Fundamental of Ancient Indian Music and Dance

Author(s): Sureshchandra Benarji
Publisher: L D Indology Ahmedabad

Page 61

IV
DANCE
General remarks
At the outset, it should be stated that originally dance was conceived in connexion with drama. Šārrigadeva says (Nartanādhyāya-3) that Nartana is threefold, viz. Natya, Nrtya and Nṛtta. Further on he says that Nṛtta is a kind of abhinaya (acting, mimetic art). Nṛtta, as a kind of abhinaya, is performed by means of Karana1 and angabhangi (gestures and postures). The angas are six-head, hands, chest, sides, hip. feet. Some include shoulder also. The pratyangas are neck, arms, back, belly, thighs, shanks. According to some, the wrist, knees and ornamants, worn on the limbs, are also included in pratyangas. There are twelve upāngās in the head, viz. eyes, brows, eyelids, eye-balls, throat, nose, breath, lips, teeth, tongue, chin and face.
The other Upangas are heels, ankles, fingers, toes, soles of feet.
Nṛtta (dance) should be distinguished from Nṛtya (gesticulation, tableau), Śārrigadeva defines Nṛtya as that which manifests emotions or feelings by means of gestures (angikabhinaya). According to him, it is known as marga. He characterises Nṛtta as movements of limbs devoid of any imitation of any condition. Dhanañjaya, in his Dasarīрaka, brings out the distinction between the two in the following words-anyad bhāvāśrayam nṛtyam nṛttam tālalayāśrayam. It means that, while nṛtya is based on bhava (emotion, feeling), nrtta is related to tala and laya."
1 See below.
2 The terms have been explained in the foregoing chapter on Tala and Vocal music respectively.