Theory:
1. All the theory covered up to Praveshika Purna
2. Define and explain Kataaksha, Primalu, Nartan Bhedas – Nritta, Nrutya and Natya.
3. Define Tandav and Lasya.
4. Four types of neck movements according to Abhinaya Darpan.
5. Eight types of eye movements according to Abhinaya Darpan.
6. Define and differentiate “Folk dance” and “Modern Dance” (Uday Shankar style).
7. Life story of: Bindadin Maharaj, Kalka Prasadji, Harihar Prasadji & Hanuman Parsadjiji.
8. Specialty of Jaipur and Lucknow Gharana.
9. Definition and uses of the following Asanyukta Hasta Mudras:
1) Sarpasheersha 2) Mruga-sheersha 3) Simha-Mukha
4) Kangula 5) Alapadma 6) Chatura
7) Bhramara 8)Hansasya 9)Hansa-paksha
10) Sandausha 11) Mukula 12) Tamrachuda
13) Vyagraha 14) Trishula
10. Sanyukta Hasta Mudra:
1) Anjali 2) Kapota 3) Karkata
4) Swastik 5) Dola 6) Pushpaputa
7) Utsanga 8) Shivalinga 9) Katakawardhan
10) Kartari-swastik 11) Shakata 12) Shankha
11. Write notations of:
All the Todas, Chakradars, Parans, Kavit & Tihai in Teentaal, Zhaptaal and Ektaal.
1. All the theory covered up to Praveshika Purna
2. Define and explain Kataaksha, Primalu, Nartan Bhedas – Nritta, Nrutya and Natya.
3. Define Tandav and Lasya.
4. Four types of neck movements according to Abhinaya Darpan.
5. Eight types of eye movements according to Abhinaya Darpan.
6. Define and differentiate “Folk dance” and “Modern Dance” (Uday Shankar style).
7. Life story of: Bindadin Maharaj, Kalka Prasadji, Harihar Prasadji & Hanuman Parsadjiji.
8. Specialty of Jaipur and Lucknow Gharana.
9. Definition and uses of the following Asanyukta Hasta Mudras:
1) Sarpasheersha 2) Mruga-sheersha 3) Simha-Mukha
4) Kangula 5) Alapadma 6) Chatura
7) Bhramara 8)Hansasya 9)Hansa-paksha
10) Sandausha 11) Mukula 12) Tamrachuda
13) Vyagraha 14) Trishula
10. Sanyukta Hasta Mudra:
1) Anjali 2) Kapota 3) Karkata
4) Swastik 5) Dola 6) Pushpaputa
7) Utsanga 8) Shivalinga 9) Katakawardhan
10) Kartari-swastik 11) Shakata 12) Shankha
11. Write notations of:
All the Todas, Chakradars, Parans, Kavit & Tihai in Teentaal, Zhaptaal and Ektaal.
Madhayama PrathamTheory1. DefinitionsSee previous years’ notes
2. Shiro Bhed1. Sum-shir: head held in parallel/balanced position and watching straight. Used to represent: beginning of dance-performance, praise, ambition, love, anger, listen to somebody in front, talk to somebody/audience in front.
2. Udhvahit- shir: head tilted upwards. Used to represent: flag, moon, mountain, giant, to check-out something in sky, etc.
3. Adhomukh-shir: head bent downwards. Used to represent: shyness, sadness, welcome, worrisome, to pick something up (that has been lying on ground), dive into water, etc.
4. Aalolit-shir: to move head in complete circular motion as if feeling dizzy. Used to represent: sleepiness, possessed by evil-spirit, wicked laughter, etc.
5. Dhut-shir: to move head left-to-right-to-left (parallel position, not titled at all) as if saying no. Used to represent: surprise, sadness, un-willingness, scared, fight, battle, drinking alcohol, to watch your own body parts, call somebody sideways, to say “not-true”, etc.
6. Kampit-shir: to move head up-down as if saying yes. Used to represent: angry-stop, question, call-closer, guidance-direction, to call God(s).
7. Paravritt-shir: to move head to 1 side and backwards (e.g. left-backward) as if showing shyness. Used to represent: shy, disgust, disrespect, look at quiver, look at long hair, command, etc.
8. Utkshipt-shir: to move head to 1 side and upwards (e.g. right-upward) as if thinking. Used to represent: take-this, bring it here, to help, etc.
9. Parivahit-shir: to tilt head left-right (little downward) when praying to God/bhajan. Used to represent: moh (craving for beloved/child), virah (missing loved one), bhajan, santosh (satisfaction), to think.
3. Knowledge of Bharatnatyam, Kuchipuri, MohiniattamSee previous years’ notes
4. Life Histories:Pt. Kalika Prasad and Pt. Bindadin Maharaj
The Lucknow Gharana of Kathak dance came into existence mainly in the court of Nawab Wajid Ali Shah the ruler of Awadh in the early 19th century. It was in this period that the Lucknow gharana of Kathak attained maturity and perfection. This was due to the pioneering efforts of Thakur Prasad Maharaj, the court dancer and guru of Nawab Wajid Ali Shah and subsequently by his illustrious sons Bindadin Maharaj and Kalkadin Maharaj. Kalkadin Maharajji’s sons Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj also contributed to the further development of this gharana style. The Lucknow style or Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Artistically designed dance compositions, emotive vocal compositions like thumri-s, dadra-s, hori-s along with abhinaya (expressional acting) and creative improvisions are the hallmarks of this style. Presently, Pandit Briju Maharaj (son of Achchan Maharajji) is considered the chief representative of this gharana.
The Kathak maestro Achchan Maharaj's father and guru Kalika Prasad was a resident of Banaras. While his brother Bindadin was a court dancer of Nawab Wajid Ali Shah, Kalika Prasad preferred to reside at Benaras and propagate the Kathak style of dancing and Thumri singing of his Gharana from that place. Both these brothers were responsible for promoting Kathak to a high pedestal of art and aesthetic. Besides dancing Kalika Prasad was an expert singer, especially he had profound knowledge of Thumri. He was an expert in Abhinaya - expressing the emotions in the Thumri songs, and in exhibiting the tenderness and Shringara Rasa. Many famous female Thumri singers of that time were his disciples. Kalika Prasad was a simple and social individual and was never proud of his achievements. He had a life of austerity. He had three sons - Achchan Maharaj, Baijnath Prasad (Luchchu Maharaj) and Shambhu Maharaj.
