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tana lv 2 exam
| Question | Answer |
|---|---|
| What are Asamyuta Hastas? | Single handed Hastas. |
| How many Asamyuta Hastas are there? | 28 |
| Pataka Usages (Asamyuta/Samyuta) | cutting, wing, waves, beginning of dance, taking oath |
| Tripataka Usages (Asamyuta/Samyuta) | crown, arrow, tree, vajra, Indra |
| Ardhapataka Usages (Asamyuta/Samyuta) | writing plank, horn, dagger/saw, knife, flag |
| Kartarimukha Usages (Asamyuta/Samyuta) | stealing, corner of the eye, creeper, overturning, separation of man and woman |
| Mayura Usages (Asamyuta/Samyuta) | peacock, beak, forehead, tilaka, forehead |
| Ardhachandra Usages (Asamyuta/Samyuta) | seizing the neck, spear, plate for eating, waist, greeting among common people |
| Arala Usages (Asamyuta/Samyuta) | drinking poison or nectar, violent wind |
| Shukatunda Usages (Asamyuta/Samyuta) | shooting an arrow, throwing a spear, saying a secret word, showing ferocity |
| Musti Usages (Asamyuta/Samyuta) | steadiness, grasping hair, firmness, holding things, wrestling |
| Shikara Usages (Asamyuta/Samyuta) | bow, pillar, siva lingam, throwing sakti, questioning |
| Kapittha Usages (Asamyuta/Samyuta) | Lakshmi, milking cow, holding flowers gracefully, covering head with veil, offering incense |
| Katakamukha Usages (Asamyuta/Samyuta) | plucking flowers, wearing garland, holding arrow in the middle of bow, drawing bow slowly, applying scents |
| Suci Usages (Asamyuta/Samyuta) | denote one, saying that, thinness, hair, world |
| Chandrakala Usages (Asamyuta/Samyuta) | denote moon, face, paradesa, jatajutam of shiva, hand stick |
| Padmakosha Usages (Asamyuta/Samyuta) | fruit, turning round, bud of flower, egg, lotus |
| Sarpasirsha Usages (Asamyuta/Samyuta) | snake, sandal pasta, offering water to gods, massage of wrestlers, flapping of elephant ears |
| Mrigashirsha Usages (Asamyuta/Samyuta) | face of deer, drawing three lines on forehead, stairs, graceful movement of feet, drawing patterns on the floor |
| Simhamukha Usages (Asamyuta/Samyuta) | stroking curly hair, coral, pearl, fragrance, lotus garland |
| Kangula Usages (Asamyuta/Samyuta) | lime fruit, white water lily, little bells, pill, chataka bird. |
| Alapadma Usages (Asamyuta/Samyuta) | full lotus, full moon, breast, village, murmuring sounds |
| Catura Usages (Asamyuta/Samyuta) | little, eyes, oath, playful conversation, gold |
| Bhramara Usages (Asamyuta/Samyuta) | bee, parrot, yoga, crane, kolila |
| Hamsasya Usages (Asamyuta/Samyuta) | tying a thread, extending wick, painting, drop of water, carrying garlands |
| Hamsapaksha Usages (Asamyuta/Samyuta) | denote six, making bridge, drawing with nails, concealment, and arranging |
| Samdamsa Usages (Asamyuta/Samyuta) | denote stomach, insect, tumour, flower blooming, number five |
| Mukula Usages (Asamyuta/Samyuta) | water lily, eating, holding seal/signet ring, navel, plantain flower |
| Tamrachuda Usages (Asamyuta/Samyuta) | cock, crane, crow, camel, child |
| Trisula Usages (Asamyuta/Samyuta) | bilwa leaf, three together, trinity |
| What are Samyuta Hastas? | Both hands |
| How many Samyuta Hastas are there? | 24 |
| Anjali Usages (Asamyuta/Samyuta) | Saluting the devas, gurus, brahmins at the head, face, chest |
| Kapota Usages (Asamyuta/Samyuta) | denoting bowing, taking oath, convo with gurus and elders, agreeing |
