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Angalakshana Part 1 - Anga Pratyanga & Upanga

 The science of dance was extremely well developed in ancient India. The word Angalakshana (5 types) refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body.  Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers.

  • Shirobhedam 
  • Dristibhedam
  • Greevabhedam
  • Paadabhedam
  • Gatibhedam


 The concept of Human anatomy was  well understood in ancient India.A human body was presented as an inverted tree. This tree has roots at the top (head) and the branches (limbs) connected by the stem (body).  For the benefit of study not just for dance but for Ayurveda, spirituality etc as well the Human body was mainly divided into  3 broad divisions

1. Anga : This forms the major classification of the body parts, infact a gross demarcation or surface marking of the body into 6 major parts. They are
  1.  Shira (Head)
  2.  Hastas (Palm of the hands)
  3.  Vakshas (Chest)   
  4.   Parshwa (2 sides of the Body)
  5.   Kati (2 sides of the Waist)
  6.   Padas ( Legs)

                                 Natya Shastra Slokam  on Anga

                           Anganyatra ShiroHastou   Vaksha Parshwa Kateetatou
                           Paadaviti shaduktaani   Greevamapyaparae Jaguhu

2. Pratyanga  : Pratyanga is defined as "the structure or organ located in relation to the main part or the human organs".These are thus the sub structures or the sub organs or secondary parts  that are attached to the minor organs (Upanga)  located in relation to the major organs or parts of the human body. Following 6 are the Pratyanga.
  1. Skanda (Shoulder)
  2. Bahu (Arms)
  3. Prashtam (Back)
  4. Udaram (Stomach)
  5. Uru (Thighs)
  6. Janghas (Shanks) 
                                 Natya Shastra Slokam  on Pratyanga

                           Pratyangaani twathaSkandou  Baho Prushtam tadhodaram  Ooro Janghae 
                          shadityahuraparae Manibhanddakou Janoonikooraparamiti Traymapyathikam Jaguhu


3.Upanga : These are the minor parts that co oridinates with the Pratyanga. As per Natyashastra there are 12 Upanga. They are as follows
  1.  Dhristi (Eyes)
  2. Bhru or Bhrukuti  (Eye Brows)
  3. Puta (Eye Lids)
  4. Tara (Eye balls)
  5. Kapola (Cheeks)
  6. Nasi( Nose ) 
  7. Hanu ( Jaws)
  8. Adhara ( Lower Lips)
  9. Dasana ( Teeth)
  10. Jithva ( Toungue)
  11. Cubukam (Chin)
  12. Vadanam (Face)
                                 Natya Shastra Slokam  on Upanga

  Dhristi bhrooputataraschaKapolou NasikaKanuhu Adharodashanaa Jihwa Chubukam Vadanam tatha 


  Upangaanidwadashita Anyanyangani santicha Paarshnee gulbauta thangulya Karayoha paadayostale


These are of immense importance and each of them contribute as a small brick towards the human body.The Upanga and the Pratyanga are like small rivers that flow into the main river and makes the main river extremely powerful.  When the Pratyanga and Upanga are structured well and well blended with the main parts or the chief parts that is the Anga, the beauty of Human body comes out. This in-turn helps in emoting a particular rasa. When a student of dance is said to have mastered the concept and understanding of Anga, Pratyanga and Upanga, he or she is said to have attained Angashudhi. Without the Angashudhi it becomes  difficult to emote.

Author's Appeal : Now a days lots of workshops are being held by eminent dancers on Angashudhi. This is an extremely new concept. The need of the situation demand its supply. Earlier a student was individually taught these before proceeding with the compositions (dance numbers).
If we are to hold the actual tradition of ancient dance forms of India, I would take this opportunity to appeal to the young teachers and Gurus to impart the knowledge of  Angashuddi from a very early age, when the students body is flexible. This will not only help the students but also the dance forms.


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