Embassy of India

Swami Vivekananda Cultural Centre, Hanoi

KUCHIPUDI DANCE
WORKSHOP
ANGIKABHINAYAM
(Body gesture)
By Ms. Kiranmai
Bonala
Hanoi, 11 May 2019

Swami Vivekananda Culture Centre, 63 Tran Hung Dao, Hoan Kiem, Hanoi
(84)-24363 32083
[email protected]
www.facebook.com/IndianCultureInVietnam
 ANGIKABHINAYAM
(Body gesture)
(Expression through major, subsidiary and
minor limbs)
 Nat (नाट)
Indian classical dance = Shastriya Nritya
- Act

- Represent

NATYA
SHASTRA
Shastra (शास्त्र)

- Precept
- Rules
- Manual
- Compendium
- Book
- Treatise
• “Ras” = an estate of the spirit created by the dancer in
front of the viewer’s according to the expression.

Photo: www.newindianexpress.com/cities/hyderabad/2015/apr/29/Dancing-to-Glory-748648.htm
INDIAN CLASSICAL DANCE FORMS
 KUCHIPUDI
- This ancient dance form finds place in
the 10th century copper inscriptions and
in 15th century texts like ‘Machupalli
Kaifat’

South India

Photos:
https://www.culturalindia.net/indian-dance/classical/kuchipudi.html
https://en.wikipedia.org/wiki/South_India
Siddhendra Yogi

Photo:
https://bit.ly/2vah3Fx
Kuchipudi is named after the village in Krishna district of Andhra Pradesh
named Kuchipudi.

Sh Siddhendra Yogi Temple at

Kuchipudi Village

Photo:
https://www.outlookindia.com/magazine/story/where-the-gods-dance/294267
https://www.inditales.com/kuchipudi-village-andhra-pradesh/
 "traveling bard, dancer”

Kuchipudi = K u s i l a v a - p u r a m (Sanskrit)

“the village of actors"

 • Khanteenaa Lambayat Geetam
sing the song by the throat

• Hastena Artha Pradakshayat

express the meaning of the song through hand gestures

• Chakshubhyam Darshayat Bhavom

show the state of feelings in the song by eyes

• Padabhyam Tala Acherait

express the rhythm with his or her feet

(From: Abhinaya Darpanam)

 • "Yato hastas tato drishtihi“

"Where the hand is, the eyes follow"

• "Yato drishtis tato manaha”

"Where the eyes go, the mind follows"

• "Yato manas tato bhavaha“

"Where the mind is, there is the feeling"

• "Yato bhavas tato rasaha"

"Where there is feeling, there is mood/flavour, sweetness”

(From: Natya Shastra)

 Abhinayas (Expression)

Angikam Vachikam Aharyam Sattvikam

(Angika
Abhinayam)

Anga Pratyanga Upanga

(Major limbs) (Subsidiary (Minor limbs)
limbs)
 Sirah (head)

1. ANGA Greeva
(Neck)

Vakshah (chest)

Katitatou Paarswou
(the two sides (the two sides)
of the waist)

Hastou Hastou
(the two palms) (the two palms)

Paadou Paadou
(the two feet) (the two feet)
2. PRATYANGA Prishtham
(back)
Skahdhe
(the two shoulders)

Bahu
(the two arms)

Udaram
(stomach)

Ooru
(thighs)
Jaangha
(shanks)
 - Dasana
3. UPANGA (teeth)
- Jihwa
(tongue)
- Vadanam
(face)
Bhru
(eye brows)

Puta
Drishti (eye lids)
(eyes)
Tarah
(pupils)
Kapolou
(cheeks)
Naasika
Hanu (nose)
(jaws)
Adharah
(lower lip)
Cubukam
(chin)
• The movements of the pratyangas and upangas depend upon the movements

of the angas.

• 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.

~ Will perform Abhinaya episode ( draupadi vastrapaharana)  

SLOKAM:
Sama malokitham sachi pralokitha-nimilithe|

Ullokithanuvrthecha thathachaiva-avalokitham||

Ithyashta drshti bhedah syuh kirthithah purvasuribhih|

SAMA:
DEFINITION:

Gazing without winking and with pleasant face like

an angel is Sama Dristi.

USAGE:

It is used to denote beginning of dance, scales,

thinking of some other matter, surprise.
ALOKITHA :
DEFINITION:

Swiftly turning and shrewd

glances is Alokitha Dristi.

USAGE:

Alokitha Dristi is used to denote turning of the

potter’s wheel, showing all objects around and begging.
1 2

3 4

5 6
SACHI:
DEFINITION:

Looking out of the

corner of the eyes
obliquely without
moving the head is
Sachi Dristi.
USAGE:

It is used to denote desire, twirling

the moustache, aiming an arrow,
parrot, remembrance, suggesting
the work to be done.
PRALOKITHA:
DEFINITION:

When the glance turns from

side to side, it becomes
Pralokitha Dristi. USAGE:

It is used to denote pointing

objects on both sides,
speaking about them,
moving and disordered mind.
NIMILITHA:
DEFINITION:

Looking with eyes half

opened is Nimilitha Dristi.

USAGE:

It is used to depict appearance

of a sage, subjection to another’s will,
prayer, meditation.
ULLOKITHA:
DEFINITION: USAGE:

Looking up keenly is It is used to denote temple,

considered as Ullokitha top of a flag, tower of a
Dristi. temple, thinking of previous
birth, height.
ANUVRTHA:
DEFINITION:

Glancing quickly up and

down is Anuvrtha Dristi.