| Karkata Usages (Asamyuta/Samyuta) | arrival of group, showing stoutness, stomach, blowing conch, cracking limbs |
| Swastika Usages (Asamyuta/Samyuta) | crocodile, timid, speech, dispute, praise |
| Dola Usages (Asamyuta/Samyuta) | beginning of dance |
| Pushpaputa Usages (Asamyuta/Samyuta) | offering arati, collecting water/fruits, receiving fruits from children, offerings to the sun |
| Utsanga Usages (Asamyuta/Samyuta) | embrace, modesty, armlets, educating, disciplining |
| Sivalinga Usages (Asamyuta/Samyuta) | Sivalingam |
| Katakavardhana (Asamyuta/Samyuta) | coronation, ritual, worship, blessing at time of marriage |
| Kartari Swastika Usages (Asamyuta/Samyuta) | boughs of trees, summit of hills and trees |
| Sakata Usages (Asamyuta/Samyuta) | gestures of demons |
| Sankha Usages (Asamyuta/Samyuta) | denote the conch |
| Cakra Usages (Asamyuta/Samyuta) | denote cakra, discus/wheel |
| Samputa Usages (Asamyuta/Samyuta) | concealing things in a box/casket |
| Pasa Usages (Asamyuta/Samyuta) | quarrel due to enmity, noose and manacles |
| Kilaka Usages (Asamyuta/Samyuta) | friendship, affection and conversion of lovers |
| Matsya Usages (Asamyuta/Samyuta) | fish |
| Kurma Usages (Asamyuta/Samyuta) | tortoise |
| Varaha Usages (Asamyuta/Samyuta) | boar |
| Garuda Usages (Asamyuta/Samyuta) | eagle |
| Nagabandha Usages (Asamyuta/Samyuta) | pairs of snakes and atharvana mantras |
| Khatwa Usages (Asamyuta/Samyuta) | bed and palanquin |
| Bherunda Usages (Asamyuta/Samyuta) | bherunda bird, pair of birds |
| Avahitta Usages (Asamyuta/Samyuta) | erotic dances, holding a ball for play, breasts |
| What are Shiro Bhedas? | Head movement |
| How many Shiro Bhedas are there? | 9 |
| What are the Nine Shiro Bhedas? | Samam, Udwahitam, Adomukham, Alolitam, Dhutam, Kampitam, Paravritta, Utkshiptam, Parivahita |
| Samam | Shiro Bhedas - Keeping head straight |
| Udwahitam | Shiro Bhedas - face raised |
| Adomukham | Shiro Bhedas - head bent down |
| Alolitam | Shiro Bhedas - Head moving in a circular way touching shoulders |
| Dhutam | Shiro Bhedas - Head moving left to right and vice versa |
| Kampitam | Shiro Bhedas - to move head up and down quickly |
| Paravritta | Shiro Bhedas - head turned to one side |
| Utkshiptam | Shiro Bhedas - head is raised on one side to look up |
| Parivahita | Shiro Bhedas - head is alternatively moved sideways |
| What are Dhristi Bhedas? | Eye movement |
| How many Dhristi Bhedas are there? | 8 |
| What are the Eight Dhristi Bhedas? | Samam, Alokita, Saachi, Pralokita, Nimilita, Ullokita, Anuvrutta, Avalokita |
| Samam | Dhristi Bheda - eye position natural |
| Alokita | Dhristi Bheda - opening eyes wide and rolling them |
| Saachi | Dhristi Bheda - side glance |
| Pralokita | Dhristi Bheda - looking at both sides in turns |
| Nimilita | Dhristi Bheda - eyes half closed |
| Ullokita | Dhristi Bheda - eyes looking upward |
| Anuvrutta | Dhristi Bheda - eyes looking up and down |
| Avalokita | Dhristi Bheda - eyes looking down |
| What are Greeva Bhedas? | Neck movement |
| How many Greeva Bhedas are there? | 4 |
| What are the Four Greeva Bhedas? | Sundari, Tiraschina, Parivartita, Prakampita |
| Sundari | Greeva Bhedas - side-to-side movement |
| Tiraschina | Greeva Bhedas - A sliding or serpent like motion where the neck moves upward and outward on both sides like a snake |
