NCERT Textbook: Natya

 Page 1


14
NATYA
Natya is storytelling through performance. You have read the 
description of this earlier in the book and read about two natya 
traditions.
In this chapter, you will explore how dance elements can be 
incorporated into natya.
A story can be made into a performance 
with elements of dance and choreography, 
dialogues, musical elements with songs, 
musical instruments, and costumes and 
make up. Discuss about telling a story and 
how you can incorporate dance movements 
in natya with your friends. A story is given 
below for you to consider or you can choose 
your own story for presentation and have 
fun putting it together with choreography. 
So, let us dive into this chapter by reading 
a story and then dancing to the story. That 
will be interesting and enjoyable.
Note to the Teacher: Do this activity 
according to your regional  
languages and practices.
One lazy afternoon, Grandma gathered the children to tell 
them the story of Krishna and the snake Kaliya. She began her 
story in a soft animated voice bringing the story alive with her 
dramatic narration.
14_Dance.indd   143 14_Dance.indd   143 11-04-2025   15:45:08 11-04-2025   15:45:08
Reprint 2026-27
Page 2


14
NATYA
Natya is storytelling through performance. You have read the 
description of this earlier in the book and read about two natya 
traditions.
In this chapter, you will explore how dance elements can be 
incorporated into natya.
A story can be made into a performance 
with elements of dance and choreography, 
dialogues, musical elements with songs, 
musical instruments, and costumes and 
make up. Discuss about telling a story and 
how you can incorporate dance movements 
in natya with your friends. A story is given 
below for you to consider or you can choose 
your own story for presentation and have 
fun putting it together with choreography. 
So, let us dive into this chapter by reading 
a story and then dancing to the story. That 
will be interesting and enjoyable.
Note to the Teacher: Do this activity 
according to your regional  
languages and practices.
One lazy afternoon, Grandma gathered the children to tell 
them the story of Krishna and the snake Kaliya. She began her 
story in a soft animated voice bringing the story alive with her 
dramatic narration.
14_Dance.indd   143 14_Dance.indd   143 11-04-2025   15:45:08 11-04-2025   15:45:08
Reprint 2026-27
144  | KRITI
“Long ago, on the 
banks of the river 
Kalindi, there lived 
a monstrous serpent 
called Kaliya Naag. He 
was a terrible creature, 
hissing and coiling, 
frightening everyone 
who came near him. 
Even birds would not 
??y over the river, and 
children were too 
scared to play by its 
banks. But one day, 
little Krishna arrived.”
“Now, Krishna was not afraid of anything. He saw 
the frightened children and decided to help them. 
He climbed the tallest tree by the river, ??ute in hand, 
and began to play it. The music was so sweet and 
enchanting that it ??owed over the water like sunlight 
on ripples. Even Kaliya couldn’t resist. The great 
serpent rose from the river, swaying to the melody, 
his anger forgotten and his eyes shut in joy. Then, 
Krishna leapt onto Kaliya’s hood and began to dance. 
Oh, how he danced! His tender feet moved nimbly 
with such grace and rhythm that even Kaliya, ??erce 
as he was, couldn’t help but join in. Soon, birds were 
singing again, animals came out of hiding, and the 
children clapped and cheered. Kaliya calmed down 
and happily, slipped away into the river, never to 
trouble anyone again.”
The children listened with rapt attention and then 
excitedly asked grandma to help them enact this natya.
She replied, “Yes we have to plan and design 
the whole story, choreograph it with dance, music, 
enactment, costumes and stage design. You see 
children, through music and dance, even the wildest 
heart can be calmed. Natya — our beautiful art of 
storytelling — isn’t just for entertainment. It teaches, 
it heals, and it brings peace”.
All traditional performances begin with a 
salutation to seek blessings of the Almighty. Here you 
will see references of salutation and benediction with 
reference to natya.
