THEORY AND TECHNIQUE

As has been mentioned in the previous chapter, there is a rich body of critical writing on the dance both at the level of theory and at the level of technique. Writers on dance and drama were known to Panini as is obvious from the numerous words he used for the actor, the performer, the dancer, the acrobat as also his reference to the Nata sutras. Naturally, the most important and fundamental amongst all these theoretical works is the Natyasastra composed some time between the second century B.C. and second century A.D., in all probability around the first century A.D. The tradition of writing treatises and theoretical works on aesthetics continued in India till the seventeenth or even the eighteenth century A.D. The technique of dance is described in the numerous treatises beginning with the Natyasastra and progressing through those of the medieval works of the sixteenth and seventeenth centuries. Although most of these treatises deal with all aspects of dramaturgy, this discussion restricts itself to those elements of the dance concerned with the basic instrument of expression, viz., the human figure. No dance text dealswith the technique ofhumanmovement or kinetic in isolation. From the earliesttextsto the latest, the treatises alwaystake into accormt the fact that movement or dance is one amongst many communication techniques. At the level of both theory as also technique, the approach is holistic. Indian dance synthesizes the techniques of the other arts to evolve an art form which is considered the mostsignificant ofall asitrepresentsthe unceasing rhythm ofthe cosmos. It is no mere accidentthat the culmination ofthis vision and approach to the art form was the image of Siva dancing. It symbolises cosmic rhythm in its endless movement of involution, evolution and devolution. Also, this image of Siva as a dancer is parallel to the image ofthe multi-armed Durga andVishvarupa ofVishnu. On one level, all these represent the principle ofunity and multiplicity, the principle ofa one body and the many arms, the principle ofthe still centre and the continuous flux in the periphery. The theorv ofIndian dance cannot be understood in isolation without talcing into account the world view, the vision and the total commitment to the principle of unity and multiplicity. At the level oftechnique, this art has to be comprehended as a complex synthesis of the arts of literature, sculpture, painting and music

.The writer ofthe Natyasastra was fully conscious ofthe all-embracing quality of the art of drama or natya (which includes dancing) when he states, at the very beginning ofhis treatise, that "this art will be enriched by the teachings of every scripture (sastrci) and will give a review of all arts and crafts." He expresses the same idea when he saysthat, "there is no wise maxim, no learning, no art or craft, no devise, no action that is not found in drama" and again when he asserts. "Hence, I have devised the drama inwhichmeet all the departments ofknowledge. different arts and various actions. "There are no limitations of theme or content of the dance since it depicts the exploits of the gods, asuras and lungs as well as of ordinary human beings. Its range extends to the seven divisions ofthe world (Sapta dvipa) mid thus, when the entire limitless range ofhuman nature with itsjoys and sorrows is depicted through gestures etc., it is called drama (natya). " Hie theory and technique ofIndian dancing is mi integral part ofthis conception ofthe drama and cannot be understood without realizing the full implications of these assertions, which have been so aptly made byBharata. It is not necessary to go into the details of the historical development of dancing mid enter into the controversy ofwiiether dance emerged, as an art-formbefore the "drama" proper, or the vice versa. It is sufficient to point out here, that, at a very early stage of development, both these arts fused themselves into one and, by the time Bharata wrrote histreatise, the dancewas verymuch a part ofdrama; they had manypoints of contact, and both ware consciously conceived as one. The Natyasastra, thus, is neither a treatise on drama alone, as understood by some, nor a treatise on dance alone as erroneously believed by many devotees of dance. Hie theory and technique of Indian dance has actually to be picked out and its principles selected with discrimination from the entire technique of drama prescribed by Bharata. While dmice does emerge as an independent art once this is done, it nevertheless continues to be a very important part of the many-branched tree of drama. Indeed, such an important one and the essential character ofIndian drama islost ifwre remove aspects peculiarto dance which the Sanskrit dramatist described as angikabhinava. The principles governing the technique of Indiem dance are the same as those which govern the technique of classical drama in India. Most of Indian dramaturgists agree that the conventions ofstage presentation are a vital part of the structure ofIndian drama.

