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    Shiro or the head is very important part as far as dance is concerned.  One of the important tool for a dancer to express himself or herself, one must put in a lot of effort to learn the different movements of the head. Natyashastra talks about 13 types of Shiro Bhedam while AbhinayaDarpana talks about 10 types.    Shira Bheda as per Natyashastra Shira Bheda as per Abhinayadarpana  Shira Bheda as per Shivatattvaratnakar  Quick Links   Other Links All Important Links   Author's Profile   Upcoming Events Exercise Series Natyashastra Series Make Up and Ornaments Series Classical Dances of India Series Margam Series Anga Lakshanaka Series Hasta Mudra Series Abhinaya Series   Natyashastra Bheda Series Taalam Series Bharatnatyam   Kathak Odissi Folk Dances of India Tagore Dance Differesnt Styles of Bharatnatyam  Note : Drop your queries or suggestions at sangeetkalakendra1@gmail.com Visit our Facebook page :...

  Shiro or the head is very important part as far as dance is concerned.  One of the important tool for a dancer to express himself or herself, one must put in a lot of effort to learn the different movements of the head. Natyashastra talks about 13 types of Shiro Bhedam while AbhinayaDarpana talks about 10 types. Tabular description is written below.  Shira Bheda as per NatyaShastra  Shiro Bhedam as per AbhinayaDarpana Sl. Name Meaning Usage 1. Sama Head is in the original position and motionless and is not bend or raised Natyarambham, Pride, anger, paralysis, affection 2. Udvahita Face raised up Showing Flags, mountain, moon, crown, bird, tall object 3. Adhomukham Face n Head is down Grief, anxiey, shyness, modesty, sorrow, fainting, looking at object on earth,   taking a plunge in the w...

  The word Vachik a bhinaya comes from the Sanskrit word “Vacchya”. In dance text, speeches, dialogues, songs, music ,sound are used to enhance and beautify the performance. Bharata also mentions that the Gana (song), Vadhya (instrumental music) and Natya (drama) should intermingle with each other to make the performance a brilliant entity (alatacakrapratimam). Bharata mentions in Natyashastra that an actor or a dancer must know the   Guna , Dosha and Aharyam of the Kavya/Padhya. He also mentions that the sounds, speech, dialogues must be SARVASARYA (all can hear).   Natyak is known as Natyakavya and is a mixture of Gadhya and Padhya . Songs and dialogues are intertwined in such a way that both become irreplaceable. For any performance we first decide the script and the song and then we work on the remaining three abhinaya based on the Vachya. Shabdha is Shakti. Both shabda and artha have to sink in so that the true meaning can be communicated. Shabda can be used in ...