She said, “In our traditions, every play begins and 
ends with gratitude. Before the performance, we seek 
blessings for its success — just as we start our day 
with a prayer or sing during the morning assembly 
at school. It helps us focus our mind and brings a 
sense of calm. The salutation is an essential part of 
any play’s preliminaries in the Indian natya tradition. 
Let us learn some prayers which can be recited as a 
salutation to the almighty and as benediction after 
the conclusion of the natya”.
14_Dance.indd   144 14_Dance.indd   144 11-04-2025   15:45:09 11-04-2025   15:45:09
Reprint 2026-27
Page 3


14
NATYA
Natya is storytelling through performance. You have read the 
description of this earlier in the book and read about two natya 
traditions.
In this chapter, you will explore how dance elements can be 
incorporated into natya.
A story can be made into a performance 
with elements of dance and choreography, 
dialogues, musical elements with songs, 
musical instruments, and costumes and 
make up. Discuss about telling a story and 
how you can incorporate dance movements 
in natya with your friends. A story is given 
below for you to consider or you can choose 
your own story for presentation and have 
fun putting it together with choreography. 
So, let us dive into this chapter by reading 
a story and then dancing to the story. That 
will be interesting and enjoyable.
Note to the Teacher: Do this activity 
according to your regional  
languages and practices.
One lazy afternoon, Grandma gathered the children to tell 
them the story of Krishna and the snake Kaliya. She began her 
story in a soft animated voice bringing the story alive with her 
dramatic narration.
14_Dance.indd   143 14_Dance.indd   143 11-04-2025   15:45:08 11-04-2025   15:45:08
Reprint 2026-27
144  | KRITI
“Long ago, on the 
banks of the river 
Kalindi, there lived 
a monstrous serpent 
called Kaliya Naag. He 
was a terrible creature, 
hissing and coiling, 
frightening everyone 
who came near him. 
Even birds would not 
??y over the river, and 
children were too 
scared to play by its 
banks. But one day, 
little Krishna arrived.”
“Now, Krishna was not afraid of anything. He saw 
the frightened children and decided to help them. 
He climbed the tallest tree by the river, ??ute in hand, 
and began to play it. The music was so sweet and 
enchanting that it ??owed over the water like sunlight 
on ripples. Even Kaliya couldn’t resist. The great 
serpent rose from the river, swaying to the melody, 
his anger forgotten and his eyes shut in joy. Then, 
Krishna leapt onto Kaliya’s hood and began to dance. 
Oh, how he danced! His tender feet moved nimbly 
with such grace and rhythm that even Kaliya, ??erce 
as he was, couldn’t help but join in. Soon, birds were 
singing again, animals came out of hiding, and the 
children clapped and cheered. Kaliya calmed down 
and happily, slipped away into the river, never to 
trouble anyone again.”
The children listened with rapt attention and then 
excitedly asked grandma to help them enact this natya.
She replied, “Yes we have to plan and design 
the whole story, choreograph it with dance, music, 
enactment, costumes and stage design. You see 
children, through music and dance, even the wildest 
heart can be calmed. Natya — our beautiful art of 
storytelling — isn’t just for entertainment. It teaches, 
it heals, and it brings peace”.
All traditional performances begin with a 
salutation to seek blessings of the Almighty. Here you 
will see references of salutation and benediction with 
reference to natya.
She said, “In our traditions, every play begins and 
ends with gratitude. Before the performance, we seek 
blessings for its success — just as we start our day 
with a prayer or sing during the morning assembly 
at school. It helps us focus our mind and brings a 
sense of calm. The salutation is an essential part of 
any play’s preliminaries in the Indian natya tradition. 
Let us learn some prayers which can be recited as a 
salutation to the almighty and as benediction after 
the conclusion of the natya”.
14_Dance.indd   144 14_Dance.indd   144 11-04-2025   15:45:09 11-04-2025   15:45:09
Reprint 2026-27
145  | Natya
Sujanara — by good people
Porevane — protector
Oh elephant faced god! I pray for you. You are 
the Son of Goddess, Gowri (Parvati). You are 
worshiped by all the three worlds. You are the 
protector of all good people such as sages.
