Estimated reading time: 10 minutes
32 Charis (Cārīs) are defined as fundamental foot and limb movements, essential for dance and stage combat. We discussed this in our post – Chari (Cārī): The Dynamic Dance Step in Natyashastra
Movement is a story. A philosophy. A mood in motion. Bharata Muni’s Natyashastra clarifies this. In the classical Indian dance tradition, the most powerful ways to convey meaning, rhythm, and rasa is thru Chari.
There are 16 Earthly (Bhumi) and 16 Aerial (Akasha), a total of 32 Charis.
Charis are integral not just to Bharatanatyam but also to combat and weapon choreography on stage.
तस्माच्चारीविधानस्य सम्प्रवक्ष्यामि लक्षणम् ।
या यस्मिंस्तु यथा योज्या नृत्ते युद्धे गतौ तथा ॥ ७॥
tasmāccārīvidhānasya sampravakṣyāmi lakṣaṇam |
yā yasmiṃstu yathā yojyā nṛtte yuddhe gatau tathā || 7||
Meaning:
“So now, I will describe the characteristics of the cārīs. How and where they are to be used, in dance, in war, and in movement.”
– Natyashastra, Chapter 11
The Charis serve different purposes (for battle, theatre, and divine worship). Performing them is an offering.
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32 Charis (Cārīs) of the Natyashastra
The 32 charis, or cārīs, are important in Bharatanatyam. They add lively movement and feeling to performances. Each chari gives a special meaning to the elements of akasha and bhumi. They help dancers tell stories from myths and express human emotions.
Bhaumī Cārīs (भौम्यः चारी) – 16 Bhaumī Cārīs (Earth-bound movements)
Movements that stay grounded. These are solid, deliberate, graceful.
समपादा स्थितावर्ता शकटास्या तथैव च ।
अध्यर्धिका चाषगतिर्विच्यवा च तथापरा ॥ ८॥
samapādā sthitāvartā śakaṭāsyā tathaiva ca |
adhyardhikā cāṣagatirvicyavā ca tathāparā || 8||
Meaning:
Samapadā, Sthitāvartā, Shakaṭāsya, Adhyardhikā, Āṣagati, and Vicyavā. These are the other types of Cārīs (leg movements).
1. Samapādā: Feet are placed together. Toes touching. Standing still. A neutral stance, the śūnya of motion.
2. Sthitāvartā: Cross one foot over the other and alternate. Creates a turning-in-place movement. Great for transitions.
3. Śakaṭāsyā: Step forward with raised chest. It evokes majesty used for heroic entry.
4. Adhyardhikā: Left heel rests behind the right foot. The right then slides away. Half-beat rhythm. Perfect for subtle glide.
5. Cāṣagati: Like a bird. The right foot moves forward and pulls back, then left mimics. It feels alert, inquisitive.
6. Vicyavā: From Samapādā, part the feet and strike the floor with the ball of each foot. A powerful start to a nṛtta segment.
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एडकाक्रीडिता बद्धा उरुद्वृत्ता तथाड्डिता ।
उत्स्पन्दिता च जनिता स्यन्दिता चापस्यन्दिता ॥ ९॥
eḍakākrīḍitā baddhā urudvṛttā tathāḍḍitā |
utspanditā ca janitā syanditā cāpasyanditā || 9||
Meaning:
Eḍakākrīḍitā, Baddhā, Urudvṛttā, Aḍḍitā, Utspanditā, Janitā, Syanditā, and Āpasyanditā. These are also recognized as types of Cārīs (leg or body movements).
7. Eḍakākrīḍitā: Hop! Jump up and down using both feet. Energetic and playful. Think leaping deer.
8. Baddhā: Cross the shanks and move the thighs side to side. A strong tribal feel. Used in masculine or martial contexts.
9. Ūrūdvṛttā: Twist! Heel placed outwards, thigh rotated. Adds torque to movement and works great before a spin.
10. Aḍḍitā: Slide one foot across the other. It’s the whisper of motion. Smooth. Secretive.
11. Utsyanditā: Side-to-side shift of both feet like ripples in water. Helps transition gracefully.
12. Janitā: One hand in muṣṭi near chest, the other circles. Feet do talasañcara. Good for invoking or narrating.
13. Syanditā: A big step forward, five tālas apart. Think bold. Think expansion.
14. Apasyanditā: The opposite of above, step backward five tālas. It retracts, contracts, pulls energy inward.
Explore Samyuta and Asamyuta Hastas
समोत्सरितमत्तल्ली मत्तल्ली चेति षोडश ।
एता भौम्यः स्मृताश्चार्यः शृणुताकाशिकीः पुनः ॥ १०॥
samotsaritamattallī mattallī ceti ṣoḍaśa |
etā bhaumyaḥ smṛtāścāryaḥ śaṛṇutākāśikīḥ punaḥ || 10||
Meaning:
Samotsarita, Mattallī, and Mattallī again. Thus, sixteen in total. These are considered Bhūmyāḥ Chārīs (earth-bound or ground-based movements). Now, listen to the Ākāśikī Chārīs (aerial or elevated movements).
15. Samotsarita Matalli: A vigorous knee-raising motion, almost like skipping. Energetic and swift. Used in dramatic entrances.