Bindadin Maharaj was born in 1830 at Handia Tehsil in Allahabad district, where his father Durga Prasad used to live. His original name was Vrindavan Maharaj. It is believed that he commenced learning Kathak at the age of 9 under the tutelage of both his father and Uncle Thakur Prasad. Since, Bindadin had no children of his own he gave the utmost training to his nephew Achchan Maharaj. During the First War of Independence in 1857, Bindadin went out of Lucknow for some time with Thakur Prasad. Thereafter, he went to Nepal and then to Bhopal and was warmly welcomed at both the places. He was not only acclaimed as a great dancer at these places, but also received a large amount of riches as gifts. He was gifted with poetic tendency and was a devotee of Lord Krishna. The thumris, dadras and bhajans written by him became an integral part of the Kathak repertoire in the Abhinaya section. He has to his credit over 400 bhajans which are still sung and danced today and around 3000 thumris have been composed by him especially for Kathak and he created beautiful ‘bhaav’ on them. We come across his pen name – ‘Binda Kahat’ in such compositions. “Namaskar ka tukra”/”Salami”/”Rangmanch Pranam” is one of his most famous compositions. Pt. Birju Maharaj has compiled his compositions in book “Ras Gunjan”.
During his time, though there was the Mughal influence on Kathak, he kept his belief and purity of the art intact. It was he who resurrected Kathak which had then taken over a different character owing to the institution of courtesans. The dance which was more on the seductive side and which aimed at pleasing the patron once again regained its original character and became a form of worship. His portrait shows that at the time of dancing he used to put on Achkan, Churidar and Dupalli cap. Guru Pt Bindadin Maharaj passed away in the year 1918 leaving behind a vast legacy in Kathak which one can now see through Pt Birju Maharaj ji and his senior disciples.
Pandit Shambhu Maharaj, Acchan Maharaj, and Lacchu Maharaj:
Pandit Acchan Maharaj was born 1883, the oldest son of Pandit Kalika Prasad. He mainly received Kathak training from his father, and uncle Bindadin Maharaj. After they passed away, Achhan Maharaj taught his younger brothers, Lacchu and Shambhu Maharaj. Pandit Achhan Maharaj primarily danced in North Indian courts until 1936, when he was invited to teach at the Delhi School of Hindustani Music and Dance. Acchan Maharaj was known for his perfection of bhav in all his pieces, and danced with a graceful element. Acchan Maharaj’s son, Birju Maharaj, carries on his legacy of Kathak today.
Pandit Lacchu Maharaj was born in 1901. He received training from his uncle Bindadin Maharaj for almost ten years, then received training from his older brother Acchan Maharaj. Pandit Lacchu Maharaj was active in the film industry; he choreographed many films, and directed many dance dramas in Bombay. Lacchu Maharaj also was known for his excellence in bhav, and emotions.
Pandit Shambhu Maharaj was born in 1912 as Shambhu Nath Mishra in the city of Lucknow. Being the youngest son of Pandit Kalika Prasad, he received Kathak training from a young age by his father, and his uncle Bindadin maharaj, and brother Acchan Maharaj. Shambhu Maharaj also received Hindustani music training from Ustad Rahimuddin Khan. After moving to Delhi in 1955, Shambhu Maharaj joined the Bharatiya Kala, Later becoming the head of the Kathak department there. He had three children: Krishnamohan, Rammohan and Rameshwari.
Reference: http://maestroesclassicaldancers.weebly.com/pandit-kalika-prasad.html
https://www.swarganga.org/artist_details.php?id=160
http://sampadapillai.blogspot.com/2015/07/guru-pt-bindadin-maharaj_26.html
Pt. Harihar Prasad and Pt. Hanuman PrasadPt. Harihar Prasad and Pt. Hanuman Prasad are renowned kathak dancers of Jaipur gharana. The Jaipur gharana is distinct from the Lucknow and Banras gharanas because of its footwork.
They are the sons of Girdhari-ji who belonged to a community called Kathak from the Shekhawati area of the erstwhile Jaipur State. The kathak dancers along-with the Shekhawat chiefs had joined the imperial service of Mughals. When the Mughal empire crumbled, musicians and dancers left Delhi and Agra and shifted to provincial capitals. Jaipur was a very favorable durbar and it is said that Girdhari or Dulhaji, descendant of Bhanuji Kathak, came to Jaipur. Bhanuji is considered as the founder of Jaipur Gharana
Pt. Harihar Prasad along with his brother Pt. Hanuman Prasad are called “Deva Pari-ka-Jora” (pair of Deva and Pari, angel and fairy). Pt. Harihar Prasad gave more emphasis to “tandav”, while Pt. Hanuman Prasad regarded “lasya” as supreme. Pt. Hanuman Prasad would often dance in front of his deity after spreading “gulal” on the floor and his dancing feet would draw the outline of an elephant on the floor.
Pt. Harihar Prasad and Pt. Hanuman Prasad passed on the knowledge to the late Narayan Prasad (son of Hanuman Prasad).
Narayan Prasad
Reference: http://msmsmuseum.com/pagedetail.php?catid=4&subcatid=55
https://en.wikipedia.org/wiki/List_of_Kathak_exponents
Acharya Sukhdev MaharajAcharya Sukhdev is a renowned dancer of the Benaras Gharana of Kathak dance form.
Benaras Gharana is also known as Janaki Prasad Gharana after it’s founder Janaki Prasad who was a native of Benaras. In-fact, Janaki Prasad along with his 2 brothers Dulha Ram and Ganeshilal had come to Benaras from Jaipur and settled down there.
Since the roots of the Benaras Gharana are ingrained deeply into the soil of the holy city of Benaras –known famously as “devnagri”, which means “the land of Gods”, hence, the Kathak dancers following this gharana dance on bhajans and kavit parans glorifying God. It is characterized by the exclusive use of Natwari or dance bols.
