Asamyukta Hasta
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The Asamyuta hastas, as described in the Abhinaya Darpana are 28 in number.
These Hastas are used as embellishments in adavus as well as to communicate meaning gesturally, The Viniyogas in the Abhinaya Darpana describe a number of possible gestural implications for each Hasta.
Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put together in a Shloka form 'Sandhis', or compound words in the Sanskrit language. Words like 'ca', 'thatha', mean "and", "also". The separate words for each movement are also given below the shloka.
Patākas Tripatākordhapatākas Kartarīmukhaha
Mayurakhyordhachandraśca Arāla śukatundakaha
Muśtiśca Shikharākhyaśca Kapitta Katakāmukhaha
Sūći Chandrakala Padmakōśa Sarpaśirasthatha
Mrigaśirśa Simhamukhaha Kāngūlaśćalapadmakaha
Chaturo Bhramarasćaiva Hamsasyo Hamsapakśakaha
Samdamśo Mukulasćaiva Tāmrachūdastriśūlakaha
Ithyasamyuta Hastānām Aśtavimśati rērita”
Patāka
Tripatāka
Ardhapatāka
Kartarīmukha
Mayura
Ardhachandra
Arāla
Shukatunda
Mushti
Shikhara
Kapitta
Katakamukha
Soochi
Chandrakala
Padmakosha
Sarpasheersha, Mrigasheersha,
Simhamukha
Kāngula
Alapadma
Chatura
Bhramara
Hamsaya
Hamsapaksha
Samdamsha
Mukula
Tāmrachuda
Trishoola
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The movements are used primarily to communicate meaning in the context of gesture.
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Raga: Todi
Adi Tala
Composer: K.N.Dandayudapani Pillai.
Choreography: Guru Narmada (Jathis) , Adapted by Rukmini Vijayakumar
Language: TamilThe Varnam speaks from the perspective of a Nayika that is longing to see Lord Shiva.
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