Samyukta Hastas (Double hand gestures)

Anga Shuddhi

In Bharatanatyam, Anga Shuddhi means "purity" or "perfection" of the body's movements, involving the harmonious and precise coordination of the main body parts (Anga), minor limbs (Pratyanga), and facial expressions (Upanga). It is crucial for a dancer's technical proficiency, aesthetic beauty, and ability to convey emotion, as it ensures each movement is clear, strong, and meaningful, rather than weak or erratic.  

Key aspects of Anga Shuddhi: 

• Coordination: It requires the synchronized movement of all body parts, including the head, hands, torso, and feet. 




• Discipline and Precision: Achieving Anga Shuddhi is a result of disciplined practice that brings clarity and precision to every step and gesture. 




• Correct Posture and Alignment: Proper posture, balance, and geometric correctness are fundamental to Anga Shuddhi. 




• Clarity of Expression: It helps in conveying emotions effectively, as a clear, well-executed movement is more powerful and meaningful than one that is confused or unclear. 




• Injury Prevention: Proper Anga Shuddhi helps prevent injuries by ensuring movements are performed with correct alignment and control. 




• Aesthetic Beauty: It is the foundation for grace and beauty in performance, transforming movements into a sharp, beautiful, and divine expression of art.

• Bhedas

Paadha Bhedas (leg positions) they are mainly categorized into Mandala Bhedas ( standing positions with hand gestures)

• Sthanaka Bheda - simple standing positions

• Utplavans - leaps (will upload sample soon..)

• Bhramari - circling movements / turns

• Caari - movements

• Gatibheda - gaits

🦶Paadha bheda are feet positions, according to Natyashastra 

• Utghatitam - jump on your toes, heel down

• samamchaiva - flat on legs

• agratala sancharaha - on toes

• anchita - on heel

• kunchita - point on toes.

Paada pancha vidha smrutaha !!

Greeva bedah are neck movements. There are 4 variations as mentioned below:-

• Sundari bheda: This is a subtle movement of eyes from side to side. This is shown to express beauty, shyness and appreciation explained in detail in the class.

• Tirascheera: This movement is combined with Sundari bheda. This is a V shaped neck movement used to search someone.

• Parivartita Griva:  semi circular movements of neck, movement of neck from left to right, right to left to show playfulness, attitude or anger

• Prakampita Griva: These are forward movements of neck like a peacock or bird.

Drishti bheda are eye movements, There are 8 of them

•  Sama dristi - The glance which has static eyelashes which resembles a feminine deity is called Sama. The use of Sama is used to indicate start of Natya, querying the opinion of others.

• Alokita dristi - A swift movement of glance with opened eyes is called as Alokita. The movement is used to simulate the wheel , circle, left up, right and down all movements together.

• Saci - The experts in Natya define Saci to be glancing from the sides of the eyes. You can use these movements to look for something in the corners.

• Pralokita dristi - Is used to look at the corner of the sides in a semi circular movement.

• Nimita dristi - is half closed eyes the same can be used for devotion, meditation, or keen observation.

• Ullokita dristi : is looking upwards. This can be used to indicate anything above you like gods, objects in the sky, planets etc or when you are thinking and want to avoid looking straight or downwards.

• Anuvrtta dristi : The repeated glancing from top to bottom is defined as Anuvrutta. Any kind of wonder like witnessing gods , or irate looks are some of the uses.

• Avalokita dristi: The downcast eyes is looking downwards.  The is typically used when tired, looking for somethiing downwards or glancing at one's own limbs