PSEB Class 12 Dance flashcards

30 cards. Read the term and the definition here. The deck at the top of this page is optional.

Nritta

Pure, abstract rhythmic dance movement performed without emotional or narrative content. It emphasises footwork, posture and tala, and forms the technical, non-representational layer of Indian classical dance.

Nritya

Expressive dance that communicates bhava (emotion) and rasa (aesthetic sentiment) through abhinaya, using lyrics, gestures and facial expression rather than rhythm alone.

Natya

Dramatic dance that combines dance, mime, speech and narrative. It is the theatrical mode described in the Natyashastra, distinct from pure nritta and expressive nritya.

Rasa

The aesthetic sentiment relished by the audience. Classical theory lists nine: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta and shanta.

Abhinaya

The art of expression in dance, classified into four types: angika (body), vachika (speech/song), aharya (costume and make-up) and sattvika (inner emotional state).

Natyashastra

Ancient Sanskrit treatise on dance, drama and music attributed to Bharata Muni. It describes the origin of natya, body divisions and the theory of rasa.

Asamyuta hasta

A single-hand gesture in Indian classical dance. Asamyuta hastas form the basic vocabulary from which combined (samyuta) gestures and abhinaya are built.

Samyuta hasta

A two-hand combined gesture used in Indian classical dance to depict objects, actions and relationships. It is described in texts such as the Abhinaya Darpana.

Tala

The rhythmic cycle in Indian classical music and dance, measured in matras (beats) and divided into vibhagas. Common cycles include Teental (16), Jhaptal (10) and Ektaal (12).

Sam

The first beat of a tala cycle, where the rhythmic phrase resolves. Dancers and musicians emphasise sam as the point of arrival and rest.

Varnam

The longest item in a Bharatanatyam repertoire, combining nritta passages with expressive abhinaya on a lyric. It is the central test of a dancer's stamina and interpretative skill.

Tillana

A rhythmic, largely nritta-based concluding item in Bharatanatyam, set to a lively tala. It usually ends a performance on a fast, energetic note.

Alarippu

The opening item of a Bharatanatyam repertoire: a short, pure-nritta piece that invokes the deity, warms the body and establishes the tala.

Kathak tatkar

The basic footwork pattern of Kathak, executed with flat foot and heel while the upper body stays steady. The ghunghroo accentuates the tala.

Kathak chakkar

The characteristic spins of Kathak, taken with the body as a vertical axis. They are performed in multiples of the tala and often conclude a gat or toda.

Ghunghroo

The anklet bells worn by dancers, especially in Kathak and Bharatanatyam, to mark the rhythm. Their sound reinforces the tala and the dancer's footwork.

Mudra

A hand seal or gesture in classical dance. Mudras are combined with eye, neck and head movements to convey meaning in abhinaya.

Natyadharmi

The stylised, codified mode of theatrical expression in classical dance, as opposed to lokadharmi, the realistic everyday mode of expression.

Araimandi

The half-sitting stance in Bharatanatyam with knees bent outward and thighs near-parallel to the floor. It is the base posture for most adavus.

Adavu

A basic Bharatanatyam movement unit combining foot, hand, head and body coordination. Adavus are grouped into families such as tatta, natta and metti.

Tatta adavu

A basic Bharatanatyam adavu family in which the foot is stamped flat, usually in a three-beat pattern, with hands held in a defined hasta.

Metti adavu

A Bharatanatyam adavu family in which the foot is struck on the heel or toe in a specific rhythm, with knees in araimandi and hands in a fixed gesture.

Pushpanjali

An invocatory opening piece in Bharatanatyam, offered to the deity and guru. It usually consists of pure nritta and salutations before the main repertoire.

Mangalacharan

The invocatory item in Odissi, offered to the deity and guru, which begins a performance and purifies the stage and the dancer's intent.

Sattvika abhinaya

The fourth type of abhinaya, expressing inner emotional states through involuntary physical signs such as tears, trembling and changes in complexion.

Aharya abhinaya

Expression through costume, make-up, jewellery and stage setting. In Kathakali it includes the chutti and coded face colours; in Bharatanatyam, temple jewellery.

Drishti

Eye movement in classical dance, one of the key elements of angika abhinaya. Fixed eye positions and glances direct the audience's attention and convey emotion.

Greeva

Neck movement in classical dance, part of angika abhinaya. Four basic neck movements are used to support expression and direct the gaze.

Chakkars

Spins performed in Kathak and other forms, taken with the body as a vertical axis. They are counted in multiples of the tala and often close a sequence.

Kumbha and madhya

Front and middle zones of the traditional stage. Dancers enter through the front zone, develop the exposition in the middle, and exit from the rear zone.