USAGE:

This is used in angry looks

as well as friendly or
affectionate invitation/greeting.
AVALOKITHA:
DEFINITION:

Looking downwards is
Avalokitha Dristi.

USAGE:

This is used to depict looking

at a shadow, reflection,
working, study and fatigue.
Eyebrow Movement
SLOKAM:

Sahaja pathithokshiptha chathura rechitha thatha|

Kunchithechi shadeva-athra bhru chathuryavati kriyah||

SAHAJA:
DEFINITION:

The natural eye-brow in a smootha face is Sahaja bhru.

USAGE:

This indicates normal, starting of the dance.

 
PATHITHA:
DEFINITION:

When the eye-brows are at rest an then drop, it is

Pathitha bhru.

USAGE: This indicates disgust, astonishment and jealousy.

UTHKSHIPTHA:
DEFINITION:

Rising up one or both eye-brows is Uthkshiptha bhru.

USAGE:

This is used in denoting women’s anger, telling the truth,

amorous feeling and dalliance.
CHATHURA :
DEFINITION:

Moving both the eye-brows in a pleasing manner

is Chathura bhru.

USAGE:

This is used to denote touching another’s face, heart

bliss and excitement.
RECHITHA:
DEFINITION: When one brow is contracted with charm and sweetness
it becomes Rechitha bhru.

USAGE: This is used to denote listening to a secret and looking at a

particular place.
KUNCHITHA:
DEFINITION: When one eye-brow or both the eye-brows are arched
or bent, it becomes Kunchitha bhru.

USAGE: This is used to denote thinking, disgust.

SLOKAM:

Abhugnamatha nirbhugna tatha chaiva prakampitam!

Udvahitam samam chaiva urah panchavidham smritam!!

Abhugna (slightly bent)
 

Definition: the chest lowered, back high,

shoulder slightly bent at times loose (not stiff).

Usage: In hurry, despair, fainting, sorrow, fear,

sickness, broken heart, touching of cold objects,
rains and being ashamed of some act.
 
Nirbhugna (unbent)
 

Definition: The chest stiff, back depressed,

shoulder not bent and raised.

Usage: In paralysis, having resentment, look

of surprise, assertion of truth, mentioning oneself
haughtily, and excess of pride.
 
Prakampita (shaken)
 
Definition: The chest incessantly heaved up and down.

Usage: In laughter, weeping, weariness, panic, asthma, hiccup and misery.

1 2
Udvahita (raised)
 

Definition: The chest raised up.

Usage: In representing deep

breathing, viewing some lofty
(objects), yawing.
 
Sama (natural)
 
Definition: All the limbs being in the
chatutasra and with Sauthava the chest
will be called Sama (natural).

Usage: starting position.

SLOKAM:

Natam samunnatam chaiva prasaritavivartite!

Thathapasritameva tu parsvayoh karma pancadha!!

 
 
Nata (bent)
 
Definition: the waist slightly bent, one
side slightly bent, one shoulder drawn away
slightly.

Usage: in approaching anything or

anybody.
Unnata (raised)
 
Definition: The other side (on the assumption of the Nata
position) will be Unnata (raised), because in relation of it) the
waist, the side, the arm and the shoulder will be raised.

Usage: in going backwards.

Prasarita (stretched)
 
Definition: The stretching of the sides in their respective directions.
 
Usage: in joy and the like.
Vivartita (turned round)
 
Definition: The Trika (sacrum) is to be turned round.

Usage: in turning about

Apasrita (drawn away)
 
Definition: The side restored to its original position from the
Vivartita Movement.
Usage: in returning.
 
SLOKAM:

Chinna caiva nivritta ca recita kampita tatha!

Udvahita ceti kati natye nritte ca paccadha!!

 
 
Chinna (turned aside)
Definition: In turning the middle of the waist.
 
Usage: In exercising, hurry and looking round.
 
Nivritta (turned around)
Definition: In turning to the front from the reverse position.

Usage: in turning around.

1 2 3 4
Recita (moved about)
Definition: In moving in all directions.
 Usage: in movements of the general type.

1 2 3 4 5
Prakampita (shaken)
Definition: In obliquely moving up and down.
 
Usage: in the walking of hunch-backs, dwarfs and persons of the
inferior type.
Udvahita (raised)
Definition: In raising the two sides of
the waist slowly.

Usage: in the movement of corpulent

persons and the amorous movements
of women.
 Photo courtesy

• www.newindianexpress.com/cities/hyderabad/2015/apr/29/Dancing-to-Gl
ory-748648.htm
• https://www.culturalindia.net/indian-dance/classical/kuchipudi.html
• https://en.wikipedia.org/wiki/South_India
• https://bit.ly/2vah3Fx
• https://www.outlookindia.com/magazine/story/where-the-gods-dance/29
4267
• https://www.inditales.com/kuchipudi-village-andhra-pradesh/
• https://www.youtube.com/watch?v=ZBXEVWeSfUY&t=1905s
 CONTACT US

 Swami Vivekananda Culture Centre, 63 Tran Hung Dao, Hoan

Kiem, Hanoi
 (84)-24363 32083
 [email protected]
 www.facebook.com/IndianCultureInVietnam
THANK