UPANGABHINAYAM – (PART-1)

(Expression through major, subsidiary and minor limbs).

Indian classical dance, or Shastriya Nritya, is an umbrella term for various

performance arts rooted in musical theatre styles, whose theory and practice can be
traced to the Sanskrit text NATYA SHASTRA. The root of the Sanskrit word
Natya is Nat (नाट) which means "act, represent". The word Shastra (शास्त्र) means
"precept, rules, manual, compendium, book or treatise", and is generally used as a
suffix in the Indian literature context, for knowledge in a defined area of practice.
The purpose of any dance is to create the Ras, which is an estate of t he
spirit created by the dancer in front of the viewer’s according to the
expression. India presents many different styles of classical dance, each
of which relates to different parts of the country. Each form represents
the ethos of a particular region or group of individuals. The Sangeet
Natak Academy recognizes eight different forms of classical dance in
India which are Bharatanatyam, Kathak, Kuchipudi, Kathakali,
Manipuri, Mohiniyattam, Odissi and Sattriya.

Kuchipudi is one of the major classical dance forms of the South India. Kuchipudi is a
dance-drama performance art that originated in a village of Krishna district Andhra Pradesh,
India. This ancient dance form finds place in the 10th century copper inscriptions and in 15th
century texts like ‘Machupalli Kaifat’ (a court document of 1505 A.D). Traditionally it is
regarded that the sanyasis (Hindu monks) of Advaita Vedanta philosophical tradition, Tirtha
Narayana Yati, and his disciple Siddhendra Yogi initiated, methodized and arranged the
present day version of the dance form in 17th century. Andhra Pradesh is associated with
Kuchipudi dance performance art form. It is famous for its grace, elegance and charm. (It was
Abdul Tana Shah, the grandnephew of Sultan Mohammed Quli Qutb Shah of the Qutb Shahi
dynasty, who bestowed the name of “Kuchipudi” upon this renowned dance form of Andhra
Pradesh.)

Kuchipudi is named after the village in Krishna district of Andhra Pradesh named
kuchipudi. Shortened form of the full name Kuchelapuram or Kuchilapuri– where it
developed. The name of village is itself derived from Sanskrit Kusilava-puram, which
means "the village of actors". Kusilava is a term found in ancient Sanskrit texts and
refers to "traveling bard, dancer”.

“Aangikam Bhuvanam Yasya

Vachikam Sarva vaanmayam
Ahaaryam Chandra taaradi
Tam Vande Sattwikam shivam”

Let us simply understand the meaning of this shloka word by word before going onto its
deeper meaning.
 Aangikam – Body

 Bhuvanam – Universe

 Yasya – Whose

 Vaachikam – Speech

 Sarva – All

 Vaanmayam – Languages (Sound)

 Aaharyam – Ornaments

 Chandra – Moon

 Taara – Stars

 Aadi – Etc.

 Tam – That

 Vande – Bow

 Saatvikam – Pure

 Shivam – Lord Shiva

Hence, the above sloka means … We bow to that Lord Shiva, whose body is the whole
Universe, whose speech is the entire world’s languages and whose ornaments are the moon
stars etc.

Here Shiva is depicted as the Omnipotent Lord of dance whose body or movements cover
everything that is the space around us and beyond that. His speech embodies all languages
known to mankind and even all sounds that man has and could ever hear. His ornaments are
none other than the moon and stars, celestial objects of space which we can only see and not
even reach. Such is his magnified presence that we bow to him in reverence.

In the above sloka mentioned all four types of Abhinayas. They are Angikam, Vachikam,
Aharyam and Sattvikam.

Today we see Angika Abhinayam, which is the expression through the body and its limbs.
The Gestures is of three kinds, that of the limbs (sarira), that of the face (mukhaja) and that
related to different movements of the entire boby (chestakruta).
Our body divides into three ways:

1. ANGA

Tatraangiko-anga pratyangopaangaih tredha prakasitah,

Angaanyatra siro hastou vakshah parswou katitatou,
Paadaaviti shaduktaani greeva mapyare jaguh.

It means that Angika abhinayam is of three types- angas (major limbs), pratyangas
(subsidiary limbs) and upangas (minor limbs). Among these, the angas are six in number:

o Sirah- head.
o Hastou- the two palms.
o Vakshah- chest.
o Paarswou- the two sides.
o Katitatou- the two sides of the waist.
o Paadou- the two feet.

Some other scholars include the neck also.

2. PRATYANGA

Pratyangaanyatha cha skandhe baahu prishtham tathodaram,

Ooru-jaanghe shadityaahu rapare manibandhakou,
Jaanuni koorpara vetat traya mapyadhikam jaguh.