The literary piece can be fully understood only as a configuration ofvarious aspects ofstage presentation. Hie rules which govern this stage presentation are the manifold conventions ofthe Sanskrit stage. Threebroadprinciplesgovernthe structureofindiandrama and stagepresentation. Hie firstistheprincipleofthemodesofpresentation, namely,themodes (dhamxis), stage way or stylized way (natya) and natural or the way ofthe world (loka). The second consists of the different types of styles (vrittis), namely the graceful (Kaiseki), the grand (Sattavati), the energetic (arabhati) and  11 the verbal (bharati). The third is the full play of the four types of acting (abhinaya), namely the gestures (angika), vocal (vachika), costume, make¬ up, stage props, etc. (aharya) and involuntary, of the temperament and emotional, etc. (sattvika). Related to these are other principles, such as, the concept of external or irregular (bahya) and inner or regular (abhyantara) enacting, ofthe regional variations (pravrittis), ofbasic presentation (samanyabhinaya) and special or mixed representation (chitrabhinaya). Indeed it is the combination of all these principles and conventions which accounts for classical character of the dance in contemporary stage presentation. In the Natyasastra, these principles have been discussed in the chapters on dramaturgy and histrionics and not particularly in the context of dance or drama alone. It is the later texts, dealing with dance as an independent art, which consider these principles only in relation to dance. We find a full and independent treatment of dance from the point of view of the principles enumerated above for the first tune only in Abhinaya Darpana. This is followed by the later writers ofthe treatises on dance proper.

Sarangadeva and the writers of the Vishnudharmottara Parana and the o Natyasastra Sangraha all follow this analysis. The different aspects of dramaturgy, as pertinent to dance, are shown in the following chart: DRMIATURGY CNATYA) V (a) Modes of Presentation (dhaimis) V Cb) Styles (vrittis) V (c) Types of Acting (abhinaya) kadharmi Natucidhamii Kaiseki Arbhati Satavati Bharati (graceful) (energetic) (grand) (verbal) used in used in specially in the used in of little drama drama suitable for Tcindava dancing in value in proper occassionallv dancing, aspects of the dancing but but always more dancing, but depiction of dominate in dance. particularly occasionally rasa, but not in drama. in tlie too often. Lasya aspects.  Aspect (c) above, i.e. types of acting, can be further broken up as indicated below: Types of Acting (Ahhinaya) anpika (body gestures) vachika (verbal) recitation and music in dance vakyabhinaya in drama. aharna (costumes and make-up) as in drama used in the natyadharmi convention in dance. sattvika (of the temperaments, and involuntary states) used in dance in some aspect mukhaja (of the face) upanga (minor limbs) eyebrows, eyelids, eyeballs, nose. lips, chin and mouth sarira (of the body) anga (major limbs) cheshtakrita (of the entire body) head, chest sides, hips, thighs, hands and feet sakha ankura sucha nritta used very much in dancing used occa¬ sionally in dancing relevant for dance proper dancing but more pertinent in drama Techniques of basic representation (samanyabhinaya) irregular (bcihya) and regular, or inner coherence (abhyantara) and special or mixed representation (chitrabhinaya) are in turn composed of different elements ofthe four types of abhinaya described above. Originally, it would appear dance technique evolved directly out ofthe diverse elements ofthe dhcirmis, the vrittis, and the abhinaya mentioned above. Judging from the divisions made in later texts like the Abhinaya Darpana and Sangitaratnakara, dance technique, as distinct from the technique of drama, utilizes drama (natya) as one of its aspects. Technique According to the Abhinaya Darpana, the Sangitaratnakara and other medieval treatises, dancing is divided into three distinct categories, namely, natya, nritya and nritia. Natya here corresponds to drama, and naritya to gesticulation when it is performed to the words simg in a musical melody.

