Editing Pūrvaraṅga (Prelude) in Bharatanāṭya (section)

=== '''Puṣpāñjali''' ===
''Puṣpa''+''añjali'' meaning holding flowers in the hand; offering prayers and oneself to the ''Raṅgādhidevata-s''. Though it has its roots in the Temple dance tradition, it is an invocatory ''nṛttabandha'' (Pure dance composition) in current times; indicates salutations to the stage (centered by Brahma) where the dancer offers flowers for removing the obstacles and prays for a successful dance recital.

Following the tradition of ''Nāṭyaśāstra'', the post ''Bharata'' period text called ''Abhinayadarpaṇa'' authored by ''Nandikeśwara,'' also documents about starting the performance with a prayer, praising Lord ''Gaṇapati'', the sky and praying to the earth. One should pray to the Goddess of ''Raṅga'' who brings out the ''Bhāvā''-s and ''Rasā''-s to the ''Pātra'' (actor/dancer).<ref>Śloka 31-32, ''Abhinayadarpana''</ref>  ''Abhinayadarpaṇa'' mentions the ''śloka'' for ''Puṣpāñjali'' in the following way,

''“'''vighanāṁ nāśanaṁ kartuṁ bhūtanāṁ rakśṇāyaca |'''''

'''''Devanām tuṣṭaye cāpi prekśakāṇām vibhūtaye ||'''''

'''''Śreyase nāyakasyātra pātrasaṁrakśṇāya ca |'''''

'''''Āchāryaśikśāsiddharthaṁ puṣpāñjalimthārabhet ||”'''''<ref>Śloka 33-34, ''Abhinayadarpaṇa'', Pg.80.</ref>

The translation of these verses are as follows,

''“Offering of flowers. Then to remove evils, to protect living creatures, to please gods, to bring edification to spectators, welfare to the leader [of the naṭa-group], to protect the dancing girl [herself] and to make the teaching of her preceptor fruitful, the dancing girl should begin to offer flowers [to gods].”''<ref>Pg. 42, Abhinayadarpaṇam</ref>

This ''nṛttabandha'' acts as ''Nāndīstuti'' comprising of ''śloka-s'' on deities like ''Gaṇapati, Śiva, Sarasvatī'' etc. The ''Puṣpāñjali śloka'' of ''Abhinayadarpaṇa'' itself is also danced for along with ''sollukaṭṭu-s''<ref>Joining of the syllables used specifically in dance</ref>