The movements of the wrists and fingers according to the Nātyasāstra.

The movements of the wrists and fingers according to the Nātyasāstra.

apaveśtithameka syāth udveśtithamathaparam
vyāvartitam tritīyantu ćaturtham parivartitam

apaveśtitham
udveśtitham
vyāvartitam
parivartitam

The neck movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

The neck movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the neck ...

The eyebrows are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

The eyebrow movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the he...

The eye movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

The eye movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

The movements are used primarily to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head w...

The head is considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the head are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. ...

The side, Parshva is considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the side are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronun...

The chest or Uras is considered one of the Angas according to the Natyashastra. The movements of the chest are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please no...

The hips are considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the hips and waist are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronun...

The feet are considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the feet are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. P...

The arms considered one of the Upāngas, or minor limbs.

The movements are used primarily to communicate meaning in the context of gesture and also clear articulation in dance or nritta.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when...

The stomach is considered one of the Upāngas, or minor limbs.

The movements are used primarily to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put together in a Shloka form 'Sandhis', ...

The thighs are considered one of the Upāngas, or minor limbs according to the Natyashastra.

The movements of the thighs are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciat...

Jānu bheda according to the Sangīta Ratnākara, is an Upānga. The knees are considered one of the minor limbs.

The movements of the knees are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture. Some of the positions elucidate...

The shins/ shanks are considered one of the Upāngas, or minor limbs according to the Nātyaśāstra

The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Plea...

The heels are considered one of the Upāngas, or minor limbs

The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separate movements ...

The Ankle is considered one of the Upāngas, or minor limbs according to the Sangīta Ratnākara.

The movements of the ankle are important in pure dance and in emotive contexts.

Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put togethe...

The soles of the feet are considered one of the Upāngas, or minor limbs.

The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Please note that the separat...

Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

There are 6 Sthanakas for male characters.

Vaiśnavam samapādam ća vaiśakham mandalam tathā
pratyālīdam matālīdam sthanān yethā...

Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

Āyatam avahittam aśvakrāntamatāpi ća
Strīnām sthānāni kāryāni gatiśvabharaneśu ća

Āyatam
avahittam
aśvakrāntam