Vartita: One hand in Vyavrtta, the other in Parivartita. both bent at the wrists, and then placed on the thighs.
Valitoru: Sukatunda hands in Vyavrtta and parivartita and the thighs in Valita (bent).
Apaviddha: Theright hand in the Sukatunda gesture to be placed on the right thigh with a circular movement and the left on chest.
Samanakha: The two feet touching each other toe to toe (lit. their nails in a straight line) the two hands hanging down and the body in a natural (straight) pose.
Lina: The two Pataka hands in an Anjali gesture placed on the chest, the neck stretched and the shoulders drawn in.
Swastika (Recita): The two hands in Recita and Aviddha (held together and then) separated and placed on the hips.
Mandalaswastika :The hand's in Swastika, they are raised above. palms inwards and then the Mandala posture
Nikuttaka: The two hands (bent at the elbow) moved up and down between the (corresponding) arm and head and the feet bent.
Ardhanikutta: Bending (hanging low) arms and head and hand with fingers facing.
Katichinna: The hips bent alternately to both sides and Pallava hands on the head.
Ardharecita: Hand in Apaviddha. striking (the floor with Suci foot, body bent to one side.
Vaksahswastika: Feet crossed, Recita hands on the chest which is bent.
Unmataka: Foot in Ancita posture and hands in Recita gesture.
Swastika: Both hands and feet respectively in Swastika.
Prsthaswastika: The two feet in Swastika, the two arms in Viksipta and Aksipta and (again) the feet in Apakranta and Ardhasuci-
Dikswastika: One movement in which one goes to both the sides and then to the front- and hands and feet in Swastika.
Alata(-ka): The foot in Alata (cari), the right hand quickly coming down from the shoulder and then making an urdhvajanu (cari).
Katisama: Feet in Swastika to be separated, one hand on the navel and one on the hip, and sides in Udvahita.
Aksiptarecita: The left hand on the chest, the right hand in Recita thrown up and sideways and then in Recita and Apaviddha gestures.
Viksiptaksiptaka: Hands and feet thrown out and thrown in.
Ardhaswastika: The two feet in Swastika, the right hand making a Karihasta gesture and the left one on the chest.
Ancita: The Karihasta in Ardhaswastika in Vyavrtta and Parivar- tita movement and then bent on the tip of the nose.
Bhujangatrasita: Raising up the bent foot, the thigh in a diago- nal posture hip and knee also in a similar posture.
Urdhvajanu: The Kuncita foot to be lifted up, the knee and the hand raised to the level of the chest.
Nikuncita: The foot in Vrs'cika karana, the left hand to be bent sideways and the right one on the tip of the nose.
Mattali: The left and right foot, one whirling round and round and the other slowly sliding forward and the hands in Udvestita Apaviddha.
Ardhamattali: The left hand in Recita, and then on the hip and the feet moved away in Skhalita.
Recitanikuttita: The right hand in Recita, the left foot in Nikuttita, the left hand swinging.
Padapaviddhaka: Hands in Khatakamukha with palms outwards on the navel, and the feet in Sucividdha and Apakranta.
Valita: Hand in Apaviddha, feet in Suci and the Trika (i.e, three, viz, waist, chest and head) turned round (i.e, slightly twisted sideways).
Ghurnita: The left hand in Vartita and turned round and round, the feet in Swastika moved away from each other.
Lalita: The left hand in Karihasta, the right turned round, the foot in Kuttika again and again.
Dandapaksa: The hand in Lata gesture to be placed on the foot in urdhvajanu.
Bhujangatrastarecita: Both the hands to be in Recita to the left side (with feet) in Bhujangatrasita.
Nupura: Gracefully turned round Trika, hands in Lata and Recita, feet in Nupura cari.
Vaisakharecita: Hands, feet, hip and neck in Recita and body (posture) in Vaisakhasthana
Bhramaraka: Crossed feet in Aksipta cari, hands in Udvestita and Trika turned round.
Catura: Tlie left hand in Anicita gesture and the left foot in Catura, the right one in Kuttita
Bhujangancitaka: Feet in Bhujangatrasita, right hand in Recita and the left one in Lata-
Dandakarecita: Hands and feet in Recita being thrown about on all sides—like a stick.
Vrscikakuttita: Both the hands (first) in the Vrscikakarana with Nikuttita movement (clapping).
Katibhranta: Right foot in Suci cari and then in Apaviddha and the hip in Recita (turning round).
Latavrscika: Foot in Ancita backwards, the left hand with palm outwards and fingers bent in lata gesture
Chinna: Hand(s) in Alapadma on the hips and then bending with the hip sideways alternately and standing in Vaisakhasthana.
Vrscikarecita: Foot in Vrscika. hands in Swastika, first in Recita and then in Apasrta (i.e.. separating).
Vyamsita:Alidha posture, two hands on the chest in Recita (gradu- ally) moved up and down stretched out.
Vrscika: Bent hands on the head, foot bent backwards, and back also bent low.
Parsvanikuttaka: Swastika hands to one side and the foot in Nikuttita.
Lalatatilaka: The foot in die Vrscika, a mark in the forehead (suggested) by the toe of the foot.
Krantaka: A leg to be bent backwards, then an Atikranta all round, both the hands to be thrown down.
Kuncita: The right foot in Ancita left hand in Kuncita with the left side raised.
Cakramandala: Stretching out the hands, the body bent, and the hands in Apaviddha between the legs.
Uromandalaka: The feet in Swastika and then drawn apart, then the Apaviddha cari with the hands in Uromandala gesture.
