In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Piṇḍībandha (पिण्डीबन्ध) refers to “group dances” according to the Nāṭyaśāstra, chapter 4.

Source: svAbhinava: Abhinavagupta’s Treatment of the lāsyāṅgas

The piṇḍī-bandha was understood as dances which involved more than one dancer. In short, the piṇḍībandha is the technique of group formations. Bharata’s classification of these reveal the most modern concept of group choreography, which is especially studied in the Western schools. In the last few centuries, many of the classical dances of India emerged as solo dance performances. Though the idea of group dance still continued to exist in the folk dances like the Daṇḍaras, Raslīlā, Kolāṭṭam, Kummi, Pinnal Kolāṭṭam and similar other dances in many parts of India.

Source: Shodhganga: Gati in theory and practice

Piṇḍībandha (पिण्डीबन्ध) refers to the “group formations of dancers”, according to the Nāṭyaśāstra (chapter IV, commentary p.193.).—[While discussing the elements of Āṅgika-abhinaya (gestural representation) in Nāṭya-śāstra]—Piṇḍībandhas are the group formations of dancers. The piṇḍī attached to the different gods and goddesses are named after their own banners. The origin of piṇḍī is of three fold namely yantṛ (which strings together) bhadrāsana (positions taken by dancers) and śikṣāyoga (exercises based on karaṇas and aṅgahāras). The piṇḍī are of four varieties: piṇḍī (lump), śrṅkhalikā (cluster or chain), latābandha (together like a creeper) and bhedyaka (group formation of dancers where-in individuals cannot be identified)

context information

Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).

General definition (in Hinduism)

Source: Academia.edu: Some Pearls from the Fourth Chapter of Abhinavabhāratī Table of Contents

The Piṇḍībandha (पिण्डीबन्ध) was understood as dances which involved more than one dancer. In short, the piṇḍī-bandha is the technique of group formations. Bharata’s classification of these reveal the most modern concept of group choreography, which is especially studied in the Western schools. In the last few centuries, many of the classical dances of India emerged as solo dance performances. Though the idea of group dance still continued to exist in the folk dances like the Daṇḍaras, Raslīlā, Kolāṭṭam, Kummi, Pinnal Kolāṭṭam and similar other dances in many parts of India, the classical traditions like Sadir, Odissi, and Kathak remained as solo programs only.

See also (Relevant definitions)

Partial matches: Pindi, Bandha.

Full-text: Pindi, Shrinkhalika, Latabamdha, Bhadrasana, Yantri, Shikshayoga, Bhedyaka.

Relevant text

Search found 4 books and stories containing Pindibandha, Pindi-bandha, Piṇḍī-bandha, Piṇḍībandha; (plurals include: Pindibandhas, bandhas, Piṇḍībandhas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Gati in Theory and Practice (by Dr. Sujatha Mohan)

Elements of Āṅgika-abhinaya in Nāṭyaśāstra < [Chapter 1 - Nāṭya]

Observations based on Nāṭyaśāstra < [Chapter 5 - Conclusion]

Dance movements found in sculptures < [Chapter 4 - Practice of Gati]

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Natyashastra (English) (by Bharata-muni)

Chapter IV - Description of the Class Dance (tāṇḍava)

Chapter III - Pūjā to the Gods of the Stage (raṅgapūjā)

Chapter XXXI - On the Time-measure (tāla)

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Triveni Journal

Dance Traditions of South India < [May-June 1935]

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The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)

Chapter 4.3 - (d) Technical terms used by Arurar in relation to Dance and Music < [Volume 2 - Nampi Arurar and Mythology]

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