Bharatnatyam Dance

2016·4.3 MB·English

by  Centre for Cultural Resources and Training

■*HKc1 k '(TRT F§d yik-l dild k FF7 4k 41 kl WFTT TFT 'tl Dance in India has a living tradition dating back to ancient times.
Excavations, inscriptions, chronicles, genealogies of kings
fkkF ffrI' kt Tggrf, fkdikkl, kkifk* Fkr, TFRrkf ft! ftt-f^ff
and artists, literary sources, sculpture and painting of different
FRT FidIFiKf. -HlfefcitFi ktk, ^RtFidl 4k pFFFidl k ^TTW WI
periods provide extensive evidence on dance. Myths and
FFFW gt4 tl MHlpJIcb F7RTF; 4k FFFTRTTf kt gR fkFR RTF RR«fF FRFt
legends also support the view that dance had a significant place
f tk RRFIf RFFT % Rk FRF RRTR k ^JRT 4 F^T HgcF^l TRTF FFTFT in the religious and social life of the Indian people. However, it is
rti Rkk 3ttr y-dfdd ‘ffttrIf’ Fkf ft ‘firft’ % rr k nRkid Mfr not easy to trace the precise history and evolution of the various
% fktFR 4k fkkFF gfdgi-H ff kkilkd frft strttf Rif ti dances known as the ‘art’ or ‘classical’ forms popular today.
In literature, the first references come from the Vedas where
RTfgRF k RgtFT kgk kk k fkeM t, Rgf ^trt f kktF ff f^fr ti
dance and music have their roots. A more consistent history of
FRT FF T/T RTTFT k4lf4d gfcrgRI HglFF°i)l', RkF RTM, FlfkF RTfgRF
dance can be reconstructed from the epics, the several puranas
FRF FTFFF RTF RTpJ F4f, RF Rk^d k F77^ 4k F7FF7 k RR k RTF and the rich body of dramatic and poetic literature known as the
rt4 I, k ■'jkkfkr fkFi rt rfftt ki w^kr RkfR ftfft ito ff nataka and the kavya in Sanskrit. A related development was
Ifffr rft Ffkr 1ff>ir k, Rt Tjakd ft^f, Tjsrsk' 4k arpfrfk. ktkfrfkRF the evolution of classical Sanskrit drama which was an amalgam
of the spoken word, gestures and mime, choreography, stylised
Fki. kkkr frt kklFF kkMk ff fft RffRRR fi z^f 12 kf Rgt k
movement and music. From the 12th century to the 19th century
i9kf ek fft 3t4ft yiklki^b rf k, fkk RRtFTcRFT kei fi kkrr-FTFFr
there were many regional forms called the musical play or
FTgT RFFT tl RRtFTRTFT keff k k dckn dl-kld ^-Rkf RTF FFF sangeet-nataka. Contemporary classical dance forms are known
I37TI to have evolved out of these musical plays.
7fgk k gt g#FT RFF7T k Rlf-TRIT kkdkkk FFeT kt FFk kt Excavations have brought to light a bronze statuette from
Mohenjodaro and a broken torso from Harappa (dating back to
4k ^RTT gRRT FFFT (2500-1500 fRF Iff) FF RF7 FFT f3TT RRI t
2500-1500 B.C.). These are suggestive of dance poses. The
kk ^r TjgTkf kt ttfft ti rtf k ffrr arr^fk k str^f k rr k
latter has been identified as the precursor of the Nataraja pose
gk HSFMI FFT, fkk RTR ?k 97 -Jed FRF sTF, fkd % RR k '-16'dldl commonly identified with dancing Siva.
FM tl
The earliest treatise on dance available to us is Bharat Muni’s
■gk ’rorgk rtt ftffffrr, ftiffIf ^jrf ft wfIf k«t % ^ k ffff^t Natya Shastra, the source book of the art of drama, dance and
music. It is generally accepted that the date of the work is between
t, kl diddi. ^dd kir thjDd kt ftctt kt kld-HHidi ti srrkk fi Fg
the 2nd century B.C. and the 2nd century A.D. The Natya Shastra
TktFFF tkFT FFF7FI t fk <^H-0 TTFt 'fw'jt - ^Fk TTFt ^f41 7R( gF FFk
is also known as the fifth Veda. According to the author, he has
FF 7FFF tl d/dd 7//7-F kt HldF kg k FF k kt ^lldl ^lldl tl 4<3d>
evolved this Veda by taking words from the Rig Veda, music from
k ar^FR rfF gF kg ff fkFFF k frf, firff k kkiF, F^kg the Sama Veda, gestures from the Yajur Veda and emotions from
k k^-' ate 378rkkr k rtf kFR fkFi ti fft f^t rffift kt t fk the Atharva Veda. There is also a legend that Brahma himself
wrote the Natya Veda, which has over 36000 verses.
RFFTF FgFT k FRF' F7RR kg %M t. fkFk 36 000 FdftFT tl
In terms of the classical tradition formulated in the Natya Shastra,
W&I-W&f k 7JFR5 FTRFtF FFF7I kt tteft k 4k kktF FFFF7 k
dance and music are an inextricable part of drama. The art of
aqkFktF rtf ti ftffftrtt k gFk Fkt r1Rhf> afkf kt fft riff t natya carries in it all these constituents and the actor is himself
aft FRTIFF7 7FF d<fdi FRF RTFFT gt?Fl tl FF^FFFFt FFF Ftk FFFt k the dancer and the singer, the performer combined all the three
kktfkF FRFI tl FRF k FTR-FTR 3Rrk 3RF FTRF k 3RRT gt RFT afk functions. With the passage of time, however, dance weaned
itself away from natya and attained the status of an independent
TFFF FRT tkfkR FRTT k RF F FfgfkF |[3TT|
and specialised art, marking the beginning of the ‘art’ dance in
FTFtF ktF-fFR'kt k 3TJFR ^RT k #T Fg^aft F7 fkFR fkFI RTFT India.
