Fundamental of Ancient Indian Music and Dance

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

Page 64

Dance
55
Utpluti-karanas Añcita—Standing up in the natural position of the feet and
jumping straight upwards. Lohadı-Standing with the feet in the natural position and
twisting around the loins une jumps up and falls
obliquely. Cārī
Derived from the root car (to move) with the addition of the suffix iş, followed by the feminine affix nis, it denotes the aggregate of various graceful movements of the feet, shanks, thighs and hips performed simultaneously. Cāri, also called Vyāyāmu, has the following varieties : Cāri, Karana, Khunda and Mandala. The Cāri, which can be performed by any one foot, is called Cāri. That, in which both the feet are required, is called Karaṇa which is to be distinguished from Nrttakaraṇa. Three Karaņas make a Khanda. Three or four Khandas make a Mandala.
Carz, performed by one foot, is of two kinds; viz. Bhaumı (terrestrial, i.e. performed on the ground) and Akāśiki (aerial. i.e. performed in the air above the ground). Each of the Bhaumi and Akāśiki Cāris has sixteen varieties.
While the above are classical or standard Cāris, called Mārga, there are also regional Cāris with local characteristics, called Desi Cāris. The latter again are divided into two classes, Bhaumi and Akāśiki; the number of the former is 35, while that of the latter is 19.
We shall mention below only a few typical Cāris under each class by way of illustrations.
MĀRGA CĀRI
Bbaumi Samapādā-standing with the two feet close together, the