No art form should be imposed upon students. they should learn it by their sweet will. Am glad to have rekindled the love and joy for this art form that mom had installed when we were kids.
Learning starts with offering bettlenuts, leaves to Guru and Sun God and is kept on the ground. Thankfully got a very accommodating teacher next door. Right time?
Basic Grammar
- Namaskaram
- Mandalam
- Adavu
- Mudra - Hasta - Asmyuktha & Samyuktha, 10 Avtara, Devada, Relationship
- Talam - Nadakal
- Bhedangal - Pada, Dhrishti, Purikya, Khanda, Mandala and Stanaka
- Exercises - 1,4,
- Concerts
You tube lessons: https://www.youtube.com/playlist?list=PL4Hjlpob3L5wPO6z12wqtsLzMtGP7Gmcj
Namaskaram - Always begin and end with it. Thanks giving. First touch the ground, then above god, head - teacher and front - audience. (Thaka Dimi - and when you pray to God on Thaka dina tam).
Start with Kadkamukam, tapping each leg, standing straight, then Shikharam, from shoulder bring hand to front - then take foot sidewise into V shape. First touch the gound saluting mother earth. Then God, teacher and audience.
Namaskaram is also known as Thatti Kumbidudhal:- https://www.youtube.com/watch?v=QLqkEn3krrk&list=PL4Hjlpob3L5wPO6z12wqtsLzMtGP7Gmcj&index=10
The dancer while and after a dance performance/practice needs to do a salutation through the Namaskaram. Through the Namaskaram, the dancer bows down in respect to the following
1. God
2. Guru
3. Audience
4. Earth
The Namaskaram is expressed by the following:
1. Stand in the erect posture in Samapatham, stomach tucked in and back straight, place your
hands in front of your chest holding the Katakamugam.
2. Hit your right leg and then your left leg.
3. Sit in Muzhumandi holding the Sigara hastha above your shoulders, then touch the ground with
both hands in Chathura hasta. Touch your eyes. Then stand up straight with the Anjali gestures
Mandalam - Three basic zones (literal meaning of mandalam) in which dance is done
- Mandalam - Standing straight
- Ara Mandalam - half bend
- Muzhu Mandalam- fully bend seated on fingers
Adavu:
Through dance we cerebrate the mind and body. Adavus form the foundation of Nritta in Bharatanatyam. Focus on rhythmic precision through Adavus gives us an ability to tune the mind and body towards alignment.
Adavus are a combination of postures of the legs (sthanakam and mandalam), walking movements (chari) and hand gestures (nritta hastas)
All we do in three steps - viz - slow, medium and fast.
It is the practice of instilling the basic combination of movement of various body parts in accordance with the 'tala'. It is the most important aspect in learning Indian dance traditions. Based on combinations of 13 basic Adavus, there are over 60-120 variations of Adavus.
To name the primary and common 12, which might be know by different names by different groups are:
Sl No. Adavu Sorkattu or Thalam
1. Thattadavu Thai Ya Thai
2. Naatuadavu Thaiyumm Thatha Thaiyum Thaha
3. Paravaladavu Thai Thai Thai Tha Thith Thai Thai Thai
4. KudhituMetadavu Thei hath thei hi, Thei Hai Thei Hi
5. Korvaiadavu That Thai Tham: Thith Thai Tham
6. Kuthuadavu That Thei Tha Ha Thith Thai Tha Ha
7. Sarukkaladavu Thai Ya Thai Yi, Thai Ya, Thai Hi
8. Thattu Metadavu Thakadhimi/Thakita/ThakdhiThakita/ThakThakita/ThakadhimiThaThakita
9. Paichal Adavu Thelangu Thom - Dhik Thaiumtha, dhik Thaiumtha, Tha Thai
10. Sarika Adavu Thith Thaiyum Thi Thai Thai Thith Thaiyum Tha Tha Thai
11. Thermana Adavu ThaTha jam Tharitho/Thadhinithaom/Kitakao Tharikitathom
12. Mandi Adavu Thakita Thatha Thinna
A-1: Thattadavu - 1 to 8
This involves sitting in aramandalam with legs open to the sides and hands placed on the waist. No hand movements are involved. The dancer stamps their feet according to the rhythm.
- One, two, three and four - continuous - thai thai, thai-a-thai, thai thai tham taka thai thai tham,
- 5th - Thaia, Thaia, Thai Thai, Tham.