t- F7RF, ^R7 afk ^F7| FTFF k Hldkld FcF F7 FFFR RTRI RTFI tl
As per the ancient treatises, dance is considered as having
FTRFFFt ^rF-dldFi FF k aqfFtTFF 3TFR aTfkFFFT ^rd-^nl k gF FgFJ three aspects : natya, nritya and nritta. Natya highlights the
kt ^FFgR k cTTFT RIFF tl ^R7 ktfgTFT arfR^FF t 4k Fg fktF ^F dramatic element and most dance forms do not give emphasis
k FFT fFFF FT fkFR FF FfFFTFF FRk k fgFF; FFJF fkFT RTFT tl fRT to this aspect today with the exception of dance-drama forms
like Kathakali. Nritya is essentially expressional, performed
<jF} FF k FpSF grd t, RgT Flfk Fit dfdfqfkFT F Ft fkkt RTF FF Futd
specifically to convey the meaning of a theme or idea. Nritta on
FRFt t 4k F gt k fkkt ark FF FfFFTfgF FRFt tl ^JRT 4k FTFF k
the other hand, is pure dance where body movements do not
FRTFFFTt kT k y-H^d FRF k Rm, RFT dcfkl Fit FFTFt FF FFK FRk express any mood (bhava), nor do they convey any meaning. To
k y4lIJl gtFT Flfg^l Fg FF7F t- sfTTJT, gTTF FTWTJ, Wfc. ife, WJ, present nritya and natya effectively, a dancer should be trained to
Wt^TrR, 37^gc7 4k Wrfl communicate the navarasas. These are : love (shringara), mirth
(hasya), compassion (karuna), valour (veer), anger (raudra),
FRt ttftFFf 1RI FTFtF FFtFRFI-FTFR 4k rffPJ FF aTJFRFT fkFT RIFT fear (bhaya), disgust (vibhatsa), wonder (adbhuta) and peace
ti kgR'jFFffkF, kkfkr, fFkfFT 4k aftRrkt ti cF7R7 7RtkfkF, FkrR, (shanta).
tf'MIrHcb 3#7 7#7 tl 3jfmv 317 RpRflRd 37*1 STf### || 3^ Sjffafr, An ancient classification followed in all styles is of Tandava and
#7 3#7 37#; qf/A/cb, 3733 3#7 31*73; 37717#, #37137 37# 37733177 3#7 Lasya. Tandava, the masculine, is heroic, bold and vigorous.
Lasya, the feminine is soft, lyrical and graceful. Abhinaya,
Hlfacb, «TTcrf 3#7 3^oMr«kl4 % £177 -HJ-MlRd f#!3T 37777 tl
broadly means expression. This is achieved through angika, the
373 3#7 #R<#cK-#t ^3 TfsT^TRT # 1?3 317 3137 #1 ^3 # f#37T f#137 body and limbs; vachika, song and speech; aharya, costume
and adornment; and satvika, moods and emotions.
i, f#77# 3733-37Tk 33 33#f3 37f#3f=k1 % W f#137 37777 tl mk
( 37#) % 3TJ3 HHcflil 37# 3# f777, *75, 337# 3?k f#3# 3#' #1 733 Bharata and Nandikesvara, the two main authorities conceive
of dance as an art which uses the human body as a vehicle
# 3*77 ## HH#k 3#' ( 337#?) 3# #f#t # #317 3# 337 #1? % 77#
of expression. The major human units of the body (anga) are
37# 3*77 333 ## ## % M 4 M13H 3# 377# tl
identified as the head, torso, the upper and lower limbs, and the
3733 % # 3Tf3ft33 31TJ, 33g3t3R3 37# #f#t % 3333 tl 317 minor human parts (upangas), as all parts of the face ranging
from the eyebrow to the chin and the other minor joints.
3733131737 #1 # 3333 t, f#3#l 313 f-373333?. 31 7#q# 33 37?M3lR+
y3J<rTl33IJl t #7 17777 7#3iy#?, 3# 313 7#3>, 3*77#<=ll'0, y<jiJcl<=lI«CI 31 Two further aspects of natya are the modes of presentation
and the style. There are two modes of presentation, namely the
37#f#31 #1 73} # 33J3Tft3l #t#1 37 ## 3# 377 37# 3 3‘H^d f#37
Natyadharmi, which is the formalised presentation of theatre and
73T 7731717 f-#773ft, 7=7733 31cf % 77377 3 113717 33^3, 3^ #1f#31?3;
the Lokadharmisometimes translated asfolk, realistic, naturalistic
3733c#, 37#77#1 17#f#77; 377737#, 33 313# 33 f333 13131 3173 t, 713 or regional. The style or vrittis are classified into Kaiseki, the deft
373333 177317 33313 f3T31 3ldl t 33k 3737# 777flfc331 f33333gl lyrical more suited to convey the lasya aspects, the Arbatl, the
energetic masculine, the Satawati, often used while depicting
?raif«73l' % 13333 % 3713 37777 # 173 #71 % f#f#3 31# # f#3##7T
the rasas and the Bharati, the literary content.
13711 133# 37331 1331 ## # 33 f##3 3#?! 3# 77#flf# 3# 7713 f#37
Nurtured for centuries, dance in India has evolved in different parts
37#31 3 37331 f#fW77T 3737 3#I 373: ‘3377’ 3# 37#31 3371 #337' 3#';
of the country its own distinct style, taking on the culture of that
f##' 13 3773 377137331, 31331731, if###, 31*731, 3f#J# 37k #f#77l
particular region, each acquiring its own flavour. Consequently,
tl73 373# tl 317 37lRc||7Hl 37# T773# ## % 173 3*77 yRRl=h a number of major styles of ‘art’ or dance are known to us today,
f#f33777# t, 3# 77737, #773 % it# 773KM, 3373 37k 331 3# #1 like Bharatnatyam, Kathakali, Kuchipudi, Kathak, Manipuri and
WA #1 373777 # 77*3f#77 t'l #33 37773737? % 3TT1373 #7 3777313# Odissi. Then there are regional variations, the dances of rural
and tribal areas, which range from simple, joyous celebrations
3# Till'd 317# #1 i#V, # 173 l#V, 31# tl 3773 317 377*jf#31 3##I77331
of the seasons, harvest or birth of a child to dances for the
173 #1 f#1 # 331 TTP# 33 f#3!T3 tl
propitiation of demons or for invoking spirits. Today there is also
a whole new body of modern experimental dance.
Bharatnatyam Dance
Bharatnatyam Dance is considered to be over 2000 years old
RWHIiRH feR 2000 RIFR ^ 3 tl RqRRfR % JldJ-WN-J (200
Several texts beginning with Bharata Muni's Natya Shastra
Irt ^ R 200 fefe Rfe fe rttr rttir qpi aqfeq ferf (((■w+T) qq
(200 B.C. to 200 A.D.) provide information on this dance form The
rr ^ rr Rq rhrkI wr feft ti fefecu grn Tf^m fefeq few Abhinaya Darpana by Nandikesvara is one of the main sources
■H<cni<iiH ^?r r, fet Rqf RfetfR % criraii feq dR-flfe r?rrr % of textual material, for the study of the technique and grammar
of body movement in Bharatnatyam Dance. There is also a great
ffe Rife (TjRT^t) fTmrft RR RRqR qfe fl RRT ¥F#T RtTcR Rft
deal of visual evidence of this dance form in paintings and stone
Rig feq Rc«qq Rff Rferfe rr«rr ffef R' Tqq ^rr rr % fRqqjR cdd^K %
and metal sculptures of ancient times. On the gopurams of the
fefeq wi ¥t Ifefe ti ffeqRqq Rffe % fejqfe' rr qwni<qq ^r
Chidambaram temple, one can see a series of Bharatnatyam
Rft ^TfTTRTaTf RTl TJ^q feRRT 3fe fefeq SRI RrRR RR RRR Rqq Rfe fe poses, frozen in stone as it were, by the sculptor. In many other
Rfefe fet rt qqRqqft f 1 fefe q^ri' 3 fefeeii ¥ ^q fe fe fee wfe temples, the charis and karanas of the dance are represented in
sculpture and one can make a study of the dance form.
