Eternal India Encyclopedia

Eternal India encyclopedia

DANCE

91.

Avahitthaka

93.

Thalasanghattitham The dancer raises the feet by lift-

92.

Janitha One hand in mushti is held in front

90.

Nivesa Both hands are held in front of the

After performing the janitha kar- ana, the dancer bring her hands closer fac- ing each other slowly. The hands will hold Alapadma and arala hasta and they are moved over the forehead and chest.

ing it, moves it in a swinging way. Claps the hands and holds the left hand in a - downward way.

of the chest and the other is held in Dola hasta (let down lose). The feet is made to rest in front of the toes.

chest holding

kataka hasta. The dancer

stands on Ma.ndalasth.ana.

98. Urudrittam

One foot is stretched forward and the other foot is stretched to the back. Like wise the hand is arched and placed on the back of the thighs. The legs are raised and bent and placed slightly apart. The dancer should stand in an erect position. The hands hold Arala and kataka hasta.

99.

Madaskhalitha Both the hands are let down loose.

94.

Elakakriditha The dancer jumps on both feet

100.. Vishnukrantha

One foot is bent and stretched forward as if to start walking. Hands are turned downward as in Rechita hasta.

Head is turned as in Parivahitha. Feet are bent and curved. Face assumes different expressions. One hand holds mushti while the other hand is in Lata hasta.

forcefully. She bends her body and sits down. This is followed by turning of the body. Hands will be holding Katakamukha and Dola hastha.

101.

Vrishabhakriditha Foot is stretched backward. A lata

104.

Sambhrantha One hands is rotated and placed

103. Vishkambha The right foot is placed near the left foot in suci pada. Right hand is stretched to the front and the left hand is placed near the chest.

102. Udghattitha

movement is performed. Hands are in Alapadma hasta are moved in Recita move. Hands are turned down and shoulders are inverted. Feet moves in Nikutta posture, hips are bent.

over the thigh as in Avartitha. Hand will hold Alapadma and is moved in a circular way. The thigh will be in horizontal posi- tion i.e., Aviddha chari.

The feet are stamped rhythmically marking beat of tala. Sides are bent and hands are clap to mark tala.

107. Sakatasya The dancer rests sitting down. She bends her head to touch the floor. The foot is stretched, raised chest is exposed and then the dancer does a summersault. The left hand is placed on the chest and then other hand is pointed downwards and legs are bent.

105.

Lolitha Hands are arched and turned

106.

Nagapasarpitha Both feet are crossed as in swas-

108.

Ganga vataranam One foot is raised up with the

down and spread widely holding padma hasta. Head is moved in circular way on all sides. The dancer stands in Vaishnava sthana.

tika, and then separated, head moves in different directions, the hands are turned down in Chaturahastha, dancer stands in Mandalasthana.

sole turned up. Both the hands are pointed downwards, in Tripataka hasta. Head is also bent as also the chest is raised.