Level 1
DHYANA SHLOKAM
Angikam bhuvanam yasya vAchikam sarva vAngmayam |
AhAryam chandra tArAdi tam numah sAtvikam shivam ||
'I bow to the pure (sAtvikam) God Shiva, who body (Angikam) is the entire universe, whose speech (vAchikam) is the sound of the universe, and whose ornaments (AhAryam) are the moon and the stars.' (Here Angikam, vAchikam, AhAryam and sAtvikam also denote the four kinds of abhinaya)
ASAMYUTHA HASTAS - SINGLE HAND GESTURES
patAkastripatAkOrdhadhapatAkah kartareemukhaha
mayoorAkhyOrdhachandrascha arAlah shukatundakaha
mustischa shikharAkyascha kapittah katakAmukhaha
soochi chandrakalA padmakoshah sarpashirastathA
mrigaseershah simhamukhaha kAgoolaschAlapadmakaha
chaturO bhramaraschaiva hamsAsyO hamsapakshakaha
samdamshO mukulaschaiva tAmrachoodastrishoolakaha
ityasamyuta hastAnAm ashtAvimshati riritA
patAka: flag
tripatAka: triangular flag
ardhapatAka: flag at half mast
kartarimukham: the blades of scissors
mayoora: peacock
ardhachandra: half moon
arAla: curved or crooked
shutakunda: parrot's beak
mushti: fist
shikhara:
kapitta:
katakAmukam
soochi:
chandrakalA:
padmakOsha:
sarpashiras:
mrigaseersha:
simhamukam:
kangoola:
alapadma:
chatura:
brahmara:
hamsAsya:
hamsapaksha:
sandamsha:
mukula:
tAmrachooda:
trishoola:
SAMYUTHA HASTAS - DOUBLE HAND GESTURES
Anjalischa kapOtascha karkata swastikastatha
dolAhastah pushpaputaha utsangO shivalangakaha
katakAvardanaschaiva kartari-swastikastatha
shakatam shanka chakrEcha samputa pAsha keelakau
matsya koormo varAhascha garudO nAgabandakaha
katwa bhErunda
trayovimsha teerit-yuktAhA poorvagair bharatAdibihi ||
anjali:
kapOta:
karkata:
swastika:
dola:
pushpaputa:
utsanga:
shivalinga:
katakAvardhana:
kartariswastika:
shakatam:
shankha:
chakra:
samputa:
pAsha:
keelakau:
matsya:
koorma:
varAha:
garuda:
nAgabandha:
katwa:
bhErunda:
SHIROBHEDA - HEAD MOVEMENTS
samamudvAhitamadhOmukhamAlOlitam dhutam
kampitam cha parAvrittamukshiptam parivAhitam
navadha kathitam seersham nAtyashastravishAradaihi
sama:
udvAhita:
adhomukha:
AlOlita:
duta:
kampita:
parAvritta:
ukshipta:
parivAhita:
DRISHTIBHEDA - EYE MOVEMENTS
GREEVABHEDA - NECK MOVEMENTS
sundari cha tirascheena tathaiva parivartitA
prakampitA cha bhAvagnyair gnEyA greevAchaturvidhA
sundari:
tirascheenA:
parivartitA:
prakampitA:
Level 2
Asamyutha hasta viniyogas - uses of single hand gestures
Patakam:
nAtyArambhE vArivAhE vanE vastunishEdhanE
kuchasthalE nishAyAmcha nadyAm amaramandalE
turangE khandanE vayau shayanE gamanOdyamE
pratApEcha prasAdEcha chandrikAyAm ghanAtapE
kaVatapAtanE sapta-vibhaktyarthE tarangakE
veethi pravEsha-bhAvEpi samatvEcha angarAgakE
AatmArthE shapathE chApi tooshnimbhAva nidarshanE
tAlapatrEcha kEtEcha dravyAdi sparshanE tathA
AasheervAda kriyAyAmcha nripashrestasya bhAvanE
tatra tatrEti vachanE sindhau tu sukrutikramE
sambodanE purOgEpi kadgaroopasya dhAraNE
mAsE samvatsarE varshadinE sammArjanE tatha
evamartEshu yujyanthE patAkahasta bhAvanAhA ||
at the beginning of dance, clouds, forest, forbidding or saying no
chest, night, river, heavens
horse, cutting, wind, lying down, leaving or exiting
greatness, favor or blessing, moonlight, strong sunlight
opening/closing doors, seven case endings in the sanskrit language, wave
entering a road, equality, anointing the body,
oneself, taking an oath, silence, palmyra leaf, shield, touching things
blessing, king, showing different places, ocean, good deeds
addressing someone, going forward, holding a sword
month, year, rainy day, sweeping the floor
Tripatakam:
makutE vrikshabhAvEshu vajrE taddaravAsavE
kEtakikusumE deepE vanhijwAlA vijrumbanE
kapOtE patrakEkhAyAm bAnArthE parivartanE
yujyatE tripatAkOyam kathito bharathOttamaihi ||
kings crown, tree, Indra's weapon (which is like a thunderbolt), Indra,
ketaki flower, lamp, rising flames,
pigeon, patterns drawn on a leaf or on the body, arrow, circular movements
ArdhapatAkam:
pallavE phalakE teerE ubhayOriti vAchakE
krakachE choorikAyAm cha dwajE gOpurashringayoho
yujyathE ardhapatAkOyam tattat karma prayOgakE ||
tender leaves, wooden plank, banks of a river, to say 'two' or 'both'
a cutting saw, pen knife, flag, temple tower, horns (of animals)
Kartarimukham:
stri-pumsayOstu vishlEshE viparyAsa padEpi vA
lunTanE nayanAntE cha maraNE bhEdabhAvanE
vidyudarthE-pyekashayyAvirahE patanE tatha
latAyAm yujyatE yastu sa karah kartareemukhaha ||
separation of a man and woman, to oppose,
plunder or loot, corner of the eyes, death, disagreement,
lightning, sleeping alone or being separated from the loved one, to fall, creeper
Mayoora:
mayoorAsyE latAyAm cha shakunE vamanE tatha
alakasyApa nayanE lalAta tilakEshu cha
nadyudakasya nikshEpE shastravAde prasiddhakE
Evamartheshu yujyanthE mayoorakarabhAvanAhA ||
peacock's neck, creeper, bird, vomiting, disentagling the hair, an auspicious mark (tilaka) on the forehead, sprinklig river water, discussing the shastrAs, a famous thing
Ardhachandra:
chandrE krishnAshtami-bhAji galahastArthakE pi cha
ballAyudhE dEvatAnAm abhishEchana karmaNi
bhukpAtrE chOdbhavE katyAm chintAyAm AtmavAchakE
dhyAnE cha prArthanE chApi angANAm sparshanE tatha
prAkritAnAm namakArE ardhachandrO niyujyatE