- 6th - Thai Thai tham....or Thaka dimi Thaia Thaia Thai, Thaka dimi Thaia Thaia Thai (3+3 with pause)
- 7th - Thai Thai Thai, Thaka (other leg), Thai Thai Tham
- 8th - Thaia, Thaia, Thaia, Thaia, Dhik, Dhik Thai - Alternative legs
A-2: Natadavu -
“Natta” means to stretch and so the Adavu involves some stretching compared to the Tatta Adavu we explored earlier. And compared to Tatta Adavu, the Natta adavu involves heel contacts of the feet. Thus word “Nattu” in Tamil is also referred to “Perching of heels”. So get ready for some stretching and synchronization of hands and legs! 🙂
- Leg and hand movements single and double - Start - 1&2
- Leg and hand two steps
- Alaptma - Kadakamuka; Thripatak
- Thalam - Thai Um, Tha Tha, Thai Um Thaaa Haa...
The bols (sollukattu) for this Adavu is “tai yum tat ta tai hi ya ha”. You would see that the basic leg postures used in this Adavu is Ardhamandal, Alidha , Anjitham, Agartalasancharam and Swastikam. Ardhamandal was used in Tatta Adavu and we will see the Alidha in the explanation for this Adavu below.
Here we go with the first step for Natta Adavu:
1. Keep both your hands stretched out in Tripataka mudra facing the floor and be seated in Ardhamandal position.
2. Stretch your right leg in Alidha position. The right leg is stretched in such manner that only the heel is resting on the floor and the toes are facing upwards. Also when one feet is flat and the other one on the heel, the we say it is Anjitham. When one foot is pressed down on the toes with heels lifted, it is called Agartalasancharam.
Simultaneously turn the right arm in Tripataka mudra to face up – say “tai yum”. Note that the left arm remains in Tripataka mudra facing down.
3. Bring your right leg back to Ardhamandal position with a tap and turn the right arm in Tripataka mudra downwards as in 1 above (say “tat ta”).
4. Now, repeat the steps above on the left side. Stretch your left leg in Alidha position (left leg stretched in such manner that the heel rests on the floor) and turn the left arm upwards so that Tripataka gesture face the ceiling (say “tai hi”).
5. Bring your left leg back to Ardhamandal position with a tap and left arm in Tripataka mudra downwards as in 1 above (say “ya ha”).
This completes a full set of “tai yum tat ta tai hi ya ha” and hence makes one count for the first Natta Adavu step.
The second step for Natta Adavu is completely similar. The only change is that you have to repeat the actions twice on each side. This would mean that the bols (sollukattu) “tai yum tat ta tai hi ya ha” is completed on one side before moving to the other side.
Nattadavu 3 - After finishing once like in Nattadavu-1, The right foot goes back and the right toe is placed (heel is raised) near the left foot little finger. This posture is called “Swasthikam”. And left foot beat the ground then the right foot performs right side of the 1st Nattadavu again.
Nattadavu 4 - Same like Nattadavu-3, but every foot movement is done twice.
Nattadavu 5 - Sit in Araimandi with Kadakamuga mudra and lift right leg front change to Alapadma mudra and beat left leg. Sit in kadakamuga mudra beat both the legs as left & right, in tripathaka mudra stretch & beat right leg twice. Likewise start for the left leg also
Nattadavu 6 - The dancers prepares in half sitting holding the Thripathakam in both hands, one at chest level and the others at sholder level. For 'Thei' the right feet is stanced to the front with toe raised at same time the Thripathaka hastha at chest level is brought to
touch the toe. For 'Yum' the left feet is stamped. For 'Thath Tha' the right hand moves
up and right feet goes behind in Swasthikam, followed by the stamping by left feet.
For 'Thei Yum Tha Ha' the Nattadavu first step is repeated twice.
Nattadavu 7 - Katakamukam Mudra in both the hands near the chest level with Right foot side Nattu and change the mudra to Alapadmam, then turn to left side and beat thath thath and follow Nattadavu 5(First half alone).
Nattadavu 8 - Katakamukam Mudra in both the hands near the chest level with Right foot front Nattu and change the mudra to Alapadmam, then to up. Both the hands go up
above the head level with Suchi Mudra and joined it with Half - Mandi. Then to
Katakamukam in Natyaramba, stand and jump, change the mudra to Alapadmam
and cross near the chest.The right foot on the knee of the left foot. Hands are kept
in Natyaramba Mudra sitting in Full Mandi.