Nritta corresponds to pure dancing where the movements of the body do not express any mood (bhava), and do not convey any meaning. All these aspects use movements of the limbs and poses of the human body as their medium. The other type ofdistinction stated by these texts is that ofTandava and Lcisya. However, the Ncitycisastra does not state this distinction explicitly. Rather the Natyasastra uses the word Tandava as a generic term for dancing which cannot necessarily be interpreted as denoting violent dancing, or as that performed by men alone, or even a special type of dancing. The fourth chapter is entitled Tandavalcikshanam and the term tandava is used there for the particular dance which Tandu composed, by combining the rechikas, the angahara and pindi (invented by Siva) with song and instrumental music. ITis dance was to be performed generally for the adoration of the gods and its gentler aspect which is termed as sukumaraprayoga. This was to be used in the erotic sentiment (Sringara rasa). The word Iosya is used, in later chapters as a synonym occasionally for tandava. Also, in the description of the ten types of drama, lasya is one of the forms mentioned. The Abhinaya Dargcina and Sangitaratnakarci, however, clearly describe tandava as derived from Tcindu and lasya as derived from Parvati who taught it to Usha. daughter of Bana. Hence the technique of classical Indian dancing can be classified either under nritya, mitta and natya or tandava and lasya or sukumara. The terms mitta and abhinaya, tandava and lasya are also prevalent among practising dancers, and from north to south, and from the east to the west, we find that dancers speak an identical language ofbasic technique, even though there are significant variations in interpretation. The preservation of the continuity of the basic principle of the Natyasastra in these dance styles is impressive. Its continual change and modification is also significant. On this basis, the technique of dancing can be classified under two clear heads, pure dancing (nritta) and dancing with miming and gesticulation (nritya). It would be more appropriate to term the latter as angika-abhinaya or just abhinaya which is also the term popularly used by practising dancers for the mime aspects of the dance. Dance (nritta) technique The nritta technique of Indian dance is the law and methodology of human movement The sculpturesque quality of Indian dance does not need emphasis, but it must be understood that the pose or stance in the dance is all important. Indian dance is, in fact., a stringing together of a number of highly stylized and symbolic poses.

The nritta teclmique encompasses not only the technique of rendering rhythm (tala) through movements which do not have meaning, but also the important feature of projecting specific poses within a given rhythmic cycle. Indian dancing seeks to depict the perfect point or moment ofbalance along the vertical median (brahmasutra) so much so that all movements emerge horn the returns to the sama or point of perfect balance akin to the samabhanga of sculpture. Indian dance concerns itselfwith the movement of the human form in direct relation to the pull of gravity. Such a conception accounts for the absence ofgreat leaps and gliding movements in the air, so characteristic of the Western ballet In the latter, a movement in space where the human form is free from gravity is emphasized. Western ballet strives thus to eliminate space by covering as much space as possible, whether floor-space or airspace. It cuts space into chunks ofmovement, leaps and floor choreography. These arc woven into the most intricate patterns. The Western dancer is reaching out into space vertically and horizontally in order to arrest a moment of perfect dynamic movement Whatever perfection the Western dancer achieves, he does by making geometrical patterns in space, where movement is conceived as an attempt to be free from gravity. The Indian dancer, on the other hand, attempts quite the opposite; consequently the two differ completely in their approach to movement The Indian dancer’s preoccupation is not so much with space as with tune, with the dancer constantly trying to achieve the perfect pose to convey a sense of timelessness. The human form here achieves geometrical shapes in time rather than in space, for the intricacy ofthe nritta technique depends on the very fine and deliberate manipulation ofrhythm (tala) to achieve a series of poses. The perfect pose is a moment of arrested tune in limited space.

Except for certain aspects of Kathakali and the Chliau forms, none ofthe Indian dance styles use large leaps; and little or no discussion of them appears in the treatises on Indian dance. Bharata has not analysed or discussed the possibilities of movement in space where both hands and feet lose contact with the ground in any one ofthe 108 karanas or the 32 angaharas which he discussed in great detail. The entire system of "movement" composition has thus to be understood with this basic difference from Western classical conception. As Indian drama deliberately avoids depicting certain human experiences, so Indian dance purposely emphasizes only certain types of movement It has explored the full possibilities of those movements within consciously imposed limitations. The Indian dancer is not concerned with the musculature of the human form, but rather, like the sculptor, takes the joints and fundamental anatomical bonestructure ofthe human form as its basis. From such a basis the dancer strives to achieve absolute form, since the muscles cannot suggest absolute form and create abstract geometrical patterns easily. The different parts of the  body and tlieir respective movements have been analyzed bom this point ofview. It is from the keyjoint ofknee, hip and shoulder that movement emerges in both the lower and upper limbs; the neckjoint is the pivot for movements ofthe head and face. The Natyascistra presentstwo types ofclassifications for movementThere is first the analysis ofdifferent parts ofthe human body with regard to the possibility" of movement. Chapter VIII and IX ofthe Natyascistra contain detailed analysis of themovementofmajor and minorlimbs(the angas and upcingas). Thisisfollowed by a discussion on basic stancesi. e. the sthanasthe combination ofthese primary movements,such as charis, mcindalcis, karanas, etc. Accordingto this classification, the head, hands, breast or chestsides (waist), hips and feet constitute the major limbs (angas) and the eyes, eyebrows, nose, lips, chin, mouth, etc., constitute the minor limbs (upangcis). Bharata uses the word upangci and pratyanga virtually synonymously, but does not classify the neck, the arms, belly (udar), shanks and knees in either category. Later texts like Abhinaya Darpana and the Sangitaratnakara classify" these as pratyangas. Analysis of the knee (janu), ankles (gulpha) and toes occurs only in later texts. However, wrist movements receive full coverage in the Natyasastra. Some comparative study of the movements of these major limbs, and their correlation to each other, appears in the Natyasastra; hands (hastas) are the only pails of the human body which have both nrittahasta and abhinayahasta. In treating all the otherparts ofthebody, movementofthe particularpartis described and followed by its usage (viniyoga) as a pail ofthe abhinaya technique. This is especially true of the movements of the minor limbs, particularly the mukhaja ones, like the eyebrows, eyeballs, eyelids, chin, nose, lips, etc.