phases of the moon on the eighth day of the dark fortnight, seizing someone's throat, spear, doing abhishekam for the deity, a plate for food, origin, waist, thinking about oneself, meditation, prayer, touching the limbs, greeting someone or praying
Arala:
vishAdamruta pAnEshu prachanda pavanEpi cha ||
drinking poison/nectar, violent wind
Shukatunda:
bhANaprayOgE kuntArthEvAlayasya smriti kramE
marmOtyAmugrabhAvEshu shukatundO niyujyatE ||
shooting an arrow, a spear, remembering one's abode, murmuring chants, extreme anger
mushti:
sthirE kachagrahE dArdhyE vastvAdeenAm cha dhAranE
mallAnAm yudbhAvEpi mushti hastOyamishyatE
steadiness, grasping one's hair, firmness, wearing/holding things, showing wrestlers in combat mode
shikara:
madanE kArmukE stambhE nischayE pitru karmaNi
OstE pravishtaroopE cha radanE prashnabhAvanE
lingE nAsteeti
manmatha/cupid, bow, pillar, resolve, making offerings to the ancestors, upper lip, entering, teeth, questioning, shivalinga, saying no, remembering, indicating the end of an abhinaya sequence, wearing the waist band or girdle, showing the process of embracing, sound of a bell,
kapitta:
lakshyAm chaiva saraswatyAm natAnAm tAla dhAraNE
godOhane-pyanjanE cha leelA kusuma dhAraNE
chelAnjanAdi grahaNE patasyaivAha gunTanE
dhoopadeepArchanE chApi kapittah samprayujyathE ||
katakamukham:
soochi:
ekArthEpi parabramha bhAvanAyAm shatEpi cha
ravow nagaryAm lOkArthE tathEthi vachanEpi cha
yacchabdEpi tachabdE vijanAthEpi tarjanE
kArshyE shalAkE vapushi AscharyE vEni bhAvanE
ChattrE samarthE pAnow cha rOmAlyAm bherivAdanE
kullAla chakra bhramanE rathAnga mandalE tatha
vivEchanE dinAnthE cha soochihastaha prakeerthitaha
chandrakala:
chandrE mukhE cha prAdEshE tanmAtrAkAra vastuni
shivasya makutE gangAnadyAm cha lagudEpi cha
yEshAm chandrakalA chaiva viniyOjyA vidheeyatE ||
moon, face, to show the span between the thumb and the index finger, objects of equal dimensions, the crescent moon on Shiva's head, river Ganga, axe
Patakam:
nAtyArambhE vArivAhE vanE vastunishEdhanE
kuchasthalE nishAyAmcha nadyAm amaramandalE
turangE khandanE vayau shayanE gamanOdyamE
pratApEcha prasAdEcha chandrikAyAm ghanAtapE
kaVatapAtanE sapta-vibhaktyarthE tarangakE
veethi pravEsha-bhAvEpi samatvEcha angarAgakE
AatmArthE shapathE chApi tooshnimbhAva nidarshanE
tAlapatrEcha kEtEcha dravyAdi sparshanE tathA
AasheervAda kriyAyAmcha nripashrestasya bhAvanE
tatra tatrEti vachanE sindhau tu sukrutikramE
sambodanE purOgEpi kadgaroopasya dhAraNE
mAsE samvatsarE varshadinE sammArjanE tatha
evamartEshu yujyanthE patAkahasta bhAvanAhA ||
at the beginning of dance, clouds, forest, forbidding or saying no
chest, night, river, heavens
horse, cutting, wind, lying down, leaving or exiting
greatness, favor or blessing, moonlight, strong sunlight
opening/closing doors, seven case endings in the sanskrit language, wave
entering a road, equality, anointing the body,
oneself, taking an oath, silence, palmyra leaf, shield, touching things
blessing, king, showing different places, ocean, good deeds
addressing someone, going forward, holding a sword
month, year, rainy day, sweeping the floor
Tripatakam:
makutE vrikshabhAvEshu vajrE taddaravAsavE
kEtakikusumE deepE vanhijwAlA vijrumbanE
kapOtE patrakEkhAyAm bAnArthE parivartanE
yujyatE tripatAkOyam kathito bharathOttamaihi ||
kings crown, tree, Indra's weapon (which is like a thunderbolt), Indra,
ketaki flower, lamp, rising flames,
pigeon, patterns drawn on a leaf or on the body, arrow, circular movements
ArdhapatAkam:
pallavE phalakE teerE ubhayOriti vAchakE
krakachE choorikAyAm cha dwajE gOpurashringayoho
yujyathE ardhapatAkOyam tattat karma prayOgakE ||
tender leaves, wooden plank, banks of a river, to say 'two' or 'both'
a cutting saw, pen knife, flag, temple tower, horns (of animals)
Kartarimukham:
stri-pumsayOstu vishlEshE viparyAsa padEpi vA
lunTanE nayanAntE cha maraNE bhEdabhAvanE
vidyudarthE-pyekashayyAvirahE patanE tatha
latAyAm yujyatE yastu sa karah kartareemukhaha ||
separation of a man and woman, to oppose,
plunder or loot, corner of the eyes, death, disagreement,
lightning, sleeping alone or being separated from the loved one, to fall, creeper
Mayoora:
mayoorAsyE latAyAm cha shakunE vamanE tatha
alakasyApa nayanE lalAta tilakEshu cha
nadyudakasya nikshEpE shastravAde prasiddhakE
Evamartheshu yujyanthE mayoorakarabhAvanAhA ||
peacock's neck, creeper, bird, vomiting, disentagling the hair, an auspicious mark (tilaka) on the forehead, sprinklig river water, discussing the shastrAs, a famous thing
Ardhachandra:
chandrE krishnAshtami-bhAji galahastArthakE pi cha
ballAyudhE dEvatAnAm abhishEchana karmaNi
bhukpAtrE chOdbhavE katyAm chintAyAm AtmavAchakE
dhyAnE cha prArthanE chApi angANAm sparshanE tatha
prAkritAnAm namakArE ardhachandrO niyujyatE
phases of the moon on the eighth day of the dark fortnight, seizing someone's throat, spear, doing abhishekam for the deity, a plate for food, origin, waist, thinking about oneself, meditation, prayer, touching the limbs, greeting someone or praying
Arala:
vishAdamruta pAnEshu prachanda pavanEpi cha ||
drinking poison/nectar, violent wind
Shukatunda:
bhANaprayOgE kuntArthEvAlayasya smriti kramE
marmOtyAmugrabhAvEshu shukatundO niyujyatE ||
