Hand Gestures (Hasta) and Their Application
This domain tests hasta names, the single-hand and combined-hand classification, conventional meanings (viniyoga), and the difference between decorative and meaning-bearing gesture.
Two families
Sattriya inherits the Abhinaya Darpana–Hastamuktavali tradition. Asamyuta hasta use one hand: Pataka, Tripataka, Ardhapataka, Kartarimukha, Mayura, Ardhachandra, Shikhara, Hamsasya, Alapadma, Chatura, Bhramara, Hamsapaksha, Mukula, Suchi, Chandrakala, Padmakosha, Sarpashirsha, Mrigashirsha, Kangula, Kapittha, Tamrachuda, Trishula and Vyaghra are the ones most often examined. Samyuta hasta join both hands: Anjali, Kapota, Karkata, Swastika, Dola, Pushpaputa, Utsanga, Shankha, Chakra, Samputa, Pasha, Kilaka, Matsya, Kurma, Nagabandha, Bherunda and Khatva.
Viniyoga
Each hasta has conventional applications - Pataka for cloud, forest, river and sky; Alapadma for a full-blown lotus; Hamsasya for holding a lotus or showing the mind; Kartarimukha for separation or a pair of things. In nritta passages the hasta are largely decorative and follow the line of the body; in abhinaya they must match the word being sung.
Worked example. A lyric describes a bee circling a lotus. The dancer uses Bhramara (bee) with the index finger and thumb brought together, moving in a small circle above the other hand held in Alapadma (lotus). Reasoning: the object named in the pada governs the hasta, the relative height of the hands shows the relationship, and the circular travel must still divide evenly across the matras so the phrase closes on the beat.
Traps. Using hasta and mudra as strict synonyms when Sattriya texts prefer hasta; importing Bharatanatyam viniyoga wholesale where the Sattra usage differs; forgetting that hasta carry no meaning in pure nritta.