On the other hand, thighs, waist, side and chest movements are primarily discussed as nritta technique. Tlieirusage, however, isrelevantin anystudy ofthe abhinaya teclmique. Bharata discusses and analyses each part of the human body and its possibility of movement. Thereafter, he indicates the basic postures or positions which are the initial moments of beginning movement. He groups positions, called sthanas for men and for women separately. However, in actual practice, these are not insulated categories, but are in fact a whole series of basic positions in place. Today, we may understand the concept of the sthanas as a concept analogous to the concept of positions in classical western ballet. From amongst the varied types of categorisation, one may choose only five major positions from which emerges a stylized movement ofthe dance. The first amongst these is the standing position with feet together and no bendmg ofthe knees very much like the firstposition ofballetwith the important difference thatthe toesface in front. In Indian terminology, this is the samasthana. The second most important position is the position of the out turned knees and the bent legs. The heels touch each other and the toes of either foot face right and left respectively. This  is analogous to the demi-plie of classical Western ballet. This is the vaishnavasthana of Indian terminology. The third is an open position with the same out-turned thighs and calf, out-tumed knees but with distance between the two heels. This is equivalent to the position commonly recognised in Western ballet as the grand-plie. This is the mandalasthana of Indian terminology. An intermediary position called the vaiscikhasthana is important in some styles. Here one toe faces sidewards with an out-turned knee and thigh and the other foot is obliquely placed with the toe and knee pointing front. There is then the position with one leg bent and the other extended out. This is alidhci.

The opposite ofthis is the Pratyalidha when the weight ofthe body is on the foot of the bent leg and the other leg is extended diagonally on one side. From the first position i.e. the samasthana emergesthe most importantsingle unit ofmovement of the nritta technique of the ncityasastra system. From this position of an equibalance equipoised position of the body, different types of feet contact are explored. These are pada bheda. When one half of the body is kept static and movement is restricted to the other halfby either different types offoot contact or the covering space, it is termed as chan. Chari literally means ’to walk’, but is in fact a term which draws attention to foot contact and exploring space in place when foot contact with the earth is stressed and is called the Bhumichari on the Earth—Chan, and when elevation for a short duration is suggested, it is called aerial or Akashakichari. We may understand the concept of the chans as the use of the lower limbs in place and in space. All the chans of the first group mention the nature ofthe foot contact ofheel, toe, flatfoot as also in combination; added to foot contact are crossing, elevations of the thigh or the calf. The second group suggests a design in space where both feet have to be used. The next stage is a cadence of movement which is made up by the use of different types of chans covering space. Movement of the waist and the thighs, neck and the hands are added. The full cadence is then called Karana. It has an initial position which is a part of movement and it has a final position. The Karana is not a pose as considered by some, but is a complete emit ofmovement in space. A large cadence ofthree such primary movements and combinations constitutes a khanda i. e. a section, and three-four sections or khandas constitute a full circle also now called a mandala. These concepts can be understood ifwe keep in mind that the chan is the beginning, the initial static position moving as if in sections along the parameter of a circle and completing the circle in a series of movements. Along this path, many positions and movements are utilised. Some stress foot contacts, others stress the elevation ofthe leg, particularly the knee to different levels. The karana is the most important primary unit ofmovement and that is why the Natyasastra takes pains to describe the 108 primary cadences of movement which constitute abstract dance. Each ofthese cadences comprises the separate movement of a foot, calf, thigh, knee, waist, chest, neck, arms and hands, and those capable of combining with other movements.