Meaning of last stanza
Sarasija Nabha — one who has lotus in his navel
Sri Purandara Vittalana — Lord Vishnu (pen 
name of purandara daasa)
Niruta — always 
Neneyuvante — make me remember 
Nee — you
Dayamaado — shower blessings
Oh Lord Vishnu (Purandara Vittala) the one who 
has lotus in his navel, shower your blessings to 
remember you at each and every movement.  
Benediction 
Similarly, all performances ends with a 
benediction. She ended by saying, “And when the 
play ends, we bow to the audience to thank them 
for their time, and attention. After all, what is a 
performance without those who come to watch 
Meaning 
Gajavadana — one who has elephant face (Ganesha)
Beduve — I pray
Gowri Tanaya — son of Gowri 
Trijaga — the three worlds 
Vanditane — worshipped
Here is one example which you can use as a salutation 
in your performance or you can select your own.
Salutation
?????? ?????? ???? ??? ? 
?????? ??????? ????? ????? ?? ? ?? 
???????? ?? ??? ?????? ???????? ? 
????? ??????????  ???  ???????? ? ??
Gajavadana beduve gowri tanaya|| 
Trijaga vanditane sujanara porevane||
Sarasijanabha sri Purandara Vittalana|| 
Niruta neneyuvante nee dayamaado ||
 —?Purandara Das, Devaranama 
(Kannada language)
14_Dance.indd   145 14_Dance.indd   145 11-04-2025   15:45:10 11-04-2025   15:45:10
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Page 4


14
NATYA
Natya is storytelling through performance. You have read the 
description of this earlier in the book and read about two natya 
traditions.
In this chapter, you will explore how dance elements can be 
incorporated into natya.
A story can be made into a performance 
with elements of dance and choreography, 
dialogues, musical elements with songs, 
musical instruments, and costumes and 
make up. Discuss about telling a story and 
how you can incorporate dance movements 
in natya with your friends. A story is given 
below for you to consider or you can choose 
your own story for presentation and have 
fun putting it together with choreography. 
So, let us dive into this chapter by reading 
a story and then dancing to the story. That 
will be interesting and enjoyable.
Note to the Teacher: Do this activity 
according to your regional  
languages and practices.
One lazy afternoon, Grandma gathered the children to tell 
them the story of Krishna and the snake Kaliya. She began her 
story in a soft animated voice bringing the story alive with her 
dramatic narration.
14_Dance.indd   143 14_Dance.indd   143 11-04-2025   15:45:08 11-04-2025   15:45:08
Reprint 2026-27
144  | KRITI
“Long ago, on the 
banks of the river 
Kalindi, there lived 
a monstrous serpent 
called Kaliya Naag. He 
was a terrible creature, 
hissing and coiling, 
frightening everyone 
who came near him. 
Even birds would not 
??y over the river, and 
children were too 
scared to play by its 
banks. But one day, 
little Krishna arrived.”
“Now, Krishna was not afraid of anything. He saw 
the frightened children and decided to help them. 
He climbed the tallest tree by the river, ??ute in hand, 
and began to play it. The music was so sweet and 
enchanting that it ??owed over the water like sunlight 
on ripples. Even Kaliya couldn’t resist. The great 
serpent rose from the river, swaying to the melody, 
his anger forgotten and his eyes shut in joy. Then, 
Krishna leapt onto Kaliya’s hood and began to dance. 
Oh, how he danced! His tender feet moved nimbly 
with such grace and rhythm that even Kaliya, ??erce 
as he was, couldn’t help but join in. Soon, birds were 
singing again, animals came out of hiding, and the 
children clapped and cheered. Kaliya calmed down 
and happily, slipped away into the river, never to 
trouble anyone again.”
The children listened with rapt attention and then 
excitedly asked grandma to help them enact this natya.