Solkattu : Thei yum That Tha Thei yum Tha Ha.
Thalam : Aadhi thalam 8 counts
A-3: Paraval Adavu - 4
Paraval literally means to spread. In Paraval adavu, the feet articulation mainly define the varieties. This adavu introduces the variety in patterns at the same time focusing on synchronisation of hand, eye, head and feet movements through various patterns of striking the floor with the feet. In paraval adavus we strike or slide the floor maintaining an Araimandi or Ardha – mandala posture. Paraval adavu comprises of four variations done in 3 kalams/speeds.
This is also called Visharu Adavu. Visharada is a technique that involves swinging of hands in different directions, such as sideways and up-and down. The legs should move straight forward without any side to it for this adavu posture – also called Mardita Adavu or Paraval Adavu (depending on where you are located).
Paraval Adavus are one of the most commonly performed graceful Adavus. There are 5 main adavus in the above given video
The solkattu for 1 to 5 Paraval Adavu is "Tha Thei Thei Tha, Dhit Thei Thei Tha"
Thalam : Aadhi Thalam 8 counts
INSTRUCTIONS :-
Paraval Adavu involves swinging of hands in different directions ie sideways, up and down. Leg movements are simple and straight in one line. A Concept of shoulder pulls is also introduced later here.
---- This can also be done as advised by the teacher with different Mudras.Solkattu and
Thalam are same. This Adavu should be practised in three speeds ----
Postures/Mandalas:
Aaayatham, Preritham, Swasthikam, Samapadham
Hastas:
Pathakam, Tri Pathakam, Katakamukham, Alapadmam, Dola
Talam: Adi
Syllables: Tha thi thi tha, Dhi thi thi tha
Paraval adavu is done for developing a sense of space and also the different patterns attunes our mind to newer dimensions. This helps to progressively build clarity in the articulation of the foot, inculcating endurance in students right from the beginning
- Both hand thripathaka - semi circle sidewise and front (Tha thi, thi ha - di thai thai ha)
- Kadkamukam to Alapatmam hand movement - front, right side and left side (Tha thi, thi ha - di thai thai ha)
- with hands in Dolam like above but leg swiping
- bend toward right - slight jump - Hands - kdakamugam and both hands to front and both hands to side rotate(Tha thi, thi ha - di thai thai ha)
1. Moving sidewise - with hand going front, side and back first then straight front at chest level - RHS and LHS.
2. UP, UP side up, Up side down, straight RHS down and up at sholder level and then LHS; then turn LHS do with right hand and then turn RHS and do with left hand
3. As 2 but with long steps and hands open and down.
4. Both hands up - 4 times up and 4 times down - move towards right first and then towards left.
5. As 4 but go round - full rotation.
A-4 Kudithu Mettadavu - 4 (Leg same)
https://www.youtube.com/watch?v=W9ndgd8C3rU
it in Half-Mandi, Jump in half sitting posture, sitting on your toes for Thai and Mettu
(flat feet) for Hath. Mudra in both hands are first Katakamukam and then to Alapadmam
The solkattu for 1 to 5 Kuthiththu mettu Adavu is "Thei Hath Thei Hi"
Mudras used in this Kuthiththu mettu Adavu is Katakamukam and then to
Alapadmam.
Kudikuga - Metiga (Upputi adikuga)
- Alapatmam - Kadkamugum - side wise
- front and back; up and down
- bending down and straight side wise
- bending down and straight straight
A-5 Korvai Adavukal
https://www.youtube.com/watch?v=2_mmvxJpzN4
The word Korvai means to compile, join or thread together. Korvais are adavus when set to a particular Talam (Rhythm) and Kalam (speed) and usually concludes with a Theermanam.
The Rhythmic syllables is - that thei tham, thi thei tham.
- Aramandalam - Tha thai tham, dhi thai tham - Shikaram to straing and back; kadakamukam to Alapatmam and then shikam to pataka
- Sit and stand
Korvai means to compile, join or thread together. It is done in Adhi Thalam.
It has six different variations.
Mostly starts with hands in Shikrahasta position and steps with Aramandala on fingers.
A-6 Kuthadavu /Ettadavu- Tha Thai Tha Ha Adavukal
https://www.youtube.com/watch?v=PzvarfcCkJw
There are 4 patterns and the Solkattu and Thalam are similar to other Adavus given
above. It is also known as Ettadavu.