16. Matalli: Quick hopping footwork, often while circling. It keeps energy high and rhythm tight.
Ākāśikī Cārīs (आकाशिकी चारी) – 16 Ākāśikī Cārīs (Aerial or lifted movements)
Movements of the Sky. These are Leaps, Lifts, and the Dance of Air
These are the sixteen movements that defy gravity. Here the body soars, suspends, twirls, and descends like a feather or a flash of lightning. The dancer becomes sky-bound rising above the earth, momentarily free of its pull.
अतिक्रान्ता ह्यपक्रान्ता पार्श्वक्रान्ता तथैव च ।
ऊर्ध्वजानुश्च सूची च तथा नूपुरपादिका ॥ ११॥
atikrāntā hyapakrāntā pārśvakrāntā tathaiva ca |
ūrdhvajānuśca sūcī ca tathā nūpurapādikā || 11||
Meaning:
Atikrāntā, Apakrāntā, Pārśvakrāntā, Ūrdhvajānu, Sūcī, and Nūpurapādikā. These are the aerial (Ākāśikī) movements.
1. Atikrāntā – A bold leap forward. The whole body thrusts into the space ahead, with confidence and purpose.
2. Apakrāntā – A sudden retreat. The dancer leaps backward, as if escaping danger or slipping away unseen.
3. Pārśvakrāntā – A sidelong flight. The body moves like an agile wind (dodging, shifting, evading).
4. Ūrdhvajānu – A leap where the knee lifts high. A pause in the air, a breath held between steps.
5. Sūcī – One toe plants softly while the other leg stretches back like a line through air like a thread sewing movement to stillness.
6. Nūpurapādikā – The anklet-foot strikes rhythm mid-air as music and motion merge in the leap.
डोलपादा तथाक्षिप्ता आविद्धोद्वृत्तसंज्ञिते ।
विद्युद्भ्रान्ता ह्यलाता च भुजङ्गत्रासिता तथा ॥ १२॥
ḍolapādā tathākṣiptā āviddhodvṛttasaṃjñite |
vidyudbhrāntā hyalātā ca bhujaṅgatrāsitā tathā || 12||
Meaning:
Dōlapādā, Akṣiptā, Āviddhā, and Udvṛtta are so named. Then come Vidyudbhrāntā, Alātā, and Bhujanga-trāsitā as well.
7. Dolapādā – A foot that sways gently mid-leap like a swing in breeze, it softens the aerial arc.
8. Ākṣiptā – A forceful foot flung upward like a martial, purposeful, almost a challenge cast into the sky.
9. Āviddhā – A stabbing motion of the raised foot. This must be fast, direct, and full of punctuation.
10. Udvṛttā – A mid-air rotation of the foot. The body turns as if the sky itself spun with the dancer.
11. Vidyudbhrāntā – Like a jagged lightning flash, the movement zigzags erratically, crackling with energy.
12. Alātā – A circular whirling of the lifted foot like a fire wheel drawn in air, ideal for spinning sequences.
13. Bhujaṅgatrasitā – The body leaps in a serpent-like motion which is smooth, winding, and full of flow.
मृगप्लुता च दण्डा च भ्रमरी चेति षोडश ।
आकाशिक्यः स्मृता ह्येता लक्षणं च निबोधत ॥ १३॥
mṛgaplutā ca daṇḍā ca bhramarī ceti ṣoḍaśa |
ākāśikyaḥ smṛtā hyetā lakṣaṇaṃ ca nibodhata || 13||
Meaning:
Mṛgaplutā, Daṇḍā, and Bhramarī, these, along with the previous thirteen, make up the sixteen types of Ākāśikī Chārīs. Know their characteristics well.
14. Hariṇaplutā – Like a deer springing, light, joyful, and instinctively graceful.
15. Daṇḍā – A stiff-legged leap. Straight as a rod, decisive and sharp in execution.
16. Bhramarī – A whirlwind spin in the air that is rapid, intense, made for climactic moments.
Frequently Asked Questions
Chari means movements done mainly with one foot. It includes different ways of walking and standing. These movements come from akasha and bhumi. They are very important for Bharatanatya, acts in plays, and dance routines. Chari forms the foundation of performance arts in old traditions.
The Natyashastra talks about eight Rasas or feelings: Śṛngāra (love), Vīra (heroism), Raudra (anger), Bhībhatsa (disgust), Hāsya (comedy), Adbhuta (wonder), Karuna (compassion), and Bhayanaka (fear). These Rasas work together with Charis. They help tell a story using gestures and movements.
Bharata-Muni is known as the father of Natyashastra. He wrote this important book about drama, theater, dance, and music. This work looks closely at Charis and other parts, which has played a key role in developing the old art of Bharatanatya and performing arts.
Bharatanatyam includes the 32 Charis from the Natyashastra. These are divided into 16 land movements (bhumi) and 16 sky movements (akasha). These Charis create the base for telling stories. They blend footwork, body position, and hand movements for elegant performances.
Charis are of two types: Bhumi Charis (earthly) and Akasha Charis (aerial). Each type uses different moves like walking, jumping, and spinning. These movements add to the excitement of stage performances and the beauty of Bharatanatya dance.
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Conclusion
The 32 Charis of the Natyashastra show how body movements relate to telling stories and emotions in Indian classical dance.
With these Charis, we can better appreciate the art in performances. They highlight the skill and hard work needed to express detailed stories through dance.
Think about how the ideas in this old text still affect modern dance styles.
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