shooting an arrow, a spear, remembering one's abode, murmuring chants, extreme anger
mushti:
sthirE kachagrahE dArdhyE vastvAdeenAm cha dhAranE
mallAnAm yudbhAvEpi mushti hastOyamishyatE
steadiness, grasping one's hair, firmness, wearing/holding things, showing wrestlers in combat mode
shikara:
madanE kArmukE stambhE nischayE pitru karmaNi
OstE pravishtaroopE cha radanE prashnabhAvanE
lingE nAsteeti
manmatha/cupid, bow, pillar, resolve, making offerings to the ancestors, upper lip, entering, teeth, questioning, shivalinga, saying no, remembering, indicating the end of an abhinaya sequence, wearing the waist band or girdle, showing the process of embracing, sound of a bell,
kapitta:
lakshyAm chaiva saraswatyAm natAnAm tAla dhAraNE
godOhane-pyanjanE cha leelA kusuma dhAraNE
chelAnjanAdi grahaNE patasyaivAha gunTanE
dhoopadeepArchanE chApi kapittah samprayujyathE ||
katakamukham:
soochi:
ekArthEpi parabramha bhAvanAyAm shatEpi cha
ravow nagaryAm lOkArthE tathEthi vachanEpi cha
yacchabdEpi tachabdE vijanAthEpi tarjanE
kArshyE shalAkE vapushi AscharyE vEni bhAvanE
ChattrE samarthE pAnow cha rOmAlyAm bherivAdanE
kullAla chakra bhramanE rathAnga mandalE tatha
vivEchanE dinAnthE cha soochihastaha prakeerthitaha
chandrakala:
chandrE mukhE cha prAdEshE tanmAtrAkAra vastuni
shivasya makutE gangAnadyAm cha lagudEpi cha
yEshAm chandrakalA chaiva viniyOjyA vidheeyatE ||
moon, face, to show the span between the thumb and the index finger, objects of equal dimensions, the crescent moon on Shiva's head, river Ganga, axe
Asamyutha hasta viniyogas - video
Samyutha hasta viniyogas - video
Level 3
Glossary of commonly used terms used in Indian dance
Abhinaya
In Indian dance, the art of expression, or conveying meaning and experience to the audience. In Bharatanatyam, the term is typically used in reference to facial expressions and body movements, since speech is not used.
Adavu - Sollukattu
A rhythmic syllable, or phrase of rhythmic syllables (sollukattu) linked to specific units of dance movement (adavu).
Adavu - jati
A sequence of rhythmic movements in a composition, which is a combination of adavus, or basic dance units.
Adavu
A basic unit of dance technique in Bharatanatyam, combining standing position, foot and leg movement, and hand gestures. Adavus are the building blocks of the nritta, or abstract dance aspect of Bharatanatyam, in which the movements are decorative and convey no meaning.
Adbhuta
Awe or amazement, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), raudra (fury), hasya(laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Adhama
Of low stature. One of the classifications of characters in Bharatanatyam. Others are uttama (divine) and madhyama (human).
Aharya, Aharya Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through costume, jewelry, and make up.
Alarippu
Usually the first dance item in a Bharatanatyam recital, the alarippu is an abstract dance item that begins with movements of just the eyes and neck movement, and then progressively involves more of the body and increase the rhythmic pace. It symbolizes awakening, sanctification of the performing place, and dedication of the dancers body to the divine, to start the performance. No meaning is expressed in this purely decorative number.
AngAs
The major parts of the body, such as head, chest, hands, and legs. One of three groups into which body parts are classified for the assignment of movements. The others are the pratyAngas or intermediate parts of the body, and upAngas, which include the extremities and facial features.
Angika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through body movements, including hand gestures and facial expressions.
AnubhAva
The consequences or effects of a feeling, manifested externally, that serve to indicate the inner state.
Anudhrutam
'One of the rhythmic patterns in Carnatic music, consisting of a single beat. Denoted by “U” in the conventional shorthand.
Araimandi
A signature posture of Bharatanatyam, with erect torso, bent legs, knees outward, heels together, and toes outward. Also called ardhamandali.
Arangam
A Tamil word meaning stage, raised platform, or island.
Arangetram
The debut performance of a Bharatanatyam dancer, marking his or her readiness for performing a full solo recital. A Tamil word meaning to step onto the stage, from of arangam (stage) and etram (ascent).
Ardhamandali
A signature posture of Bharatanatyam, with erect torso, bent legs, knees outward, heels together, and toes outward. Also called araimandi.
Ashtapadi
Literally means "eight steps", from Sanskrit ashta (eight) and padi (steps), but refers to musical compositions with eight lines. In Bharatanatyam context, refers to the Gita Govinda, 12th century compositions by Indian poet Jayadeva on relationship between the gopis (cowgirls) and Lord Krishna, symbolizing eternal love of a devotee for the divine.
Bhagavata Melam
A group form of dance drama from Tamil Nadu, with all roles performed by men, and themes based on mythology
Bhagavatam
Also called Bhagavata Purana or Srimad Bhagavatam. An ancient Hindu scripture in which stories of the incarnations of Vishnu are told, eliciting bhakti or loving devotion to Vishnu or Krishna as the supreme being.