Aksipta: Hands and feet in quick succession in Aksipta.
Talavilasita: Foot with the toe upwards stretched to the side and the palms of the hands bent.
Argala: Feet two and half tala-s apart, hands stretched out in front.
Viksipta: Hand and foot thrown out together to the side or backwards.
Avar(-vr)ta(-tta): Kuncita foot stretched and turned round (or drawn back) hands moving accordingly.
Dolapdda: Foot bent at knee to swing from side to side, hands moving accordingly.
Vivrtta: Hands and feet thrown out, Trika twisted round, both hands in Recita.
Vinivrtta: Feet in Sucividdha cari, Trika turned about and both hands in Recita.
Parsvakranta: Feel in Parsvakranta cari (lit..steps in etc.).hands moving accordingly, and stepping in front (or forward).
Nisumbhita: Feet bent back. chest inflated. and hand held at the centre of the forehead.
Vidyudbhranta: Foot bent back and stretched to touch the head, and hands in Mandalaviddha gesture.
Atikranta: Feet in Atiknuita cari to be stretched forward (i.e, long steps). hands moving accordingly.
Vivartitaka: Hands and feet thrown forward. Trika turned about. hand in Reciia.
Gajakriditaka:The left hand bent and touching the (left) ear, the right in Lata gesture and foot in Dolapada cari.
Talasamsphotita: The foot to be swiftly lifted up. and placed forward; the two hands in Talasamsphotita (palms wagging) ges- ture.
Garudaplutaka: Foot stretched back. one hand in Lata and the other in Recita gesture and chest inflated.
Gandasuci: Feet in Suci cari with one side raised up, one hand (left) on the chest and the other bent to touch the cheek.
Parivrtta: Both me hands in Apavestita raised up. foot turned about in Sucipada and Trika turned round.
Parsvajanu: One foot in Sama cari, the other by the side of the thigh, hand in Musti gesture on the chest.
Grddhravalinaka: One foot stretched back. knee slightly bent, and arms stretched out.
Sannata: Coming down from a jump. the two feet must be in Swastika, the hand. hanging and bent.
Suci: Kuncita foot to be raised and put down on the ground, hands to move accordingly.
Ardhasuci: Hands in Alapadma on the head, right fool in Suci (cari).
Sucividdha: A foot in Suci (cari) touches the heel of the other foot. one hand on the chest and other on the hip.
Apakranta: With the thigh in the Valita.’ the foot in the Apa- kranta. hands moving accordingly,
Mayuralalita: Two hands in Recita in the Vrscika karana. Trika turned about-
Sarpita: Both the feet in Ancita to move awav one from the other, the head in the Parivahita (dragging away or flowing) and both the hands in Recita.
Dandapada: The foot in Nupura cari should be stretched in Dandopada cari and quickly the hand to be in Aviddha gesture.
Harinapluta: From the Atikranta cari. one should jump up and coming down, the shanks are bent and thrown up (straight- ened).
Prenkholita: From the Dolapada cari, one should jump and come down turning about the Trika.
Nitamba: Arms going out. fingers facing the body, assuming the Baddha cari.
Skhalita: Foot in Dolapada cari, the hands shaking or in Recita moving accordingly.
Karihasta: Left hand on the chest, the other palm twisted (or turned) upwards, the feet in Aincita.
Prasarpitaka: One hand in Recia. the other in Lata and the soles grazing the ground.
Simhavikridita: One foot in Alataka placed forward, the other One to take quick step and hands moving accordingly.
Simhavikridita: One foot stretched back. and Kuncita hands turning round in front
Udvrtta: Hands, feet and body (upper part) to be moved swiftly and then the whole body to be moved as swiftly.
Upasrtaka: Foot in Aksipta, hands to follow and body slightly bent
Talasanghattita: Foot in Dolapada cari the two palms clapping, then the left hand in Recita.
Janita- One hand on the chest, the other hanging loose and standing on the tip (toes) of the feet.
Avahitthaka: Hands in Janita gesture, then raising them with fingers facing.
Nivesa: Both the hands on the chest, chest bent (or drawn in). posture of Mandala sthana.
Elakaakriidita: Feet in Talasancara, Jumping up and coming down with body bent and turned.
Uuruudvrtta: Hand in Avrtta to be placed on the back. side and bent. shanks in Ancita and Udvrrta.
Madaskhalita: Both the hands hanging down, head in Parivahita gesture (dragging to and fro) and Aviddha feet turned round.
Vislukraanta: Foot stretched forward and bent as if about to walk on, and hand in Recita.
Sambhraanta: The Avartita hand to be placed on the backside of the thigh, and then the thigh in Aviddha.
Viskambha: Right hand in Apaviddha, left on the chest, and striking the ground with Suci foot.
Udghattita: Both feet in IJdghattita. both the hands in Talasanghattita to be placed by the side of the hips.
Vrsabakriidita: Foot in Alataka. both the hands in Recita and later these hands to he in Kuncita and Ancita.
Lolita: (Feet in Vaisnava sthana). hands (first) in Recita and Then in Ancita and head turned to both sides.
Naagaapasarpita: Feet in Swastika to glide forward, hands in Recita, head turning all round
Sakataasya: Gliding with Talasancara feet while in a sitting posture, chest thrust forward.
Gangaavatarana: Foot with sole and toes turned upwards (i.e, not touching the ground), Tripataka hands with palms downwards (i.e, facing the ground) and head bent down.