Fundamental of Ancient Indian Music and Dance

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

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Janita
Vicyavā -from the Samapada position the feet are lifted up and fore-parts are brought down on the ground. -in it one foot is in Agratalasamcara, one hand is kept at the chest in the Mustia pose and the other hand moves in a beautiful manner.
Fundamentals of Ancient Indian Music and Dance
Šakaṭāsyā—in it the upper part of the body is held with effort, one foot in the Agratala Samcara form is stretched forward, and the chest is kept in the Udvahita form.
Ākāśiki
Alātā
toe-nails on a level, and in the Samapada1 posture.
Akṣipta in it, one foot in Kuñcita form is thrown up to the height of three spans, brought to the other side and then, crossing the shanks in Svastika, it is caused to fall on the ground on its heel.
Vidyudbhrānta-One foot touches the head which is turned back, is turned round in all directions and stretched.
-one foot is stretched backwards with its sole facing the other thigh. Then its heel is brought down to the ground on its side.
Urdhvajānu -in it one foot in the Kuñcita form is thrown up and its knee is kept on a level with the breast. The other foot is kept steady and motionless.
1
Pārsvakrāntā-in it, one Kuñcita foot is raised and brought down on the the ground by its heel.
Where Sausthava of the limbs is important, and the two feet are kept in the natural position at a distance of one span from each other. 2 Infra.
3 In it, the chest is lightly raised without shaking.