RR rtrr fen rrt t feq fer ^qq rtt rrrrr fen rt qrRqRt ti
Bharatnatyam dance is known to be ekaharya, where one dancer
'Hqci'ii</qq RtR R?f ij,chgi4 % q?R R r( -JtMi miicii i?, RfR fefe RRqqq
takes on many roles in a single performance. In the early 19th
Rqfet 3 aqfer fefeiif Rqqfe f, in? rtri «i f ffe lfef qfe % aqiqnq
century, the famous Tanjore Quartette, under the patronage of
if, <ni qqqRRfe % qqfepR % aeq feiW % Rffet rr RTsfe R RqRRTRRR Raja Serfoji are said to have been responsible for the repertoire
% Rqq feid rr feW fen «n, fe fe rtr fefe fen ii of Bharatnatyam dance as we see it today.
&41 fowl ?rt tr feft Rqf fetfe qqn wi fewfe rtarr r 3 RRfef The style was kept alive by the devadasis, who were young girls
‘gifted’ by their parents to the temples and who were married to
eldl *ff, Rt 3qfe Hlai-ffei 1RI Rffe R>f RH ¥ if fe Rife fe feq chrii
the gods. The devadasis performed music and dance as offerings
ffes? fenfe fe elcii rti fefefew feffe % fern fe, fernfe fe aqfei
to the deities, in the temple courtyards. Some of the renowned
% rr 3 qqfer r ^r RqjR Rqqfe fei ?qq qfe % Rn5 ¥ffes Tjqfe aqfq performers and gurus of the early part of the century belong to
sqjmcfe' (fen r fefeqf) rtt fe>q -fefe ferfe' ^ t, ffe' Rim the devadasi families, a well-known name is Bala Saraswati.
qqqqfef n^q Rfn feffe npq ti The repertoire of Bharatnatyam is extensive, however, a
performance follows a regular pattern. At first there is an
qqcHiddq nn qfeqsnq Rgqr ffegn fen "f, Rfen? qRqjrffern q ffeffe
invocation song. The first dance item is the alarippu, literally
fii'P) Rn 3qqR7qqn fem rm "ti qq^qq nfe wr q^Ri-nm fen ^1 wrt
meaning-to adorn with flowers. It is an abstract piece combining
nRRq smfb t, ffem fefeq fe t-Tjfef qt qRiRni r? fer pure dance with the recitation of sound syllables.
aqfe % -qnqq % qn?q fe qqfem Rn n^q aqrjcf q§^ ti
The next item, the jatiswaram is a short pure dance piece
sqnqn iqdvn, bb°fTR n(Rq nr^ ■jrq <aus 't, fe Rqnfeq qffer performed to the accompaniment of musical notes of any raga
of Karnataka music. Jatiswaram has no sahitya or words, but is
% feqqf qm fe qqfennRRq qfe fe qn?q qmnR ffen rtri ‘i'l wfw^vj
composed of adavus which are pure dance sequences - nritta.
“4 fefeq rt ?i«q fef fe nq 3i-$% fe q^rn fe qfet t", fe njqg; ^qq
They form the basis of training in Bharatnatyam dance.
RqR--^ fe tl RR RqrRTdRR, ^JcR R' RfeRR % anRH1^ RRqR tl
As a solo dance, Bharatnatyam leans heavily on the abhinaya or
R<dHI<n*i fe RRT RRqR ^J?R fe Rfd fefe ^RiTR 3fem RT ^R fe mime aspect of dance—the nritya, where the dancer expresses
qfe Rfe-^rR rt fen 1?, RRi fefe nPdfdfR 3ftq qfen 'giqT qnffeq RR the sahitya through movement and mime. Shabdam follows
the jatiswaram in a Bharatnatyam dance performance. The
■fefeiRR Rqfe ii R<ddi<dH ^r % feq RRfe wfm^Tj rr aqjqqqqn
accompanying song is generally in adoration of the Supreme
yi&lH ski ffen 'rtri f?i qnR "4 rtrt qRR rmi fen sqqfetq nq qqfeER
Being.
qrcRT (feq) Rqt srrrrt feft li
STTdHIdil^^T Bharatnatyam Dance
After the Shabdam, the dancer performs the Varnam. The
77^? % ciu^n ^TTcft tl ^nfarj iRrHIcMH WTZeT
Varnam which is the most important composition of the
^ ^ ^\ tT^c^f ttert f, f?p7' ^77 VII Ml if ^>7-7^ % TTRf =T7
Bharatnatyam repertoire, encompasses both nritta and nritya
TfTTTVT afk ;7rT 7T87T frff ^7T TffwTW ^tcTT tl ^T ^#77t tt and epitomises the essence of this classical dance form. The
7t TMrTO mjt TT^gcT ^TTcft t, "sff 7TT % ^PTT fmuj ^ dancer here performs complicated well graded rhythmic patterns
in two speeds showing the control over rhythm, and then goes
t 3^7 R77% 777fto? ^1 ■qpRFTt ^7t faf*FT TR^tf 7t y^fvfd RTTrff
on to depict in a variety of ways, through abhinaya the lines of
tl Tpr ^UI-1 3TfoHy t ■id'+Tl ^ff 9lkldl 7? sffa -jrM <=t^<r11^+iI< ^ff Tncisld
the sahitya. This portrays the dancer’s excellence in abhinaya
7'd'1lrHchdl ^TT yfdfdM *ff tl ^rpjTj TTKtk f «J|cT 7jT7 T^RTSff
and also reflects the endless creativity of the choreographer. The
f 3 73^7 tl Varnam is by far one of the most beautiful compositions in Indian
dance.