Sukhdev Maharaj is the son of Shivlal (who is the son of Ganeshilal) and hence the grandson of Ganeshilal (brother of Janaki Prasad). Hence, Sukhdev Maharaj is the grand-nephew of Janaki Prasad the founder of Benaras Gharana
Sitara Devi, daughter of Sukhdev Maharaj is the most famous exponent of Benaras Gharana and recipient of Padma Shri (1973), Kalidas Samman (1995) among other awards. She declined Padma Bhushan, stating she’s worthy of “Bharat Ratna”. His grandson Gopi Krishna (son of Sukhdev Maharaj’s daughter “Tara”) is a famous dancer, actor and choreographer, and was awarded Padma Shri by Indian government in 1975.
Sukhadev Maharaj was a Vaishanavite scholar of Sanskrit and earned his livelihood by teaching and performing Kathak dances in different parts of India. While serving in the royal court of Nepal he had studied Sanskrit and had done an in-depth study of the Bharatanatyashastra. He met his wife Matsya Kumari (who held a relationship with the royal family of Nepal) during this time.
Sukhadev Maharaj was also encouraged by Rabindranath Tagore to revive the lost forms of Indian performing arts (like Kathak) and ensure elevation of them to dignified status and he decided to realize this goal by reforming the kathak style of dancing. At that time, Kathak was being performed by nautch girls or boys and girls of decent families were not expected to learn this style of dancing. He decided to give religious inputs to the content, which were quite different from the content used by nautch girls. Moreover, he decided to teach this form of dancing to his own sons and daughters. Elders of his community were scandalized and Sukhadev Maharaj was virtually ex-communicated. But, this did not deter him from his determination. He did not believe in “only men having the right to dance”. He later changed his residence to another area of Varanasi/Benaras and established a school to teach dancing. He was a firm believer of equality and even admitted children of prostitutes who came to his school to learn dancing.
Reference: http://www.gurus247.com/hub/kathak.php
https://en.wikipedia.org/wiki/List_of_Kathak_exponents
http://www.nadsadhna.com/pages/IndianMusic/Dance.asp?About=Gharanas
https://en.wikipedia.org/wiki/Sitara_Devi
5. History of KathakSee previous years’ notes
6. Describe Jaipur and Lucknow GharanaSee previous years’ notes
7. Asanyukta hast-mudraSee previous years’ notes
8. Compositions in Pt. Paluskar and Pt. Bhatkande lipiTaal/Composition type
Pt. Bhatkande lipi
Pt. Paluskar lipi
Teen taal
tora
tat S tat S
x
ta thei thei tat
2
aa thei thei tat
0
tat S tat S |
3
the ee ya the
x
ee ya tram S
2
tat tat ta thei thei tat
0
aa thei thei tat tat tat |
3
ta S ta the thei tat
x
aa thei thei tat tat tat
2
ta S ta thei thei tat
0
aa thei thei tat tat tat |
3
ta
x
tat S tat S
1
ta thei thei tat
5
aa thei thei tat
+
tat S tat S
13
the ee ya the
1
ee ya tram S
5
tat tat ta thei thei tat
+
aa thei thei tat tat tat
13
ta S ta the thei tat
1
aa thei thei tat tat tat
5
ta S ta thei thei tat
+
aa thei thei tat tat tat
13
ta
1
Jhap taal
tora
tat S tat S
x 2
ta thei thei tat
0 3
aa thei | thei tat
x
tat S tat S
2 0
the ee ya the |
3
ee ya tram S
x 2
tat tat ta thei thei tat
0 3
aa thei thei tat | tat tat
x
ta S tat tat
2 0
ta S tat tat |
3
ta
x
tat S tat S
1 3
ta thei thei tat
+ 8
aa thei thei tat
1
tat S tat S
3 +
the ee ya the
8
ee ya tram S
1 3
tat tat ta thei thei tat
+ 8
aa thei thei tat tat tat
1
ta S tat tat
3 +
ta S tat tat
8
ta
1
Ek taal
tora
tat S tat S
x 0
ta thei thei tat
2 0
aa thei thei tat |
3 4
tat S tat S
x 0
the ee ya the
2 0
ee ya tram S |
3 4
tat tat ta thei thei tat
X 0
aa thei thei tat tat tat
2 0
ta S ta the thei tat |
3 4
aa thei thei tat tat tat
x 0
ta S ta thei thei tat
2 0
aa thei thei tat tat tat |
3 4
ta
x
tat S tat S
1 +
ta thei thei tat
5 +
aa thei thei tat
9 11
tat S tat S
1 +
the ee ya the
5 +
ee ya tram S
9 11
tat tat ta thei thei tat
1 +
aa thei thei tat tat tat
5 +
ta S ta the thei tat
9 11
aa thei thei tat tat tat
1 +
ta S ta thei thei tat
5 +
aa thei thei tat tat tat
9 11
ta
1
Teen taal
chakkardar tora
tram thei tram thei
x
tat tat tram thei
2
tigda tigdig thei S
0
tigda tigdig thei tigda |
3
tigdig thei tigda tigdig
x
thei S tram thei
2
tram thei tat tat
0
tram thei tigda tigdig |
3
thei S tigda tigdig
x
thei tigda tigdig thei
2
tigda tigdig thei S
0
tram thei tram thei |
3
tat tat tram thei
x
tigda tigdig thei S
2
tigda tigdig thei tigda
0
tigdig thei tigda tigdig |
3
thei
x
tram thei tram thei
1
tat tat tram thei
5
tigda tigdig thei S
+
tigda tigdig thei tigda
13
tigdig thei tigda tigdig
1
thei S tram thei
5
tram thei tat tat
+
tram thei tigda tigdig
13
thei S tigda tigdig
1
thei tigda tigdig thei
5
tigda tigdig thei S
+
tram thei tram thei
13
tat tat tram thei
1
tigda tigdig thei S
5
tigda tigdig thei tigda
