Estimated reading time: 7 minutes

Earthly Mandalas! “The body becomes a moving yantra, geometry in motion.” This is the essence of Mandalas in Indian classical dance. The Natyashastra describes ten Earthly Mandalas (Bhūmi-Mandalas), intricate footwork patterns used in combat sequences, dynamic storytelling, and vigorous movement.

Note: Natyashastra mentions 20 Mandalas (10 Aerial and 10 Earthly). But, Abhinayadarpana mentions overall 10 Mandalas and they are not classified. Also, the names are not common in both the scriptures.

PreRead Articles (Bookmark These To Read Later)

• Mandalas in Natyashastra: The Art and Technique of Movement
• Aerial Mandalas: 10 Athletic Flight Chari Combos Of Natyashastra
• Chari (Cārī): The Dynamic Dance Step in Natyashastra
• 32 Charis (Cārīs) of the Natyashastra
• Feet in Bharatanatyam: Natyashastra’s Five Pada Bhedas

The Ten Earthly Mandalas: Practical How-To

Below, each mandala is broken down with clear instructions, artistic tips, and context for performance.

1. Bhramara mandala (The Bee’s Circle)

• Sequence:
  1. Move the right foot in Janitā Cārī (a forward movement).
  2. Move the left foot in Syanditā Cārī (a gliding step).
  3. Right foot in Śakaṭāsyā Cārī (sideways, mimicking a cart’s mouth).
  4. Stretch the left foot.
  5. Right foot in Bhramarī Cārī (circular, turning the hips/trika).
  6. Left foot in Syanditā Cārī again.
  7. Right foot in Śakaṭāsyā Cārī.
  8. Left foot in Apakrāntā (Apasarpī) Cārī (moving away/back).
  9. End with Bhramarī Cārī turning the back.
• Tips:
  Maintain a light, buzzing quality. Think of a bee’s erratic flight. Keep transitions smooth and circular.
• Usage:
  Ideal for scenes of searching, wandering, or playfulness.

भ्रमरास्कन्दिते स्यातामावर्तं च ततः परम् ।

समाक्रन्दितमप्याहुरेडकाक्रीडितं तथा ॥ ४॥

bhramarāskandite syātāmāvartaṃ ca tataḥ param |

samākranditamapyāhureḍakākrīḍitaṃ tathā || 4||

Meaning:

Bhramara and Āskandita are followed by Āvarta. Then comes Samākrandita, and next is Eḍakākrīḍita.

2. Āskandita mandala (The Leaping Pattern)

• Sequence:
  1. Right foot in Bhramarī Cārī.
  2. Left foot in Aḍḍitā Cārī, then Bhramarī Cārī (with hip turn).
  3. Right foot in Ūrūdvṛttā Cārī (thigh-raising movement).
  4. Left foot in Apakrāntā and Bhramarī Cārī (turning).
  5. Right foot in Syanditā Cārī.
  6. Left foot in Śakaṭāsyā Cārī, then strike the ground.
• Tips:
  Focus on energy and elevation. Each leap should feel buoyant, not heavy.
• Usage:
  Perfect for depicting excitement, surprise, or rapid movement.

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3. Āvarta mandala (The Whirling Circle)

• Sequence:
  1. Right foot in Janitā Cārī.
  2. Left foot in Talasañcara (Nikuṭtana) Cārī (heel movement).
  3. Right foot in Śakaṭāsyā and Ūrūdvṛttā Cārī.
  4. Right foot in Atikrāntā (Apasarpī) Cārī (backward turn).
  5. Right foot in Cāṣagati Cārī (bird-like step).
  6. Right foot in Syanditā Cārī.
  7. Left foot in Śakaṭāsyā Cārī.
  8. Right foot in Bhramarī Cārī (with turn).
  9. Left foot in Apakrāntā Cārī.
• Tips:
  Emphasize the swirling energy. Use your torso to guide the turns.
• Usage:
  Suited for scenes of confusion, searching, or dramatic entrances.

अड्डितं शकटास्यं च तथाऽध्यर्धकमेव च ।

पिष्टकुट्टं च विज्ञेयं तथा चाषगतं पुनः ॥ ५॥

aḍḍitaṃ śakaṭāsyaṃ ca tathā’dhyardhakameva ca |

piṣṭakuṭṭaṃ ca vijñeyaṃ tathā cāṣagataṃ punaḥ || 5||

Meaning:

Aḍḍita, Śakaṭāsya, Adhyardhakam, Piṣṭakuṭṭa, and again, Cāṣagati. These are (also) to be known (as types of mandalas or movements).