Bhajan
A Hindu devotional song, typically expressing Bhakti (loving devotion) towards the divine
Bhakti
A Sanskrit word meaning devotion. In Hinduism or Bharatanatyam, refers to loving devotion to a particular deity. A high form of spiritual expression emphasized in Bharatanatyam by Rukmini Devi.
Bhava
The art of expression, the outer manifestation of an inner experience. Bhava is a key feature of Bharatanatyam.
Bhayanaka
Fear, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bibhatsa (revulsion), and shanta (peace).
Bibhatsa
Revulsion, one of the nine emotions in Bharatanatyam. The others are shringara(love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement),raudra (fury), hasya (laughter, humor), bhayanaka (fear), and shanta (peace).
Brahmin
Also Brahmana. In ancient India, one who attained highest spiritual knowledge. One with suitable traits for spiritual advancement. After the caste system came into being, one who was born in the Brahmin or priestly caste. More recently associated with educated classes of society.
ChApu
One of the qualifiers with which a tala or rhythmic meter is identified. Chaapu corresponds to the number of beats in the laghu, and is also known as jaathi.
Chinna Melam
Another name for Sadir Natyam, combining Tamil chinna (small) and melam(performance)
DAsi Attam
The dance of the devadasis, from Tamil attam, meaning dance.
DevadAsi
A female artist dedicated to the service of a temple. Literally, a servant (dasi) of the divine (deva).
Dhrutam
One of the rhythmic patterns in Carnatic music, consisting of a two beats. Denoted by “0” in the conventional shorthand.
Drut
The fastest of the three tempos used in Bharatanatyam. Drut is double the speed ofmadhya, which is double the speed of vilamba.
Etram
A Tamil work meaning ascent, climbing, or to step onto.
Gati
The number of counts per beat of a tala. Also called nadai. Each beat may be divided into 3, 4, 5, 7, or 9 counts (default is 4), with the names Tisra, Chatusra, Khanda, Misra, and Sankeerna, respectively, for the gati.
Gungaroo
Hindi term for a dancer's ankle bells. Also called salangai in Tamil.
Guru
A Sanskrit term for teacher, implying the sacred role of the giver of knowledge, and of the knowledge itself
Gurukulam
A system of schooling in ancient India in which the students live with, or near, the teacher. From Sanskrit guru (teacher) and kula (extended family).
Hasta, Hasta Mudra
A symbolic gesture using the hands and fingers, used for decoration as well as expressing meaning in Bharatanatyam.
HAsya
Humor or laughter, one of the nine emotions in Bharatanatyam. The others areshringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra (fury), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
JAthi
One of the qualifiers with which a tala or rhythmic meter is identified. Jaathicorresponds to the number of beats in the laghu, and is also known as chaapu.
Jati
Drum syllables, or sequences of drum syllables, describing units of percussion. Also sequences of syllables intoned by the dance conductor (nattuvanar), during abstract dance passages.
Jatiswaram
Usually the second item in a Bharatanatyam performance, a abstract dance number without expression of meaning, in which diverse rhythmic patterns and musical phrasing are used. The music has no lyrics, and only the names of notes are sung.
JAvali
An expressive Bharatanatyam number, with colloquial lyrics that usually describe love at the human level, as opposed to a padam which is refined. Javalis also are faster paced.
KAla
The tempo of the rhythm. Independent of the tala pattern or rhythmic meter. Three speeds are used for dance: slow (vilamba), medium (madhya), and fast (drut), each double the speed of the previous.
Karuna
Sadness, one of the nine emotions in Bharatanatyam. The others are shringara(love, eros), vira (valor, heroism), adbhuta (awe, amazement), raudra (fury),hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
Kirtanam
An expressive Bharatanatyam item, usually devotional in sentiment, with lyrics in praise of a particular deity. A medium tempo item with some abstract dance elements included for interest.
Korvai
A collection of dance movements (adavu sequences) corresponding to a verse or section of the music
Kuchipudi
A dance form Andhra Pradesh that has its origins in traditional dance-dramas with all the roles being performed by men, and themes based on mythology
Kummi
A women's folk dance from Tamil Nadu, done in a circle with clapping
Kuravanji
a group dance by women, interpreting literary or poetic compositions typically on the theme of fulfillment of the love of a girl for her beloved
KurmAvatAram
A dance drama by Rukmini Devi, performed at Kalakshetra, of the story of the second avatar of Vishnu, as a half-man half-tortoise who supported a mountain so the gods and demons could churn the ocean and retrieve ancient treasures
Laghu
One of the rhythmic patterns in Carnatic music, consisting of a 3, 4, 5, 7, or 9 beats. Denoted by “1” in the conventional shorthand.
LAsya
Abstract dance with graceful, lyrical, and tender movements, usually ascribed feminine qualities.
Madhya
The middle tempo of the three used in Bharatanatyam. Madhya is double the speed of vilamba, and half the speed of drut.
Madhyama
Of human or ordinary stature. One of the classifications of characters in Bharatanatyam. Others are uttama (divine) and adhama (base)
Mahabharata
A major Sanskrit epic of ancient India, immensely important to Indian culture, and a key source of themes for classical dance compositions
Mangalam
A short benedictory item of music or dance, at the end of the last performance of the day.
MArgam
The sequence of items in a Bharatanatyam recital. The literal meaning in Sanskrit is way or path.
Mridangam
A double-sided Indian drum used mainly in South India, in Carnatic music.
Mudra
A symbolic gesture using the hands and fingers, in tantra. This term has also been used to refer to hand gestures in Bharatanatyam, where they are used for decoration as well as expressing meaning.
Nadai
The number of counts per beat of a tala. Also called gati. Each beat may be divided into 3, 4, 5, 7, or 9 counts (default is 4), with the names Tisra, Chatusra, Khanda, Misra, and Sankeerna, respectively, for the nadai.
NamaskAram
A greeting of respect or salutation. In Bharatanatyam, a short sequence of gestures and postures performed as a ritual of obeisance before and after dancing.
Namostute
A term of salutation, meaning “I bow to you”, often heard at the end of verses in shabdam compositions in Bharatanatyam
Nataraja
The Lord (raja) of Dance (nata). A form of the Hindu god Shiva, whose divine dance creates and destroys the universe
Nattuvanar
A dance master of Bharatanatyam, responsible for training the dancers and directing their performances
Nattuvangam
The practice or art of calling out rhythmic syllables that denote dance movements, and striking cymbals on particular beats as cues to the dancer. The art of conducting a Bharatanatyam dance recital.