| Parivartita | Greeva Bhedas - semicircular movement of the neck from one side to the other |
| Prakampita | Greeva Bhedas - forward-and-back movement of the neck |
| What are Buru Bhedas? | Eyebrow movement |
| How many Buru Bhedas are there? | 6 |
| What are the Six Buru Bhedas? | Sahaja, Patita, Utkshipta, Catura, Recita, Kuncita |
| Sahaja | natural eyebrow in smooth faces |
| Patita | at rest then drop |
| Utkshipta | raising one eyebrow and both eyebrows |
| Catura | moving both eyebrows in a pleasing manner |
| Recita | one brow is contracted with charm/sweetness |
| Kuncita | when one or both eyebrows are bent |
| Natyakarma | The dancer should be able to sing, express meanings through hands, and emotions through eyes. The dancer should maintain Tala by feet. |
| Natayakarma order | Where the hands go, the eyes should follow. Where the eyes go, concentration should be there. when concentration is there, expression comes out, and when expression comes out, the rasa arises |
| How many Patra prana are there? | 2. Patra antah prana and Patra bahih prana |
| antah prana | The ten inner aspects of the life of a dancer are swiftness, graceful execution of brahmaris, good looks, ease, intelligence, concentration, sweet tongue, and song. A dancer having these t has to proceed dance according to the rules laid by the treatises |
| bahih prana | the outer aspects if the kuce if a danseuse are mridangam, cymbals of good tone, flute, song, drone, veeina, bells and a male singer of repute |
| Patra lakshanam | the ideal physical and artistic characteristics |
| what does a woman need to be considered nartaki | A dancer should be medium-height (not too tall/short/thin/stout), charming, young, confident, playful, wide-eyed, lotus-faced, bejeweled, skilled in Tala, laya, caris, mandalas, hastas, angaharas, sthanaka, and Karnas, able to match song and instruments |
| caris | unified and co related movement of the waist, thigh, shank, and foot |
| mandalas | combination of 2 or more caries |
| angaharas | 6 or more karanas preformed together |
| sthanaka | standing, sitting, and reclining positions |
| karanas | graceful and purposeful movement of hasta and pada |
| Sabha lakshanam | The Sabha should shine like a kalpa taru with Vedas as branches, Sastras as flowers, and learned men as bees. Nandikeshwara says the Sabha must consist of truthful, righteous, and godly men, adorned by Vedic scholars and honored by kings. |
| what is the described sabha | the place where Nrittya is preformed |
| what are the seven limbs of sabha | scholars, pots, writers of treatises, musicians, jesters, those who are well versed in itihasaa, those who are well versed in puranas |
| What are Dwadasa Hasta Pranas? | Hand movements |
| How many Dwadasa Hasta Pranas are there? | 12 |
| What are the twelve Dwadasa Hasta Pranas? | Prasaranam, Kuncitam, Recitam, Punkhitam, Apaveshitakam, Preritam, Udweshitam, Vyavrittakam, Parivrttam, Samketam, Cihnam, Padarthika |
| Prasaranam | Dwadasa Hasta Prana - finger extended |
| Kuncitam | Dwadasa Hasta Prana - bending fingers towards the palm |
| Recitam | Dwadasa Hasta Prana - hand in pataka bends or moves quickly or stretched forward |
| Punkhitam | Dwadasa Hasta Prana - ataka hasta bends or moves quickly or stretches forward |
| Apaveshitakam | Dwadasa Hasta Prana - hand is stretched downwards |
| Preritam | Dwadasa Hasta Prana - hand at the back bends or moves quickly or is stretched |