^7T ^Tfed wf^j % Rffeft Hdl^fddT T3=?7 M^TctT TTf Ttrfq^TT
*m w After the strenuous Varnam, the dancer performs a number
•^n wl 777377 ti rt %} % 3#m,
of abhinaya items expressing a variety of moods. The bhava
TTftr ¥1 MPdR^PTf 37k F777 ^SlP £777 3Tf>7SR77 f^FTi =37lt t’l f^T T^f
or rasa is woven into the sahitya and then expressed by the
7#' t' 3 73=77 777 =fH<7H -HlP^cil R 377^ TRR7 Rff ^fRTt t 3^7 Rr; t
dancer. The common pieces are keertanam, kritis, padams and
ipfo,
^ RTfoft £777 37fqBcp^ pRRTT RTdT tl TTPTRT 7§Tra; Efc?^, javalis. In the keertanam, the text is important whereas kriti is a
3?R Wddf tl 'qfc?rfd^ f TJef-RB t, RR7 ^ RR7 TRdT t, composition in which the musical aspect is highlighted. Both are
usually devotional in character and represent episodes from the
Pd-Hd TlMPd % 46^ Rf ychivi Slell ^TTcTT tl PdVhdl t tPdl RTR: Riflfdi
lives of Rama, Siva, Vishnu etc. Padams and javalis, are on the
t 3fk 77R, fVTR, fk^J 377ft % Rff RRRaTTR 7777|c7 dTdt tl RTR
theme of love, often divine.
srk *iicidl td srk Rftn tf^F ^ sirofer trt ti
A Bharatnatyam performance ends with a tillana which has its
R-WHIiRH y-kjdlcbiui ter 3R fa rtf HI % 77787 ttc77 t. RF7 T77Tf RRTfk origin in the tarana of Hindustani music. It is a vibrant dance
ft^TdPTp 7nTtd % 7777=77 t tfdt tl ^ sgdTtt ( ‘jdldHH) ^ t, performed to the accompaniment of musical syllables with a few
lines of sahitya. The finale of the piece is a series of well designed
# 77//g!oV Rff R773 Hidddl % 7TT&T TPUd % 37^t % 7rr«T-7TT87 TJTdTT
rhythmic lines reaching a climax. The performance ends with a
fdRTT RTTTT tl f^W ^ 3Tfd+PrMd MPW M'rdd'MT % RTRtdRp
mangalam invoking the blessings of the Gods.
R7 ^Tptf % 7TT?7 7^5 dTT -HdlMH tldT tl y^dl + dd ^7T 3Td WToT^,
The accompanying orchestra consists of a vocalist, a mridangam
WH t SdvMRd TTFTd % 77187 tldT tl
player, violinist or veena player, a flautist and cymbal player. The
TTTddT^TH % 7PTtd ^ TTirgR R tt^- Tjy^ -q^7 ^pg7t ^TdR7, TJ^T person who conducts the dance recitation is the Nattuvanar.
7J^TF7 ^d7, TTdT ^ptrjj cn^7 37k ^ +<dld 'dT^d7 tldl tl Rt ^rfdd
^7 dTT d7f^dT--qra dTTdT t, ^ -7<dqH/7 tfd7 tl
Wkf <T IT 3T^IMchl' % few JlfrlMsHTT
2
CREATIVE ACTIVITIES FOR STUDENTS AND TEACHERS
q^TT TOJcT qfqfqfkkf m 37T«nfTcT JHI^fdch km) qq 3^ 4) TSTqf The Cultural Packages on dance and the suggested activities
aim at familiarising the students with :
qrt Rth fkqkf k srqqq ^TTHt t :
the grammar and technique of body movement of different
UTikT ^ qk fkfkq ^fd4 qk ^ndRch JiPdlklk qq ^i^ui kk
styles of Indian dance.
ddidldi;
- dance as a vehicle for communication.
— ■H'dK % fclk, ■Jcq T[qr cj|g^ % "4;
- the range of dance vocabulary and how closely it is related to
qk qik (trr) 3kc qi Ritt wr TrqnsTf, miHRkf qr
real life - through stories of kings, super-humans or animals
'dldcR'l' kfa t£77T qR q,llM ira dlTdfkq qftqq % fqq77 f; and flowers;
RTTfUc^w ct^tt TrnrdP srn RTq Tkf % 0.fd^irVi<+> i^qq qq the study of the historical evolution of dance forms through
3T«RRI literary and visual sources.
qir qr ^ qfqfkfkkr 7pk t]$ t, 17 17T 7tui k fqk qR fkk qR, A few activities have been suggested, however, there is scope
for using the illustrations in this package in a variety of teaching
d<6-d<6 qR f?T^icqqi 3R7 kl<sil qR HRR^rfTPTf R y^=w fqk qflR qR
and learning situations. The teachers are requested to use these
Rim ti fkstqR k 3T3^«r t % k ik R iitt ^ qiR 17 7m
in as many school disciplines as possible. They are also advised
Pqqql R yq)q R <qiql dk qi it T^id (Vdi qicii 7? fq] R -H'PId q -jcq to invite dancers to the school for practical demonstration in
% qqqiTfT^ qfkTrq R? fqrq; qRqR'-HRrq>q)' qR 7^77 R ttihTr qRi music and dance. Students may be taught small dance pieces,
T^rkf qq, qfq Rqq if eft, ^q % ttj Tqrng- fqqi^ ^ qqqr t, Tnfqr qqf if possible, for them to have a first-hand experience of rhythm,
music and expression through body movement.
qnkfTqr qfq % ira 77q, 7rqfq 3R7 irq qq qqq sr^qq w if ttRti
1. All classical dance forms in India revolve mainly around
1. to % qqf s* 117-5)1 q qloPqq q^qrarf 3R7 ifrfq R Rtt qq
themes from mythology and nature. Stories about gods
fqqqf % if i^-fRR ^rk f 1 RRt qqr RqcnsR. Tjsqf qq q^qq, q^fq and goddesses, the origin of the earth, different aspects of
% fqfqq qqf 3lfq Rr qR R qTirfqqf, q7FT q7*7]aR qq] qq] qrqisff' nature, etc. are selected from myth and legend and then
R Tpff 'dldl R 3tR fqq 3-1 ^?q 'gT7T y7qd Ptidl qidl 'll wR qPf communicated through dance. The students may be asked to
choose important deities, natural forms or real life situations
qq qiqqjaf ^fqqf/yit^* Tqrkf srqqi ip qffqq qff qfRkRRqt
which they have seen in dance, as for example,
qq qq^ Rr Pm, qrn qn Trqrqr i?, Pd-^ d-ill ^jcq im ■§■!
— Shiva, Vishnu, Ganesa, Parvati, Durga, Saraswati.
qqnqqisf,
— important rivers, sacred trees, flowers with symbolic
- fqq, fq*3, q1^, qi^cff, ^qf, qr-wrali messages or wearing ornaments.
