Movements of Head - Part - 4

Once, I read an interview of the Great music director, A.R. Rehman. He had mentioned one thing which all of us should think about. In Western countries, Musicians want their children also to take up music in life. It is not so in India. When proper ‘Varnaasrama Dharma’ prevailed, music was profession for many families, for many generations. Even today, you can see the same in the field of cinema. In music and dance, it is comparatively very less. But one consolation is that many still have the art forms as passion if not profession.

Classical Music and Dance forms survived so long, is not just because of people who performed extensively, getting lots of awards and drowning in fame. Lots of music teachers, music lovers, connoisseurs, composers and organizers have contributed immensely to the music world. If you can, someway or the other, contribute at least a little towards the field of music and dance.

HEAD MOVEMENTS - CONTD

11. PARAAVRTTA

Usages – 1. Anger, 2. Shyness, 3. Avoid the sight of anything, 4. Turning the head and looking back.

Definition – Head turned and looking back.

12. UTHKSHIPTHA

Usages – 1. Looking at objects far above, like the sun, the moon and the sky.

Definition – Head and the face raised up.

13. ADHOMUKHA

Usages – 1. Shyness, 2. Sorrow, 3. Obeisance.

Definition – Face looking down.

14. LOLITA

Usages – 1. Sleep, 2. Illness, 3. when possessed by spirits, 4. Drunkenness and 5. Fainting.

Definition – When the head is turned in several directions without control with languid eyes.

Head movements will be continued in the next post.

‘Bagavad Gita’ says, “Do your duty. Do not worry about results”. Learn the art forms. What we are  going to do about it, can be decided later. You can keep it as your profession, passion, hobby or just time pass. It doesn’t matter. The art form will be with you till the end, as your friend. 

Head Movements - Part - 3

A dancer or musician should develop all round talent to become complete in her or his own field. ‘Swara gnana’, the capability to notate, ‘Laya Gnana’, the capability to keep perfect rhythm are most important for musicians and dancers respectively. This will help them Compose, Choreograph and Conduct their own shows. These 3 Cs make them the all rounder of the field.

Dance cannot survive without music. So, every dancer should have good knowledge in music. If not, the dancer at all times will be dependent on someone for every detail, needed to conduct her or his own shows. Next comes language. Develop language skills at least to a particular extent. Lyrics and meanings are extremely important in the area of expression in all Indian Classical Dance forms.

Head Movements

9. ANCHITHA

Usages – 1. Indicate pain, 2. Anxious thought, 3. Loss of conciousness.

Definition – Head bent slightly towards one side.

10. NIHANCHITHA

Usages – 1. Embrace, 2. Attractive Delicacy, 3. Indifference due to pride and self-satisfaction in having secured the desired object, 4. Laughter and weeping in excessive joy, 5. Emotion shown at the mere sight of the lover, 6. Pretence of pain while experiencing joy, 7. Wounded pride during a quarrel, 8. Shy-stillness of a newly-wed maiden.

Definition – Shoulder tops are raised and the neck sinks down.

In this particular Head movement, the usages are given specific names. I am going to mention the respective names for the above mentioned usages. 1.  Vilasa, 2. Lalita, 3. Bimvoka, 4. Kilakinchita, 5. Mottaayita, 6. Kuttamida, 7. Maana, 8. Sthambha.

We will continue this in my next post.

The most evolved Dance and Music forms are Indian classical Dance and Music forms only. They are unparalleled any time any where. But it needs lots of good effort to learn and understand them. Things too easy are not good for the mind. Things too tasty are not good for the body. Indian Dance and Music are extremely good for both mind and body.