The Tandava element is divided intoMargiDeshi
The Margi consists of seven types of Bhraman-s. Each Bhramana consists of Gati-s, Karana-s, chari-s. For each gati he has prescribed a separate tala, but no tala has been prescribed for the Karana-s or Cari-s. Each tala has been prescribed some specific sabda (bol-sor sollu).
Example: The fourth Bhramana, Bhujanga Bhramana begins with Nagabandha hasta, then Abhnaga taal has been mentioned on which various movements have to be executed. The abhnaga has it’s own words “Tekitathongatha- Tadhikakukinakajhe” .Then comes the Sinhagati with it’s own taal and sab and then ending with the Sinhavikridita Karana.
It is very difficult to derive any specific meaning. But one thing which we can definitely relate is, like today we follow the interplay ofjati-s and tala-s in any Nritta item, this concept was already present and even extensive use of shollu-s (which has been called as Shabda Natya) was practiced. The desi Tandava is nothing but an offshoot of Margi but using desi Karana-s and chari-s and not those given in the Natyasastra. There could be another classification which could be made on the basis of the the treatise It is very difficult to derive any specific meaning. But one thing which we can definitely relate is, like today we follow the interplay ofjati-s and tala-s in any Nritta item, this concept was already present and even extensive use of shollu-s (which has been called as Shabda Natya) was practiced. The desi Tandava is nothing but an offshoot of Margi but using desi Karana-s and chari-s and not those given in the Natyasastra. There could be another classification which could be made on the basis of the the treatise Nartana Nirnaya.
Anibandha Nritta - Anibandha is the nritta which is not bound by any rules of gati, tala, yati etc. Nartana Nirnaya.
Nibandha Nritta - Nibandha is bound by such rules.
Urupa – Dance consisting of specific yati, tala, laya, sthanaka, cari and hasta is said to be a urupa . Though we find no trace of Angahara-s in the Nartana Nirnaya , but keeping the same principle in mind urupa-s have been created. Here each urupa has it’s own tala ,laya or yati.
To cite an example Suddhaneri - which consists of chatusra sthanaka, rasa tala, vilamba laya, rathacakra cari. There seems to have grown lot of stress on tala, laya, yati. Urupa-s are an open proof. There is even more complex tala notation which have been termed as Kuvada-s . They seem to be small items of tala groups. It also specifies whether that Kuvada has to be performed in a group or a solo performance . Example Nagabandha Kuvada - Taking up four tala-s with equal number of matra-s, and having segments, each tala divisible into three equal segments terminating into laghu . But why is it called a Nagabandha? Because it involves three dancers who continuously exchange their mutual position in movement thus giving rise to a serpentine pattern.
Lasyanga as Nritta
In the treatises Sangeetratnakara, Nrityadhyay etc., there is a list of Lasyanga-s which are desi . They list certain points that are like characteristics of the Nritta we follow today.
Laya When interplay of laya-s with one main laya. Langhit When the dancer dances off beat to the percussion instrument. Anganang Unity of virile and delicate movement.
Nritta as of today
Today also in all the classical dance find the elements of Tandava and Lasya . This particular concept has been there in vogue. What Anhinava Gupta or Bharata called “Sukumara” eventually was termed as Lasya in the later treatises. It is because of this that Perani although performed my a male dancer is categorized under Lasya because he performs sukumar and not a Uddhata Nritta. We have found that the stress on tala considerably increased , this is very much evident in the various tala-s mentioned in Bharataarnava. The concept of mixing various tala-s or laya-s and yati-s set on sollu – or bol-s seems to be consistently present. Thus the seed of the present form of Nritta was already sowed as is evident from these later treatises.
Web Source: http://www.nadanam.com/articles/a_nritta.htm