+
tigdig thei tigda tigdig
13
thei
1
Jhap taal
Chakkardar tora
tram thei tram thei
x 2
tat tat tram thei
0 3
tigda tigdig | thei tigda
x
tigdig thei tigda tigdig
2 0
thei tram thei tram |
3
thei tat tat tram
x 2
thei tigda tigdig thei
0 3
tigda tigdig | thei tigda
x
tigdig thei tram thei
2 0
tram thei tat tat |
3
tram thei tigda tigdig
x 2
thei tigda tigdig thei
0 3
tigda tigdig | thei
x
tram thei tram thei
1 3
tat tat tram thei
+ 8
tigda tigdig thei tigda
1
tigdig thei tigda tigdig
3 +
thei tram thei tram
8
thei tat tat tram
1 3
thei tigda tigdig thei
+ 8
tigda tigdig thei tigda
1
tigdig thei tram thei
3 +
tram thei tat tat
8
tram thei tigda tigdig
1 3
thei tigda tigdig thei
+ 8
tigda tigdig thei
1
tram thei tram thei
1 3
tat tat tram thei
+ 8
tigda tigdig thei tigda
1
tigdig thei tigda tigdig
3 +
thei tram thei tram
8
thei tat tat tram
1 3
thei tigda tigdig thei
+ 8
tigda tigdig thei tigda
1
tigdig thei tram thei
3 +
tram thei tat tat
8
tram thei tigda tigdig
1 3
thei tigda tigdig thei
+ 8
tigda tigdig thei
1
Ek Taal
Chakkardar Tora
tram thei tram thei
x 0
tat tat tram thei
2 0
tigda tigdig thei tigda |
3 4
tigdig thei tigda tigdig
x 0
tram thei tram thei
2 0
tat tat tram thei |
3 4
tigda tigdig thei tigda
x 0
tigdig thei tigda tigdig
2 0
tram thei tram thei |
3 4
tat tat tram thei
x 0
tigda tigdig thei tigda
2 0
tigdig thei tigda tigdig |
3 4
thei
x
tram thei tram thei
1 +
tat tat tram thei
5 +
tigda tigdig thei tigda
9 11
tigdig thei tigda tigdig
1 +
tram thei tram thei
5 +
tat tat tram thei
9 11
tigda tigdig thei tigda
1 +
tigdig thei tigda tigdig
5 +
tram thei tram thei
9 11
tat tat tram thei
1 +
tigda tigdig thei tigda
5 +
tigdig thei tigda tigdig
9 11
thei
1
Teen taal
Seedhi Aamad
ta thei tat S
x
aa thei tat S
2
tathe eitat aathe eitat
0
the ee ei thei |
3
ta thei theita thei
x
the ee ei thei
2
ta thei theita thei
0
ta thei theita theita |
3
aa thei theita theita
x
thei thei thei tathei
2
thei thei thei tathei
0
thei thei thei tathei |
3
tathei
x
ta thei tat S
1
aa thei tat S
5
tathe eitat aathe eitat
+
the ee ei thei
13
ta thei theita thei
1
the ee ei thei
5
ta thei theita thei
+
ta thei theita theita
13
aa thei theita theita
1
thei thei thei tathei
5
thei thei thei tathei
+
thei thei thei tathei
13
tathei
1
Jhap taal
Seedhi Aamad
ta thei tat S
x 2
aa thei tat S
0 3
ta thei | tat S
x
aa thei tat S
2 0
thei thei thei thei-ta |
3
thei
x
ta thei tat S
1 3
aa thei tat S
+ 8
ta thei tat S
1
aa thei tat S
3 +
thei thei thei theita
8
thei
1
Ek taal
Seedhi Aamad
ta thei tat S
x 0
aa thei tat S
2 0
tathe eitat aathe eitat |
3 4
the ee ei thei
x 0
ta thei theita thei
2 0
the ee ei thei |
3 4
ta thei theita thei
x 0
ta thei theita theita
2 0
aa thei theita theita |
3 4
thei thei thei tathei
x 0
thei thei thei tathei
2 0
thei thei thei tathei |
3 4
tathei
x
ta thei tat S
1 +
aa thei tat S
5 +
tathe eitat aathe eitat
9 11
the ee ei thei
1 +
ta thei theita thei
5 +
the ee ei thei
9 11
ta thei theita thei
1 +
ta thei theita theita
5 +
aa thei theita theita
9 11
thei thei thei tathei
1 +
thei thei thei tathei
5 +
thei thei thei tathei
9 11
tathei
1
Teen taal
Paran
dhagetit dhagetit tagetit tagetit
x
dhagetit tagetit kirdatit nagetit
2
takit dhana dha gadigan
0
dha gadigan dha gadigan |
3
dha
x
dhagetit dhagetit tagetit tagetit
1
dhagetit tagetit kirdatit nagetit
5
takit dhana dha gadigan
+
dha gadigan dha gadigan
13
dha
1
Jhap taal
Paran
dhagetit dhagetit tagetit tagetit
x 2
dhagetit tagetit kirdatit nagetit
0 3
takit dhana | dha dhina
x
kat takit dhaNdha dhina
2 0
kat takit dhaNdha dhina
3
kat | dha
x
dhagetit dhagetit tagetit tagetit
1 3
dhagetit tagetit kirdatit nagetit
+ 8
takit dhana dha dhina
1
kat takit dhaNdha dhina
3 +
kat takit dhaNdha dhina
8
kat dha
1
9. Scene in gat-bhav.From practical exam
10. IntroductionSant & Poet SurdasSurdas was a late 15th century blind saint, poet and musician, known for his devotional songs dedicated to Lord Krishan. Surdas is said to have written and composed a hundred thousand songs in his magnum opus the 'Sur Sagar' (Ocean of Melody), out of which only about 8,000 are extant. He is considered a saguna bhakti poet and so also known as Sant Surdas, a name which literally means the "servant of melody". His most famous work was charan kamal bando hari rai.
According to the limited authentic life history of Surdas, it is said that he was born in 1478/79 in the village of Runakta,Mathura although some say it was Runkta near Agra. He started praising Lord Krishna when he was young. Surdas was born blind and because of this, he was neglected by his family. As a result, he left his home at the age of six. He lived in Braj (or Bhraj), near Mathura.
Surdas' lilting music and fine poetry attracted much praise. As his fame spread far and wide, the Mughal emperor Akbar (1542–1605) became his patron.
