Girls in dance poses hold wick lamps on their hands

An exquisite, cute bronze statue of Mohenjo-daro referred to as 'dancing girl' conveys many hieroglyph based Meluhha messages unambiguously in orthographic, artistic expressions. In addition to the dance-step hieroglyph, two additional hieroglyphs are signified on the statue: 1. wristlets and bangles on arms; 2. wicks of a lamp held on her left hand 3. strand of necklace with pendants See: http://bharatkalyan97.blogspot.in/2015/09/indus-script-hieroglyph-multiplexes-of.html http://bharatkalyan97.blogspot.in/2016/05/dance-step-as-indus-script-hieroglyph.html Hieroglyph: dhāu 'strand of (necklace)' Rebus: dhāv 'red ore, element, mineral' Wristlets, bangles: karã̄ n. pl. ʻwristlets, bangles ʼ rebus: khār खार् 'blacksmith'. Lampwicks: Two wicks: dula 'pair' rebus: dul 'cast metal' bāti ʻwick, lamp, candleʼ rebus:vaṭloi 'brass' baTa ‘iron’ bhaTa ‘furnace’. It may also signify a crucible: koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse' . Intimations of crucible steel !!! Alternative: mūṣā f. ʻrat' rebus: mūṣā f. ʻ crucible ʼ MārkP. Dance step: meD 'dance' (Remo); meTTu 'dance-step' (Telugu, Kannada); rebus: meD 'iron'; bat.a 'pot'; bat.hi 'furnace'. Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) कर्णक kárṇaka, kannā 'legs spread', 'rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. baTa 'rimless pot' rebus: bhaTa 'furnace'. Zoomed in on the object held on the left hand of 'dancing girl' in National Museum, New Delhi http://www.nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1 Indus Script hieroglyph-multiplexes on the statue are linguistic-lexis determinatives of the Meluhha -- vāk -- speech [mentioned as mleccha vācas distinguished from (chandas) literary form ārya vācas mentioned in Manu Samhita 10.45]. The lexis is a set of messages of blacksmith's metal implements out of smithy-forge and constitute a display, a celebration of metallurgical competence of the artisans. The statue is a bronze casting usingcire perdue (lost-wax) casting technology.Display of a dance-step in an exquisite bronze statue 10.5 cm. high Place of Origin: Mohenjodaro Materials: Bronze Dimensions: 10.5 x 5 x 2.5 cm. Acc. No. 5721/195 National Museum. New Delhi ca. 2500 BCE I am grateful to Prof. TP Verma for pointing out something which has so far been unnoticed by all archaeologists and art critics. The reference is to an object held in the left hand and resting on her left knee of this dancing girl statue. In Prof. Verma's view, this is NOT a begging bowl of a dancer but a representation of Parvati as Annapurna, noting that the most striking feature of Harappan figures is that Mother goddesses are shown naked. Thus nudity is the sign of divinity. Mohenjo-daro. Bronze Statue. Lady holding a deepam. Bronze statue of a woman holding a small bowl, Mohenjodaro; copper alloy made using cire perdue method (DK 12728; Mackay 1938: 274, Pl. LXXIII, 9-11)The dancing girl statue is shown wearing wristlets and bangles on her arms. Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ(Gujarati)(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri) khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun]), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् ।लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil. (Kashmiri) Hieroglyph: várti1 (and vartí -- ) f. ʻ wick ʼ MBh., ʻ small compress ʼ Suśr., ʻ lamp ʼ lex., °ikā -- f. ʻ wick ʼ KālP. [√vr̥t1]Pa. vaṭṭi -- , °ikā -- f. ʻ wick ʼ, Pk. vaṭṭĭ̄ -- , °ṭiā -- , vatti -- f.; Sh. batīˊ ʻ unlit native lamp, candle, wick of European lamp ʼ (← H.?); S. vaṭi f. ʻ wick ʼ; L. vaṭṭf. ʻ roll of grass, wick ʼ, awāṇ. vaṭ ʻ wick ʼ, P. vaṭṭī, ba°, battī f.; N. bāti ʻ lamp ʼ (bati ← H.), A. bāti; B. bāti ʻ wick, lamp, candle ʼ; Or. bati ʻ lamp ʼ (← H.), Bi. Mth. Bhoj. bātī; OAw. bātĭ̄ ʻ wick ʼ, H. bātī, battī f. (→ N. Or. and prob. Sh.); G. vāṭ f. ʻ lamp ʼ, vātī f. ʻ perfumed match or taper ʼ; M. vāt f. ʻ wick ʼ, Ko.vāti; Si. väṭ -- a ʻ lamp ʼ, väṭi -- ya ʻ wick ʼ; Md. vo' ʻ lamp ʼ; -- with -- o as from an orig. masculine: Ku. bāto m. ʻ wick, lamp ʼ; N. bāto ʻ rope of twisted cane (to tie down thatch) ʼ.Addenda: várti -- 1: S.kcch. batī, bhatī f. ʻ lamp, torch ʼ ← H.; WPah.kṭg. batti, kc. baṭe f. ʻ wick, lamp, light ʼ, J. bāṭī f.