- yicq^uf qfqqT, qfqq 3q^jqq qiq^ qi Mdlqirqq qiqff % They may then be asked to collect all the mythological stories
TTiq Tf77l and legends connected with each. For example :
fqq Tqqf qff qc^qr % 7TTq 7fqpqq qfqfqqr aft7 qq qrqisff qff — how Ganesa got the head of an elephant,
qqrfqq qq^ % f77q q?n qn TTqqn ti hhtr % qfc 17, — what was the outcome of the churning of the oceans,
— qffqT qff P+iq qqq7 nqf qq f7T7 wq ^31, — legends linked with the lotus flower, etc.
— qq^ q'qq % qqT qfqqrq Reference from books, interviews with senior citizens, the
— qqr77 % 'jd ^ ^ qq qrqiq 37]fqi observation of traditional customs and rituals can be various
ways in which to gather information.
ITT Tqq^r q' '^rqqff ^ Tfq’f qfqq, qqq qjqfTqif' ^ 7TT87T7qq7 7^77
This exercise will help the students widen their knowledge.
% qHNKMd-qf^ 17 qqfqfq fqqn qn 77qqn t ark qn q qq1*! %
The material can be exhibited on the bulletin board and made
fkq qk qf7qfqRi-'577Tq] wm\ qq TTqqrr ti
into a project book for later reference.
2. qfq7f 3ff7 q'yiidql % qmRjq tfpjt sriqffqq fqrk qn 77qrq I, life 2. Periodic excursions may be organised to temples and
qqk fqrcq 3ik pqyqdi % fqqq k qqq tt%i qff fqqfq k qcq museums so that children may be exposed to sculpture
q TqqRqq f, qqqq fqrqq k aqqqq fq^TT qnu qrfiqi mf qff and painting. Those specifically related to dance should be
studied in detail. The students should be encouraged to
qm, ^k-Tjm^fq % qjq, gnq, qfqqnf, kq]^, ^j?q Tqqiq sfo
note down various aspects regarding each work of art-facial
3hi-hmi7h qq qfq]q7nT, 37Tfq % qqfqr qq^f % fqfqq qig-sff qff 37k
expressions, mudras, postures, costumes, dance formations
«tr ^ k? fdq ylcqiPid f%qi qnqi qrfiqi and even the surroundings and environment.
3-^q ■qjd % Wqf qff -Jrd 7^7 3^7 klcd q^TT Pdddidl qff fqfqT^ Students from the senior school may be asked to make a
qrg37f % kfq TPq^q qq 37?qqq q><l kr fdy, qriT qfl TTqrqT 'ti study of the relationship between the dance form and specific
items of sculpture and painting. A folder with photographs,
Tqqrfqqf, f^qfkkf qqi fqqkf % 77Tq qqr qrki7 kqq fkqi qn
pictures, observations and comments may be prepared.
77q77n ii (TTikt qff ^ ^kf' % Tiq iftfqq qrrqk % %q w
(Pictures from this package may be used similarly in the
qq qqkqq 37]qffkq qqk k T?f 7fm kr fkq kfq] qrff yq>K classroom before organising an excursion in order to make
k qr^T k kf qkfq k ttttt qq TTqk ti) the students familiar with the forms).
3. *5TRf R7t RR% gTTT ki RR 1TR-TRT R R^RR kt RT# R# fRfRR 3. Students may be asked to make large drawings or collect
!RT3Tt RT ydl^hlc-Mct, % fkt R4k4d RTTR RT Rk fRR RRFt k pictures of all the different mudras or symbolic actions used
in the dance form they have seen. A large board may be
f#7 rt?t rt rrtrt ti wfe tt?rt k Tim Rcfr rst kk kir fkRT
prepared with traditional decorations. Under each mudra or
RT TTRTRT tl RTRRT ip 3TRRT I’RdlcH'* y-kJdl=b3|J| k #k R# RTTRR
pictorial representation, they may be asked to write its name
RTF. 3Taf sk iM-y'lPIdl f#kt % f#r RTRT RT TTRTRT tl R# RTRT %
and meaning and what it is used for. Senior students can add
7RR RRT RT ggT/RTR rTJRR fkR kT f, RTF W FT TTlfkR RT Rfa
the Sahitya or verses of the songs where the mudralaction
■% 75R (3RJRk) Rff RRk fl dk TJgT/RTR RR fkRR RftfkffRRf Tf
is used. An attempt should be made to project the use of the
y4l‘i k <rtH % firm, y^H fd->dI RHI RTfkfl same mudral action in different situations.
4. yyi^Pd RTR (kk % RTR)-3TfRRR ^TR RTT RRr Rg^uj %FFTT ll 4. Facial expression- Abhinaya, forms an important part of
33^41yR> I gKT WR1 RTt k 777 RRRk RTflRT Pd<=(<1JI RTT Rkr W5ft dance. The teacher should explain the nine rasas to the
k 37F[ k ffTTTFR k fRR Rt Rt TTRTRT tl students. The details of explanation can vary with each age
group.
■?TTk RTR REF RfRRTT arkRRTffRT keT # TTRTRT tl wk RTf 7RR:
RRT^ # RffffkR RT RifTI-fi RT RRT RTR RTF TJRT TTR t RTTJR RT# An interesting informal game can follow this. The students
can be asked to mime a mood in a self-created situation or
% klR RTRT RT TTRTRT f| RTSR % RTRTf 75TRf RTt RTRTRt RRT RTT TfRT
story. The rest of the class may be asked to interpret the
3TfRRR R oRRR TTT RTf RRTR k iRTR RTRT RTRT RTftR1 RR-TST %
story and name the rasa that it portrays. Bhaya or fear can be
RTR RTT, RRTRRRTsI fR RRTR RT3JR fRTRT RTF TTRTRT t-afk ak RR
depicted at length, for example, a child trapped in a dangerous
RRRT R TRRTRTRT RffffkR R RTRT f3TT RRT R^TRT 3TR TTRT T5TTRRT
situation in a dark and gloomy forest with a fearsome animal
RTRRT RRRR k^T RTTRT 7T3TTI fTT RTR RTt TTTRt ^gFaff ak RRTR
chasing him. Simple movements and prominent expressions
33fRoyPWR)' gTTl y fd Pd Pd d fRTRT RT TTRTRT tl can reflect the mood.
5. 3TRRPTRT TTTRT7RT RfkRfRRT 33TRtPdd RR% # WRf RR RRRTt RTR 5. The teacher can encourage the students to improve their
RT c77ef RPt ^RFk % fdR yloHlP^d RR RR7R tl WRp RR RF^R rhythm and tala by organising simple activities. The students
cldK RR^ % foTR RTfT RT RRRFT i?, RRI RT STTRkRT y^i] gRT should be asked to prepare charts where the beats of the
RTRTrRRT dyl R>t RTRiart (did) RR fRRTcRRT RR "4 RRJR fRRTT RRT rhythmic pattern are visually represented using attractive
R^l fR’R-fRR RRR RRR k fdM, fRd-fRd R*k y11 R cTTR dH motifs. Different motifs should be used for each different time
cycle. (A key can be made to explain the value of the symbols
RlPsy,! ( did ^ fksiTR R^ ycfld) Pr-rI RR RRTR RH^l'l % idy, y,Ri
shown in the chart).