Surdas also attained fame for his purity of devotion towards Lord Krishna. In one incident, he falls into a well and is rescued by Lord Krishna. In another incident, he is granted vision by Lord Krishna, and when asked for another boon, requests to be turned blind again as he has already got what he wanted (sight of Lord Krishna).
Besides Sur-Sagar (songs presenting a vivid description of Krishna’s childhood), he also composed Sur-Saravali (which is based on the theory of genesis and festival of Holi) and Sahitya-Lahiri (devotional lyrics dedicated to the Supreme Absolute).
Surdas being disciple of guru Vallabhacharya was a proponent of the Shuddhadvaita school of Vaishnavism (also known as Pushti Marg). This philosophy is based upon the spiritual metaphor of the Radha-Krishna Rasleela (The celestial dance between Radha and Lord Krishna). It propagates the path of Grace of God through spirit of pure love and service, rather than of merging in Him as Brahma. His philosophy is a reflection of those times: the “Bhakti movement”, that was sweeping North India and represents grass roots spiritual empowerment of the masses. Among the 8 disciples of the Master-Teacher Vallabhachrya “Ashta-chaap”, Surdas is considered to be the foremost.
Surdas is known as the sun in the sky of Hindi literature. His poetry was a dialect of Hindi language “Brij Bhasha”, which until then was considered to be a very plebeian language, as the prevalent literary languages were either Persian or Sanskrit. The works of Surdas raised the status of Brij Bhasha from a crude language to that of a literary language of great repute.
Surdas spent the last years of his life in Braj, and lived on the donations which he received in return for his bhajan singing and lecturing on religious topics, until he died in CE 1584.
Reference: https://en.wikipedia.org/wiki/Surdas
Sant & Poet Meera-baiMeera Bai was a 16th century Hindu mystic poet and devotee of Krishna. She is celebrated as a poet and has been claimed by the North Indian Hindu tradition of Bhakti saints.
Though, her birth year is uncertain, most believe that Meera was born in 1498, in Merta, Rajasthan, in north-west India.
Her father, Ratan Singh Rathore was the ruler of a small Rajput kingdom kurki, district-pali, rajasathan. Her mother died when she was a baby, and she was the only child of her parents. She was educated in music, religion, politics and government. She grew up with her grandparents, who were devout worshippers of deity Vishnu. Meera willingly married Bhoj Raj, the crown prince of Mewar, in 1516. Her husband was wounded in one of the ongoing Hindu-Muslim wars of the Delhi Sultanate in 1518, and he died of battle wounds in 1521. Both her own father and her father-in-law were killed within a few years after her husband, during a war with the Islamic army of Babur – the founder of Mughal Empire in Indian subcontinent.
Most legends about Meera mention her fearless disregard for social and family conventions, her devotion to god Krishna, her treating Krishna as her lover and husband, and she being persecuted by her in-laws for her religious devotion. She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.
Meera’s poems are lyrical padas (metric verses). While thousands of devotional poems in passionate praise of Lord Krishna are attributed to Meera in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two poems, most were written down only in the 18th century. Many poems attributed to Meera were likely composed later by others who admired Meera. These poems are commonly known as bhajans, and are popular across India.
Prem Ambodh Pothi, a text attributed to Guru Gobind Singh and completed in 1693 CE, includes poetry of Mira Bai as one of sixteen historic bhakti sants important to Sikhism.
In her last years, Meera lived in Dwarka, Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.
Hindu temples, such as in Chittorgarh fort, are dedicated to Mira Bai's memory.
Reference: https://en.wikipedia.org/wiki/Meera
Madhyama PoornaTheory1. History of Kathak Dance. Knowledge of Temple tradition and Darbaar / Court tradition of Kathak dance.Kathak is derived from the Sanskrit word “Katha” meaning “story and is one of Indian classical dance forms belonging to northern and north-western Indian regions.
“Katha kahe so kathak kahave”
Originally, the professional story-tellers or bards who recited or sang stories from epics and mythology with elements of dance were called kathakas. And eventually this art of story-telling with songs and dances came to be known as “Kathak”.
The traditions of the Kathakas were hereditary, and dances were passed from generation to generation. There are literary references from 3rd and 4th centuries BCE which refer to these Kathakas.
By the 13th Century a definite style had emerged and technical features like mnemonic syllables and bol developed.
Bhakti movement during 15th-16th century had tremendous impact on Kathak. Kathak was used to narrate Rasalilas from the lives of Radha-Krishan(Sri Krishna’s exploits in the holy land of Vrindavan), and Krishna-leela (Krishna’s childhood tales). During this time, on one had the dance was being performed by Kathavachakas in temples and on the other hand folk elements were also beginning to influence it.
From 16th century onwards the dance form absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of Mughal Era. It also influenced Eurasian dance forms like Flamenco.
During Mughal era, dancers were enticed from the temples to the courts through gifts and royal favors and this caused a shift in the focus of Kathak, from a purely religious art form to court entertainment. As the dance form moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya pieces and a less stylized and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from other Indian dance forms, the roots of the style remained same, particularly in the hand-formations during story-telling and some body-postures.
Many emperors and princely rulers contributed to the growth and development of Kathak into different gharanas, or schools of dance. During early 19th century, the Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but also himself enjoyed dancing. Taught by Durga Prasa, he had also choreographed a dance, Rahas. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and forming the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Royal courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by courtesans, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra, kajri and tappa as well as thumri. Their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed nakhra (mischievous playfulness). As the dance teachers of these courtesans were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.
Around mid-19th century, the advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the courtesans. Indeed, by associating Kathak solely with the coutesans and then associating the courtesans with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of these courtesans in preserving the art forms should not be underestimated. Famous courtesans such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion.
Kathak first received world's attention in the early 20th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.
Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. Different dancers have worked on the form in different ways. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) has been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space. The late Rohini Bhate greatly enriched Kathak's rhythmic repertoire by creating a large corpus of dance compositions, while Durga Lal of the Jaipur gharana was famed for his speed and easy style of performance.