(CDIAL 11359) Rebus 1: vartalōha n. ʻ a kind of brass (i.e. *cup metal?) ʼ lex. [*varta -- 2 associated with lōhá -- by pop. etym.?] Pa. vaṭṭalōha -- n. ʻ a partic. kind of metal ʼ; L.awāṇ. valṭōā ʻ metal pitcher ʼ, P. valṭoh, ba° f., vaṭlohā, ba° m.; N. baṭlohi ʻ round metal vessel ʼ; A. baṭlahi ʻ water vessel ʼ; B. bāṭlahi, bāṭulāi ʻ round brass cooking vessel ʼ; Bi. baṭlohī ʻ small metal vessel ʼ; H. baṭlohī, °loī f. ʻ brass drinking and cooking vessel ʼ, G.vaṭloi f. Addenda: vartalōha -- : WPah.kṭg. bəlṭóɔ m. ʻ large brass vessel ʼ. (CDIAL 11357) Rebus 2: baTa ‘iron’ bhaTa ‘furnace’. 9656 bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭhm., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9656) Thus karã̄ 'hands with wristlets and bangles' PLUS baṭi 'lamp' Rebus: khāra-bhāṭi 'blacksmith's smelter'. Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh. http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html

Koitoor_Bhil-Meena /Lambada /Banjara /Meghwal Source: https://www.facebook.com/photo.php?fbid=493438504196167&set=a.298706387002714&type=3&theater&ifg=1 Itihāsa. Mohenjodaro dancing girls' posture is ಕರಣ (Kannada) rebus: करण m. writer,scribe; a class whose occupation is writing, accounts https://tinyurl.com/yatjsetx Indian dance (nritta, नृत्त) traditions have roots in the aesthetics of Natyashastra. The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. Daniel Meyer-Dinkgräfe (2005). Approaches to Acting: Past and Present. Bloomsbury Academic. pp. 6–7. Katherine Young; Arvind Sharma (2004). Her Voice, Her Faith: Women Speak on World Religions. Westview Press. pp. 20–21 Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications, pp. 117–118. Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I. Oxbow, pp. 186–187; pp.174-177 Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press, pp. 95–99. See: Full text translation at https://ia800607.us.archive.org/34/items/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni.pdf https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni#page/n87/mode/2up The Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–7th century CE), for example, illustrates its dance movements and Lalatatilakam pose (Archana Verma (2011). Performance and Culture: Narrative, Image and Enactment in India. Cambridge Scholars Publishing. pp. 10–12). Gaṇeśa in a dance-step. karibha, ibha 'elephant' rebus; karba, ib 'iron'. karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna. This is an addendum to: Itihāsa. Deepa Lakṣmi, Uṣā Mohenjodaro cire perdue bronze sculptures, dance-step, lamp-holder girls, signify Indus Script khāra-bhāṭi 'blacksmith's smelter’; meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna https://tinyurl.com/yaf3vsuc Bhirrana potsherd. Dance posture I suggest the cire perdue dancing girls of Mohenjo-daro signify the profession of writing. Hence the dancing postures of the girls signify a scribe. Hieroglyph: ಕರಣ rhythm, dramatic actin, dancing posture (Kannada)Rebus: करण m. writer , scribe; a class whose occupation is writing, accounts (Monier-Williams) Rebus: करण m. writer , scribe; m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ); n. the special business of any tribe or caste (Monier-Williams) கரணகளேபரம் karaṇa-kaḷēparam, n. < karaṇa +. The physical body with its sensory organs; பொறிகளும் சரீரமும். கரணகளே பரங்களை யிழந்து (அஷ்டாதச. முமுட்சுப். வ்யா. அவ.). கரணம் karaṇam, n. < karaṇa. A variety in dramatic action, a kind of dancing; கூத்து விகற்பம்.கரணமிட்டுத் தன்மை பேசி (தேவா. 56, 3). 8. Somer-sault, tumbling heels over head; caper; தழைகீழாகப் பாய் கை. கரணம்போடுகிறான். 9. Instrument; கருவி. (திவா.) 10. Implement, means, material, instrument; உபகரணம். அதனுக்குரியவாய பல்கரணமுந் தருதி (கந்தபு. குமாரபுரி. 65). 11. Number; எண். (பிங்.) 12. (Astron.) One of the five elements of the pañcāṅkam, a division of time, 11 in number, viz., பவம், பாலவம், கௌலவம், தைதுலம், கரசை, வணிசை, பத்திரை, சகுனி,சதுஷ்பாதம், நாகவம், கிமித்துக்கினம், the eleven karaṇas being computed to be equal to 30 tithis of a lunar month according to a special calculation; பஞ்சாங்க உறுப்புக்களில் ஒன்று. (விதான. பஞ்சாங்க. 29.) 13. Title-deed, document (R.F.); சாஸனம். 14. Accountant, karnam; கணக்கன். (S.I.I. i, 65.)

