

Paran – rhythmic phrases composed of only Pakhawaj syllables (bols)

executed with vigor and virtuosity

Jaati – The arrangement of syllables (bols) against the number of

beats (maatra), in measuring the musical time. Five main varieties
are:
• Tisra (3 in 1 maatra),
• Chatusra (4 in 1 maatra),
• Khanda (5 in 1 maatra),
• Misra (7 in 1 maatra),
• Sankeerna (9 in 1 maatra).

Yati – the imaginative shape formed by the arrangement of bols in

any rhythmic composition. Five popular varieties are:
• Sama (even format),
• Shrotgataa (narrow to broad),
• Pipilikaa (heavy on both ends, light in the middle),
• Gopuchcha (tapering) and
• Mridangaa (small at the ends, broad in the center).

Layakari – Rhythmic interplay

Edi – Heel

Panja – Toe

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Ardhaagath – Side stroke of feet

Hatheli – Palm

Nazar – Glance

Kalaas/GaTTaa – Wrist movements

Kasak – Twist of the upper torso

Masak – Movement of chest due to inhalation and exhalation

Gardan ka dora – subtle, sideways neck movements

Meend – A circular movement overhead (connecting the space

around)

Palta – Reverse (back and forth) turns

Chaal – Gait, stylized walk

Lachak – Grace

Andaz – Poise

Adaa – Style

Chakkar/Pheri – Pirouttes/spins

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Basic Kathak hand movements with stance
Naman – Both hands in loosely clasped position, 6 inches in front of
chest center, right palm over left. Legs are straight and feet are in a
small V. This is the main posture of the hands for all footwork.

Utpatti – Both hands brought near chest center, first finger tip and
thumb touching each other (Arala hasta), palms facing downward.
Almost all Nritta hastakas start from this position.

15
Sthira – One hand remains at Utpatti position, the other extends
firmly on one side of the body, palm facing down. The leg is also
extended 5-6 inches on the same side as the hand.

Palat – Turning the palm over with the rotation of the wrist. Slight
rotation of the upper torso

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