Natya Shastra
A scripture attributed to the sage Bharata that deals with theater arts and dance. The Natya Shastra is about 2,000 years old.
Natya
The dramatic aspect of a stage performance, including spoken dialogue and mime, to convey meaning and enact narrative
Nautch
An anglicized version of the Hindi nach, meaning dance
NAyaka
The hero or male protagonist, one of the characters described in Bharatanatyam scriptures
NAyika
The heroine or female protagonist, one of the characters described in Bharatanatyam scriptures
Nritta Hastas
A subset of the hastas (hand gestures) that find use in nritta (abstract dance)
Nritta
Abstract dance movements with rhythm, but without expression of a theme or emotion. Also called pure dance.
Nritya
Interpretive dance, using facial expressions, hand gestures, and body movements to portray emotions and express themes
Padam
The deepest expressive item of Bharatanatyam, narrating divine love or the pain of separation from the beloved, usually using the device of a nayika (heroine) talking to her sakhi (friend), about her love for the nayaka (hero), symbolizing the human soul yearning for union with the divine
Parakiya
The married woman in love with another man. One of numerous categories ofnayikas, or heroines, in Bharatanatyam.
PratyAngas
The intermediate parts of the body, such as shoulders, stomach, thighs, and elbows. One of three groups into which body parts are classified for the assignment of movements. The others are the angas or major parts of the body, and upangas, which include the extremities and facial features.
Pushpanjali
The offering of flowers to a deity, as a form of obeisance. Sometimes this ritual is expanded into a dance item.
Raga
The melodic patterns used in Indian classical music
Ramayana
An ancient Sanskrit epic of the story of Rama, prominent in India and Southeast Asia, and a key source of themes for classical dance compositions
Rang
A Sanskrit word for color
Rangmanch
A Sanskrit word meaning theater
Rasa
In Indian performing arts, the response or feeling inspired in the audience by the expression of a performer. The Rasa of the spectators is evoked by the bhava expressed by the dancer. Rasa is an abstract feeling that cannot be seen or touched.
Raudra
Fury, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), hasya(laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Sadir, Sadir Natyam, Sadir Nautch
a solo dance form performed for centuries by devadasis in temples and eventually in the royal courts of South India, especially in Tamil Nadu
SAhitya
The poetic content of the music, both lyrics and prosody, the system of poetic meters and versification
Sakhi
The friend, usually a companion of the nayika (heroine), one of the characters described in Bharatanatyam scriptures
SalAmure
A term of salutation or respect, often heard in the lyrics of shabdam compositions in Bharatanatyam
Salangai
Tamil term for a dancer's ankle bells. Also called ghungaroo in Hindi.
SAmAnya
The courtesan, a free woman whose love is for sale. One of numerous categories ofnayikas, or heroines, in Bharatanatyam.
SanchAri BhAva
Transitory states or passing feelings in the presence of an underlying emotion. For example, someone in love may experience impatience, excitement, longing, and weakness, in the presence of the love. Depiction of the passing feelings to more fully portray the dominant emotion is an expressive technique in Bharatanatyam.
SAri
A traditional women's garment of India, a strip of cloth four to nine meters long and one-and-a-half meters wide, that is worn in various styles
SAtvika, SAtvika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression of emotional states by authentically embodying the emotion through appropriate facial expressions and body movements, and experiencing its essence.
Shabdam
Usually the third item in a Bharatanatyam recital, it introduces expressive dance, alternating sequences of expressive and abstract dance with each line of the poetry, with lyrics that emphasize a particular word
ShAnta
Peace, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bhayanaka (fear), and bibhatsa (revulsion).
Shiva
A principal deity of Hinduism
Shloka/Shlokam
A Sanskrit term denoting a poem or phrase chanted as a form of prayer. The lyrics have a significant meaning/theme and are sung without meter. When used in dance, it is an exclusively expressive piece and and there is no abstract/pure dance used.
ShringAra
Love or eros, one of the nine emotions in Bharatanatyam. The others are vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra (fury), hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Sollukattu
Rhythmic syllables indicating the arrangement of dance steps or rhythmic beats in a time sequence. The literal meaning in Tamil is spoken (sol) structure (kattu).
Sri, Shri, Shree
A Sanskrit title of respect, also signifies the goddess Lakshmi who symbolizes wealth and beauty
SthAyi Bhava
A constant, dominant emotional state, unchanged by the passing of various moods related to it. For example, someone in love may feel agitation, comfort, or excitement in the presence of the lover, but the underlying state of love is not changed by them. Depiction of the passing feelings to more fully portray the dominant emotion is an expressive technique in Bharatanatyam.
Swakiya
The faithful wife. One of numerous categories of nayikas, or heroines, in Bharatanatyam.
Swara
The syllables for the musical notes, or the singing of these syllables. The notes of the scale are designated by the syllables “sa-ri-ga-ma-pa-da-ni-sa”, like the solfa syllables “do-re-mi-fa-so-la-ti-do” in Western music, although the system of scales is different.
Swarajati
A musical composition with swara (syllables for musical notes) and jati (syllables for rhythmic beats) combinations, distinguished by the singing of the rhythmic syllables with a melody.
Tabla
An Indian percussion instrument consisting of two hand drums of different sizes. Used mainly in North Indian music.
TAla
A pattern of rhythmic structure in Indian music or dance. Similar, but not identical, to meter in Western music.
Tamil, Tamizh
A South Indian language
TAndava
In Bharatanatyam, abstract dance with vigorous and brisk movements. In Hinduism, the vigorous dance of Lord Shiva that gives rise to the cycle of creation, preservation, and dissolution.
Tantra
A body of practices and ideas, rooted in the religions of India, that aim to ritually channel divine energy in the human plane, including through the human body, for creative and liberating purposes
TarAnA
A musical composition in Hindustani music, in which syllables are put to melody in medium or fast tempo. The syllables are derived from percussion, especially tabla. The South Indian equivalent is the tillana.
TheermAnam
A sequence of abstract dance done to spoken beats, having three repetitions, performed at the end of a passage of abstract dance to spoken beats. For example ta-din gina tOm, kita taka tari kitathOm. In a varnam, also refers to the passage of abstract dance, which is done at three tempos.
