Foundations of Dance: History, Terminology, and Aesthetics
What the domain tests
This domain tests your command of dance vocabulary, key texts and aesthetic theory. Expect questions on the Natyashastra, rasa and bhava, the nritta–nritya–natya distinction, and the four channels of abhinaya. You must define a term, recognise it in a described sequence, and justify a classification.
Core concepts
- The Natyashastra is attributed to Bharata, probably dated around 200 BCE–200 CE, and treats drama, dance and music. The Abhinaya Darpana is later and is attributed to Nandikeshvara; do not swap the authors.
- Nritta is abstract rhythmic movement without intended emotional narrative. Nritya communicates bhava through gesture and expression. Natya is dramatic representation.
- Rasa is the spectator's aesthetic relish. It arises from determinants (vibhava), consequents (anubhava) and transitory states (vyabhichari bhava), anchored by a dominant sthayi bhava. The Natyashastra lists eight rasas; shanta is added in later tradition.
- Abhinaya has four channels: angika (body), vachika (speech or song), aharya (costume, makeup, sets) and sattvika (involuntary expression such as tears or trembling).
Worked example
A solo shows a woman searching for a lost lover through slow glances, a bee-hand near the face and a trembling lip. The dominant sthayi bhava is love-in-separation, so the rasa is shringara, not karuna. Karuna requires compassion or grief as the dominant tone. The trembling lip is a sattvika cue supporting the same dominant state, not a separate rasa.
Traps
Do not call all expressive dance natya; a padam is nritya. Do not treat rasa as the performer's private mood. Do not confuse the four abhinaya channels with the three categories nritta, nritya and natya.