Longer sequences of movements are like garlands and are thus called angahara. Whether it is the  chciiis or the karanas or the completion along a circular path called the mandalas, each ofthese can be strung together as a necklace i.e. angahara. Each limb or part ofthe body is capable ofmovement: vertical, horizontal and diagonal. Other parts are capable of circular movements particularly the neck and the waist and the hip. Similarly, the whole body can either cover a circular path or take quick tvuTLS or can jump, leap, execute elevations. Each of these possibilities is taken into account by the use oftechnical terms called the rechika i.e. the circular or the turns i.e. bhramcnis, thejumps, elevations and loss ofcontact with the ground called the utplavancis. The Natyasciscistra also takes into account choreographical patterns ofgroup compositions. These are called the Pindibandha. Pindihandha must be understood as a design where dancers emerge as a group from a centre and then can form chain patterns or alternating creeper patterns, or centrifugal radii pattern. We must remember, however, that often these technical terms are used in different ways and different contexts by the latter writers. Some of the latter writers, such as Nandikeshvara, the writer of the Abhinaya Darpana mentions many more types ofelevations i.e. the utplavanas than those mentioned by the writer ofthe Natyasastra. These changes signify" the changes ofemphasis which were taking place in the practice of the dance and are parallel to the sculptural evidence of the contemporary7 period. The bhramaris of the Abhinaya Darpana and the rechika of the Natyrasastra both belong to the class of circular movements which involve either a turning of one part of the body or the whole body7. which is termed "spinning" round or "chakkara" in contemporary Kathak terminology7. The Natyasastra prescribes rechikas ofthe feet (pada), waist (kati), hands (hasta) and neck (giiva). The waist and the neck are capable of complete circular movement, while the feet and the hands would achieve only7 a restricted movement within the limitation ofthe wrist and the ankle joints. By pada and hasta rech ika Bharata means the complete circular movement ofthe whole leg or arm. This is also clearly denoted in the Natyasastra There are frequent references to these rechikas in the literature ofthe period and in the description ofthe karanas, besides there are descriptions of the individual movements of the different parts of the body7. Such evidence points to a great popularity7 of the spiral, spinning and circular movements in the dance of the Natyasastra period.

It seems to have enjoyed the same popularity7 down to the tunes of Rajasekhara and later writers. The most important term in the sphere of dance composition found in the Natyasastra is the pindibandha. The pindis are said to have four varieties— gulma, srinkhala, latabandha and bhedyaka. The first stands for a sort of collective dance. Perhaps after the main dancer had entered the stage, she was followed by a group of dancers. The nature of the group’s fommation is not mentioned in the Natyasastra, but the name suggests a composition where a closed cluster (gulma) would be made by7 the dancers. The second type of composition is the chain (srinkhala) where a chain formation is suggested with  tlic partners holding hands. Creeper (latabandha) suggests a dance composition where the dancers put their arms around each other. The bhedyaka is a solo dance. All these are employed in the beginning of the play, and related to asaritas (preliminaries) or various kinds. The pindibandha is thus employed in the first phase, the srinkhala at the transition of tempo, the latabandha in the middle one and the bhedyaka in the last. A perfect system of nritta technique is thus visualized by Bharata. It covers all points of articulation of the human body, singly and in combination. It suggests the range ofsolo performance and group formation or choreograpy. . Nritya or Abhinaya The miming aspect of the nayta termed as angikabhinaya in the Natyasastra, an aspect ofthe drama proper, is also an integral part ofdancing. The principles which govern the angikabhinaya technique of drama (natya) also apply to the dance (nritya) where it is known as abhinaya. The vachikabhinaya of the natya (where the actors themselves use speech) is replaced by the music accompanying the dance. In the nritya portion, musical accompaniment utilizes svaras of a melody in a given rhythmic cycle (tala) and the variations of tala are interpreted by the feet and the other angas and upangas of the body. In the abhinaya portion, the musical accompaniment invariably consists of poetry lyrical or narrative, which is set to music and rhythm. It is this poetry which is interpreted by the dancers.