The dancer of Harappa is a statuette of grey stone. The two dancing girls of Mohenjo-daro are made using cire perdue technique (lost-wax casting) in bronze. The most frequently used hypertext on Indus Script Corpora is Sign 342: káraṇa bāṭī = karaṇa + splinter hieroglyph = śalá m. ʻ staff ʼ TBr., ʻ dart, spear ʼ lex. [~ śará -- 1: cf. śilī -- ]S. sarī f. ʻ a stick forming part of a waterwheel ʼ; Or. saḷa ʻ pin, thorn ʼ; Bi. sar ʻ sticks used in setting up the warp ʼ, Mth. sarkā; H. sal m. ʻ stake, spike, splinter, thorn, difficulty ʼ; G. saḷī f. ʻ small thin stick ʼ, saḷiyɔ m. ʻ bar, rod, pricker ʼ; -- Kho. šoḷ ʻ reed ʼ < *śōṭha2 -- rather than X noḷ < naḍá -- .(CDIAL 12343) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.(CDIAL 12414) Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- a, ha˚ ʻ hall, market -- hall ʼ. All the three statues and Sign 342 are Indus Script hypertexts or composed hieroglyphs of: 1) two dancing girls, male dancer with dance poses & girls with wick-lamp; -- bāṭī 'wick' (WPah.) karaṇa 'dance pose'; PLUS calācalá 'movement' rebus: sāla 'workshop'; together, the expression is: bhāṭi karaṇa sāla 'furnace writers' workshop' and 2) rim-of-jar with projecting handle (Sign 342, the most frequently used sign on Indus Script Corpora) vatti 'projecting rim'; kárṇa, kárṇikā 'handle of a vessel, round protuberance' .The orthography of Sign 342 rendering 'rim-of-jar' and sculptural renderings signify the same words with the same rebus readings in Meluhha: Rebus: bhāṭi 'furnace', bhaṭṭī 'forge' AND kárṇa 'scribe', kārṇī 'supercargo of a ship'; kanahār 'helmsman' kárṇasāla 'writers' workshop' Constant motion is signified by the dancers: calācalá ʻ evermoving ʼ Pāṇ. [~ carācará -- Pāṇ., Pa. carācara -- ʻ moveable ʼ. -- √cal)Pa. Pk. calācala -- ʻ in constant motion, unsteady ʼ; Paš. čolāˊl ʻ belongings, property ʼ IIFL iii 3, 44 with (?); M. ċaḷāḷ m. ʻ excessive trembling through fear ʼ, ċaḷāḷṇẽ ʻ to flow copiously ʼ (CDIAL 4719) Rebus: sāḷ f. ʻworkshop, school'; together, the expresion is: bhāṭi karaṇa sāla 'furnace writers' workshop' Harappa.com - Home | FacebookDancing Girl (sculpture) - Wikipedia DANCING GIRL FOUND IN MOHENZA DARO - YouTubeFigure of the "dancing girl" from Mohenjo-daro. After Harlen 1992 ... Both the dancing girl bronze statues found in Mohenjo-daro carry a lamp and strike a dance pose. The dance pose is used as a hieroglyph on a Kalibangan potsherd. Bhirrana potsherd. Dance posture The rebus Meluhha readings of the hieroglyphs are: karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe' meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna bāṭī 'wick' (WPah.): várti1 (and vartí -- ) f. ʻ wick ʼ MBh., ʻ small compress ʼ Suśr., ʻ lamp ʼ lex., ˚ikā -- f. ʻ wick ʼ KālP. [√vr̥t1]Pa. vaṭṭi -- , ˚ikā -- f. ʻ wick ʼ, Pk. vaṭṭĭ̄ -- , ˚ṭiā -- , vatti -- f.; Sh. batīˊ ʻ unlit native lamp, candle, wick of European lamp ʼ (← H.?); S. vaṭi f. ʻ wick ʼ; L. vaṭṭ f. ʻ roll of grass, wick ʼ, awāṇ. vaṭ ʻ wick ʼ, P. vaṭṭī, ba˚, battī f.; N. bāti ʻ lamp ʼ (bati ← H.), A. bāti; B. bāti ʻ wick, lamp, candle ʼ; Or. bati ʻ lamp ʼ (← H.), Bi. Mth. Bhoj. bātī; OAw. bātĭ̄ ʻ wick ʼ, H. bātī, battī f. (→ N. Or. and prob. Sh.); G. vāṭ f. ʻ lamp ʼ, vātī f. ʻ perfumed match or taper ʼ; M. vāt f. ʻ wick ʼ, Ko. vāti; Si. väṭ -- a ʻ lamp ʼ, väṭi -- ya ʻ wick ʼ; Md. vo' ʻ lamp ʼ; -- with -- o as from an orig. masculine: Ku. bāto m. ʻ wick, lamp ʼ; N. bāto ʻ rope of twisted cane (to tie down thatch) ʼ.dīpavarti -- , *pādavarti -- , *saṁdhyāvartikā -- .Addenda: várti -- 1: S.kcch. batī, bhatī f. ʻ lamp, torch ʼ ← H.; WPah.kṭg. batti, kc. baṭe f. ʻ wick, lamp, light ʼ, J. bāṭī f.(CDIAL 11359) ବତି (p. 5327) Bati ...A wick. [ଦ୍ର—ସୂତା, ତୁଳା ବା କନାକୁ ବଳି ବତି ପ୍ରସ୍ତୁତ କରାୟାଏ; କାଚର ଲାମ୍ପ୍ ଓ ଲଣ୍ଟନ ଆଦିରେ ଜଳିବାପାଇଁ ମୋଟ ଫିତା ଆକାରର ବତି କଳରେ ବୁଣାୟାଏ।] 2। ମହମ ବତୀ (Oriya) Rebus: bhāṭi 'smelter' Statuette of grey stone from Harappa [Original 1931 text] "And now we come to two small statuettes which are more surprising even than the masterly engraving of the bull . . . .. When I first saw them I found it difficult to believe that they were prehistoric; they seemed to so completely upset all established ideas about early art. Modelling such as this was unknown in the ancient world up to the Hellenistic age of Greece . . .." (Marshall, Mohenjo-daro and the Indus Civilization, Vol. I, p. 45) "It is the figure of a dancer standing on his right leg, with the body from the waist upwards bent well round to the left, both arms thrown out in the same direction, and the left leg raised high in front. . .. Although its contours are soft ane effeminate, the figure is that of a male, and it seems likely that it was ithyphallic, since the membrum