RPdt (atHdlPdRil) RRT^ RT RFRRlt tl)
More experienced students may be given another graded
SrpRRT 3RJRRt 'TJTR)' RTt ktl 3RR RfRfRpRRT gt RT RTRRTt tl RTRRT
activity. Each student may be allotted a fixed number
T5TR Rft TTRT fRf?RR RRRTT % RRR RTRRF fgt Rlt RlftR. ak R^t
of time bars and be asked to create rhythmic patterns within
RTR ak RfRRf % fRfRR ypdkl' 3k RRTRRt % WI Rf ft^ RR the given time frame, using various permutations and
RRR % rM % rIcK RFRTTRRT klR R><d % RdR RTRT RTRT combinations of speeds and rhythm This activity will bring
■RTftpi ^ yPdPcFpR TRTRTfRRT RRRTTRRkTT RR RTRR RTTRk ^k RfgRF out the inherent creativity and develop precision and
RRT TJRRTFRT RR PdRIR RTWfl concentration.
6. The teacher may give the students a project topic, such as
6. 3THTTRRT RJTRt RR tfRRT RpRR t ^TR t|rT RftRTRRT-lRRR t RRFR
‘Dance in daily life’. The students may be asked to observe
tl RJTRf RT) 3Tkf 3TTR-RTR % eM' R?) arfRoRpTRRl RRT tRTRTRRRTRf
the actions and expressions of the people around them.
RR tRRRFRR Rrk % ftTR RTRT RT RRTRT tl fRTT T5TR krrfRRT ^cR RT
Students can then compile a list of codified dance movements
ggTat RTt TIRT Tjk RRRrr rf TTRk t, RT RfRRT kRR t TT^RR tlcft
that are akin to those in daily life and trace their origin in every
t ak ^ RRRTT RRRR yPdP4d Rt dPlPlpTR) t T|R TTRit tl Rid I Rt day actions and mannerisms. The students must be made to
fR RTR 't 3TRRR RTRRT RTfgTT tRT RTeTT 'FR 3k tfdRT dldd— Tld) realize that art forms and real life are closely linked to each
3TTRTT t Rk Tgt tl RT3TTTeT, 3-t g>s4> dHH ySIM, ^id RT kRT chg| other. In fact, they may be asked to pick out a few common
RT RRTRT t ak fRTT't Rk RKRkTRT ^RR :p3Tf t -3H ddl RTRRRT % gestures and convert them into aesthetic dance movements,
3FJRR yRdftd RTT flR>c) tl using their imagination.
7. RRTR’k RlWR) R MIHlPdRi crIsk! % 3TRTTT RT WRF RT) RTg RTRT Rt 7. During important religious and social festivals, the students
may be asked to compose short dances depicting — the
TRRT RTTrT % kTTr RT?T R[ RRTRT t, fRTTt TRtRTT % RTFR Rt RRTRT RRT
ttl ddldTullk. tl ^ RFT, RRRT1 ^ RktTTTR RTRRT ak tlPdR.1 Rt relevance of the festival, for example, birth of Jesus, Lord
Buddha, the Nativity play, the story of Holika and the manner
RTgTRt RRT TRt?TT Rt HdM % d<k, fTRTfg R^T ydjd Pr'-II RT TTRTRT tl
in which the festival is celebrated. These dances may be
fR ^tr k kkr % fkr Rfri rt) ttrt r rttjr fkn rt ttrtrt tl Rf
presented at the school assembly on the day of the festival.
dPlPlPr T5TR Rit "^TT RTR RT 3TRRR RTTTRi t fRT PtvR TJRTR 3TR5Tt 3k
This activity will make the students aware of how the concept
TTcR RR fRRTT TTRt «kf RT R5TT RR1R TTRTRT tl of goodness and truth permeates all religions.
8. WRI Rff qq-llcHRidl RR <4|r4 % sbH R 3ffeqiMct,T RR Riley, fRl R 8. In order to discover the creativity of the students, the teacher
RRf WWF-J q^q R, qftRR R RPR^Rc! t?pRRR MMirif R qftt'l 3W: must involve them in interesting activities related to life,
in general. The teacher may therefore distribute carefully
B^-RTCR! .BRRRiqf sffq qfRRR'qf 3 qTlRRHhjRRT ^ fir Wll fw
selected topics on relevant issues from newspapers and
rir! Rfl R q^id ill 3ms<unsl—
magazines, for example,
- ritTr rT ariqqqqqTT
— the necessity for peace,
— Pe-Hi rR wRrt
— the futility of violence,
- RIHllRR 3RTfTPMTT
— social inequalities,
- Trcstq qqRn
— national integration,
- M^lcRUI qfTW
— conservation of the environment.
10 qf 15 WRi Rr qqjef qrt snqnpqr rri qqiRRRqt Rq 3 q^F
Groups of 10 to 15 students may be asked to form tableaux
hizrIr ^ qnRR rrtr Rr fRrr rtri qq ^irtrt ti wrU rR RIrirt
in an appealing and effective manner. The planning and
3tfc TTR-q^n 3qfq wR Rr qq^Ff giqt Rt rR rtfR ^n%qi
designing of the tableaux should be done by the student
^i qfqfkfk rr r^?r ^raf k Rrri rtriri I sffq rrrR RdiaiR
group themselves. The aim of the activity is to create
qfRqi rr qqRjq Rrqqi ti ?r si HR 41 rR qrqRq fqqqrf strri tRr awareness among the students and use their artistic
fqqq Rr siqqiq qq qr^gcr Irtri ^i qrRRri ii talent. These tableaux may be presented on sports day,
celebrations of national or other festivals.
9. fqqqRr R?R, RR Ropt Rr RtIRrt fRqpq qmiqfe 37«M 3RR IRrqR
9. A thematic dance ballet can be prepared for the school
qqkle Rr km; Rrr fRrRT qq qiRrqi ti qqqt sr^uw qqr qtm
annual day celebrations or any other function. The teachers
fqRTRTq RTTq RR qtRRl f 3Tjq 400-500 IJlRf RR RlRR TJRT RRRRTq can work together and organise a show involving 400-500
(?ft) qqgq rr rrri ti ?qtRr fqrq yi-h'Pi =h qrfR Rr fwi RR- students. Themes of topical interest like conservation
qrfrfq sik q^Pd rr rtr^rr, RisRRT. ’j® Rk qRRf, #q§knfqr4f of nature and culture, literacy, hunger and poverty, the
problems of slum-dwellers, etc. may be enacted. Such a
rR RTRRTq 3Tlfq RR RR1 Rll RRRT1 tl RqTT Pd^lldRId fRqW R^Rd
mammoth production will reach out to the school and the
R«q qydld RRT Rf RfR RTRuTT tl
community as well.
