Dance notation explains the usages and meanings of mudras using appropriate use of symbols.
In the last part, we discussed Mudra notation system devised by G Venu and the alphabets of basic mudras. Here we are discussing other important symbols of dance mudra notation system.
In the last part, we discussed Mudra notation system devised by G Venu and the alphabets of basic mudras. Here we are discussing other important symbols.
This system denotes all the movements of the hand on the vertical plane.
This symbol denotes all the movements of the hand on the horizontal plane.
This symbol indicates twin and simultaneous movements.
The wrist moves circularly and the movement of the wrist is simultaneous with the opening of the palm beginning with the little finger.
In many cases the movement of a particular mudrā becomes significant only when it is conjoined with another mudrā, either in the beginning or in the middle or at the end.
- Beginning with Hamsapakṣa
- Hamsapakṣa used in between the beginning and the end of the movement.
- Movement will end in Hamsapakṣa.
This indicates the holding of the palm one upon the other with teh intention of changing them in such a manner as to reverse the order.
This symbol is meant to indicate additionally which hand of the dancer, left or right, is to make the movement mentioned in the notation. If it is shown on the left side, the dancer must make the movement with her left hand; but if it is shown on the right side, the dancer must make the movement with her right hand.
This symbol is just to indicate that both the palms are brought into the same movement.
The combination of symbols
At the end of the mudrā, the dancer must shown the mudrā Muṣṭi mudrā. The palm should be held horizontal and turned towards the body. This movement can be performed only with one hand.
- Beginning with Hamsapakṣa mudrā (palm faces outwards vertically) and
gradually closes the palm beginning with the little finger.
- Beginning with Hamsapakṣa mudrā (palm faces downwards) and the palm moves in a forward circular manner witht the wrist as the pivotal base. Both the palms are brought into same movement.
The mudrā-s have been depicted on a horizontal four-line staff. The three columns of the staff divide the human body into three divisions.
The first column (top most) denotes the mudrā-s that are to be shown in line with or above and also the accompanying facial expression. The second column gives the mudrā-s that are to be shown in line with the chest (below the chin) and the third column gives mudrā-s that are to be shown below the waist. (But this rule is not applicable to the sitting posture).
The methods of application of mudras have been described. Mudras and their application will be starting in the next issue.
Assisted by Sreekanth Janardhanan
Photo Courtesy: Natanakairali Archives