virile was made in a separate piece. I infer, too, from the abnormal thickness of the neck, that the dancer was three-headed or at any rate three-faced, and I conjecture that he may represent the youthful Siva Nataraja." (ibid., p. 46) https://www.harappa.com/slide/statuette-grey-stone-harappa Sign 342 is hieroglyph 'rim of jar', 'projecting rim'. The Meluhha speech forms of words which signify this hieroglyph are: vaṭṭi 'circumference, rim, brim' and kárṇa, kárṇikā 'handle of a vessel, round protuberance' . Rebus readings of both these words are: Rebus: bhāṭi 'furnace', bhaṭṭī 'forge' AND kárṇa 'scribe', kārṇī 'supercargo of a ship'; kanahār 'helmsman' The dancing male and the dancing girls holding a wick-lamp on their hands signify these two hypertexts: káraṇa 'dance pose' and bāṭī 'wick' (WPah.) The Sign 342 'rim-of-jar' hieroglyph also signifies two similar sounding words: kárṇa, kárṇikā 'handle or rim of a vessel' and vatti 'projecting rim' kárṇa 'scribe', kārṇī 'supercargo of a ship'; kanahār 'helmsman': kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058)karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) varti2 f. ʻ projecting rim ʼ. [√vr̥t1]Pa. vaṭṭi -- , ˚ikā -- f. ʻ circumference, rim, brim ʼ; Pk. vatti -- f. ʻ edge, limit ʼ; Si. väṭi -- ya ʻ edge of bank or river ʼ.(CDIAL 1136) Rebus: bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a grid- iron ʼ Pāṇ., ˚ka -- m. (n.?) ʻ frying pan ʼ Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj]Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhū̃jā ʻ grain -- parcher ʼ; OAw. bhārū, pl. ˚rā m. ʻ oven, furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n. *bhrāṣṭraśālikā -- . *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ] H. bharsārī f. ʻ furnace, oven ʼ.(CDIAL 9684, 9685) 9656 bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., ˚ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ. *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]P. bhaṭhūhar, ˚hrā, bhaṭhūrā, ˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār, ˚ālā m. ʻ grainparcher's shop ʼ. (CDIAL 9656 to 9658)

http://tinyurl.com/yysqxuyr Koitoor_Bhil-Meena /Lambada /Banjara /Meghwal Source: https://www.facebook.com/photo.php?fbid=493438504196167&set=a.298706387002714&type=3&theater&ifg=1 Itihāsa. Mohenjodaro dancing girls' posture is ಕರಣ (Kannada) rebus: करण m. writer,scribe; a class whose occupation is writing, accounts https://tinyurl.com/yatjsetx Indian dance (nritta, नृत्त) traditions have roots in the aesthetics of Natyashastra. The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. Daniel Meyer-Dinkgräfe (2005). Approaches to Acting: Past and Present. Bloomsbury Academic. pp. 6–7. Katherine Young; Arvind Sharma (2004). Her Voice, Her Faith: Women Speak on World Religions. Westview Press. pp. 20–21 Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications, pp. 117–118. Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I. Oxbow, pp. 186–187; pp.174-177 Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press, pp. 95–99. See: Full text translation at https://ia800607.us.archive.org/34/items/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni.pdf https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni#page/n87/mode/2upThe Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–7th century CE), for example, illustrates its dance movements and Lalatatilakam pose (Archana Verma (2011). Performance and Culture: Narrative, Image and Enactment in India. Cambridge Scholars Publishing. pp. 10–12). Gaṇeśa in a dance-step. karibha, ibha 'elephant' rebus; karba, ib 'iron'. karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna. This is an addendum to: Itihāsa. Deepa Lakṣmi, Uṣā Mohenjodaro cire perdue bronze sculptures, dance-step, lamp-holder girls, signify Indus Script khāra-bhāṭi 'blacksmith's smelter’; meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna https://tinyurl.com/yaf3vsuc Bhirrana potsherd. Dance posture I suggest the cire perdue dancing girls of Mohenjo-daro signify the profession of writing. Hence the dancing postures of the girls signify a scribe. Hieroglyph: ಕರಣ rhythm, dramatic actin, dancing posture (Kannada)Rebus: करण m. writer , scribe; a class whose occupation is writing, accounts (Monier-Williams) Rebus: करण m. writer , scribe; m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ); n. the special business of any tribe or caste (Monier-Williams) கரணகளேபரம் karaṇa-kaḷēparam, n. < karaṇa +. The physical body with its sensory organs; பொறிகளும் சரீரமும். கரணகளே பரங்களை யிழந்து (அஷ்டாதச. முமுட்சுப். வ்யா. அவ.). கரணம் karaṇam, n. < karaṇa. A variety in dramatic action, a kind of dancing; கூத்து விகற்பம்.கரணமிட்டுத் தன்மை பேசி (தேவா. 