2. Detailed knowledge of Jaipur, Lucknow and Banaras Gharana (Repertoire)See previous years’ notes
3. Definition and usages of nine types of eyebrow movements as per ‘Abhinaya Darpan’.According to Bharat NatyaShastra the movements of the eye-brows are Seven in number:
- Sahaja
- Patita
- Utkshipta
- Rechita
- Kunchita/Nikunchita
- Bhrukuti
- Chatura
4. Definition and types of Tandav and Lasya.
Tandav and Lasya is a cordinal division of Indian classical dance recognized by the ancient authorities.
Tandav: is energetic, forceful, masculine, robust, expansive variety of dance which has its origin from Lord Shiva and consists of Karana’s, Angahara’s and Rechaka’s etc. as its parts. It’s full of furious, fearful, odious and such other sentiments.
Legend goes that Lord Shiva danced Tandav after killing the Demon “Tripur”. Later on Lord Shiva imparted the knowledge of this dance to his Gana “Tandu” and hence the dance form came to be known as “tandava”.
Dha-gin, dha-ka-da, yu-ng, dh-ti-ka etc. are the primary bols of Tandav.
Lasya: is that variety of dance which is feminine in its character and requires delicate, graceful and lyrical movements, tender feelings and arouses erotic sentiments. It has its origin from Goddess Parvati.
Legend goes that after killing the Tripur demon, when Lord Shiva was dancing, he became very angry and to calm him down Goddess Parvati performed the Lasya that was full of erotic sentiments.
Aforesaid all three varieties of Nartan: Natya, Nritta and Nritya bear this Tandav and Lasya characteristic in themselves.
Tandava:
The Tandava dance form was originated by Lord Shiva. Lord Shiva has been credited with many dance forms; of these foremost is Tandava dance. According to 'Shivopasnadak', Shiva after killing the demon 'Tripurasur' went into rapture (ullas) and danced. This dance form was re-enacted by his disciple, 'Tandu' Muni who popularized it. This dance form, practised by Tandu Muni, came to be known as 'Tandava'. This dance form involves expressions reflecting Courage (Veerta), Extreme anger (Roudra), Hatred (Vibhatsa), Enjoyment (Anand) and Anger born out of grief and sympathy (Karuna Janit Krodh). To express these rasas, tne dancer twists his limbs aggressively, which is not considered appropriate for the women. In the course of this dance, the fire of anger seems to peak, the earth seems to tremble as if the whole world is going through a process of destruction.
'Tandava' dance form has seven sub-classifications :
- 'Tripur Tandava': The dance performed by Lord Shiva after killing the demon Tripurasur reflected Courage (Veerta) and Extreme anger (Roudra) and is known as 'Tripur Tandava'. The 'Bols' of this dance form are mostly in 'Adi Laya'.
- 'Anand Tandava' : After Shiva had slayed 'Tripurasur', Goddess Uma performed 'Lasya' dance which is an embodiment of Pleasure (Ullas) and Excitement (Umang) which pleased the angry Shiva. This dance is known as 'Anand Tandava'.
- 'Gauri Tandava': In this dance form, Shiva and Parvati dance together in 'Shringar Rasa'.
- 'Kalika Tandava': In order to destroy evil and wicked, Shiva dances expressing his Bhairav form, which is known as 'Kalika Tandava'.
- 'Sandhya Tandava': After the death of his wife 'Sati', Shiva carried her dead body on his shoulders and danced while in mourning. This dance starts with Karuna Rasa and ends with expressing Roudra (Extreme anger) and Bhayanak Rasa (Terrible). This dance form is known as 'SandhyaTandava'.
- 'Uma Tandava' : This dance form stresses the conjugal affection, love and attraction in its purest and simple form.
- 'Samhar Tandava' : The destruction of entire universe is reflected in 'Samhar Tandava'
The instruments played in Tandava are 'Nada Pradhan' (Percussion instruments) with echo effect, as if surrounding and enveloping entire environment; e.g. Ghariyal, Jhanjh, Dumroo, Mrudang, Chang, Dhausa, Naubat etc.
The appropriate costume for Tandava performance is usually 'Male' dress i.e. the dancer ties his hairs like a Jata (Bun) showing half moon and river Ganga and wears an 'Angvastram' akin to the lion skin worn by Lord Shiva. The dancer applies 'Tripunda' (a Shaiva sign) on his forehead, takes Trident in one hand and Dumroo in the other. He also applies Bhasmi (Ashes) on his body.
Lasya :
After the demon 'Tripurasur' was killed by Lord Shiva, he danced in rage i.e. Tandava. Then to pacify and please him, Goddess Uma performed a soft and Shringarik dance, which is called 'Lasya'. Goddess Uma taught this dance to Usha, the daughter of Daitya Banasur. She popularized this dance form in Vrindavan.
The dance is extremely soft in movements and shringarik in expressions and this is performed more effectively by female dancers. The Raas Nritya of Mathura, Halisak of South India, Kathak, Bharatnatyam, Manipuri, Oddissi, Mohiniattam, Kuchipudi etc, which are performed today in various regions owe their origin to 'Lasya'.
Three types of Lasya Nritya are practised today :
- 'Vikat Lasya': The dance form in which Laya, Taal, Bhavas are exhibited while performing, is called 'Vikat Lasya'.
- 'Visham Lasya' : By using 'Bhramari' through horizontal, circular and slanted movements, special footwork in Laya based dance, 'Visham Lasya' is performed.
- 'Laghu Lasya': By producing sound on earth through anklets and through Anchit Kunchit Padvinyas, 'Laghu Lasya' is performed.
In this dance, instruments with soft sound, high bass are used such as 'Manjira', 'Flute', 'Ghunghroo' (anklets), 'Madal, 'Khol, 'Tabla', 'Tumburu' etc.
The costumes used are extremely shringarik and attractive. The female dancers use Chunnatdar Dhoti, broad Waist Bandh and Patka. They also wear garlands of flowers in their hairs and Chunnis of bright and dark colours. The hands and neck are adorned with pearls and flowers.
5. Ability to write Aadhi(1/2), Pauni(3/4), Kuwadi(1.1/4), Aadi(1.1/2 also known as Dedhi), Barabar(equal), Biadi(1.3/4 known as Paune do) laya of Teental.
