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Eternal India
encyclopedia
DANCE
90.
Nivesa
Both hands are held in front of the
chest holding
kataka hasta.
The dancer
stands on
Ma.ndalasth.ana.
91.
Avahitthaka
After performing the
janitha kar-
ana,
the dancer bring her hands closer fac-
ing each other slowly. The hands will hold
Alapadma
and
arala hasta
and they are
moved over the forehead and chest.
92.
Janitha
One hand in mushti is held in front
of the chest and the other is held in Dola
hasta (let down lose). The feet is made to
rest in front of the toes.
93.
Thalasanghattitham
The dancer raises the feet by lift-
ing it, moves it in a swinging way. Claps
the hands and holds the left hand in a -
downward way.
94.
Elakakriditha
The dancer jumps on both feet
forcefully. She bends her body and sits
down. This is followed by turning of the
body. Hands will be holding
Katakamukha
and
Dola hastha.
98. Urudrittam
One foot is stretched forward and
the other foot is stretched to the back. Like
wise the hand is arched and placed on the
back of the thighs. The legs are raised and
bent and placed slightly apart. The dancer
should stand in an erect position. The hands
hold
Arala
and
kataka hasta.
99.
Madaskhalitha
Both the hands are let down loose.
Head is turned as in
Parivahitha.
Feet are
bent and curved. Face assumes different
expressions. One hand holds mushti while
the other hand is in
Lata hasta.
100.. Vishnukrantha
One foot is bent and stretched
forward as if to start walking. Hands are
turned downward as in
Rechita hasta.
101.
Vrishabhakriditha
Foot is stretched backward.
A lata
movement is performed. Hands are in
Alapadma
hasta are moved in Recita move.
Hands are turned down and shoulders are
inverted. Feet moves in
Nikutta
posture,
hips are bent.
102.
Udghattitha
The feet are stamped rhythmically
marking beat of tala. Sides are bent and
hands are clap to mark
tala.
103.
Vishkambha
The right foot is placed near the
left foot in suci pada. Right hand is stretched
to the front and the left hand is placed near
the chest.
104.
Sambhrantha
One hands is rotated and placed
over the thigh as in
Avartitha.
Hand will
hold
Alapadma
and is moved in a circular
way. The thigh will be in horizontal posi-
tion i.e.,
Aviddha chari.
105.
Lolitha
Hands are arched and turned
down and spread widely holding
padma
hasta.
Head is moved in circular way on all
sides. The dancer stands in
Vaishnava
sthana.
106.
Nagapasarpitha
Both feet are crossed as in
swas-
tika,
and then separated, head moves in
different directions, the hands are turned
down in Chaturahastha, dancer stands in
Mandalasthana.
107.
Sakatasya
The dancer rests sitting down. She
bends her head to touch the floor. The foot
is stretched, raised chest is exposed and
then the dancer does a summersault. The
left hand is placed on the chest and then
other hand is pointed downwards and legs
are bent.
108.
Ganga vataranam
One foot is raised up with the
sole turned up. Both the hands are pointed
downwards, in
Tripataka hasta.
Head is
also bent as also the chest is raised.