Fundamental of Ancient Indian Music and Dance

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

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Fundamentals of Ancient Indian Music and Dance
Alidha -the left thigh is motionless in the air and slightly bent. The right foot is stretched forward to a distance of five spans. Both feet are oblique.
Postures for women
Gatagata- the female dancer, about to move forward, hesitates with one foot raised.
Valita -the body is slightly twisted around, the foot, in the direction in which the body is twisted, touches the ground with the little toe. The other foot touches the ground with the big toe.
Desi Sthānas
Vardhamana -the two feet are oblique with the heels touching each other.
Nandyavarta in Vardhamana above, the distance between the feet is six angulas or one vitasti (= 12 angulas).
Upavista-sthānas
Madalasa-one foot is stretched out a little, the other is placed on the seat, and the head is bent on one side. Utkata -the heels and the hips are on the same level and the feet are on the ground in the natural position.
Suptasthāna
Sama-lying down with the face turned upwards and the hands loose and free.
Nata lying down with the shanks slightly separated and the two hands resting loosely.
ANGAHARA
This term is constituted by two components, viz, angu and hara. It is explained as the movement (hāra) of angas (limbs). Some explain it as a movement pertaining to Hara (i.e. Śiva), and demonstrated by limbs (anga).
According to Sarrigadeva, the graceful movement of the limbs to the proper places, composed of groups of Mātṛkās (i.e. combination of two karanas) is called Angahāra.