Fundamental of Ancient Indian Music and Dance

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

Page 63

Fundamentals of Ancient Indian Music and Dance
Dolāpāda--after ürdhvajānu Cârı, the Dolāpādā Cari is per
formed and the arms are kept in the Dola pose. 1 Janita - It takes place when, after Janitā Cāri, one hand
in the form of Muşțiis placed on the chest and
the other is in the Latā pose. Sakaļāsya-After Sukațāsyā Cārī, one hand and one foot are
stretched out; the other hand in the Khațakāmukha3
form is kept on the chest. Bhramara--The foot remains as in Aksiptā Cāri. At the same
time the Udvesțita* movement is made with the hand. The lower part of the spine is curved around, and the feet form svastika. The same is repeated on the other side. Simultanously the Ulbana5 gesture
is made with hands. Sūci -One foot is thrown up, bent and brought down
without touching the ground. The hand on the same side is kept, in the khațakāmukha pose, at the chest. The other hand, in the Alapadma pose, is near the head. The same is repeated on the other side.
Apakrānta
After Baddha and Apakrāntā Cāris, the two hands move in an appropriate manner. Parsvakrānta-It takes place when Parśvakrāntā cārt is
performed and the bands follow the feet.
1 Infra. 2 In it, the tips of fingers rest in a compact manner in the middle of
the palm not covered by the fingers, and the thumb remains pressed
against the middle finger. 3 Infra. 4. The straightening of the bent fingers, beginning with the forefinger, in
their respective order, along with the movement of the hand away
from the chest to the side. 5 In it, the two Alapadma hands, with quivering fingers, face the
shoulder and are stretched over the shoulders.