Bāhu - Movements of the fore arms
Nṛttaratnāvalī - Language: Sanskrit
The Nṛttaratnāvalī by Jāyana (also called Jāya Senāpati) is in Sanskrit, and written down in Telegu text. It dates from the Kātatīya Dynasty, which covered what is now modern day Telegana. The rulers where worshippers of the goddess Kātatī and this was a golden age for the region, with a lot of writing on the arts and other intellectual concepts. Jāyana wrote 3 texts on dance, however the Nṛttaratnāvalī is the one that survives. The Gītaratnāvalī and Vādyaratnāvalī did not survive. The work divides itself into 8 chapters - 4 devoted to marga - the classical format that traces to the long linneage of historical treatises, and 4 desi dance which isn't within this cannon and is generally described as regional and popular, which the author then describes meticulously. This kind of division starts at this time period.
The forearm which moves to the area above the head is ūrdhvagata
goes behind the back, pṛṣṭhagata
crosses the other forearm svastika
circumambulates in both directions, maṇḍala
starts to move fix the chest area and executes maṅḍala is apaviddha.
The forearm which goes to the head area from the chest and comes back is añcita
that which is made to move between shoulders is āviddha;
that forearm where the elbow is stiffened and bent is kuñcita
and that brought down towards earth is adhomukha.
The forearm which extends to the sides, upwards or downwards is sarala
sways, āndolita
bent slightly, namra...
...made to move/drop transversely over the wrist, udveṣṭita
which moves from its side to the other side, utsarita;
The forearm stretched straight ahead is prasarita.