In the actual interpretation, especially in the solo dancing of all the classical styles, it consists of portraying the various transient states (sancharibhavas), of the particular dominant state (sthayibhava). This is done through a series of variations of the angikabhinaya in which each word or line of poetry is interpreted in as many different ways as possible; the dancer interprets through a visual presentation ofthe theme ofthe poem which is sung. In doing so, the principle of natyadharmi is fully followed—the dancer assumes different roles, without change of dress or costume. . Giving examples of natyadharmi, Bharata has said that if the same actor assumes a different role (in the same play) then it is natyadharmi. Ifthere is any play wiiere there is a predominance of graceful gesticulation, it is in the area of natyadhaimi. Indeed, the wiiole sphere of dance belongs to the natyadharmi mode of presentation where the principle of imitation is nowdiere followed, but rather the principal of "suggestions" guides the dancer. There is no attempt, therefore, to present things as they are. An artistic stylization is already implied wrhen the whole range of impersonal human situation and experiences has to be expressed through gestures. This stylization is also seen in the depiction ofthose emotionswhich wTould ordinarily be the sphere ofsattvikabhinaya in the drama proper, for in dance abhinaya, even tears are to be shown through gesticulation in natyadharmi rather than by actual wreeping. The three types of  gesticulation seen in the abliinaya ofthe body in drama are ofthe sucha, sakhci and the cinkura type which have been mentioned before. Of these three types, the sakha type ofangikabhinaya belongs mostly to dance, for here representation ofthe theme is made through the use of head, face, thighs, feet hands, etc. The most suitable vritti for the dance is the kaiseki which is seen in both the niitya and the niityci portions.

According to Bharata, this vrittis is particularly interesting on account of the dancing and singing which are used for its representation. The vrittis have their corresponding sentiment (rasa) and so they are all witnessed in dancing, especially in the narrative themes and in the presentation of the sentiments in a dance style like the Kathakali. . From amongst the movements ofthe angas and upangas mentioned earlier, the niitya or abhinaya portion depends mostly on the gesture ofthe hands and face, especially the movements ofthe eyes, eyebrows, eyeballs, etc.. Next in importance are movements of the head, chest and the thighs. The feet are important, but. less significantly than in the niitta portion. The use of feet is governed by the demands of the theme, and so is hastabhinaya. The hands (hasta) have been grouped under the categories of the single-hand gestures (asamyuta) and double-hand gestures (samyuta). Each ofthe hands mentioned under these categories has endless possibilities of movement., and is the vehicle of all entire language of gesticulation. . o o o Indeed the gesticulation ofthe hands is the focal point around which everything else revolves. Recognizing this importance, Nandikesvara and the writers after him lay down the famous dictum: “Where the hand goes eyes follow: where the eve goes, there the mood (bhava) follows and where the mind goes there arises the sentiment ( rasa )”. Here, it is necessary to point out that all the primary hand gestures of both varieties mentioned, can be used purely imitatively or suggestively—these can be used to convey ideas and emotion, or as symbols. Through hand-gesticulation, the Universe can be comprehended; the seven spheres, the oceans, rivers, planets, human beings, and animals can be represented. These hands, along with the movements of the eyes and eyeballs, are employed in the basic representation (samanyabhinaya) and in the special mixed representation ( chitrabhinaya). The movement of the different parts of the face and the head specially the movement of eyes, are almost as important as the hasta in the abhinaya technique of the dance. Each glance and the movement of the eyeballs and eyebrows is related to its corresponding vyabhicharibhava, the sthayibhava mid the rasa. The technique of Indian dance is as cmplex in nature as the technique of any art in India.

It builds horn its smallest part into a composite whole by a series of laws applied systematically. All this is done with a view to evolving a particular state of mind or rasa, whether it be through niitta or abhinaya. The following chart will give some idea of the mutual relationships hi derivations.  These basic techniques are uniformly applicable to all the classical styles of India. Individual movements vary and the fundamental postures are different and distinctive, but the broad pattern is identical. The sub-divisions of each of these movements in their usage has not been shown in the above charts: the angas and the upcingas are utilized in both the ruitta technique and the abhinaya technique. Dancing I Xritta II Abhinuya (a) static positions or poses (i) sthana for men and women (ii) asanci ofthree types (0 mcindala (b) movements and compositions (ii) pindibandha (iii) angahara (iv) gar earthy aerial gulma lata bhedyaka srinkhala chari chari (bhaumi) (akasiki) These basic techniques are uniformly applicable to all the classical styles of India. Individual movements vary and the fundamental postures are different and distinctive, but the broad pat