INSTRUCTIONS:
Sitting in Araimandi position and employing Tripathaka mudra, the dancer
should tap, jump and tap the floor.
---- This can also be done as advised by the teacher with different Mudras.Solkattu and
Thalam are same. This Adavu should be practised in three speeds ----
Solkattu : Thath Thei Tha Ha | Thith thei | Thaha || - Periya Adavu - 4 types are included in this.
Shambo Mahadeva steps.
A-7: Sarukkal Adavu -
Hands in shikaram jump and sit down Muzhumandalam down to side ways one leg behind, hands in artachandran - opposite side; then both hand kadkamugam
In the sarikal posture, one foot is lifted while sliding his/her other along. This position can be found in many Indian dances such as Bharatnatyam and it’s called tadittam Sarikal means to slide. Here as one foot is lifted and placed the another foot slides towards it. Then the feet takes the Anchita position where the feet rests on the heel.
This Adavu has 5 variations with the same Solkattu and Thalam like the other Adavus.
INSTRUCTIONS :
* Starting in Samapatham, the dancer has to slide on the right side and then place the left
leg in line.
* Then, both the feet should be tapped together with a slight jump.
* Pathakam and Alapadmam mudras are used in these movements.
Solkattu : Thei Ya Thei Hi / Thaiya / Thei Hi //
Thalam: Adhithalam - 8 adavu
Thamkitta Thaka Dina
A-8 Thattu Mettu Adavukal /Jati Adavu- (Thalam video - 5 Nadakal) - Ta-Ka-Ta-Ki-Ta
“Tatti” means to tap (like in “Tattaadavu,” foot taps) and “Metti” means a heel contact with the floor. For “Metti” one must first be on the toes (either a jump on the toes or just striking a toe) and then flatten the feet while the toes are already firm on the ground.
- Ta-Ki-Ta - Legs in L shape, bend, - Dolam
- L shape - Ta Ka one leg; di mi other leg - Dolam
- Front leg - tap twice, other leg tap and lift - take hand up
- 7 - Ta -Ki-Ta -Ta- Ka-Dhi -Mi - Alapatmam to kadkamugam
- Sankeerna nada - 9 -Ta-Ka-Dhi-Mi-Ta-Ka-Ta-Ki-Ta - Alapatmam to kadkamugam, and then Alapatmam to up
A complete Adavu with only movements of the feet.
“Tatti ” means to tap (like in Tatta adavu) and “Metti ” means a heel contact with the floor. For Metti one must first be on the toes (either a jump on the toes or just striking a toe) and then flatten the feet while the toes are already firm on the ground. TattiMetti is one of the most important adavus and these steps are often used in Jatiswarams and Tillanas.
The sollukettu is Tat Tai Ta Ha Dhit Tai Ta Ha.
They are patterns to make rhythmes like 4/3/7/5/9 beats
- Chaturasram
- Tisram
- Misra
- Khandam
- Sankeernam
Thatti mettu Adavus are rhythmically challenging Adavus. It is performed in Pancha Jaathi & Pancha Nadai. So it is also called jaathi adavu
There are five Jaatis. Every jaati is denoted by a set of syllables.
For ease and in sequence they are:
- The Tishra - 3
- Chatushra - 4
- Khanda -5
- Mishra-7
- Sankeerna - 4+5 = 9
This basic step is characterized by first jumping and then striking with the heels on floor. These moves are done sitting in araimanda position which gives it an elegant look.
Hand Gesture : Alankara
Solkattu - Thaka Thi Mi
Thalam - Chathusram Eka - 4 counts
Solkattu : Thakita
Thalam : Thisra Eka - 3 counts
Solkattu : Thaka thimi thakita
Thalam : Misra Eka - 7 counts
Solkattu: Thaka Thakita
Thalam : Kanda Eka - 5 counts
Solkattu : Thaka Thimi Thaka Thakita
Thalam : Sankeerna Eka - 9 counts
12.30 - Krishna to dolam to krishan
A-9: Paichal Adavu
Jump and handled in Rupaka and Adhi Thalam. Paichal meaning 'jump' are one of the most beautiful Adavus. There are 3 variations in all. The students learn to sing Paichal Adavu in 3 different speeds set to a particular rhythmical pattern (Thala).
This has 3 parts:
Start with something like the first Nattuadavu, but jumping. - Sit in swastika, using Kadkamuka and Allapatma
3- use brahmari and turn.