TillAna
The final item of a Bharatanatyam recital, almost entirely a abstract dance number, with a lively tempo and a dynamic quality to the movements. Also, a specific type of musical composition, equivalent to the North Indian tarana, in which certain syllables are put to a melody.
UpAngas
The facial features and extremities of the body, including fingers, toes, palms, and heels. One of three groups into which body parts are classified for the assignment of movements. The others are the angas or major parts of the body, and the pratyangas or intermediate parts of the body.
Uttama
Of noble or divine stature. One of the classifications of characters in Bharatanatyam. Others are madhyama (human) and adhama (base)
VAchika, VAchika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through speech or song. In Bharatanatyam, dialogue is not used, so vachika pertains to how the singer expresses the emotion through music.
Varnam
The central item in a Bharatanatyam recital, includes abstract and expressive dance in specific patterns, and a full exposition of the song, so the audience experiences its flavor
VibhAvA
Causes of an emotion, including circumstances, events, and any contributing factors.
Vilamba
The slowest of the three tempos used in Bharatanatyam. Vilamba is half the speed of madhya, which is half the speed of drut.
Veera
Valor or heroism, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
Viruttam
A devotional verse set to a particular melody, but without rhythmic meter.
In Indian dance, the art of expression, or conveying meaning and experience to the audience. In Bharatanatyam, the term is typically used in reference to facial expressions and body movements, since speech is not used.
Adavu - Sollukattu
A rhythmic syllable, or phrase of rhythmic syllables (sollukattu) linked to specific units of dance movement (adavu).
Adavu - jati
A sequence of rhythmic movements in a composition, which is a combination of adavus, or basic dance units.
Adavu
A basic unit of dance technique in Bharatanatyam, combining standing position, foot and leg movement, and hand gestures. Adavus are the building blocks of the nritta, or abstract dance aspect of Bharatanatyam, in which the movements are decorative and convey no meaning.
Adbhuta
Awe or amazement, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), raudra (fury), hasya(laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Adhama
Of low stature. One of the classifications of characters in Bharatanatyam. Others are uttama (divine) and madhyama (human).
Aharya, Aharya Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through costume, jewelry, and make up.
Alarippu
Usually the first dance item in a Bharatanatyam recital, the alarippu is an abstract dance item that begins with movements of just the eyes and neck movement, and then progressively involves more of the body and increase the rhythmic pace. It symbolizes awakening, sanctification of the performing place, and dedication of the dancers body to the divine, to start the performance. No meaning is expressed in this purely decorative number.
AngAs
The major parts of the body, such as head, chest, hands, and legs. One of three groups into which body parts are classified for the assignment of movements. The others are the pratyAngas or intermediate parts of the body, and upAngas, which include the extremities and facial features.
Angika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through body movements, including hand gestures and facial expressions.
AnubhAva
The consequences or effects of a feeling, manifested externally, that serve to indicate the inner state.
Anudhrutam
'One of the rhythmic patterns in Carnatic music, consisting of a single beat. Denoted by “U” in the conventional shorthand.
Araimandi
A signature posture of Bharatanatyam, with erect torso, bent legs, knees outward, heels together, and toes outward. Also called ardhamandali.
Arangam
A Tamil word meaning stage, raised platform, or island.
Arangetram
The debut performance of a Bharatanatyam dancer, marking his or her readiness for performing a full solo recital. A Tamil word meaning to step onto the stage, from of arangam (stage) and etram (ascent).
Ardhamandali
A signature posture of Bharatanatyam, with erect torso, bent legs, knees outward, heels together, and toes outward. Also called araimandi.
Ashtapadi
Literally means "eight steps", from Sanskrit ashta (eight) and padi (steps), but refers to musical compositions with eight lines. In Bharatanatyam context, refers to the Gita Govinda, 12th century compositions by Indian poet Jayadeva on relationship between the gopis (cowgirls) and Lord Krishna, symbolizing eternal love of a devotee for the divine.
Bhagavata Melam
A group form of dance drama from Tamil Nadu, with all roles performed by men, and themes based on mythology
Bhagavatam
Also called Bhagavata Purana or Srimad Bhagavatam. An ancient Hindu scripture in which stories of the incarnations of Vishnu are told, eliciting bhakti or loving devotion to Vishnu or Krishna as the supreme being.
Bhajan
A Hindu devotional song, typically expressing Bhakti (loving devotion) towards the divine
Bhakti
A Sanskrit word meaning devotion. In Hinduism or Bharatanatyam, refers to loving devotion to a particular deity. A high form of spiritual expression emphasized in Bharatanatyam by Rukmini Devi.
Bhava
The art of expression, the outer manifestation of an inner experience. Bhava is a key feature of Bharatanatyam.
Bhayanaka
Fear, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bibhatsa (revulsion), and shanta (peace).
Bibhatsa
Revulsion, one of the nine emotions in Bharatanatyam. The others are shringara(love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement),raudra (fury), hasya (laughter, humor), bhayanaka (fear), and shanta (peace).
Brahmin
Also Brahmana. In ancient India, one who attained highest spiritual knowledge. One with suitable traits for spiritual advancement. After the caste system came into being, one who was born in the Brahmin or priestly caste. More recently associated with educated classes of society.
ChApu
One of the qualifiers with which a tala or rhythmic meter is identified. Chaapu corresponds to the number of beats in the laghu, and is also known as jaathi.
Chinna Melam
Another name for Sadir Natyam, combining Tamil chinna (small) and melam(performance)
DAsi Attam
The dance of the devadasis, from Tamil attam, meaning dance.
DevadAsi
A female artist dedicated to the service of a temple. Literally, a servant (dasi) of the divine (deva).
Dhrutam
One of the rhythmic patterns in Carnatic music, consisting of a two beats. Denoted by “0” in the conventional shorthand.
Drut
The fastest of the three tempos used in Bharatanatyam. Drut is double the speed ofmadhya, which is double the speed of vilamba.
Etram
A Tamil work meaning ascent, climbing, or to step onto.
Gati
The number of counts per beat of a tala. Also called nadai. Each beat may be divided into 3, 4, 5, 7, or 9 counts (default is 4), with the names Tisra, Chatusra, Khanda, Misra, and Sankeerna, respectively, for the gati.
