6th year definitions

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agrataal

pick up both feet and stamp

aalidh

bend the knees and sit

uthaan

first tukda after the stuti

archit

pick up the heel and stamp it

kunchit

pick up one foot, stamp the front part, pull behind the other leg

kunchit bhramari

spin with knees bent and together

pad vinyas

picking up the leg and placing in the required position

samput

pull and close any open thing

milit dhrushti

eyes half open or half closed

used to show snake/dhyan/jap/namaskar/sharp glances

griva sanchalan

movement of neck according to abhinaya darpan, 4 kinds

sundari greeva

side to side neck movement

tirachina greeva

snake neck movement

paravartita greeva

half moon neck movement

prakampita greeva

pigeon neck movement

parvahit shir

head movement from one direction to another

ekpad

stand one one leg w/ other leg resting on knee

shows meditation/tapasya

bhramari

spin/pheri/chakkar/ghumariya

on one foot is ekpad bhramari

nritya ke sapt padarth

nyaya sutra: drav, gun, karma, samanya, vishesh, sumvaya, abhav

pandit rajaram dwivedi: make nature complete

drav

existence of a thing; nritya ke sapt padarth

gun

features of a thing; nritya ke sapt padarth

karma

action taken using thing; nritya ke sapt padarth

samanya

type or quality of thing; nritya ke sapt padarth

vishesh

specialties of a thing; nritya ke sapt padarth

sumvaya

connection with something; nritya ke sapt padarth

abhav

lack of existence; nritya ke sapt padarth

vyuhkriya

formations

trikon vyuh

3 lines triangle formation; vyuhkriya

baan vyuh

enter in straight line formation from any direction; vyuhkriya

sarp vyuh

move in wavy snake formation; vyuhkriya

ardha chandra vyuh

half moon formation; vyuhkriya

kup vyuh

circle formation; vyuhkriya

chatushkon vyuh

square formation; vyuhkriya

sopan vyuh

enter in different line formations and assemble on stage; vruhkriya

2 small 1 big line half rectangle formation; vruhkriya

anulom

moving in diagonal right way; sidha, ulat-pulat

vilom/pratilom

moving in diagonal wrong way; ulta, ulat-pulat

hela

love enters heart of lovers shown through body

hori

raag kaafi in thumri style, deepchandi, krishna plays holi in brij, uses mead/kan/murki/khatka

kajri

from kajal, monsoon season (aashadh purnima-janmashtami), semi-classical singing style, separation of lovers, banaras (UP) and mirzapur

chaiti

chitra month, bhojpuri, eastern UP and east Bihar, ram and his life

ghazal

urdu/farsi, pasto/roopak/deepchandi, shrinagar (erotic) raag, pain/separation/love, beautiful vocabulary and poetic style, same raags as tappa and thumris

tarana

hindustani music, nom-tom/tanana/na/dir-dir/dani/tadani, all raags and taals, speed gradually increases and ends after very fast

bhajan

praise of god, keharva/dadra/jhaptaal/roopak/teentaal, bhakti ras emotion, raag purity not a focus

thumri

importance to words, not follow rigid rules of raag, has all specialties of Indian classical music, dhrupad i.e. layakaris, swars i.e. khayals, taans i.e. tappa/thumris, 2 styles

purvi ang thumri

word focused, accompanies dance, arth bhav ki thumri, interpretation of words, bhojpuri/brij bhasha/avadhi languages

punjabi ang

vilambit laya, punjabi folk music all aspects, words express various emotions, deepchandi/dadra/teentaal/addha taal, bhairavi/khamaj/pilu/kafi/tilak-kamod/jogiya/gara/des/pahadi/jhijoti raags