Glossary of 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, thealarippu is a abstract dance item that begins with movements of just the eyes, 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, 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 callardhamandali.
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) andetram (ascent).
Ardhamandali
A signature posture of Bharatanatyam, with erect torso, bent legs, knees outward, heels together, and toes outward. Also callaraimandi.
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 compostions by Indian poet Jayadeva on relationship between thegopis (cowgirls) and Lord Krishna, symbolizing eternal love of a devotee for the divine.
Bandhani
A method of typing and dyeing cotton or silk cloth, practiced mainly in Rajasthan and Gujarat. From Hindi bandhan (binding or tying up).
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.
Bharwad Bandi
A style of jacket worn by the Bharwad community (traditionally sheep and cattle herders) in Gujarat
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 areshringara (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.
Chaapu
One of the qualifiers with which a tala or rhythmic meter is identified. Chaapu corresponds to the number of beats in thelaghu, and is also known as jaathi.
Chania choli
Also chaniya choli. A traditional Gujarati dress comprised of a skirt (chania) and a blouse (choli).
Chinna Melam
Another name for Sadir Natyam, combining Tamil chinna (small) and melam (performance)
Churidar(s)
Tightly fitting pants worn by men and women in North India and Central Asia, also called churidar pyjamas
Dang
A tribal region in Southern Gujarat, also the folk dance from this region
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).
Dharampur
A tribal region in Southern Gujarat, also the folk dance from this region
Dhol
A double-sided North Indian drum played with sticks (rather than hands), and used in folk music.
Dhoti
A men’s garment consisting of a rectangular piece of cloth tied around the waist, covering the legs. There are various ways to tie it.
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 of madhya, which is double the speed ofvilamba.
Etram
A Tamil work meaning ascent, climbing, or to step onto.
Gamthi Garbo
A style of garba performed in rural communities of Gujarat, featuring different movements and simpler songs than the traditional garba
Garba (plural), Garbo (singular)
An Indian folk dance from Gujarat, which is done circling around a lit lamp called the garba deep (from Sanskrit garba meaning inside and deep meaning a small earthenware lamp)
Garbi
A style of garba from Western Gujarat, traditionally performed by men and having different songs and movements that the traditional garba
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.
Ghado
A Gujarati folk dance done holding water pots
Ghoomar, Ghumar
A traditional folk dance of Rajasthan, performed by women in swirling dresses and featuring circular movements
Goaf
A folk dance from Gujarat in which dancers carry sticks which are beaten in rhythm, and are tied with ropes to a central pole. The dancers weave and unweave patterns in the ropes as they dance around the pole.
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
Gurukul
A system of schooling in ancient India in which the students live with, or near, the teacher. From Sanskrit guru (teacher) and kul(extended family).
Half-sari
A variation of the sari with reduced width, about one meter wide. When worn it extends just below the knees, and is worn overpyjamas.
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 are shringara (love, eros), vira (valor, heroism),karuna (sadness), adbhuta (awe, amazement), raudra (fury),bhayanaka (fear), bibhatsa (revulsion), and shanta (peace).
Hudo
A traditional dance from the fair at Tarnetar in Western Gujarat. It uses decorated umbrellas and is a match-making dance.
Jaathi
One of the qualifiers with which a tala or rhythmic meter is identified. Jaathi corresponds to the number of beats in the laghu, and is also known as chaapu.
Jari
Embroidery using metal threads, usually silver, gold, or copper, and often for decoration of borders of the cloth
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 padamwhich is refined. Javalis also are faster paced.
Jayanti
The Sanskrit work for anniversary, often refers to celebrations of the birthdays of religious figures and deities
Jimi
A traditional women’s garment from Gujarat consisting of a wraparound skirt
Kaala
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.
Kameez
A long shirt worn by women in North India, with side seams open below the waist line.
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).
Kediya (plural), Kediyu (singular)
A frock like men’s upper garment from rural Gujarat
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 group form of dance drama from Andhra Pradesh, with all roles 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
Kurta
A loose shirt worn by men and women, reaching to just above the knees or somewhat below the knees, and worn over dhotis,churidars, salwars or other pants
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) andadhama (base)
Maha Pattabishekam
A dance drama by Rukmini Devi, performed at Kalakshetra. The final episode of the Ramayana series, in which Rama returns toAyodhya for his coronation
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
Panchmahal
A tribal region of Eastern Gujarat, also the folk dance from this region
Parakiya
The married woman in love with another man. One of numerous categories of nayikas, 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 theangas or major parts of the body, and upangas, which include the extremities and facial features.
Purandaradasa
A dance drama by A. Janardhanan, performed at Kalakshetra, of the story the musician-saint from Karnataka is one of the prominent composers in Carnatic music
Pushpanjali
The offering of flowers to a deity, as a form of obeisance. Sometimes this ritual is expanded into a dance item.
Pyjamas, Pajamas
Loose trousers tied with a drawstring at the waist, worn by men and women in India and other parts of Asia
Raas Garba
A popular format of Navaratri celebrations with garba performed devotionally, followed by raas for festivities
Raas, Dandiya Raas
A folk dance of Western India, in which men and women use decorated sticks to keep rhythm, and make complex circular movements. Origins of raas trace back to the life of Lord Krishna.
Rabari
A tribe or community in Gujarat and Rajasthan, of semi-nomadic cattle, sheep, or buffalo herders, whose name means “outsiders”
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.
Rasdo
A folk dance from Porbandar in Gujarat, performed only by men. Differs from the usual raas, and is extremely lively and vigorous
Raudra
Fury, one of the nine emotions in Bharatanatyam. The others areshringara (love, eros), vira (valor, heroism), karuna (sadness),adbhuta (awe, amazement), hasya (laughter, humor), bhayanaka(fear), bibhatsa (revulsion), and shanta (peace).
Rumal
A folk dance done with handkerchiefs, typically to wedding music
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
Salaamure
A term of salutation or respect, often heard in the lyrics ofshabdam compositions in Bharatanatyam
Salangai
Tamil term for a dancer’s ankle bells. Also called gungaroo in Hindi.
Salwar-kameez
A traditional dress for women in North India, combining loose pants (salwar) and a long shirt (kameez)
Salwar
Loose trousers, usually pleated at the waist, tied with a drawstring, worn by women and men in South Asia
Samanya
The courtesan, a free woman whose love is for sale. One of numerous categories of nayikas, or heroines, in Bharatanatyam.
Sanchari Bhava
Transitory states or passing feelings in the presence of a 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.
Shabari Moksham
A dance drama by Rukmini Devi, performed at Kalakshetra. The fourth episode of the Ramayana series, in which Rama gives salvation to Shabari
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 areshringara (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
A Sanskrit term denoting a poem or phrase chanted as a form of prayer
Shlokam
A Bharatanatyam item with expression of meaning, in which the lyrics are sung without meter, and there is no abstract or decorative dance. A Sanskrit term for a poetic verse or phrase.
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.
Supdu
A Gujarati term for a small basket used for cleaning grain, a vocational folk dance of Gujarat using these baskets
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.
Talvar
Sword in Hindi or Gujarati
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.
Teermanam
A passage of rhythmic syllables during a dance rectial.
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. 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.
Tippani
A Gujarati word for mallets used to tamp the ground, a vocational folk dance of Gujarat using these mallets
Toplo
A Gujarati word for basket
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. Vilambais half the speed of madhya, which is half the speed of drut.
Vira
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.