Thalam: Dhik Thaiumtha, dhik Thaiumtha, Tha Thai (Thelangu Thaka..Thom)
Jump with both legs up and take one leg behind other legs knee - Thi ha, Tai he, tai ha thai he
1. Both hand Kadkamugam in front move to alapatmam to top of head and bring down from sides and back to front in Kadkamugam -
2. One hand one side each with other hand in dola hastam
3. Up front, side front, down front
A-10 : Sarika Adavu
Gliding movements of body - i.e. hand and feet,
There is an effective use of toes and heels and the jerking movement at the end. Hand gesture are patakam, katakamukam, Alapadmam and Mrugaseersham.
Dragging is called Sarikal
Back and front movements. side wise etc - 4 variations generally
Thai ha Thai he, Thai ha thai he
Thak thaiumtha tha thai, Dhik thaiumtha tha thai.
A-11 Theerumaana Adavukal + Thatikitathom Adavukal (1 to 5)
Means to conclude, ending or a final stage,
In pallavi, annupalavi or in charnama.
1) Thadhinithaom, Thaka thiku Thadhinithaom
De, De, Thai - both hand thripataka
Thekatatharikida thom - kadakamukam and Alapatmam
Dhi Thu Thai Adavukal - Tirumanam Adavu
The steps in these adavus are used to end a dance sequence or jathis. It is done by performing the same three actions over again, at fast pace ieDhrutakala style (a type of traditional music). The bols or syllables for this avu would be “Dhit-dhi’tai” while some schools also use ‘Gi Na Tom’ as an ending sound effect before switching back into normal conversation modes after having said it once each time through successfully completing their task without error!
A-12 :Mandi Adavukal - Seated
Mandi meaning knee are one of the most beautiful but toughest Adavus. The student will be able to perform this exercise in three different speeds.
- 1. Like Allaripu seating - thripataka, and then half open and close; Kadakamuka to alapatma
- 2 . beginning same - and then sit get up and turn - Thripataka and when we get up Kadakamuka and alapatma
- 3 Jump and sit, stand up and stretch right leg and sit and stand left leg - Kadakamukam and alapatmam
- Jump sit and right leg back, jump sit towards left and left leg back - Alapatmam to top at kadkamukam
It has two different variations:
1. Sit and stand
2. sit and stand and rotate in brahmari
Tham kudu - Thak Dhina
All in thripathaka
- 1. Allaripu
- 2. Similar to above
- 3. Side swining both sides
- 4. Straight and up - leg 4 times
A-13 Murka Adavu (Sutral)
In a spiritual context, Sutral refers to the sense of whirling or circular motion. It’s also called MurkuAdavu and is performed with four hands: pataka (pat-ka), katakamukha(huge face mask) Alapadpa(parting gesture). The Bol of this ada’vum involves tataitamdhitaitama etc., while its hand gestures used in performing it are shikhara – which means “like flower”, dabukameanignput together”.
Hasta Mudra -
Both hands should be in front of chest and elbow up, our shoulders should not go up
Asamyuktha hasta mudra (Can do with one or both hands ) and Samyuktha hasta mudra (Need to do with both hands)
Hastas / Mudras (hand gestures) are primarily classified as 28 Asamyuta Hastas (one-hand gesture) and 24 Samyuta Hastas (two-hand gestures). Each of the hastas can be used to denote various thoughts, ideas and objects.
