BSEH Secondary Dance key terms

The fourfold means by which a dancer communicates meaning to an audience: gestures of the body (angika), speech and song (vachika), costume and make-up (aharya), and emotional expression (sattvika).

The inner, involuntary expression of emotion through physical signs such as tears, trembling, and changes of complexion; regarded as the most demanding and truthful of the four modes of abhinaya.

Pure, abstract dance movement performed for its own rhythmic and visual beauty, without narrative or emotional meaning; typically the opening and closing sections of a classical item.

Expressive dance in which rhythmic movement is combined with mime and gesture to convey mood or story, sitting between abstract nritta and fully theatrical natya.

Theatre in the broadest sense: dance-drama combining movement, music, speech, and costume. In the Natyashastra it denotes the total art of performance rather than dance alone.

The ancient Sanskrit treatise attributed to Bharata Muni, the foundational text on Indian performance art, covering dance, music, drama, aesthetics, and stagecraft in thirty-six chapters.

The aesthetic flavour or relish experienced by a spectator when a performance evokes a sustained emotion; classical theory names nine rasas, including the erotic, heroic, and compassionate.

A transient or enduring emotional state portrayed by the performer, which, when fully developed and communicated, ripens into rasa in the mind of the spectator.

A codified hand gesture used in classical Indian dance to denote objects, actions, or ideas; the same gesture may carry several meanings depending on context.

A hand gesture, classified in texts as single-hand (asamyuta) or combined-hand (samyuta) gestures; the basic building block of narrative mime in Indian classical forms.

The half-sitting position of Bharatanatyam in which the knees are bent outward and the weight is held low, forming the base posture for most of the form's movement.

The full-sitting posture of Bharatanatyam in which the dancer descends until the buttocks rest near the heels with knees turned outward; demanding on knees and hips.

A basic rhythmic unit or step sequence in Bharatanatyam, built from a fixed combination of stance, footwork, and hand gesture, and taught in graded series.

The metrical cycle of Indian music and dance, defined by a fixed number of beats, a pattern of accents, and a recurring starting point used to keep dancers and musicians together.

Tempo or rhythmic flow in Indian music and dance, ranging from slow (vilambit) through medium to fast (drut); control of laya is central to a dancer's rhythmic skill.

A rhythmic phrase or sequence of syllables recited to articulate a beat pattern; in Bharatanatyam the dancer's footwork is often set to specific jathis.

The recitation of rhythmic syllables with small cymbals by the conductor of a Bharatanatyam orchestra, cueing the dancer and marking the tala cycle.

A North Indian classical dance form known for rapid spins, intricate footwork with ankle bells, and expressive storytelling, historically developed in Mughal courts and temple traditions.

The basic footwork of Kathak, in which the dancer strikes the heel and flat of the foot in set patterns to produce clear, resonant sound on the floor.

A pirouette in Kathak, executed as a rapid series of spins in which the body turns around a vertical axis while footwork and arm positions are maintained.

The string of small bells worn around the ankles by dancers, used to amplify and articulate footwork; also called ghungroo or salangai depending on region.

A classical dance form of Kerala performed by women, characterised by soft, swaying movements, side-to-side torso swings, and gentle, restrained expressiveness.

A dance-drama of Kerala with elaborate painted faces and towering headgear, in which large, codified gestures and strong eye and facial work narrate epics.

A classical dance form of Odisha noted for its tribhangi posture, sculptural poses resembling temple carvings, and fluid torso undulation combined with percussive footwork.

The three-bend posture central to Odissi, in which the head, torso, and hips are deflected in opposing directions to create an S-shaped curve.

A square, symmetrical stance in Odissi in which the knees turn outward and the body is held erect, derived from the shape of temple sculpture.

A Gujarati folk dance performed in a circle around a central lamp during Navratri, with clapping and simple stepped turns, traditionally by women.

A Gujarati folk dance in which pairs strike decorated sticks in rhythm while moving in circles, often performed alongside garba during Navratri festivities.

A vigorous Punjabi folk dance with strong shoulder and hip movement, originally tied to the harvest season and performed to the beat of the dhol drum.

A Punjabi folk dance performed by women in a circle, featuring lively clapping, swaying, and short improvised couplets delivered by individual dancers in turn.

A Maharashtrian folk dance known for fast, energetic footwork and expressive song, traditionally performed to the rhythm of the dholki drum.

A preparatory phase of gentle movement and joint mobilisation that raises body temperature and prepares muscles and connective tissue for demanding dance work.

A closing phase of slow movement and sustained stretching that helps the body return to resting state and reduces stiffness after a dance session.

The arrangement of body segments relative to one another and to gravity so that movement is efficient and joints are not unnecessarily loaded.

Outward rotation of the legs from the hip joints, enabling wide stances and sideward movement; forced turnout from the knees is a common source of injury.

The study of human movement, including muscle action, joint mechanics, and the forces involved in dance steps; underpins safe technique and conditioning choices.

The combined art of vocal music, instrumental music, and dance in Indian tradition; also refers to the musical accompaniment ensemble for a dance performance.

Expression through costume, make-up, jewellery, and stage properties, which signal character, region, and mood before the dancer moves.

The backstage area where performers wait, apply make-up, and prepare before entering the stage; should be quiet, well-lit, and stocked with water and first-aid supplies.

A prearranged signal, spoken or given by light or sound, that tells a performer or technician to begin an action such as entering or changing lighting.

A diagram showing where performers, musicians, and equipment are positioned on stage, used for planning entrances, spacing, and technical set-up.

The planned placement and movement of performers on stage, worked out in rehearsal so that sightlines, spacing, and group formations remain clear.

The art of designing and arranging dance movement and structure for performance, including selection of steps, spatial patterns, and relationship to music.

A short, memorable movement phrase used as a building block in composition, capable of being repeated, varied, inverted, or developed across a piece.

A compositional device in which the same movement phrase is performed by different dancers starting at staggered times, creating overlapping layers.

Performance of the same movement by two or more dancers at exactly the same time, producing a strong visual and rhythmic impact.

The spatial arrangement of dancers relative to one another, such as a line, circle, or diagonal, used to shape the visual design of a group work.

A structured outline of a class stating objectives, warm-up, main activities, and closure, with time allocations and any materials or music needed.

Showing a movement or phrase for learners to observe and imitate, ideally paired with brief verbal cues and performed from angles that reveal key details.

Specific, actionable feedback given to a learner about alignment, timing, or expression, delivered so that it can be applied immediately in the next repetition.

Spontaneous movement created in the moment, often within set constraints such as a rhythm, theme, or spatial limit, used to develop creativity and musical responsiveness.

The most common Carnatic metrical cycle of eight beats, divided into four, two, and two, widely used to structure Bharatanatyam items.

A short invocatory item performed at the start of a Bharatanatyam recital, offering salutation to the deity, guru, and audience before the main repertoire.