56, 3). 8. Somer-sault, tumbling heels over head; caper; தழைகீழாகப் பாய் கை. கரணம்போடுகிறான். 9. Instrument; கருவி. (திவா.) 10. Implement, means, material, instrument; உபகரணம். அதனுக்குரியவாய பல்கரணமுந் தருதி (கந்தபு. குமாரபுரி. 65). 11. Number; எண். (பிங்.) 12. (Astron.) One of the five elements of the pañcāṅkam, a division of time, 11 in number, viz., பவம், பாலவம், கௌலவம், தைதுலம், கரசை, வணிசை, பத்திரை, சகுனி,சதுஷ்பாதம், நாகவம், கிமித்துக்கினம், the eleven karaṇas being computed to be equal to 30 tithis of a lunar month according to a special calculation; பஞ்சாங்க உறுப்புக்களில் ஒன்று. (விதான. பஞ்சாங்க. 29.) 13. Title-deed, document (R.F.); சாஸனம். 14. Accountant, karnam; கணக்கன். (S.I.I. i, 65.)

IAEME PUBLICATION, 2020

Ethnomathematics refers to the mathematics that was created based on culture and the value system of an ethnic. The Malay ethnomathematics is the mathematics inherited from the Malay civilization that was taught, uttered, applied, and developed in the language and follows the Malay values. The definition of a graph is a set consisting of vertices connected to one another through the group of edges. In creating choreography in the Malay traditional dance, it must follow several general principles of choreography and almost all traditional Malay dance apply the concept of symmetrical balance that focuses on strength and harmony. The concept of symmetry is also applied to the whole dance pattern that begins and ends with the same floor patterns and movement. Malay traditional dance involves steps that are simultaneous repetition in the shape of mapping that is matching, serial, transformation, shifting and flexible. If it is defined in dance, edges are the location of positions of the dancers and vertices refer to movement between one position to another. This study also determines every unique graph pattern derived from every type of Malay dance.

Indus Script hieroglyph-multiplexes on the statue are linguistic-lexis determinatives of the Meluhha -- vāk -- speech (mentioned as mleccha vācas distinguished from (chandas) literary form ārya vācas mentioned in Manu 10.45). The lexis is a set of messages of blacksmith's metal implements out of smithy-forge and constitute a display, a celebration of metallurgical competence of the artisans. The statue is a bronze casting using cire perdue (lost-wax) casting technology. A characteristic feature of the Indus Script is that within a very small space of an artefact messages of metalwork are communicated unambiguously and with extraordinary diligence, care and precision. For instance, many miniature tablets of Harappa are just the size of a thumbnail, many of which can be seen in the exhibits of Madras Egmore Museum. The dancing girl bronze statue is just 10.5 cm. tall, but studded with many hieroglyph-multiplexes of catalogus catalogorum of metalwork. Hieroglyphs are signified not merely on potsherds, seals, tablets, metal implem ents but also on artefacts in the round. The artisans engraved with care and diligence, very precise messages broadcasting their metallurgical competence. This may also explain the procession-scenes on some tablets and on Ancient Near East cylinder seals or Warka vase. Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held). Warka vase Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. T wo tablets of Mohenjo-daro present the Meluhha standard of processions: m0490, m0491. Display of a dance-step in an exquisite bronze statue 10.5 cm. high Place of Origin: Mohenjodaro Materials: Bronze Dimensions: 10.5 x 5 x 2.5 cm. Acc. No. 5721/195 National Museum. New Delhi ca. 2500 BCE I am grateful to Prof. TP Verma for pointing out something which has so far been unnoticed by all archaeologists and art critics. The reference is to an object held in the left hand and resting on her left knee of this dancing girl statue. In Prof. Verma's view, this is NOT a begging bowl of a dancer but a representation of Parvati as Annapurna, noting that the most striking feature of Harappan figures is that Mother goddesses are shown naked. Thus nudity is the sign of divinity. I suggest that the object held in her hand is a deepam, lamp. It is possible that the lamp held on her hand was used with a wick and oil to light up like a lamp as a demonstration piece, an exhibit of the metallurgical competence of the artisans of Mohenjo-daro. Modern. Terracotta lamp holding a single lighted wick. There is another bronze of Mohenjodaro showing a lady holding perhaps a deepam comparable to paavaiviLakku bronzes in South Indian tradition. Mohenjo-daro. Bronze Statue. Lady holding a deepam. Bronze statue of a woman holding a small bowl, Mohenjodaro; copper alloy made using cire perdue method (DK 12728; Mackay 1938: 274, Pl. LXXIII, 9-11) Modern. Bronze lamp holding lady, paavaiviLakku (Tamil). The dancing girl statue is shown wearing wristlets and bangles on her arms. Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ(Gujarati)(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri) Hieroglyph: Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko. goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. cf. 2049 Ta. koṭi. / cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft.(DEDR 2081) Rebus: kõdār ’turner’ (Bengali); kõdā ‘to turn in a lathe’ (Bengali).कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) What is shown as a hypertext on a potsherd is also shown on the Mohenjo-daro bronze figurine of a dancer's dance-step. The gloss is meḍ 'dance' (Remo); meṭṭu dance step (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Santali glosses. Hieroglyph: S. P. kaṇḍhī f.; kaṇṭhaka m. ʻ necklace ʼ Kathās., °ṭhikā -- f. lex. [kaṇṭhá -- ]Pk. kaṁṭhiā -- f., B. kã̄ṭhī, °ṭī ʻ ring round the neck (of bird, snake &c.) ʼ; Or. kaṇṭhā ʻ necklace ʼ, °ṭhi ʻ one -- stringed necklace, horse's halter ʼ; H. kaṇṭhā m. ʻ gold necklace ʼ (→ P. kaṇṭhā m., S. kaṇṭho m. ʻ necklace ʼ), kaṇṭhī f. ʻ small do. ʼ, poet. kã̄ṭhā m. ʻ red and blue ring round a parrot's throat ʼ; OM. kāṁṭhā m. ʻ necklace ʼ. -- Ext. with -- ll -- : S. kaṇḍhilo m. ʻ a kind of necklace for children ʼ; P. kaṇḍhlī f. ʻ necklace ʼ; H. kaṇṭhlā, kaṭh° m. ʻ gold or silver necklace worn as an amulet against evil ʼ.Addenda: kaṇṭhaka -- : WPah.kṭg. kaṇḍhi f. ʻ hairy ring on neck of some birds ʼ.(CDIAL 2681) Rebus: khaNDa 'implements'. Pendants, 'bulbous shaped': kanda m. ʻ bulbous root ʼ MBh., n. ʻ garlic ʼ lex. [Prob. with gaṇḍa -- 1 ← Drav. T. Burrow BSOAS xii 369 and EWA i 152 with lit.]Pa. kanda -- m. ʻ bulb, bulbous root ʼ; Pk. kaṁda -- m. ʻ bulbous root ʼ, °dī -- f. ʻ radish ʼ; Or. kandā ʻ edible bulbous root; OMth. kã̄da ʻ bulb ʼ; H. kã̄dā m. ʻ onion, Allium capa ʼ, kandā ʻ squill, Scilla indica ʼ; G. kã̄dɔ m. ʻ bulbous root, onion ʼ, M. kã̄dā m.; Ko. kã̄ndo m. ʻ onion ʼ.(CDIAL 2723) Rebus: khaNDa 'implements'. kolom 'three' Rebus: kolimi 'smithy, forge'. Thus the three pendants on the necklace worn on the statue signify: metal implements from smithy,forge. Similar hieroglyph multiplexes on figurines and cylinder seal hieroglyphs of Ancient Near East also constitute metalwork catalogues of Meluhha smths. Why is a 'dancing girl' glyph shown on a potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher. S. Kalyanaraman Sarasvati Research Center September 27, 2015

Neue Kreise Ziehen, 2015

A symbol is a nonverbal sign which encodes and transmits meaning on many levels simultaneously, also in our unconscious. One of the key symbols in the women's ritual dances I have been researching for thirty years is the symbol of the Goddess. In this article I describe how I found the Goddess, encoded in traditional dance, beginning with my first encounter with Sacred Dance at the Findhorn Community in 1985. Thereafter I sought to weave Sacred Dance together with international folk dance, Dance Movement Therapy, women's Middle Eastern dance, and women's spirituality circles. My research led me to traditional dances which were ancient and authentic; which encouraged women's empowerment; which had a ritual purpose, meaning they served an aim beyond the immediate moment; and which had a therapeutic quality, both in their original context and for dancers today. The interconnected symbols of the Tree of Life and the Goddess are encoded in the three- measure dance pattern and in the textile patterns made and worn by the dancers. This connection is deepened by research into archaeological finds, texts of dance songs, myths and legends, and folk customs which accompany the dances. All the clues lead back to early Goddess cultures identified by archaeologist Marija Gimbutas, Riane Eisler, and others, which shared a common body of core values: community, sustainability, inclusiveness, empathy, creativity, and reverence for the earth. These values create a culture based on partnership, belonging and cooperation, rather than on hierarchy, domination and competition. The link to the ancient Goddess is important for us today because these are exactly the values we rediscover in the dance. As we practice the traditional dances over and over in the circle, so we bring them into being in our lives and our world. Dancers of all genders can activate the living symbol of God the Mother and the culture of partnership she represents, cultivating a community ethic based on cooperation, compassion and the golden rule, and to eventually foster a society of peace.

