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Yamaka! Repetition has rhythm. Rhythm builds memory. And memory makes art unforgettable.
In Bharatiya aesthetics, the concept of Yamaka is the “twinning” or deliberate repetition of words and syllables. It serves exactly this purpose. The Natyashastra, our most comprehensive treatise on drama, music, and dance, describes ten distinct kinds of Yamaka.
This article will walk you through each of the ten Yamakas. I will explain their definitions, show you examples, and share practical ways to use them in both performance and choreography.
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What is Yamaka?
Yamaka literally means “twin.” It refers to intentional repetition of sounds, syllables, or words in verse, at specific positions in each line (pāda). This repetition is designed to intensify mood, highlight rhythm, or build beauty in expression.
The Nāṭyaśāstra (Ch. XVII, verses 60–86) lists ten types. Each works differently, but all rely on patterned repetition. For dancers and dramatists, Yamaka is a bridge between text and embodiment.
The Ten Kinds of Yamaka
1. Pādānta-Yamaka
When similar syllables or words appear at the end of all four feet (pādas) of a verse.
Example:
“…divi sūrya-maṇḍalaṃ yathā taruṇyāḥ stana-bhāra-maṇḍalaṃ.”
In practice:
- A dancer can emphasize each line ending with a finality of gesture (like a hasta closing at the chest or a firm foot stamp).
- This creates rhythmic balance, mirroring the repetition in sound.
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2. Kāñcī-Yamaka
When two similar words occur at the beginning and end of each pāda.
Example:
“…rāmā’rāmā vismayate ca smayate ca.”
In practice:
- Think of it as a verbal anklet: repetition frames the line from both sides.
- A performer can mark this with circular body movement, beginning and ending in the same spatial spot.
3. Samudga-Yamaka
When the same hemistich (half-verse) is repeated to complete the stanza.
Example:
“ketakī-mukul-pāṇḍara-dantaḥ śobhate…” (repeated in both halves).
In practice:
- The echo effect calls for mirrored choreography.
- Repeat a sequence of movements with slight variation to embody the echo.
4. Vikrānta-Yamaka
When alternate pādas are similar.
Example:
“sa pūrvaṃ vāraṇo bhūtvā dviśṛaṅga iva parvataḥ…”
In practice:
- Imagine a step-skip rhythm: line 1 and 3 are emphasized with strength, while 2 and 4 contrast.
- Ideal for duet work, where one dancer echoes the other in alternating lines.
5. Cakravāla-Yamaka
When the end of one pāda repeats at the beginning of the next.
Example:
“…āhatā hatā hatāś ca bhūyas tv anupuṃkhagaiḥ khagaiḥ.”
In practice:
- This creates a chain-like link. A choreographer can design connected gestures, where one hand movement flows seamlessly into the next.
- It feels like a garland threading words and actions together.
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6. Sandaṣṭa-Yamaka
When two words at the beginning of a pāda are the same.
Example:
“paśya paśya me ramaṇasya guṇān…”
In practice:
- Treat this as a call-and-response.
- Use repetitive abhinaya: for example, pointing twice or repeating an eyebrow lift to underline the doubled word.
7. Pādādi-Yamaka
When the same word begins every pāda.
Example:
“viṣṇuḥ sṛjati bhūtāni, viṣṇuḥ saṃharate prajāḥ…”
In practice:
- For stage impact, each repetition can grow in intensity.
- A dancer can enter from different sides of the stage with each pāda, but always begin with the same gesture.
8. Āmreḍita-Yamaka
When the last word of a pāda is repeated.
Example:
“…vinā vinā.”
In practice:
- This doubling is emotional emphasis.
- In abhinaya, the performer can linger on a gesture, like sighing twice to match the verse.
9. Catur-vyavasita-Yamaka
When all four pādas use similar syllables throughout.
Example:
“vāraṇānām ayam eva kālo vāraṇānām ayam eva kālaḥ…”
In practice:
- This creates unity, almost like rhythmic chanting.
- Best suited for group choreography, where dancers echo each other with synchronized sound-pattern-based movements.
10. Mālā-Yamaka
When a single consonant with different vowels threads across multiple words.
Example:
“hali balī halī mālī śūlī khelī lalī jalī…”
In practice:
- The sound-chain feels playful.
- Dancers can weave fast-paced footwork and hastas into a sequence of movements, reflecting the linked sounds.
Why Yamaka is important for Dancers?
It,
- sharpens the ear and eye.
- creates rhythm in stage movement.
- makes repetition meaningful.
For writers of dance-dramas, Yamaka structures dialogue with beauty. For dancers, Yamaka offers cues for rhythm, abhinaya, and repetition in movement design.
Frequently Asked Questions
Yamaka means “twin” and refers to repetition of words or syllables in verse to create rhythm, emphasis, and beauty.
The Natyashastra lists ten distinct kinds of Yamaka, each defined by how and where repetition occurs in a verse.
Yamaka helps dancers align movement with the rhythm of words. It uses repetition in sound to inspire repetition in gesture, abhinaya, and choreography.
Yes. The principle of repetition is timeless. Choreographers can adapt Yamakas for contemporary themes while retaining their aesthetic power.
Start with one type, like Pādādi-Yamaka. Recite a verse aloud, then create a simple movement phrase for each repeated word. This builds rhythm and memory.
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Final Thoughts
The ten kinds of Yamaka remind us that poetry is performance. Words pulse, echo, and move. As a dancer or dramatist, one can embody by designing choreography that mirrors its verbal repetitions. The audience see them come alive in gesture, rhythm, and expression.
When next you rehearse, pick a Yamaka. Choreograph it. Feel how repetition sharpens the rasa. That is the power the Natyashastra still offers us today.
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