She replied, “Yes we have to plan and design 
the whole story, choreograph it with dance, music, 
enactment, costumes and stage design. You see 
children, through music and dance, even the wildest 
heart can be calmed. Natya — our beautiful art of 
storytelling — isn’t just for entertainment. It teaches, 
it heals, and it brings peace”.
All traditional performances begin with a 
salutation to seek blessings of the Almighty. Here you 
will see references of salutation and benediction with 
reference to natya.
She said, “In our traditions, every play begins and 
ends with gratitude. Before the performance, we seek 
blessings for its success — just as we start our day 
with a prayer or sing during the morning assembly 
at school. It helps us focus our mind and brings a 
sense of calm. The salutation is an essential part of 
any play’s preliminaries in the Indian natya tradition. 
Let us learn some prayers which can be recited as a 
salutation to the almighty and as benediction after 
the conclusion of the natya”.
14_Dance.indd   144 14_Dance.indd   144 11-04-2025   15:45:09 11-04-2025   15:45:09
Reprint 2026-27
145  | Natya
Sujanara — by good people
Porevane — protector
Oh elephant faced god! I pray for you. You are 
the Son of Goddess, Gowri (Parvati). You are 
worshiped by all the three worlds. You are the 
protector of all good people such as sages.
Meaning of last stanza
Sarasija Nabha — one who has lotus in his navel
Sri Purandara Vittalana — Lord Vishnu (pen 
name of purandara daasa)
Niruta — always 
Neneyuvante — make me remember 
Nee — you
Dayamaado — shower blessings
Oh Lord Vishnu (Purandara Vittala) the one who 
has lotus in his navel, shower your blessings to 
remember you at each and every movement.  
Benediction 
Similarly, all performances ends with a 
benediction. She ended by saying, “And when the 
play ends, we bow to the audience to thank them 
for their time, and attention. After all, what is a 
performance without those who come to watch 
Meaning 
Gajavadana — one who has elephant face (Ganesha)
Beduve — I pray
Gowri Tanaya — son of Gowri 
Trijaga — the three worlds 
Vanditane — worshipped
Here is one example which you can use as a salutation 
in your performance or you can select your own.
Salutation
?????? ?????? ???? ??? ? 
?????? ??????? ????? ????? ?? ? ?? 
???????? ?? ??? ?????? ???????? ? 
????? ??????????  ???  ???????? ? ??
Gajavadana beduve gowri tanaya|| 
Trijaga vanditane sujanara porevane||
Sarasijanabha sri Purandara Vittalana|| 
Niruta neneyuvante nee dayamaado ||
 —?Purandara Das, Devaranama 
(Kannada language)
14_Dance.indd   145 14_Dance.indd   145 11-04-2025   15:45:10 11-04-2025   15:45:10
Reprint 2026-27
146  | KRITI
it? This exchange of respect is what makes natya so 
special — it is not just about the story but about the 
connection it creates between those who perform 
and those who watch.”
Here is an example of a benediction.
ACTIVITY 14.1: PLANNING THE PERFORMANCE
 ? Steps 
 ? Rhythm and different beats (like 5, 6 and 7 
beats) for appropriate scenes.
 ? Navarasa (bhayanaka for children, raudra for 
Kaliya, veera for Krishna, etc.)
 ? Appropriate body movements: Upper and lower 
torso, hip movements, and so on
 ? Hand gestures, animal hastas, jumps and spins 
You will note down all dance elements that can be 
incorporated into this natya format.
Divide yourselves into groups. Each group will 
work out certain dances for the story. The different 
sections can be:
Movement Selection 
Think and discuss the appropriate dance movements 
to express emotions, and enhance the natya. 
Following must be added to the performance — 
? ???? ? ?? ??? ????????????? ???? ?? ?? ?????? ??? 
???? ???????? ?????? ?? ???????
?