Gungaroo
Hindi term for a dancer's ankle bells. Also called salangai in Tamil.
Guru
A Sanskrit term for teacher, implying the sacred role of the giver of knowledge, and of the knowledge itself
Gurukulam
A system of schooling in ancient India in which the students live with, or near, the teacher. From Sanskrit guru (teacher) and kula (extended family).
Hasta, Hasta Mudra
A symbolic gesture using the hands and fingers, used for decoration as well as expressing meaning in Bharatanatyam.
HAsya
Humor or laughter, one of the nine emotions in Bharatanatyam. The others areshringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra (fury), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
JAthi
One of the qualifiers with which a tala or rhythmic meter is identified. Jaathicorresponds to the number of beats in the laghu, and is also known as chaapu.
Jati
Drum syllables, or sequences of drum syllables, describing units of percussion. Also sequences of syllables intoned by the dance conductor (nattuvanar), during abstract dance passages.
Jatiswaram
Usually the second item in a Bharatanatyam performance, a abstract dance number without expression of meaning, in which diverse rhythmic patterns and musical phrasing are used. The music has no lyrics, and only the names of notes are sung.
JAvali
An expressive Bharatanatyam number, with colloquial lyrics that usually describe love at the human level, as opposed to a padam which is refined. Javalis also are faster paced.
KAla
The tempo of the rhythm. Independent of the tala pattern or rhythmic meter. Three speeds are used for dance: slow (vilamba), medium (madhya), and fast (drut), each double the speed of the previous.
Karuna
Sadness, one of the nine emotions in Bharatanatyam. The others are shringara(love, eros), vira (valor, heroism), adbhuta (awe, amazement), raudra (fury),hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
Kirtanam
An expressive Bharatanatyam item, usually devotional in sentiment, with lyrics in praise of a particular deity. A medium tempo item with some abstract dance elements included for interest.
Korvai
A collection of dance movements (adavu sequences) corresponding to a verse or section of the music
Kuchipudi
A dance form Andhra Pradesh that has its origins in traditional dance-dramas with all the roles being performed by men, and themes based on mythology
Kummi
A women's folk dance from Tamil Nadu, done in a circle with clapping
Kuravanji
a group dance by women, interpreting literary or poetic compositions typically on the theme of fulfillment of the love of a girl for her beloved
KurmAvatAram
A dance drama by Rukmini Devi, performed at Kalakshetra, of the story of the second avatar of Vishnu, as a half-man half-tortoise who supported a mountain so the gods and demons could churn the ocean and retrieve ancient treasures
Laghu
One of the rhythmic patterns in Carnatic music, consisting of a 3, 4, 5, 7, or 9 beats. Denoted by “1” in the conventional shorthand.
LAsya
Abstract dance with graceful, lyrical, and tender movements, usually ascribed feminine qualities.
Madhya
The middle tempo of the three used in Bharatanatyam. Madhya is double the speed of vilamba, and half the speed of drut.
Madhyama
Of human or ordinary stature. One of the classifications of characters in Bharatanatyam. Others are uttama (divine) and adhama (base)
Mahabharata
A major Sanskrit epic of ancient India, immensely important to Indian culture, and a key source of themes for classical dance compositions
Mangalam
A short benedictory item of music or dance, at the end of the last performance of the day.
MArgam
The sequence of items in a Bharatanatyam recital. The literal meaning in Sanskrit is way or path.
Mridangam
A double-sided Indian drum used mainly in South India, in Carnatic music.
Mudra
A symbolic gesture using the hands and fingers, in tantra. This term has also been used to refer to hand gestures in Bharatanatyam, where they are used for decoration as well as expressing meaning.
Nadai
The number of counts per beat of a tala. Also called gati. Each beat may be divided into 3, 4, 5, 7, or 9 counts (default is 4), with the names Tisra, Chatusra, Khanda, Misra, and Sankeerna, respectively, for the nadai.
NamaskAram
A greeting of respect or salutation. In Bharatanatyam, a short sequence of gestures and postures performed as a ritual of obeisance before and after dancing.
Namostute
A term of salutation, meaning “I bow to you”, often heard at the end of verses in shabdam compositions in Bharatanatyam
Nataraja
The Lord (raja) of Dance (nata). A form of the Hindu god Shiva, whose divine dance creates and destroys the universe
Nattuvanar
A dance master of Bharatanatyam, responsible for training the dancers and directing their performances
Nattuvangam
The practice or art of calling out rhythmic syllables that denote dance movements, and striking cymbals on particular beats as cues to the dancer. The art of conducting a Bharatanatyam dance recital.
Natya Shastra
A scripture attributed to the sage Bharata that deals with theater arts and dance. The Natya Shastra is about 2,000 years old.
Natya
The dramatic aspect of a stage performance, including spoken dialogue and mime, to convey meaning and enact narrative
Nautch
An anglicized version of the Hindi nach, meaning dance
NAyaka
The hero or male protagonist, one of the characters described in Bharatanatyam scriptures
NAyika
The heroine or female protagonist, one of the characters described in Bharatanatyam scriptures
Nritta Hastas
A subset of the hastas (hand gestures) that find use in nritta (abstract dance)
Nritta
Abstract dance movements with rhythm, but without expression of a theme or emotion. Also called pure dance.
Nritya
Interpretive dance, using facial expressions, hand gestures, and body movements to portray emotions and express themes
Padam
The deepest expressive item of Bharatanatyam, narrating divine love or the pain of separation from the beloved, usually using the device of a nayika (heroine) talking to her sakhi (friend), about her love for the nayaka (hero), symbolizing the human soul yearning for union with the divine
Parakiya
The married woman in love with another man. One of numerous categories ofnayikas, or heroines, in Bharatanatyam.
PratyAngas
The intermediate parts of the body, such as shoulders, stomach, thighs, and elbows. One of three groups into which body parts are classified for the assignment of movements. The others are the angas or major parts of the body, and upangas, which include the extremities and facial features.
Pushpanjali
The offering of flowers to a deity, as a form of obeisance. Sometimes this ritual is expanded into a dance item.
