Editing Pūrvaraṅga (Prelude) in Bharatanāṭya (section)

== Contemporary practices ==
Thus, one can observe that the invocatory ''nṛttabandha'' in a ''Bharatanāṭya'' recital follows the concept of paying respect to the deities, thereby wishing for a successful performance. ''Mallari'', ''Toḍayamaṇgaḷam'' and ''Kautam'' are also invocatory compositions in a ''Bharatanāṭya'' recital today. ''Cūrṇike'' is mainly an ''Abhinaya'' composition based on a deity or a ''Nāyaka'' (Hero) and finds a place in the second half of the present day ''Mārgaṁ''. ''Alaripu'' is a unique way of starting a dance recital by using the bodily movements (hand gestures) to denote salutations. Flowers are held in hand or suggested using gestures in ''Puṣpāñjali'' and hence can be considered as a shorter version of ''Pūrvaraṅga'' ''vidhiḥ''.


'''References:'''

1.      Nagar, R.S. ''NāṭyaśāStra Of Bharatamuni''. Parimal Publications Delhi, 2012.

2.      Ghosh, Manmohan. ''Nāṭyaśāstra''. Chowkhamba Sanskrit Series Office Varanasi, 2012.

3.      Manorama, B.N. ''Nritya Marga Mukura''. Sanidhya Prakashana Madikeri, 2011.

4.      Ghosh, Manmohan. ''Abhinayadarpana''. Firma K.L.Mukhopadhyay,1957.

5.      Oral documentation from Dr Manorama B N - ''Śastraraṅga'' Internship offered by Noopura Bhramari.

6.      Dr. Manorama B.N. ''Bharata Nāṭyabōdhini.'' Noopura Bhramari and Kalagowri Publications Bengaluru, 2018.

7.      Oral documentation from Sri Gurumurty, Hindustani musician.