It means there are six Pratyangas:

o Skahdhe- the two shoulders.

o Bahu- the two arms.
o Prishtham- back.
o Udaram- stomach.
o Ooru- thighs.
o Jaangha- shanks.

According to some scholars, the wrists knees and elbows are also pratyangas.

3. UPANGA

Drishti bhru puta taarashca kapolou naasika hanu,

Adharo daasana jihwaa cubukam vadanam tatha,
Upaangani dwadasaiwa sirasyangantaresu cha,
 Parshnigulphou tatha aangulyah karayoh paadaayoh tale,
Etani poorvasaastraanusaarenoktani vai mayaa.

It means there are twelve Upangas:

o Drishti – eyes.
o Bhru – eye brows.
o Puta- eye lids.
o Tarah – pupils.
o Kapolou – cheeks.
o Naasika – nose.
o Hanu – jaws.
o Adharah – lower lip.
o Dasana – teeth.
o Jihwa – tongue.
o Cubukam – chin.
o Vadanam – face.

Some scholars also add to these the heels, ankles, fingers and soles.
The movements of the pratyangas and upangas depend upon the movements of the angas.
Mostly, the ones useful in Kuchipudi are described in detail in the classification of the siro
bhedas, drishti bhedas, greeva bhedas and hastas.

As seen in any form of dance, the movement of the body is one of the most important tools of
communication and expression. The hands depict multiple meanings through the mudras,
both in nritta as well the natya aspect of a dancer’s performance. The footwork adds rhythm
and technique to the rendition of jatis and adavus, which involves the movements of all the
other limbs of the body too. In all non-narrative dances, for example, jatiswaram or tillana,
they play the most important role along with the use of some Upangas such as the eyes and
face. When performing narrative sequences which involve rasa and bhava and demand
emotional appeal, the Upangas again prove very useful along with the movements of the
angas and pratyangas. Whether it be the representation of people, gods, demons, nature or
animals, a combination of all aspects of Angika Abhinaya help in creating realistic
interpretations of the ideas or episodes that need to be expressed in front of the audiences. It
is therefore an undeniable fact that Angika Abhinaya is one of the strongest modes of
expression in Kuchipudi.

Today we see only the head and neck movements describe in Natya Sastra and Abhinaya
Darpanam.
 Sirah- Head movements.

These are the 9 head movements according to Abhinaya Darpanam of Nandi keswara.

SLOKAM:

Sama mudhwahitha madhomukha malolitham dhrutham||

Kampithamcha paravrtha muthkishiptham parivahitham|

Navadha kathitham sirsham natyasastravisaradaih||

1. SAMA:

DEFINITION: When head is kept straight and motionless in a natural way, it is

called Sama sira.

USAGE: Samasira is used to denote at the beginning of dance, prayer, pride, anger,
paralysis and inaction.

2. UDWAHITHA:

DEFINITION: When the face is raised up it is Udwahitha sira.

USAGE: Udwahitha sira is used to indicate flag, moon, sky, mountain, those that
are flying in the air and tall objects.

3. ADHOMUKHA:

DEFINITION: When the face is bent down, it is Adhomukha sira.

USAGE: Adhomukha sira is used to denote modesty, sorrow, bowing, evil thought,
fainting, sad.

4. ALOLITHA:

DEFINITION: When the face moves in circle, it is Alolitha sira.

USAGE: It is used to denote sleepiness, excitement, possession by evil spirits,

intoxication.
 5. DHRITHA:

DEFINITION: When head is turned to and fro from left to right and from right to

Left, it is called Dhritha sira.

USAGE: It is used to denote to say ‘no’, looking towards sides repeatedly,

Consoling people, astonishment and dismay.

6. KAMPITHA:

DEFINITION: Shaking the head up and down is Kampitha sira.

USAGE: It is used to denote anger, saying ‘staying no’, enquiry, suggestion.

7. PARAVRTHA:

DEFINITION: When the head is turned aside, it becomes Paravrtha sira.

USAGE: It is used to denote to say 'that is to done’, to express anger, shyness and

aversion.

8. UTHKSHIPTHA:

DEFINITION: When the head is turned to a side and raised, it becomes

Uthkshiptha sira.

USAGE: It is used to denote saying ‘take this’, ‘come here’, etc.

9. PARIVAHITHA:

DEFINITION: If the head is moved from side to side like a fan, it becomes
Parivahitha sira.

USAGE: It is used to denote the aspects like passion, yearning for the beloved,
praise, pleasure.

These are the 13 Head movements (Siro bhedas) according to Natya Shastra of sage Bharata

Akampitam Kampitam ca dhutam vidhutameva ca!

Parivahito udvahitakam avadhutam tatha anchitam!!

