### Flashcards Outline:

#### Importance and Use of Ghungroos

- Ghungroos: Small metal bells used in Indian dance performances, worn at the ankles by dancers in styles like Bharatnatyam, Kathak, Kuchipudi, and Odissi.

- Material: Usually made of brass with tiny iron balls inside to produce sound.

- Function: Maintains rhythm and tempo during dance; sound varies with bell size.

- Usage: Common in classical and folk dances; number of bells varies with dancer's expertise.

#### Definitions

- Kavit: In rhythm music, linking poetry words with dance, tabla, pakwaz, and primalu bol. Famous in Jaipur gharana, often in faster tempo.

- Chakardar Paran: A composition using pakhawaj bols, repeated three times.

- Gat:

- Gatnikash: Work done to come out of a rotation.

- Gatbhav: Acting out characters of a story through dance, mixing Abhinay (acting), Nrit (body movements with rhythm), and Nritya (dance).

- Chal: Simple walk from one defined position to another in dance.

- Salami: A salutation performed at the beginning of a dance to honor the audience.

#### Body Movements in Dance

- Anga: Main body parts – Head, Hands, Chest, Waist, Bottom, Legs.

- Pratyanga: Secondary body parts – Shoulders, Arms, Stomach, Thighs, Knee. Can include Wrist, Elbow, Ankle.

- Upaanga: Minor body parts – Sight, Eyebrow, Eyelids, Eye Balls, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin, Face. Can include Heels, Fingers, Feet, Palm.

#### Eye Movements (Drushtibedha)

- Samam: Looking straight.

- Alolitam: Turning eyeballs clockwise & anti-clockwise.

- Sachi: Looking to the sides without turning the head.

- Pralokana: Looking to the sides alternatively without turning the head.

- Nimeelana: Looking down.

- Ullokana: Looking up.

- Anuvrutta: Looking up & down.

- Avalokana: Looking deep down.

#### Neck Movements (Greevabhedha)

- Sundari: Neck movement on both sides.

- Tirashcheena: Side movement with increased speed.

- Parivartita: Movement to the corners.

- Prakampita: Moving the neck like a rooster.

#### Eyebrow and Eyelid Movements

- Sahaj: Natural eyebrow position.

- Utshape: Raising the eyebrow up.

- Patan: Lowering the eyebrow.

- Bhrikuti: Moving the eyebrow up, down, and sides.

- Chatur: Expanding the eyebrow.

- Kunchit: Moving the eyebrow down.

- Raechit: Raising one eyebrow.

#### Prominent Personalities

- Pandit Narayan Prasad: Born 1908, Jaipur Gharana, renowned for rhythm and emoting, honored with 'Nrityacharya' in 1957.

- Shambhoo Maharaj: Known for emoting in Kathak, recipient of titles like 'Nritya Samrat', 'Abhinaya Chakravarti', 'Padmashri'.

- Achchan Maharaj: Born Jagannath, known for his intricate beats and emoting, father of Pandit Birju Maharaj.

#### Kathak Dance

- Kathak: Classical dance form from North India, originally a storytelling medium.

- Evolution: Transitioned from temple to court dance during Mughal era.

- Elements: Combines Nritta (pure dance) and Nritya (expressive dance).

#### Kathak Gharanas

- Lucknow Gharana: Known for grace, elegance, and delicate movements; flourished in Nawab Wajid Ali Shah's court.

- Banaras Gharana: Emphasizes Natwari or dance bols, minimal chakkars, great floor use.

- Jaipur Gharana: Focuses on technical aspects, complex footwork, multiple spins, and Pakhawaj compositions.

#### Tandav and Lasya

- Tandav: Originated by Lord Shiva, involves aggressive limb movements and expressions of Courage, Anger, Hatred, Enjoyment, and Anger born out of grief and sympathy.

- Lasya: Soft, shringarik dance performed by Goddess Uma, characterized by gentle movements and expressions of pleasure and excitement.

This outline can be used to create flashcards for each term and definition.