10. rRrH (^ RRdlRlkf) rR djfRRT, RqRr ^RT rR RtfRTRl, RRHR RT^T
10. Lists of dancers, their styles of dance, the institutions where
R RRR RrR I, ^[cR Rr qfqRIR, ^pR qrqf qq TpqRr, qfqqqq;, qjfqqr they work, the academies of dance, books on dance-forms,
qfqqqq qqifqq qri qn qqqft f i iRRfRR rr k Irrh ri rrrii magazines/journals on the subject, may be compiled.
t, krak qfqqk srfqiw ^h+kI qi qn rri# ii This may be an ongoing programme in which additional
information can be noted every year.
11. 3iNRd, ^qi % qrot qgg qqqf q fqqfqq rr k ^Ri-qqqqf' rr
11. Nowadays, dance festivals are conducted regularly in all
3RRtqR fRRTl RR T?T tl WT qt % RRf k, fR4RTq, R,iu||cP
the major cities of the country. In recent years, the temples
3dlfq qsRdf % kfqr ^q ^qqf % %r^ % q^q k RR^qq
of Khajuraho, Chidambaram, Konark, etc. have risen as
qind 3qk 'fi qqtRi % qqRtq Rt qqk k R^RRt % «idl centres for important Dance festivals. The Spic Macay
rrt qt qfR?l ti ?q ri4*hT rr fqqgR ^tra qql rrirr qqf k festival reaches even the students of schools in small towns.
Extensive reporting is done in all newspapers. The students
tqqr qrrai ii wqf r4 rrirk qqi k qq Ri4*oi' % ®4kf R?f rrrR'
should be asked to collect newspaper cuttings, study
qRTfqq RRk, r^’ ?rrr SIKIRR RRR 3^tR RfR^R % RRk q'Rlef
them and keep a record for future reference. Names of
rr % fkq; riri rtpr Rif|q;i ^fR rr4rr4 q k qfeg: rrrirrr'
artists and famous accompanists, information regarding
rri wirr4' % rtr, f¥qqR Ri ^fq qqgfRRf sfk dm, WOT
rare or special items in the performances and interesting
3tTwft qq qfRRR fRRpqqf (qqqtaq) qqtrfqR Rft qipft Rifko; rri comments on tala, bhava and abhinaya may be collected
qqqq SIHTRR fRTRT RflRl RTlffTTI and studied.
12. Another very important activity must be organised for the
12. 3RR R^R qqdRTJlf qfRfqfRRT ^Jjjf % fqqi 3HdlPdd R?f RH RTRuff tl
students. In order to awaken in them an interest in all the
qqi 3rr qnqqtq rri ciW ^hI % qfq «i4t k <?Pr qrqr4 'Ig
other classical and folk dance-forms, the students must be
r^ riri qnRi RTffq fRd k fkq? ^ qq^ qfqfRR t, Rqrk 3rr encouraged to compare other dances with the style they are
•Jed ^41 R>t ejddl Rkl familiar with.
By studying all the packages on dance prepared by CCRT, a
qnVj>PiR) rtir q^ qfqi^r 4>q\ 'grci rrt qq Iirr Irri qR Rfikt R>
variety of activities may be organised. In addition, exhibitions
3TWTRR giqi fqfRR RRRd Rit dPlftPlRl 3Hl4lPdd Rit RH RRidl "t, qRR
with pictures, charts, costumes, musical instruments, and
sfi RKdlq ';jcq ^qt R> qfq wR rR rmrkI 4<sH % Pm, Pr4), rtR,
books can be arranged to widen the knowledge of the
RqT,»jqi. qrqtq Riki 3ltq -gqRRif rR qqkfqqf qrqif RH qiRRft ti students regarding Indian dance forms.
fqq qq 3hk4(3: ddcidRt kd< Pictures and Script: Jayalakshmi Eshwar
5. (R?) IRgR fRR ft f?g ftt cff ?7-37ggRif RRfftR fftiRT RRI
tl mpfsf SIRNR ft, Rlftft NR Rif fRNTlfcT fftiRl
Bharatnatyam Dance
RTRI tl IRfft /RRt77R?g gR7 Rif RgRR fftiRI RTRI tl
5. (7R) fstfR fRR ft 3?gg R?f tf ftftrR Rfft ftsit Rt tl
RNRT RRfR RT NRRR Rlftft ftr Rift STlft Rif sift
1. wh 'jkifui+l % srgNN, fftR ft tom ft? nn ft in RNRI RIRI t 3ift Rlftft gsft Rif gRiTRT ■Nlcll tl
gfc R?f <.Rdi Rifl y<gd ftfdcbiftld dift-R yfciHi ft RI ft? 3RJRN (RTRigfft) R?f RRfd R7 f3R?T R7T, Rlftf
R*R sgRifdd ttNt fft? g?R sift Rfi<rM RTTRT gRT-gN? gtf ^f RTR-RTR 33TRI ulldl tl Rftft R?T RR Rlftft
ft RRR?f IR RR? NNTfftR Rfl R3NR % Nftft NR ft ftr R7 RRRI tl wft /ftlrf/R1/ INf RgRR tfftf tl
■SR<" ERfft RR Hdlch t, sfk gNN life'll NR NRRt 6. y^jd fRR ft hus1 STgg rr rr7 -qj
Rif NR8NT y<?M Rlftf tg RdlRil NRfgN "4 33T gSfT '§'1 ■Rtgft ftHRft-STRRRT RTf RRftfl fftiRl RRT tl RlftRT ftr
3JRRRK t?R R7 <at dd<M, STRTR RR RTRT R?T R?f RRI-RI Rfft RR fftTRI RRI t sift ?ftft RR RR Rig ftr
NRRRT RRT UTR ft -ST^cT Riftf tl RT tl /RRt?7R?7-RN7 gR7 R?1 3RRftl Rtftf NRf ft? fftig
NNIHIftMg ftRINft ft? NN ft RfftR t, fftNft gR? tfcTT tl
RftRff SlftR? gfftRRSrf Rif y<ftftd RiNlf tl gfR ft? 7. fftiR cfRi RR? filialh-R<ddiegg g?R ^ftff RR gR? 3RR
NRRTR-fftlR-Rif R3NR ft? NN ft Nftf g?R ilR-lfti ft RNR'jft 3?gg tl tft RI^ NRffW tfRR RTRR RRift
■srcgR fftiN ntrt ti nnjr sTrafft* fftR ft sin rninIr t, ftft tf 37^f NRffRR tfRR R??7R7t RTRR? SigRiR
HftRi % NN ft dd<M Rff gN y*gd <=ti<cft dftRif R?f fRRfftR R?ftf tl RR g?R NR1RTR? (R33RRR) NR
ftN NRft tl RftRff ft 3NRT NflRT NR 37NR gN ft, S-^dRd RTRRRR? ST^ftf ft? NTR fR SigRiftf Rif RNN
'I'l'lll ft glftd 4NHI °FR N? RRdl Rif NTSNT ftft % fftiRT RTcII t, RR 'Nt Wf<7 R?N RIRT tl Rferf SftT
fftg 33TRT gSR tl fRTgR R7?RR? R?f cfliRH^ R?N RIRI tl dliRH^ R?f gR?
