Pindibandha, 笔颈峁囜笉墨产补苍诲丑补, Pindi-bandha: 4 definitions
Introduction:
Pindibandha means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: N膩峁瓂a-艣膩stra笔颈峁囜笉墨产补苍诲丑补 (啶た啶｀啶∴啶え啷嵿ぇ) refers to 鈥済roup dances鈥� according to the N膩峁瓂a艣膩stra, chapter 4.
: Academia.edu: Some Pearls from the Fourth Chapter of Abhinavabh膩rat墨The 笔颈峁囜笉墨产补苍诲丑补 (啶た啶｀啶∴啶え啷嵿ぇ) was understood as dances which involved more than one dancer. In short, the 辫颈峁囜笉墨-产补苍诲丑补 is the technique of group formations. Bharata鈥檚 classification of these reveal the most modern concept of group choreography, which is especially studied in the Western schools. In the last few centuries, many of the classical dances of India emerged as solo dance performances. Though the idea of group dance still continued to exist in the folk dances like the Da峁囜笉aras, Rasl墨l膩, Kol膩峁弓am, Kummi, Pinnal Kol膩峁弓am and similar other dances in many parts of India, the classical traditions like Sadir, Odissi, and Kathak remained as solo programs only.
Source: svAbhinava: Abhinavagupta鈥檚 Treatment of the l膩sy膩峁単asThe 辫颈峁囜笉墨-产补苍诲丑补 was understood as dances which involved more than one dancer. In short, the 辫颈峁囜笉墨产补苍诲丑补 is the technique of group formations. Bharata鈥檚 classification of these reveal the most modern concept of group choreography, which is especially studied in the Western schools. In the last few centuries, many of the classical dances of India emerged as solo dance performances. Though the idea of group dance still continued to exist in the folk dances like the Da峁囜笉aras, Rasl墨l膩, Kol膩峁弓am, Kummi, Pinnal Kol膩峁弓am and similar other dances in many parts of India.
: Shodhganga: Gati in theory and practice笔颈峁囜笉墨产补苍诲丑补 (啶た啶｀啶∴啶え啷嵿ぇ) refers to the 鈥済roup formations of dancers鈥�, according to the N膩峁瓂a艣膩stra (chapter IV, commentary p.193.).鈥擺While discussing the elements of 膧峁単ika-abhinaya (gestural representation) in N膩峁瓂a-艣膩stra]鈥敱示贬箛岣嵞共曰宄蟛箂 are the group formations of dancers. The 辫颈峁囜笉墨 attached to the different gods and goddesses are named after their own banners. The origin of 辫颈峁囜笉墨 is of three fold namely 测补苍迟峁� (which strings together) 产丑补诲谤腻蝉补苍补 (positions taken by dancers) and 艣颈办峁Ｄ乱辞驳补 (exercises based on 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉). The 辫颈峁囜笉墨 are of four varieties: 辫颈峁囜笉墨 (lump), 艣谤峁卥丑补濒颈办腻 (cluster or chain), 濒补迟腻产补苍诲丑补 (together like a creeper) and bhedyaka (group formation of dancers where-in individuals cannot be identified)
Natyashastra (啶ㄠぞ啶熰啶ざ啶距じ啷嵿い啷嵿ぐ, 苍腻峁瓂补艣腻蝉迟谤补) refers to both the ancient Indian tradition (shastra) of performing arts, (natya鈥攖heatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
See also (Relevant definitions)
Partial matches: Pindi, Bandha.
Full-text: Pindi, Shrinkhalika, Latabandha, Bhadrasana, Yantri, Bhedyaka, Shikshayoga.
Relevant text
Search found 6 books and stories containing Pindibandha, 笔颈峁囜笉墨产补苍诲丑补, Pindi-bandha, Pi峁囜笉墨-bandha, Pindibandhas; (plurals include: Pindibandhas, 笔颈峁囜笉墨产补苍诲丑补s, bandhas, Pindibandhases). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Elements of 膧峁単ika-abhinaya in N膩峁瓂a艣膩stra < [Chapter 1 - N膩峁瓂a]
Analysis of technical terms: N膩峁瓂a, N峁泃ta, N峁泃ya < [Chapter 1 - N膩峁瓂a]
Dance movements found in sculptures < [Chapter 4 - Practice of Gati]
Hastalaksanadipika a critical edition and study (by E. K. Sudha)
11. The built up Sequence in Stage business < [Chapter 2 - Bharata鈥檚 Dramaturgy]
Natyashastra (English) (by Bharata-muni)
Chapter IV - Description of the Class Dance (t膩峁囜笉ava)
Chapter III - P奴j膩 to the Gods of the Stage (ra峁単ap奴j膩)
Arts in the Puranas (study) (by Meena Devadatta Jeste)
2. The Art of Dance in the Vishnudharmottara < [Chapter 2 - Dance in the Puranas]
15. The Rasa Dance < [Chapter 2 - Dance in the Puranas]
Dance Traditions of South India < [May-June 1935]
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
Chapter 4.3 - (d) Technical terms used by Arurar in relation to Dance and Music < [Volume 2 - Nampi Arurar and Mythology]