4. Samotsarita mandala (The Uplifted Circle)

• Sequence:
  1. Begin in Samapāda Sthāna (feet together).
  2. Stretch both hands upwards, palms up.
  3. Alternate Āveṣṭana (inward) and Udveṣṭana (outward) arm movements.
  4. Place left hand on waist, move right in Āvartita fashion.
  5. Switch: right hand to waist, left hand in Āvartita.
  6. Move in a circular pattern, alternating arms.
• Tips:
  Create a sense of elevation. Arms should float, not jerk.
• Usage:
  Used for divine or celebratory themes.

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5. Eḍakākrīḍita mandala (The Playful Goat’s Circle)

• Sequence:
  1. Move both feet in Sūcī and Eḍakākrīḍita Cārīs (needle and goat-play steps).
  2. Perform a quick Bhramarī Cārī (turning the hips).
  3. Alternate feet in Sūcī and Āviddha Cārīs (piercing step).
• Tips:
  Keep footwork nimble and playful.
• Usage:
  Ideal for light-heated or mischievous scenes.

6. Aḍḍitā mandala (The Striking Circle)

• Sequence:
  1. Right foot in Udghaṭṭa (lifting).
  2. Move in a circular pattern.
  3. Right foot in Syanditā Cārī.
  4. Left foot in Śakaṭāsyā Cārī.
  5. Right foot moves back in Apakrāntā and Cāṣagati Cārīs.
  6. Left foot in Aḍḍitā Cārī.
  7. Right foot in Apakrāntā.
  8. Left foot in Bhramarī Cārī.
  9. Right foot in Syanditā Cārī, then strike the ground.
• Tips:
  Let each strike resonate. Use your core for control.
• Usage:
  Often used in combat or dramatic narrative moments.

7. Śakaṭāsya mandala (The Cart’s Mouth Circle)

• Sequence:
  1. Right foot in Janitā Cārī.
  2. Move right foot in Talasañcara (heel step).
  3. Right foot in Śakaṭāsyā Cārī.
  4. Left foot in Syanditā Cārī.
  5. Alternate, circling with Śakaṭāsyā Cārī.
• Tips:
  Keep movements broad and strong.
• Usage:
  Used in battle or scenes of strength.

8. Adhyardha mandala (The Half-Circle)

• Sequence:
  1. Right foot in Janitā and Syanditā Cārīs.
  2. Left foot in Apakrāntā.
  3. Right foot in Śakaṭāsyā Cārī.
  4. Alternate these steps in a circular fashion.
• Tips:
  Focus on balance and symmetry.
• Usage:
  Used in duels or personal combat.

9. Piṣṭakuṭṭa mandala (The Pound and Grind Circle)

• Sequence:
  1. Right foot in Sūcī Cārī.
  2. Left foot in Apakrāntā.
  3. Both feet in Bhujaṅgatrasitā Cārī (serpentine movement).
  4. Circle in Bhujaṅgatrasitā.
• Tips:
  Let the feet “grind” the floor, as if crushing grain.
• Usage:
  Used in energetic, forceful sequences.

10. Cāṣagata mandala (The Bird’s Gait Circle)

• Sequence:
  1. Move in circles using Cāṣagatā Cārī (bird-like step).
• Tips:
  Keep steps light and springy, evoking a bird’s movement.
• Usage:
  Ideal for portraying birds or light, airy moods.

एतान्यपि दशोक्तानि भूमिगानीह नामतः ।

आद्यं पादं च जनितं कृत्वोद्वाहितमाचरेत् ॥ ६॥

etānyapi daśoktāni bhūmigānīha nāmataḥ |

ādyaṃ pādaṃ ca janitaṃ kṛtvodvāhitamācaret || 6||

Meaning:

These ten [types] mentioned above are known as Bhūmigāni (earth-based movements) by name. Start the movement by placing the first foot (pāda) firmly on the ground, and then do the action with an uplifted step.

Artistic Insights and Practical Advice

• Master the Cārīs: Each mandala is a combination of cārīs. Practice each cārī individually before attempting full Mandalas.
• Sausthava (Proper Alignment): Have correct posture throughout. The beauty of nṛtta lies in the harmony of limbs.
• Grace and Sportiveness: The Natyashastra emphasizes that these Mandalas should be performed with grace and playful energy, accompanied by suitable music.
• Application: Earthly Mandalas are used in combat, travel, play, and mimicking animals or birds. They are foundational for both storytelling and pure dance.

Final Thoughts

The Earthly Mandalas of the Natyashastra are living patterns, each with its own character and purpose. Dancers connect with centuries of tradition, infusing their art with depth and dynamism.

Practice each mandala with intention, and let your movements become the language of the soul.

Dance boldly. The stage is yours.

References:

• Natyashastra, Chapter XII
• Abhinayadarpaṇa, Mandala Bheda
• sreenivasaraos.com, Pada-feet

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