European Journal of Fine and Visual Arts

The aim of this paper is to observe the attitude of the woman in the dance through iconography. In particular, the present study, through the observation of images from the community of Nea Vyssa in Thrace in Greece, aims to highlight the structure of gender relations in the society of this community over time. The data collection of was based on secondary sources. More specifically, the data collection was carried out based on the principles of historical archival research. For the analysis of the data dance iconography will be used. However, having visual components, dance shares a representative quality with the visual arts. So, in addition, the pictures of women dance in this study will be analyzed under the terms of visual anthropology. Finally, the interpretation of the data was held with the anthropological thinking about gender identity as it appears in anthropological views of dance and particularly in Hanna. From the data analysis was found that the position of women in da...

--M-23 Text message of lākshā, lākhā, lahi, arakku 'sealing wax, lac, gum' (Sign 402) + lahi 'laccifera lacca insect' (Sign 54)-Double-eagle on silver-gilt shaft-hole axe-Signifiers of bronze age artificer products for kaṇṭhāla-'boat' G. kãṭhāḷ 'maritime' trade-Graphemes on objects, seals, tablets-Writing system documented Meluhha trade glossary; 'unicorn' is treasure guard सांगड sāṅgaḍa ‘A body formed of two or more (fruits, animals, men) linked or joined together’ Rebus: jangaḍ ‘entrustment note’ Rebus:jangadiyo 'military guard' (Gujarati) or ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) ‘Convoy, guard; responsible Nāyar guide through foreign territories; singhin ‘forward-thrusting, spiny-horned’ rebus: singi ‘ornament gold’ kaṇṭāla 'thorny’, ‘pannier’ (two graphemes) Rebus: kaṇṭhāla- m. 'boat’ G. kãṭhāḷ 'maritime

MTA BTK Zenetudományi Intézet eBooks, 2016

of Hungarian origins, the elaborator of the basic principles of a dance notation system, is hailed by dance historians as one of the most influential personages of th century dance culture in the West, one of the founders of modern European dance. 1 He realized at an early date that dance could not be taken seriously unless it was prone to study and analysis, and that, in turn, required a dance notation system. In his book The World of Dancers [Die Welt des Tänzers] he argued (61): "It is important to put down the symbols of dance in writing, for it is only the comparison and examination, the repetition and imitation from which a tradition might unfold that will allow for a deeper comprehension of the artistic achievement of the dance. Where would the art of poetry and music be, if their works had only been passed down by word of mouth?" 2 In another book, Gymnastics and Dance [Gymnastik und Tanz] he went on with the train of thoughts as follows (159): "Only when the expressive language of dance has become choreographically determined, when it has found its own script, and also, when this dance writing has developed a deeper rhythmic knowledge, can dance-as an equivalent among the arts-offer to a special facet of our perception what its sister arts music and poetry offer to other facets of our sensibility: joy, elevation, awareness, strength and culture." 3 The real meaning of the phrase "choreographically determined" reveals itself to those, who interpret choreography in the original sense of the word as a script expressing dance in writing. From the early 1900s Laban was in search for his own expressive idiom of movement and an adequate notation for it, which was suitable to notate the flow of movement. He studied in depth the dance notations of earlier ages, such as Feuillet's Chorégraphie first published in 1700, 4 whose useful results, the differentiation of the right and left body sides and the notation of the synchrony of music and dance were incorporated in his own system. Laban announced his solution called kinetography at the second German Dancers' Congress in Essen in 1928. He never regarded his system as exclusively his own brainchild. According to Valerie Preston-Dunlop, Laban's several disciples and colleagues contributed to the early version, at first particularly Dussia Bereska, Kurt Jooss, Sigurd Leeder, and Albrecht Knust (131). After the oral presentation, the system of notation was published in two booklets with the title Schrifttanz. In Schrifttanz 1 (1928) the orthography of the system was presented with explanations, in Schrifttanz 2 (1930) scores of short dance exercises were given. Figure I shows an excerpt from a dance notation in Schrifttanz 1 (18). 5 After the booklets a periodical of the same name (Schrifttanz) was also launched in the issues of which between 1928 and 1931 there were several dance theoretical writings in addition to articles on the theory of dance notation and excerpts from notated dance works. Albrecht Knust opened the Tanzschreibstube [approx. Dance Notation Office] in Hamburg already in 1927, 6 and in 1940 Ann Hutchinson, trained by Sigurd Leeder in the first place, set up the Dance Notation Bureau in New York, which has been working effectively ever since. The forced separation during World War II of the two leading developers of the system, Knust and Hutchinson, resulted in two slightly different dialects, the European Kinetography Laban and the American Labanotation. 