6 (a). Define and elaborate ‘Abhinaya’.The Sanskrit word “Abhinaya” is made up of the prefix “Abhi” meaning “towards” and the root “Ni” that implies “to carry”. Thus it means carrying/representing a play to/towards spectators. According to Sahitya Darpan that representation is called the imitation of visualization of the conditions (physical and mental) of the characters in a drama. But the aesthetic significance of the imitation will be clear when the main object of the Indian plays, viz, the evoking Ras in the spectators, is taken into consideration. For this reason, the word Abhinaya may be said to be the means for disclosing to spectators the beauty or manifold pleasurable aspects of the play which can not be adequately appreciated by simply reading its text. Therefore, in spite of an apparent similarity between Abhinaya and Acting, the latter term, whenever it is used in connection with Indian plays, does not mean, quite the same thing.
Bharat Muni in his Natya Shastra has divided this Abhinay into 4 different branches:
- Angika (limb)
- Vachika (verbal)
- Aharya (costume)
- Sattvika (psychic)
2) Wachik“Vacha” means the speech, hence Vachika Abhinaya means verbal expression or imitation. It is the use of proper pronounciation, modulation of voice, accent and rhythm. Though it is mainly related with drama but it is also useful in dance at the time of reciting Bols and singing the song for Abhinaya.
3) AaharyaGreen-room activities are known as Aharya Abhinaya. The costume and the appearance of the actor help him in his work. They reveal the sex, race, sect or class, social or other position of the character represented. Thus the part which costume and physical decoration etc play, is called the Aharya Abhinaya.
4) SatwikThis is the representation of eight psychic conditions arising from the vital principle itself. These 8 conditions are- motionlessness (Stambha), perspiration (Sweda), horripilation (Romancha), change of voice (Vaiswarya), trembling of breathing (Vepathu), change of color (Vaivarnya), tears (Ashru) and fainting (Pralaya).
7. Write definition and usages of the following Sanyukta Hasta Mudras: Chakra, Samputa, Pash, Keelaka, Matsya, Koorma, Warah, Garud, Nagbandh, Khatwa and Bheruda.
8. Life story of the following Kathak maestros and their contribution to Kathak:(a) Pandit Achchan MaharajPt. Achchan Maharaj ji was the eldest son of Maharaj Kalka Prasad ji. His full name was Jagannath Prasad, but as his nature was very good (‘Achchha’ in Hindi), he was called “Achchhe Bhaiya” and eventually became renowned as “Achchan”.
He was born in 1893 in his maternal house at village Lamuha, district Sultanpur, Uttar Pradesh, India.
He got training in dance from his father and uncle Maharaj Bindadin. Since, Pt. Bindadin Maharaj ji had no children of his own, he gave the utmost training to his nephew Pt. Achchan Maharaj ji. Maharaj Kalk Prasad ji (Pt. Achchan Maharaj ji’s father), used to reside in Benaras and propogate the Kathak style of dancing and thumri singing of his Gharana from that place.
Achchan Maharaj ji was a master in his field and there are numerous stories related to his dance and about how he outwitted his rivals in the field. He served for a long time as a court dancer at Rampur, Raigarh and some other states of Northern India. But ultimately he came back to Lucknow. He loved Lucknow very much and used to say that the climate of Lucknow is as healthy for a dancer as is the climate of hill-area for a patient of T.B.. Though his body was unwieldy but when he danced he virtually transformed himself and became a model of grace and agility. True to the tradition of Lucknow Gharana he excelled in Bhava, but he was also an exponent in Nritta.
He died in 1946 and with his demise the Lucknow Gharana truly lost a foremost representative. He is survived by son, Pt. Birju Maharaj, who has proved himself to be a worthy successor.
(b) Pandit Shambhu Maharaj
Pt. Shambhu Maharaj was the youngest of the 3 famous sons of Pt. Kalika Prasad ji. He was born as Shambhunath Mishra in 1910 at Lucknow. He was trained in Kathak, first by his uncle Maharaj Bindadin and then by his eldest brother Pt. Achchan Maharaj.
Apart from concentrating on dancing, Shambhu Maharaj also learnt classical Hindustani music, especially the Thumari anga from Ustad Rahimuddin Khan of Benaras.
Shambhu Maharaj had an extra-ordinary command on Bhava. He also made earnest efforts to revive the use of Ashtapadi and certain Thumaris and Bhajans and other Nritya pieces in Kathak.
In 1952, he joined the Bharatiya Kala Kendra (later, Kathak Kendra), New Delhi. He became the head of the Dance (kathak) department. He was honoured with the Sangeet Natak Akademi Fellowship in 1967 and Padmashri in 1956, besides being titled Nritya Samrat and Abhinaya Chakravati.
He had 2 sons, Krishnamohan and Rammohan and a daughter, Rameshwari. Amongst his pupils, the most noted exponents of kathak are his nephew Birju Maharaj, Kumudini Lakhia, Damayanti Joshi, Maya Rao, Bharati Gupta, Uma Sharma and Rina Singha. His son Rammohan Maharaj was also his disciple and continues to perform his style.
He was established as a popular Kathak dancer since very young age, and till his death on 4th November 1970 he enjoyed a reputation which was an envy of every kathak dancer. He was an able teacher too and had trained hundreds of pupils.
(c) Pandit Lachchu MaharajPt. Lachchu Maharaj was an Indian classical dancer and choreographar of Kathak. He came from a family of illustrious kathak exponents in Lucknow and also worked as film choreographer for Hindi cinema.
He was born in 1907 to Pt. Kalika Maharaj and was the 2nd of his 3 famous sons. He received extensive training from Pt. Bindadin Maharaj, his uncle and the court dancer of the Nawab of Awadh, for nearly 10 years. He also learnt the percussion instruments: Pakhawaj and Tabla and also pioneered in Hindustani Classical vocal music.
Later, he moved to Mumbai, where the emerging film industry helped him to bring Kathak to a far wider audience. Lachchu Maharaj was acclaimed for the choreography of dance sequences in movies like Mughal-e-azam, Chhoti Chhoti Batein, Pakeezah as well as his ballets like Goutam Buddha, Chandravali and Bharatiya Kissan. He was also the founding Director of the Kathak Kendra started by the Uttar Pradesh Government in Lucknow.