2. NNTRIHRg, JR 3TRRT Sigft RiRRRT sift JcR STRfg JR fftfftRR Rfft ft? NIR ftfR RT7 ttlR RR RRTRT fftryi NIRI
sftT 3jfRRR (3Tfi|oqfdd) NN? ftf Ng® Riftf ft gRR t sift 3IR7 fRR ft y^Rfd Rfft-/ftid RRT R77? fid (7?R
eldi tl NR NRf Rff Rfft sift gsm., fft>ft) y<+)K Rff tl RftR? RdlRiK, fRRgRR NR Rif snft fRNTlftR RR,
Sift 3Tf^°drdd Rtf TOf, Rig gcR-NNjfft ft NlfftiR Rlt Rif 3i£cftR NRRR R^RIRTR Rfft TRgR RR 3?gg
3^ffr ^fcTf-fRfRRRT eTTcff t, RR 3ft 1 Jf R?N R1RT tl RR RRTRR RRRI tl Wf' Rr77^7 sift 3Vri/4<(R INI RR
JR ft, RTR % NRNR sift Rfft ft NNcR (SR fnid), nftfR fftiRl RRT tl
Srk-//qW (RTRR), RfR URt (RcJcllRiK Rfft) sift RR? 8. W ft RR?5 sift 3ftftRR gRT fRRftftl RiRR R?f ^cR
(RM) NTgR lift tl 3?ftfRR RcftR? Rft ft? Rift 3NRR R?N RTIRT tl SftftRR R?f INI NR srfftoqcKI fftiRl 'Nidi
tl t, ftf RRftfR RTRftfR grR Rif gR? fftfftl^ fftftw tl
y*gd [ft ft) ft IN PlH Rfft sift ysiy, tN <Hdirl t : R73R777W RRT 3#RRRrW?; ftft RRR fftfRKgftRi ?7R
RR 3Rftr§ R?rft tl 3R?gRR RRT R^RR (fttlR NR)
wr-^r(A rn ^Ri'mfqRi ^ ^ Ri Rirt t sffc
sift 3RRR TJRftl ((iPtH'l) fftiftl ftf fftRR-RNJ sift
37Ff Rif 3lft SffftgN tft tl
NRiRRRI Rif 3ftftsj^I, srft RfftRlfftR sift RftifR RR
rn 3nn: % -hWI^hT ft fk#
NRift tl
RfTft tl
■5RgR fftR ft, SmR^R I7R Ri? IKftfd fi^JT RR7 tl
'Rftft'RTN srRRT 3RRI
IN I7R Rif RTNRT, RjJcllRiK Rfft, gft RR, nI*r4, ft?RT
3. 3TUfmgf RT mi RRRI3RR '=JRT ^ftft Rft 3R? gR, ftldK, Rift, 3?RTt, gfNT, NRfNT RT ftiRN g<a Rif
rjn WNi t, fftrrft ^ <Hftd, ftr djpfcf: fftft^s R?rft tg RgRR fft?Ri nt nr?rt ti
RTF7 Rft sift RT# mm ft tfft tl RWdlftdft 9. 3#NRR sift R7R Rif ftiRRT gurfft^lfftR (giRgsO) NR
ft fN RRR Rft 3fft 'gt ig gdd) Rif SR^SIT Rif
ftf °4RR fftiRl RIT NRiRI tl R7 IN7 gN RR NRftT,
37^ftR§eft RT SchbHIRUzZd1 % RN ft ftf NTRT NTRT t NRfRTftf Rif NRTR?TTRff NN ft SlfftoRRR ft? R7R ft
3fft |N 37R7NT Rif R^Ri STfiidiftl fft^=S •Jrd Srfftshftl
gf5 r?trt ti y<gd fftg ft RftRff int (muR^R) NR
ft y^Rd RRft t l
NfNft R?f fftlftfR RN Ttf tl
4. snRirgR gR gRiRi Rft s?gg rnt rnr ti r? TRt Tfft 10. iftcff sift 3Rfftrftf RR NRTRR RRI 3Rft? RRTRR Rif
Rif RRTR gN (T^ffRRT) ftft sfft R1R Rif Rft (Rft?)
ftRfft ft? SRRN R7 IN7 NR R?f RRR7 Rif STRffftsrfRR
RRT S|MRi|Rri INI g^I (JR IN7) RR NRftlR tl 3J^
tf NRiftf 11 ytgd fftR ft RftRff IN7-37R77RgN RR yftl'i
ft ftt ygo NR3Ri tfft t—<77cR (NRR RN) sift cTRl
Ri<d gg ft? NNN gN7 gN Rif IrrMr R?7 Rff tl
3?gg fti NWT 10 ft 12 Ng? tfft f, fftRft ft RcftRi
11. RftRff ft? Nftft NR ft ggfidINI RR RlftR tfN t,
ft? R7i? <fiHld< tfft tl STIR Rif ftfR Rffttf ft RNJR fftiRl
RIRfR? RTRT NR W7R57 IN? Rif SRRTftR? S||<jifd TTNR
R1RT t-gcT, ggR sift ftlgRI yNj,d fftR ft IR ftt
R?NTI tl
t?g rf! R?f ftlR RRift tl fft ftfft Rif 3ift ld<tfl
gRT RiT y<gd fR?RT RTRI tl tNf NRf ft? fftlft fRRR7R?7 12. gcR-R7gfft ft NRf Rif RgRR R?Rf R?f ftfft (NNR) Rif
IN7 R?1 yti'l fR?RT RTRT tl Rift ?TR Rft 3RR 33IRT IN737N7 R?N NTN tl 3R%ftf Rif RftRlfftlR sift RgRR
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