Raga
The melodic patterns used in Indian classical music
Ramayana
An ancient Sanskrit epic of the story of Rama, prominent in India and Southeast Asia, and a key source of themes for classical dance compositions
Rang
A Sanskrit word for color
Rangmanch
A Sanskrit word meaning theater
Rasa
In Indian performing arts, the response or feeling inspired in the audience by the expression of a performer. The Rasa of the spectators is evoked by the bhava expressed by the dancer. Rasa is an abstract feeling that cannot be seen or touched.
Raudra
Fury, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), hasya(laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Sadir, Sadir Natyam, Sadir Nautch
a solo dance form performed for centuries by devadasis in temples and eventually in the royal courts of South India, especially in Tamil Nadu
SAhitya
The poetic content of the music, both lyrics and prosody, the system of poetic meters and versification
Sakhi
The friend, usually a companion of the nayika (heroine), one of the characters described in Bharatanatyam scriptures
SalAmure
A term of salutation or respect, often heard in the lyrics of shabdam compositions in Bharatanatyam
Salangai
Tamil term for a dancer's ankle bells. Also called ghungaroo in Hindi.
SAmAnya
The courtesan, a free woman whose love is for sale. One of numerous categories ofnayikas, or heroines, in Bharatanatyam.
SanchAri BhAva
Transitory states or passing feelings in the presence of an underlying emotion. For example, someone in love may experience impatience, excitement, longing, and weakness, in the presence of the love. Depiction of the passing feelings to more fully portray the dominant emotion is an expressive technique in Bharatanatyam.
SAri
A traditional women's garment of India, a strip of cloth four to nine meters long and one-and-a-half meters wide, that is worn in various styles
SAtvika, SAtvika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression of emotional states by authentically embodying the emotion through appropriate facial expressions and body movements, and experiencing its essence.
Shabdam
Usually the third item in a Bharatanatyam recital, it introduces expressive dance, alternating sequences of expressive and abstract dance with each line of the poetry, with lyrics that emphasize a particular word
ShAnta
Peace, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bhayanaka (fear), and bibhatsa (revulsion).
Shiva
A principal deity of Hinduism
Shloka/Shlokam
A Sanskrit term denoting a poem or phrase chanted as a form of prayer. The lyrics have a significant meaning/theme and are sung without meter. When used in dance, it is an exclusively expressive piece and and there is no abstract/pure dance used.
ShringAra
Love or eros, one of the nine emotions in Bharatanatyam. The others are vira (valor, heroism), karuna (sadness), adbhuta (awe, amazement), raudra (fury), hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Sollukattu
Rhythmic syllables indicating the arrangement of dance steps or rhythmic beats in a time sequence. The literal meaning in Tamil is spoken (sol) structure (kattu).
Sri, Shri, Shree
A Sanskrit title of respect, also signifies the goddess Lakshmi who symbolizes wealth and beauty
SthAyi Bhava
A constant, dominant emotional state, unchanged by the passing of various moods related to it. For example, someone in love may feel agitation, comfort, or excitement in the presence of the lover, but the underlying state of love is not changed by them. Depiction of the passing feelings to more fully portray the dominant emotion is an expressive technique in Bharatanatyam.
Swakiya
The faithful wife. One of numerous categories of nayikas, or heroines, in Bharatanatyam.
Swara
The syllables for the musical notes, or the singing of these syllables. The notes of the scale are designated by the syllables “sa-ri-ga-ma-pa-da-ni-sa”, like the solfa syllables “do-re-mi-fa-so-la-ti-do” in Western music, although the system of scales is different.
Swarajati
A musical composition with swara (syllables for musical notes) and jati (syllables for rhythmic beats) combinations, distinguished by the singing of the rhythmic syllables with a melody.
Tabla
An Indian percussion instrument consisting of two hand drums of different sizes. Used mainly in North Indian music.
TAla
A pattern of rhythmic structure in Indian music or dance. Similar, but not identical, to meter in Western music.
Tamil, Tamizh
A South Indian language
TAndava
In Bharatanatyam, abstract dance with vigorous and brisk movements. In Hinduism, the vigorous dance of Lord Shiva that gives rise to the cycle of creation, preservation, and dissolution.
Tantra
A body of practices and ideas, rooted in the religions of India, that aim to ritually channel divine energy in the human plane, including through the human body, for creative and liberating purposes
TarAnA
A musical composition in Hindustani music, in which syllables are put to melody in medium or fast tempo. The syllables are derived from percussion, especially tabla. The South Indian equivalent is the tillana.
TheermAnam
A sequence of abstract dance done to spoken beats, having three repetitions, performed at the end of a passage of abstract dance to spoken beats. For example ta-din gina tOm, kita taka tari kitathOm. In a varnam, also refers to the passage of abstract dance, which is done at three tempos.
TillAna
The final item of a Bharatanatyam recital, almost entirely a abstract dance number, with a lively tempo and a dynamic quality to the movements. Also, a specific type of musical composition, equivalent to the North Indian tarana, in which certain syllables are put to a melody.
UpAngas
The facial features and extremities of the body, including fingers, toes, palms, and heels. One of three groups into which body parts are classified for the assignment of movements. The others are the angas or major parts of the body, and the pratyangas or intermediate parts of the body.
Uttama
Of noble or divine stature. One of the classifications of characters in Bharatanatyam. Others are madhyama (human) and adhama (base)
VAchika, VAchika Abhinaya
The aspect of the art of expression (abhinaya) that relates to expression through speech or song. In Bharatanatyam, dialogue is not used, so vachika pertains to how the singer expresses the emotion through music.
Varnam
The central item in a Bharatanatyam recital, includes abstract and expressive dance in specific patterns, and a full exposition of the song, so the audience experiences its flavor
VibhAvA
Causes of an emotion, including circumstances, events, and any contributing factors.
Vilamba
The slowest of the three tempos used in Bharatanatyam. Vilamba is half the speed of madhya, which is half the speed of drut.
Veera
Valor or heroism, one of the nine emotions in Bharatanatyam. The others are shringara (love, eros), karuna (sadness), adbhuta (awe, amazement), raudra(fury), hasya (laughter, humor), bhayanaka (fear), bibhatsa (revulsion), and shanta(peace).
Viruttam
A devotional verse set to a particular melody, but without rhythmic meter.