Among many prestigious awards he won were the President’s Award and the 1957 Sangeet Natak Akademi Award, the highest award for performing artists, conferred by the Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.
He Died in 1978. In September 2007, a 2-day festival was organized in Lucknow to celebrate his birth centenary where the students of the dance institution founded by him staged a ballet “Megh Malhar”. A book honoring him was also released at this festival.
(d) Pandit Narayan Prasad
Pt. Narayan Prasad was the youngest son of Hanuman Prasadji of Jaipur. He was born in 1908 in Jaipur. His dance training was started at the age of 8 years by his father and uncle Hari Prasadji and at the age of 12 years he came before audience as a child artist. Since then a long chain of dance performances in various music conferences throughout the country which gave him great name and fame.
In 1957, he was honoured by the title of “Nrityaacharya” by Gandharva Mahavidyalaya mandal at Belgaon. Since 1950, he was serving at the Gandharva Mahavidyalaya, Delhi and he died in 1958 at Delhi.
He is survived by 2 sons, Charan Girdhar “Chand” and Tej Prakash “Tulsi”. Both of them are in dance field at Delhi;
Pt. Narayan Prasadji had equal command on Laya and Bhava, both the sides of Kathak Dance. He was at ease whenever presenting Layakaris in difficult Talas. On the other side he was supposed to be a master of Shringar Rasa (Erotic Sentiment) among the dancer of Jaipur gharana.He was also an excellent singer and Tabla-Pakhawaj player. He was a devotee of Lord Krisna and on the basis of Krishna-Leela he had composed a number of Kavittas and Thumaris. He was also a Bountaous teacher, who trained hundreds of students in Kathak dance.
(e) Pandit JaylaalAcknowledged, by common consent, as the doyen of Jaipur Gharana, Pt. Jaylal Mishra was born about 1885 at Jaipur and he died in 1949 at Calcutta.
He obtained training in dance from his father Chunnilalji, his uncle Durga Prasadji and also from Pt. Bindadin Maharajji of Lucknow gharana.
He was first attached to the court of Jaipur and after that he also served as the court dancer in the State of Jodhpur, Sikari, Raigarh and Maihar. He lived in Nepal too. Raja Chakradhar Singh of Raigarh had great respect for him. Pt. Jaylalji stayed at Raigarh for about 8 years and taught Kartik Ram, Kalyan Das, Firatu Das and Barman Lal.
He married twice. He had a son Ram Gopal from his first wife and daughter Jaikumari through his second marriage. Both his children were best dancers of their times, especially, Jaikumari was famous for being uncompetable in Layakaris, Tatkar and Chakkar.
Pt. Jaylal was also an expert in Table and Pakhawaj and was also a qualified musician. Famous tabla-players of that time had also accepted him as a great master of Laya and Tala. Easy presentations of difficult Talas, astonishing use of various layas, large Parans, pramelus, jatis parans, pakshi parans, tandava bhedas and impressive padhanta were his specialities.
At the fag end of his life he was working at Vani Vidya Vithi at Calcutta, where he trained a large number of students in kathak.
9. Ability to write the notations of all the todas in Teental, Rupak and Dhamar.
Sanyukta Hast Mudras:
Anjalishcha kapotashcha karkataka swastikastathaa ll
Dolaahastaha pushpaputa utsangaha shivalingakaha l
Katakaavardhanashchaiva kartariswastikastathaa ll
Shakatam shanka chakre cha samputaha paashakilakou l
Matsyaha koormo varaahashcha garudo naagabandhakaha ll
Khatvaa bherenda ityete sankhaata sanyuttaaha karaaha l
Trayaavishatirityuktaha poorvagairbharataadibhiha ll
There are a total of twenty three double hands or Sanyukta hast gestures and each one has its own prescribed uses termed as Viniyoga. These are as follows-:
Dolaahastaha pushpaputa utsangaha shivalingakaha l
Katakaavardhanashchaiva kartariswastikastathaa ll
Shakatam shanka chakre cha samputaha paashakilakou l
Matsyaha koormo varaahashcha garudo naagabandhakaha ll
Khatvaa bherenda ityete sankhaata sanyuttaaha karaaha l
Trayaavishatirityuktaha poorvagairbharataadibhiha ll
There are a total of twenty three double hands or Sanyukta hast gestures and each one has its own prescribed uses termed as Viniyoga. These are as follows-:
- Anjali: This is used to denote salutation- above the head, front of the face and the chest for deity, preceptor and Bramhana. (For Deva- above head, for Guru_ front of the face, For Bramhana- front of the chest.)
- Kapota: This is used to denote a lotus bud at its opening.
- Karkata: This is used to denote the coming together of a multitude, belly, twisting or stretching of limbs, pulling down a branch.
- Swatika: This is used to denote Dasa or slave , bhakta or devotee.
- Dola: This is used to denote dejection, to get rid of.
- Pushpaputam: This is used to denote aarti, drinking water, offering to god, inhaling the fragrance of flowers, Shiva’s begging bowl. Pushpaputa in reverse shows dusk.
- Utsanga: This is used to denote an embrace, armlets, duty, the strength of muscles.
- Shivalinga: This is used to denote Shiva in the form of Linga.
- Katakaavardhana: This is used to denote Pattabhishekam (the crowning of Lord Rama). This is used mostly in nritta.
- Kartariswatikam: This is used to denote creepers, hill top.
- Shakatam: This is used to denote a rakshasa.
- Shanka: This is used to denote a conch shell (Paanchjanyam- the conch of Vishnu).
- Chakra: This is used to denote the wheel of Lord Vishnu.
- Samputa: This is used to denote a boon or a promise, covering things, box, hiding small things.
- Paasa: This is used to denote a war between friends, enmity, chains.
- Kilakam: This is used to denote friendship, wooing, teasing.
- Matsya: This is used to denote a fish.
- Koorma: This is used to denote a tortoise.
- Varaaha: This is used to denote a boar.
- Garuda: This is used to denote the vehicle of Lord Vishnu, Birds.
- Nagabandha: This is used to denote serpents or a serpent-tie.
- Khatvaa: This is used to denote a bed.
- Bherunda: This is used to denote a pair of birds, a mythological bird with two heads.
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