Asamyukta Hastas are:
- Patak,
- Tripataka
- Ardapataka,
- Krtarimukam
- Mayuram
- Ardhachandrm
- Aralam
- suktundam
- Mushti
- Shikaram
- Kapitham
- Ktakamugam
- Sochi
- Padmakosham
- Sarpashirasu
- Mrigaseersham
- simhmugam
- Kangulam
- Allpatmam
- Banan
- Chaturam
- Bramaram
- Hamsasyam
- Hamsapaksham
- Sandmasham
- Mukulam
- Tamarachudam
- Poornanabam
- Thrisulam
- Arthasuchi
- Chandrakala
Ithyaasamyukta hastanam
Ashtavimshati Reerita
Samyuktha hasta mudra:
- Anjali
- Kapotam
- Karkkatakam
- Swasthikam
- Dolam
- Pushpa Pudam
- Utsangam
- Shivalingam
- Repeat 5 to 8
- Katakavarthanam
- Karthareeswasthkam
- Repeat 9 and 10
- Shakatam
- Shanka
- Chakram
- Samputam
- Pasham
- Keelakam
- Malsyam
- Koormama
- Varaham
- Garuda Hastham
- Nagabandham
- Khatva
- Bherundam
Dhasavtara mudra:
- Malsyam
- Koormam
- Varaham
- Narasimham
- Vamanan - Koda and Vadi - two hands
- Parasuraman - 2
- Balaraman - 2+Balam
- Sriraman - Sikaram +Kadakamukam
- Sri Krishnan - elbows up straight line right - thumb and little finger stretched in both hands other fingers half closed
- Kalaki - Right hand Pataka and left hand tripataka - in front of chest
Devada Hastam
- Brahmaavu : Chathuram+Hamsasyam;
- Vishnu : Thripataka in both hands straight
- Sivan - Pray take up near four head and righ ardha chandran + left Simhamukam
- Saraswathi - Kapitam left up , and Sooji right and front
- Parvathi - Pathaka - one up and one down
- Lakshmi - Kapitam - both up shoulder level
- Ganapathi - Kapitham - left hand facing down
- Indiran - Thripathaka - hands above head crossed
- Murugan - Left Shigharam up , and right Trishoola down
- Varunan - Both hands thripathaka - up above the head facing downwards
Relationship Mudra - 20
- Amma - Left hand Mrigashrishya, Right hand mukula mudra in front of stomoch down - and and bring to namaskaram from above head
- Achan - Left hand sikaram - and bring round and bring to namaskaram from above head
- Sakhi - Left hand on sholder right hand straight
- Shodari -
- Aaan Kutti -
- Penkutti - Both hand mrigashishya
- Bhartavu - shikara mudra tying know over neck
- Naadhan -
Paada Bheds : - 10 Types
- SamaPaada - Attention
- Mandalee Paadam - Front sideways 'V' shape
- Kunjitha Paadam - Fingers down - back up in mandalee paadam
- Anjitha Paadam - Fingers up
- Vadimbu Paadam - Both feet turned towards inside - more in Kathakali
- Shadagathi Paadam or Soochi Paadam - Left leg down - right leg slanted on top, fingers down
- Thaaditha Paadam - Right leg in front, and left leg behind from the end of right leg
- Naagabandha Paadam - Legs criss crossed with fingers in V shape
- Nirthumoorthy Paadam - Righ leg down, left leg lifted with knee and toe towards right leg
- Garudanila Paadam - Seated in muzhumandalam - left leg bend with only fingers touching down behind
Mandal Bhedas are the various ways of standing, as in straight with both feet together or on one foot and so on. The shloka for this is as follows:
SHLOKAM
“Sthaanakam chaayataalidham prenkhanapreritaani cha
Pratyaalidham swastika cha motitam samasoochikaa
Paarshwesoochiti cha dasha mandalaaniritaaneeha”
Mandala Bhedas or standing postures with hand gestures are ten in number:
- Sthaanaka: Standing with feet together in Samapaada, and placing the hands on the hip (ardhachandra for men and shikhara for women) is Sthaanaka. They are six in number:
- Samapaadam: When the feet are placed together, standing straight, it is called Samapaadam. Uses: Pushpanjali, Devaropa (stance of Gods)
- Ekapaadam: Standing straight on one leg, placing the other foot across the knee is called ekapaadam. Uses: To show static position, tapasya.
- Naagabandham: When the hands and legs are twisted, it is called Naagabandham. Uses: To show snakes.
- Aindram: Standing on one bent leg, raise the other leg, so as to bring the foot to the knee, with both hands dropped to Dola Hasta on both sides. This is called Aindram. Uses: To show Lord Indra, a king.
- Garuda: In Alida Mandala, sit down on the right knee and raise both hands on both sides with Dola Hasta. This is called Garuda. Uses: To show Garuda Vaahana of Lord Vishnu.
- Bramha: Sit down in Padmaasana, with both feet placed on opposite knees. This is called Bramha. Uses: Doing Japa.
- Aayata: Placing heels together and the toes facing outside, with the knees bent at a distance of 1 and a half cubits, is called Ayata.
- Aalida: The left foot is placed three spans away from the right, diagonally in the front. The left hand is held in Shikhara and the right hand in Kartarimukhaha. This is called Aalida.
- Prenkhana: Putting one foot at the heel of the other, stooping down with Kurmaavatara Hasta, is called Prenkhana.