Nihanchitam Paravrttam Utkshiptam chapyadhogatam!!

 Lolitam chaiva vijneyam trayodasavidham sirah!!.

1. Akampitam
2. Kampitam
3. Dhuta
4. Vidhuta
5. Parivahita
6. Udvahita
7. Avadhuta
8. Anchita
9. Nihanchita
10. Paravritta
11. Utkshipta
12. Adogata
13. Lolita

 Akampita

Definition: Moving the head slowly up and down is called the Akampita.

Usage: The Akampita head is to be applied in giving a hint, teaching,

Questioning, Addressing in an ordinary way (naturally) and giving an order.

 Kampita

 Definition: When the movement in the Akampita head are quick and copious
the same is called Kampita.

Usage: The Kampita head is applicable in anger, argument, understanding,

asserting, threatening, sickness and intolerance.

 Dhuta
Definition: A slow movement of the head from side to side is called Dhuta.

Usage: The Dhuta head is applicable in unwillingness, sadness, astonishment,

confidence, looking sideways, emptiness and forbidding.
 Vidhuta
 Definition: When the Dhuta movement is quick, it is called the Vidhuta.

Usage: The Vidhuta head is to be applicable in an attack of cold, terror, panic,

fever and the first stage of drinking.

 Parivahita
 Definition: When the head is alternately turned to the two sides it is called
Parivahita.

Usage: The Parivahita head is applicable in demonstration, surprise, joy,

remembering, intolerance, cogitation, and concealment and sporting.

 Udvahita
 Definition: When it is once turned upwards it is known as Udvahita.

Usage: The Udvahita head is to be applied in pride, showing height, looking

high up, self-esteemed.

 Avadhuta
 Definition: When the head is lowered once after turning it up it is called
Avadhuta.
Usage: It is to be applied in (communicating) a message, invoking (a deity),
conversation and beckoning (one to come near).

 Anchita
 Definition: When the neck is slightly bent on one side then, it is Anchita head.

Usage: It is to applicable in sickness, intoxication, anxiety and sorrow.

 Nihanchita
 Definition: When two shoulders are raised up the neck bent on one side then,
it is Nihanchita.

Usage: It is to be used by women in pride, amorousness (vilasa), light

heartedness (lalitha), affected indifference (bibboka), Hysterical mood
(kilakinita), silent expression of affection (mottayita), pretended anger
(kuttamita), paralyses and jealous anger (mana).

 Paravritta
 Definition: When the face is turned side then, it is Paravritta.
 Usage: It is to be used in turning away the face and looking back.

 Utkshipta
 Definition: When the face remains raised up, and then it is Utkshipta.

Usage: It is used to indicate lofty objects and applications of divine weapons.

 Adhogata
 Definition: The head with the face looking downwards is called Adhogata.

Usage: It is used in shame, bowing and sorrow.

 Lolita
 Definition: When the head is moving on all sides, it is called Lolita.
Usage: It is used in fainting, sickness, power of intoxication, being possessed
by an evil spirit, drowsiness.

There are some common head movements described by both the authors, but
in Natya shastra the sage Bharata describe 4 more than the Abhinaya
Darpanam of Nandikeswara.

GREEVA—NECK MOVEMENTS

SLOKAM:

Sundaricha tiraschina thathaiva parivarthitha|

Prakampithacha bhavajnaih jneya griva chathurvidha

 SUNDARI:

DEFINITION: Moving the head obliquely or to and fro horizontally it is

Sundari Griva.

USAGE: This is used to denote beginning of friendship, effort saying ‘well

done’, recollection.

 TIRASCHINA:

DEFINITION: An upward movement of the neck on both sides, suggesting the

gliding of a snake, is Tiraschina Griva.
 USAGE: This is to be seen while brandishing a sword and in

 PARIVARTHITHA:

DEFINITION: Neck moving to right and to left, suggesting half-moon is

known as Parivarthitha Griva.

USAGE: This is used in erotic dances and in kissing both cheeks of the
charming beloved, serpentine progression.

 PRAKAMPITHA:

DEFINITION: When the neck moves forward and backward, like that of a
she-pigeon, it is Prakampitha Griva.

USAGE: This is used to denote saying you and I, especially desinatya (desi-
regional), swinging and sweet sounds produced as a she-pigeon.

Dance is the hidden language of soul of the body. Dance is to move rhythmically
to music, typically following a set sequence of steps. But for someone, it
is worship, for someone it is an art, for someone it is an expression of
emotions, for someone it is a symbol of happiness, for someone it is an
entertainment, for someone it is a life.

For me:

Lord if I dream, let it be to dance before you

To dance is my passion, my life, my everything
Let every step I take be towards you and in your praise