Estimated reading time: 6 minutes
Have you ever been mesmerized by the graceful movements of an Indian classical dancer? The captivating flow and storytelling through gestures and postures are rooted in a rich vocabulary of dance units. Today, we delve into the fascinating world of Angaharas, the cornerstone of Indian classical dance.
Here is a clear giveaway from NatyaShastra itself on its origins,
प्रयोगमङ्गहाराणामाचक्ष्व भरताय वै ।
ततो ये तण्डुना प्रोक्तास्त्वङ्गहारा महात्मना॥ १८॥
Prayogamangaharanamachakshva Bharataya vai।
Tato ye tanduna proktastvangahara mahatmana॥ 18॥
Meaning:When Brahma asks Lord Shiva to explain the Angaharas, Shiva directs Tandu to guide them. And through Taṇḍu, Lord Brahma and Sage Bharata were told the use of the Aṅgahāras. Tandu says, "I shall now speak of them as well as of the various Karaṇas and Recakas."
Note: There's no record of Taṇḍu in existing Purāṇas. His name might be derived from "tāṇḍava," a word possibly meaning "dance" and originating outside of Aryan languages.
Angahara: A Fantastic Combination Of Movements
A crude analogy to understand Angahara is to imagine a single dance movement as a bead. Stringing these beads together in specific sequences creates a beautiful necklace, the Angahara.
An Angahara is a mix of two or more Karanas, the basic units of dance movement. These Karanas involve coordinated movements of hands, feet, and other body parts. The number of Karanas in an Angahara can vary, ranging from two to nine.
- Individual hand and foot movements are called Karanas.
- Combine two Karanas to form a Maatrika.
- Combine two, three, or four Maatrikas to form an Angahara.
- Alternatively, combine three Karanas to form a Kalaapaka.
- You can also combine four Karanas to form a Sandaka or Mandaka.
- Combine five Karanas to form a Samghaataka.
Therefore, an Angahara can have anywhere between six to nine Karanas, depending on the specific combination. (2 or 3 or 4 Maatrikas * 2 Karanas/Maatrika = 6, 7, 8 or 9 Karanas)
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32 Angaharas mentioned in NatyaShastra
- Sthira-hasta
- Paryastaka
- Sūcividdha
- Apaviddha
- Ākṣiptikā
- Udghaṭṭita
- Viṣkambha
- Aparājita
- Viṣkambhapāsṛta
- Mattakrīḍā
- Svastikarecita
- Pārśvasvastika
- Vṛścik̤a
- Bhramara
- Mattaskhalitaka
- Madavilāsita
- Gaṭịmaṇḍala
- Paricchinna
- Parivṛttarecita
- Vaiśākharecita
- Parāvṛtta
- Alātaka
- Pārśvaccheda
- Vidyudbhrānta
- Uddhṛtaka
- A̅liḍha
- Recita
- Ācchurita
- Ākṣiptarecita
- Saṃbhrānta
- Upasarpita
- Ardhanikuṭṭaka
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Angaharas In The Bharatarnava
Bharatarnava describes various Angahara combinations weaved into emotions. Interestingly, it introduces a new set of nine Angaharas, distinct from the traditional ones. These Angaharas reflect the influence of regional dance styles that emerged during medieval times.
Angaharas Listed in Bharatarnava
Bharatarnava also provides a detailed classification of the nine rasas, or emotional states, that form the foundation of these Angaharas. Each rasa is associated with a specific angahara, or type of hero, whose character and actions embody the essence of that emotion.
For instance, the sringara rasa, representing love and eroticism, is associated with the lalita angahara, a charming and graceful hero. Similarly, the veera rasa, depicting heroism and valor, is linked to the vikrama angahara, a courageous and decisive warrior.
This intricate interplay between rasas and angaharas underscores the profound understanding of human emotions and their expression in Indian artistic traditions.
| Rasa | Angahara |
| Sringara | Lalita (5 Variations) |
| Veera | Vikrama (3 Variations) |
| Karuna | Karunika (4 Variations) |
| Adbutha | Vicitra (2 Variations) |
| Hasya | Vikala (2 Variations) |
| Bhayanaka | Bhima (2 Variations) |
| Bhibatsa | Vikrita (2 Variations) |
| Roudra | Ugratara (2 Variations) |
| Shanta | Shantaja (2 Variations) |
Beyond the Steps: Expression Through Angahara
While some Angaharas focus on specific postures or swaying movements, others, like Karunika, emphasize emotions like compassion through facial expressions. Each Angahara has specific hand gestures (Hasthas), glances (Dristibedha), and footwork (Padabedha) that contribute to the overall expression.
Adavus and Jatis
The concept of Angahara laid the foundation for the adavus and jatis of contemporary Bharatanatyam and similar units in other classical dance forms. An accomplished dancer seamlessly blends Karanas into Angaharas, creating a unified flow that transcends the individual movements, conveying emotions and stories to the audience.
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Frequently Asked Questions
Angahara are sequences of dance movements in Indian classical dance forms. They are created by stringing together smaller units called Karanas, which involve coordinated movements of limbs.
Angahara are the building blocks of Indian classical dance. By combining Karanas in specific ways, dancers create a rich vocabulary of movement that allows them to express emotions and tell stories.
The ancient text NatyaShastra describes 32 Angahara, while the Bharatarnava introduces an additional nine. However, the specific combinations can vary depending on the dance style and choreography.
Each Angahara has specific elements like hand gestures (Hasthas), glances (Dristibedha), and footwork (Padabedha) that contribute to the overall expression. Some Angahara focus on specific postures, while others emphasize emotions through facial expressions.
The concept of Angahara laid the foundation for the adavus and jatis of Bharatanatyam and similar units in other classical dance forms. An accomplished dancer seamlessly blends Angahara to create a unified flow that transcends individual movements, conveying emotions and stories.
Conclusion
In conclusion, Angahara forms the bedrock of Indian classical dance. These intricate combinations of basic dance units, Karanas, weave together to create a captivating tapestry of movement.
From the 32 Angaharas documented in the ancient NatyaShastra to the additional nine introduced in the Bharatarnava, each Angahara embodies a specific emotion or character type.
The hand gestures, glances, and footwork that accompany each Angahara further enhance the storytelling and emotional depth of the dance.
By mastering Angahara, dancers seamlessly blend individual movements into a unified flow, captivating audiences with their artistry and expressiveness.
This intricate system serves as a testament to the rich heritage and profound understanding of human emotions that lies at the heart of Indian classical dance.
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