???? ??? ?? ???
o? sarve bhavantu sukhina?  
sarve santu niramayah  
sarve bhadra?i pashyantu 
ma kashchiddu?khabhagbhavet
 May all living beings be at peace,  
May no one su??er from diseases, 
 May all have prosperous divinity, 
May no one su??er from sorrows
14_Dance.indd   146 14_Dance.indd   146 11-04-2025   15:45:12 11-04-2025   15:45:12
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Page 5


14
NATYA
Natya is storytelling through performance. You have read the 
description of this earlier in the book and read about two natya 
traditions.
In this chapter, you will explore how dance elements can be 
incorporated into natya.
A story can be made into a performance 
with elements of dance and choreography, 
dialogues, musical elements with songs, 
musical instruments, and costumes and 
make up. Discuss about telling a story and 
how you can incorporate dance movements 
in natya with your friends. A story is given 
below for you to consider or you can choose 
your own story for presentation and have 
fun putting it together with choreography. 
So, let us dive into this chapter by reading 
a story and then dancing to the story. That 
will be interesting and enjoyable.
Note to the Teacher: Do this activity 
according to your regional  
languages and practices.
One lazy afternoon, Grandma gathered the children to tell 
them the story of Krishna and the snake Kaliya. She began her 
story in a soft animated voice bringing the story alive with her 
dramatic narration.
14_Dance.indd   143 14_Dance.indd   143 11-04-2025   15:45:08 11-04-2025   15:45:08
Reprint 2026-27
144  | KRITI
“Long ago, on the 
banks of the river 
Kalindi, there lived 
a monstrous serpent 
called Kaliya Naag. He 
was a terrible creature, 
hissing and coiling, 
frightening everyone 
who came near him. 
Even birds would not 
??y over the river, and 
children were too 
scared to play by its 
banks. But one day, 
little Krishna arrived.”
“Now, Krishna was not afraid of anything. He saw 
the frightened children and decided to help them. 
He climbed the tallest tree by the river, ??ute in hand, 
and began to play it. The music was so sweet and 
enchanting that it ??owed over the water like sunlight 
on ripples. Even Kaliya couldn’t resist. The great 
serpent rose from the river, swaying to the melody, 
his anger forgotten and his eyes shut in joy. Then, 
Krishna leapt onto Kaliya’s hood and began to dance. 
Oh, how he danced! His tender feet moved nimbly 
with such grace and rhythm that even Kaliya, ??erce 
as he was, couldn’t help but join in. Soon, birds were 
singing again, animals came out of hiding, and the 
children clapped and cheered. Kaliya calmed down 
and happily, slipped away into the river, never to 
trouble anyone again.”
The children listened with rapt attention and then 
excitedly asked grandma to help them enact this natya.
She replied, “Yes we have to plan and design 
the whole story, choreograph it with dance, music, 
enactment, costumes and stage design. You see 
children, through music and dance, even the wildest 
heart can be calmed. Natya — our beautiful art of 
storytelling — isn’t just for entertainment. It teaches, 
it heals, and it brings peace”.
All traditional performances begin with a 
salutation to seek blessings of the Almighty. Here you 
will see references of salutation and benediction with 
reference to natya.
She said, “In our traditions, every play begins and 
ends with gratitude. Before the performance, we seek 
blessings for its success — just as we start our day 
with a prayer or sing during the morning assembly 
at school. It helps us focus our mind and brings a 
sense of calm. The salutation is an essential part of 
any play’s preliminaries in the Indian natya tradition. 
Let us learn some prayers which can be recited as a 
salutation to the almighty and as benediction after 
the conclusion of the natya”.
14_Dance.indd   144 14_Dance.indd   144 11-04-2025   15:45:09 11-04-2025   15:45:09
Reprint 2026-27
145  | Natya
Sujanara — by good people
Porevane — protector
Oh elephant faced god! I pray for you. You are 
the Son of Goddess, Gowri (Parvati). You are 
worshiped by all the three worlds. You are the 
protector of all good people such as sages.