| Udweshitam | Dwadasa Hasta Prana - hand in dance is directed upward |
| Vyavrittakam | Dwadasa Hasta Prana - hand is raised up from a side |
| Parivrttam | Dwadasa Hasta Prana - hand is brought forward from the sides |
| Samketam | Dwadasa Hasta Prana - hand communicates the meaning of a suggestion |
| Cihnam | Dwadasa Hasta Prana - depict eight aspects whether the objects are visible or unseen, movable or immovable 1. Their forms 2. Their faces 3. Their dwelling places 4. Their banners 5. Their weapons 6. Their virtues 7. Their ranges 8. Their actions |
| Padarthika | Dwadasa Hasta Prana - known as prati- pada – artha- tika. To perform hand gestures correctly, experts must carefully evaluate the form, action, signs, and nature of the subject before deciding on the most appropriate movement. |
| What are the Nritta Hastas | Abhinaya Darpana, Nandikeshwara depicts 52 Grandhantara Samyuta Hastas (hand gestures). These are similar to 32 Nritta Hastas in Bharatamuni’s Natya Sastra, Nandikeshwara extends this while naming a deity for each gesture. |
| How many Nritta Hastas are there? | 52 |
| Gajadanta Hasta | Nritta Hasta |
| Caturasra Hasta | Nritta Hasta |
| Talamukha Hasta | Nritta Hasta |
| Swastikamukha Hasta | Nritta Hasta |
| Aviddhavakra Hasta | Nritta Hasta |
| Recita Hasta | Nritta Hasta |
| Nitamba Hasta | Nritta Hasta |
| Lata Hasta | Nritta Hasta |
| Pakshavamcita Hasta: | Nritta Hasta |
| Pakshapradyota Hasta | Nritta Hasta |
| Garudapaksha Hasta | Nritta Hasta |
| Nishadha Hasta | Nritta Hasta |
| Makara Hasta | Nritta Hasta |
| Vardhamana Hasta | Nritta Hasta |
| Udwrtta Hasta | Nritta Hasta |
| Viprakirna Hasta | Nritta Hasta |
| Aralakatakamukha Hasta | Nritta Hasta |
| Sucyasya Hasta | Nritta Hasta |
| Ardharecita Hasta | Nritta Hasta |
| Kesabandha Hasta | Nritta Hasta |
| Mushtiswastika Hasta | Nritta Hasta |
| Nalinipadmakosa Hasta | Nritta Hasta |
| Udweshtitalapadma Hasta | Nritta Hasta |
| Ulbana Hasta | Nritta Hasta |
| Lalita Hasta | Nritta Hasta |
| Viprakirna Hasta (Variation) | Nritta Hasta |
| Gajadanta Hasta (Variation) | Nritta Hasta |
| Talamukha Hasta (Variation) | Nritta Hasta |
| Sucividdha Hasta | Nritta Hasta |
| Pallava Hasta | Nritta Hasta |
| Nitamba Hasta (Variation) | Nritta Hasta |
| Kesabandha Hasta (Variation) | Nritta Hasta |
| Lata Hasta (Variation) | Nritta Hasta |
| Dwirada Hasta | Nritta Hasta |
| Uddhrta Hasta | Nritta Hasta |
| Samyama Hasta | Nritta Hasta |
| Mudra Hasta | Nritta Hasta |
| Ajamukha Hasta | Nritta Hasta |
| Ardhamukula Hasta | Nritta Hasta |
| Recita Hasta (Variation) | Nritta Hasta |
| Kusala Hasta | Nritta Hasta |
| Pakshavamcita Hasta (Variation) | Nritta Hasta |
| Tilaka Hasta | Nritta Hasta |
| Utthanavancita Hasta | Nritta Hasta |
| Vardhamana Hasta (Variation) | Nritta Hasta |
| Jnana Hasta | Nritta Hasta |
| Rekha Hasta | Nritta Hasta |
| Vaishnava Hasta | Nritta Hasta |
| Brahmoktasukatunda Hasta | Nritta Hasta |
| Khandacatura Hasta | Nritta Hasta |
| Ardhacatura Hasta | Nritta Hasta |
| Linamudra Hasta | Nritta Hasta |
| How many Devata Hasta are there? | 9 |
| What are the nine Devata Hastas? | Brahma, Sambhu (variations - Sadasiva/Chandrasekhara/Ardhanareeswara hasta), Vishnu (variation - Padmanabha), Saraswati, Parwati, Lakshmi, Vighneswara, Shanmukha, Manmatha |
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