- Prerita: Moving the right leg forcefully on the ground at a distance of three soans away from the other foot, while holding the left hand in Shikhara at the chest and right hand in Pataka, outstretched in front. This is called Prerita.
- Pratyaalida: When Aalida is done on the reverse side, it is called Pratyaalida.
- Swatika: Crossing the hand at the waist in Aalapadma Hasta and placing one leg across the other is called Swastika.
- Motita: Sitting on the toes with raised heels, holding the outstretched hands in Tripataaka on the sides, alternately bringing the knees to touch the ground is called Motita.
- Samasoochi: Sitting on the toes with both knees on the ground is called Samasoochi.
- Paarsvasoochi: Sitting on the toes and placing only one knee on the ground is called Paarsvasoochi.
It is important for the students of Bharatnatyam to learn and memorise the Mandal bhedas for it helps during the instructions in the class and as evident some are used for specific depictions such as Aindram is used to portray Lord Indra.
Thalam - Nadakal
- Tishra nada - 3 Akshara - Ta Ki Ta
- Chaturasra Nada - 4 - Ta - Ka- dhi - mi
- Khanta nada - Pancha nada - 5 - Ta-Ka-Ta-Ki-Ta
- Misranada - 7 -Ta -Ki-Ta -Ta- Ka-Dhi -Mi
- Sankeerna nada - 9 -Ta-Ka-Dhi-Mi-Ta-Ka-Ta-Ki-Ta
Bhedangal
- Drushti Bhedangal - 8 Types
- Samam - Starting position
- Aaloitam - Eyes wide open - when you point at things
- Saachi - One side - thinking of past,
- Pralokitham - movement from one side to other
- Nimeelitham - half closed eye
- Ullokitham - looking upwards - tall things
- Anuvrutham - anger - up and down fast
- Avalokitham - looking down with guilt
- Purika Bhedangal
- Mitham - Normal at start without expression
- Amitham - upwords
- Uddhvaathitham - sringaram, santhosham - move up and down
- Abhavarthitham - shrink - when you look at someone comming from far or something you don't like
- Kandha Bhedangal - Neck
- Sundaree - Neck move to both side
- Thirashchena - Neck move from up to down - like snake move
- Parivarthitha - Neck move from one side to other in round about direction
- Prakambitha - back and front - like peacock walking
Padha Bhedangal
- Mandala -
Mandalothplavane Chaiva
Bhramaree Paadacharika
Cathurtha Paadabheda
Syusthesham Lakshanamuchyathe
Mandala - Different kinds of postures - Ara, Muzhu, Samam
Utplavana - Different type of Jumping
Bhramari - Different type of turning - with leg down, up, jumping
Pada Chari - Styles of walking - forward back leg first, backward fingers first
Sthanaka Bheda -
Mandala
Stanakam madalam - both legs together
Ayatham - Ara mandalam- knees apart
Alidam - Left leg L shape
Premkhanam - natyamandalam - legs straight side
Prerethamandalam - opposite
Prathyaleela mandalam
Swasthia
Moditham - one leg knee below
Samasoochi - both knee down
Parshvasoochi
Sthanakam Chayathaleedam
Premkhana Prerithani Cha
Prathyaleedam Swasthikam Cha
Moditham Sama Soochika
Parshwa Soocheethi Cha
Dasha Mandalaaneerithaaniha
Utpalana - Different types of Jumping
- Alagam - straight
- Karthari - Jumping on the forepart of the foot, Placing one foot behind the heel of the other
- Aswathplavanam - Jumping on both feet together and then placing one forward and the other behind.
- Modithothplavanam - Kartharee movement from side to side, alternatively
- Krupalakotplavanam -
Alagam Karthari Chaiva
Awathplavanam Moditham Thadha
Krupalagamithi Khyatham
Panchautpalavanam Budhai
Brahmari
Different type of turnings.
- Utpluthu Brahmari - Jump and turn
- Chakra Brahmari -
- Garuda Brahmari - one leg lifting
- Eaka Padha brahmari
- Kunchita Brahmari
- Akasha Brahmari
- Anga Brahmari
UtluthuBrahmari,
Chakrabrahmari, Garuda bhidhaa,
Thadhaikapaadabrahmari
Kunchita Brahmari Thadha
Akasha Brahmari Chaiva
Thadhaikabrahmarithi cha
Bhramaryai Saptha Vijneeya
Naatyashastravisharadai
Chari
Graceful walking in dance. Limb movements.