Meaning of last stanza
Sarasija Nabha — one who has lotus in his navel
Sri Purandara Vittalana — Lord Vishnu (pen 
name of purandara daasa)
Niruta — always 
Neneyuvante — make me remember 
Nee — you
Dayamaado — shower blessings
Oh Lord Vishnu (Purandara Vittala) the one who 
has lotus in his navel, shower your blessings to 
remember you at each and every movement.  
Benediction 
Similarly, all performances ends with a 
benediction. She ended by saying, “And when the 
play ends, we bow to the audience to thank them 
for their time, and attention. After all, what is a 
performance without those who come to watch 
Meaning 
Gajavadana — one who has elephant face (Ganesha)
Beduve — I pray
Gowri Tanaya — son of Gowri 
Trijaga — the three worlds 
Vanditane — worshipped
Here is one example which you can use as a salutation 
in your performance or you can select your own.
Salutation
?????? ?????? ???? ??? ? 
?????? ??????? ????? ????? ?? ? ?? 
???????? ?? ??? ?????? ???????? ? 
????? ??????????  ???  ???????? ? ??
Gajavadana beduve gowri tanaya|| 
Trijaga vanditane sujanara porevane||
Sarasijanabha sri Purandara Vittalana|| 
Niruta neneyuvante nee dayamaado ||
 —?Purandara Das, Devaranama 
(Kannada language)
14_Dance.indd   145 14_Dance.indd   145 11-04-2025   15:45:10 11-04-2025   15:45:10
Reprint 2026-27
146  | KRITI
it? This exchange of respect is what makes natya so 
special — it is not just about the story but about the 
connection it creates between those who perform 
and those who watch.”
Here is an example of a benediction.
ACTIVITY 14.1: PLANNING THE PERFORMANCE
 ? Steps 
 ? Rhythm and different beats (like 5, 6 and 7 
beats) for appropriate scenes.
 ? Navarasa (bhayanaka for children, raudra for 
Kaliya, veera for Krishna, etc.)
 ? Appropriate body movements: Upper and lower 
torso, hip movements, and so on
 ? Hand gestures, animal hastas, jumps and spins 
You will note down all dance elements that can be 
incorporated into this natya format.
Divide yourselves into groups. Each group will 
work out certain dances for the story. The different 
sections can be:
Movement Selection 
Think and discuss the appropriate dance movements 
to express emotions, and enhance the natya. 
Following must be added to the performance — 
? ???? ? ?? ??? ????????????? ???? ?? ?? ?????? ??? 
???? ???????? ?????? ?? ???????
?
???? ??? ?? ???
o? sarve bhavantu sukhina?  
sarve santu niramayah  
sarve bhadra?i pashyantu 
ma kashchiddu?khabhagbhavet
 May all living beings be at peace,  
May no one su??er from diseases, 
 May all have prosperous divinity, 
May no one su??er from sorrows
14_Dance.indd   146 14_Dance.indd   146 11-04-2025   15:45:12 11-04-2025   15:45:12
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147  | Natya
An example of how sections can be divided in 
reference to the story is given below.
Sections
 ? Salutation: Generally a salutation happens 
with dance movements. So choose a song and 
choreograph a salutation like a prayer dance.
 ? Dance of Krishna and friends: What steps and 
rhythms can you use here?
 ? Movements of Kaliya and reactions of the 
children: Can you use the twisting and circular 
hip movements for Kaliya. How will the children 
show fear?
 ? The ??ght between Krishna and Kaliya: Which 
steps and rhythm can be suitable for a ??ght 
sequence? Which jumps, spins and hastas can 
be added here?
 ? Celebration after the defeat of Kaliya: How 
will you compose a celebratory dance? You can 
use a song or bandishes from your music class 
to choreograph this.
 ? Benediction: Compose a benediction using 
hastas.
Now, you can discuss. 
Music Selection
Correct music elements need to be selected for 
various sections. Discuss which section can have 
percussion or vocal, etc. Choose the music or song 
that is traditionally used in your region.
Choreography
14_Dance.indd   147 14_Dance.indd   147 11-04-2025   15:45:13 11-04-2025   15:45:13
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