Abstract
This paper critically examines the representation of Deśī Lāsyāṅgas in the Nṛtyādhyāya, a medieval Sanskrit treatise on dance, with particular attention to their theoretical articulation and performative significance. During the medieval period, as dance emerged as an independent art form, scholars began codifying its techniques in close dialogue with contemporary performance practices. Within this milieu, Deśī Lāsyāṅgas—understood as stylized feminine dance movements—assumed special importance, as they reflected living regional traditions rather than the rigidly codified mārga framework of Bharata. Unlike the mārga system, which prioritized dramatic expression and rasa-realization, Deśī Lāsyāṅgas emphasized graceful bodily movement, refined expressivity, and localized stylistic adaptations, thereby functioning as a bridge between theory and practice. The text lists thirty-seven different Deśī Lāsyāṅgas, each of which is characterized by certain body movements, gestures, rhythmic coordination, facial expressions, and emotional subtleties. Vivartana, Tharahara, Sthāpanā, Sauṣṭhava, Sruvā, Masṛṇatā, Upāra, Aṅgānaṅga, Abhinaya, Komalikā, and Mukharasa are all examples of forms that show how refined, expressive, and graceful lāsyā is. The author combines technical execution with aesthetic intent through precise lakṣaṇas, stressing the importance of harmony between movement, rhythm, and rasa. his essay shows how important Nṛtyādhyāya is for keeping regional dance vocabularies alive and helps us understand how lāsyā has changed over time outside of the classical mārga framework.