7 To unite the two dialects, the International Council of Kinetography Laban (ICKL) was founded in Addlestone, England in 1959. Mária Szentpál of Hungary was prominently involved in the work of the ICKL from the beginning. The work of the three leading researchers (Knust, Hutchinson, and Szentpál), with contributions from the decision-making members of ICKL promoted kinetography to become a system capable of capturing the formal essence of a movement in all fields of dancing. The extraordinary asset of kinetography is its flexibility, offering a wide range of possibilities for notating a dance, from a simple movement sketch down to minute stylistic details-up to a point when conceptualization is no longer possible. Today, the system is an integral part of the study and art of dancing. Albrecht Knust in 1958, Baier-Fraenger in 1977 put down that at the Dresden congress of ethnochoreologists in 1957 a resolution, passed with one voice, recommended kinetography as a scientifically accurate and universally understood system of dance notation in international cooperation. In Europe, comparatively large collections of dance notations are kept at the Language of Dance Centre in London, the Kinetographische Institut in Essen, the Centre National d'Ecriture du Mouvement [National Movement Notation Center] in Paris, and the Zenetudományi Intézet [Institute for Musicology] in Budapest. The bestknown center of the system overseas is the Dance Notation Bureau in New York and its extension at the Ohio State University in Columbus. The standard literature on kinetography includes Albrecht Knust's Abriss der Kinetographie Laban [Summary of Kinetography Laban] worked out in several manuscript versions between 1937 and 1956 when it first appeared in print. 8 Knust published its enlarged variant, Dictionary of Kinetography Laban, in 1979. The other trend of kinetography is represented by Ann Hutchinson's Labanotation published in four revised editions between 1954 and 2005. The salient works of dance notation also include Mária Szentpál's three-tome Táncjelírás [Dance Notation], a reference work in international professional literature. 9 Important documents on the development of kinetography are the Technical Papers of the ICKL conferences touching on many solved or unsettled problems of the system. An outstanding achievement of recent years is Ann Hutchinson's series Advanced Labanotation written with two colleagues, Rob Van Haarst and Joukje Kolff. The nine volumes sum up the so-far unpublished results of research over the past fifty years. They discuss in detail the notation of canon forms, sequential movements, movements of the center of weight, floorwork, the handling of props, spatial variations, design drawing, and they devote a separate volume to the movements of the hands and fingers. Today, the system is taught as a dance theoretical course in several universities and some secondary institutions of dance art. One sign of its broad use is the approximately 3000 entries of notated dances in the four-tome Laban Notation Scores: An International Bibliography compiled by Mary Jane Warner. It needs some more time to realize the full value of scores preserving classical and modern stage works, tap, jazz, ballroom and traditional dances for dance history, dance aesthetics and dance techniques. | Kinetography in Hungary 10 Kinetography, as a method in use, was introduced in Hungary by György Lőrinc, an outstanding student of Olga Szentpál's modern dance school. 11 Lőrinc attended Kurt Jooss's school at Dartington Hall, in England, in 1936 where he learned the basics of the system from Lisa Ullmann. As he returned to Hungary to the Szentpál School in 1938, he presented the practice of kinetographic notation to Olga Szentpál, and her daughter Mária Szentpál. The first Hungarian kinetographic scores were written by György Lőrinc in 1940-1942 of Olga Szentpál's movement doctrine and of the technique taught in her school. 12 Some years later Emma Lugossy learned the system of kinetography from Albrecht Knust during her study tour of Germany in 1941. Back home, she first disseminated her knowledge informally in private circles, among them to Mária Szentpál, already keenly interested in dance notation. Mária Szentpál compiled a textbook of dance notation in manuscript form in the same year, in 1941, and started a notation course for students in teacher training at Olga Szentpál's school. Between 1941 and 1944 Mária Szentpál notated several of her mother's choreographies, but in the war the majority of manuscripts got lost. What survives is the score of Olga Szentpál's folklore-inspired Mária-lányok [Mary Devotees] notated by Mária Szentpál, with the help of Zsuzsa Merényi, a student of the Szentpál School, in the winter of 1943/44. It is one of the first complete choreographic scores in the history of Laban kinetography. Figure II shows an excerpt from the score. After 1945 the education of kinetography received broader institutional frames in Hungary. Based on the programme elaborated by Olga Szentpál and Zsuzsa Kemény, a three-year course for dance directors was launched at the Színművészeti Főiskola [Academy of Dramatic Arts], revised in 1950 as a faculty. 13 The curriculum included kinetography in all three years. At the end of the first year students were expected to read and notate motifs, at the end of the second to notate entire dances, and at the end Fig. II.