- Chalana chari - kadakamuka - right hand - from the original position feet is moved
- Chamkramana Chari - bend down and get up and walk in chalana chari (when you come in front back of feet will touch first and when we go back, the fingers should touch ground first)
- Sharanam - Without lifting leg, move
- Vegini - Alapatmam, Trhipathaka - move fast
- Kuttana chari - Striking the heel, toe or the entire soul on the ground - but it should be foreceful
- Luthitha - From the swastika position the toes are struck on the ground.
- Lolitham - Moving the foot without touching the ground
- Vishamasancharachali - The feets are placed alternatively - the left to the right and the right to the left.
Adau thu chalanam proktham pashchachamkramanam thadha
sarnam veginee chaiva kuttanam cha thatha: param
ludhitham lolitham chaiva thatho vishma sanchara:
charibedha amee ashtau proktha bharathavedibhi:
Stanaka Padam:
Samapadham
Eka Padam
Nagabandam
Aindrapadam
Garudapadam
Bhramapadam
Samapaadam Chikapadam
Nagabandhasthatha Param
Aindram Cha Garoodamchaiva
Brahmasthanamithi Kramath
Facial Expression:
Navarasa - These are love (shringaara), laughter (haasya), kind-heartedness or compassion (karuna), anger (roudra), courage (veera), fear (bhayaanaka), disgust (bheebhatsya), wonder or surprise (adbhutha) and peace or tranquility (shaantha). Navarasa - These are :
- Love (shringaara),
- laughter (haasya),
- kind-heartedness or compassion (karuna),
- anger (roudra),
- courage (veera),
- fear (bhayaanaka),
- disgust (bheebhatsya),
- wonder or surprise (adbhutha) and
- peace or tranquility (shaantha).
1. Shringar
This is one of the nine expressions which are used in the Bharatanatyam dance form. This facial expression is given to convey the various feelings of erotic, romantic love, or attraction. Rasa which means flavour mainly shows the feelings of love that develop between a man and a woman. Shringar is one of the primary expressions used in various arts and classical dances of India. This depicts beauty many times in the classical dances as well.
2. Hasya
This expression is used to bring about laughter, happiness, or a feeling of careless mirth in the Bharatanatyam dance form. Hasya is also meant to describe the mythological events of Lord Krishna’s naughtiness during his childhood. In the case of describing any form of happiness, this expression is used.
3. Bibhatsya
This facial expression is used to describe the feeling of disgust in human beings. This event was used to describe events that may sicken people. The sorrows of life seen by Siddhartha are described through this expression in Bharatanatyam. Later on, this disgust which he had felt made him seek peace and tranquillity which transformed him into Gautama Buddha.
4. Rudra
This is used to express anger in all its forms through the Bharatanatyam dance form. This is one of the most violent amongst all the rasas. This rasa is also important in the Tandava form of Bharatanatyam. Also used to convey the anger against injustices by kings, disrespect which causes anger, and so on. This expression is also used when the dancer wants to depict destruction in all forms which also includes Natural disasters.
5. Shanta
This is a feeling which is used to convey peace and tranquillity in this dance form. An extremely important Rasa. This is used to depict calmness in the classical dance form and adds elegance to the dance.
6. Veera
This is used to describe heroism through facial expression. This brings out the concepts of courage and the fearless attitude of individuals in life. This also is used to describe the heroic deeds of various kings during the battles in history. Also used to describe the heroism of the martyrs who sacrificed their lives in war. This rasa and bhava are used to depict the boldness of human character.
7. Bhaya
Bhaya facial expression is used to describe fear in Bharatanatyam dance form. This is used to convey threat or terror which is induced on the individuals by the autocratic and cruel rulers who used to torture and practice injustice. Bhaya is also used to depict other emotions and expressions like timidity, fearfulness, cowardice, discomfort and, so on. This is used to describe the feeling of the dreadfulness of the powerless people in subordination to the powerful ones in the society at large.
8. Karuna
This may be described as the feeling of kindness, compassion, sympathy, and a strong feeling for the sorrowful and difficult times of other individuals. It also brings forward the feeling of empathy for the affectionate people and closed ones. It describes how human life is full of griefs, sorrows, and sufferings as was described by Lord Buddha which forced him to choose the path of salvation.
9. Adbhuta
This is used to describe curiosity in human beings. It is performed when one describes the wonder when one meets the supreme, God, or describes a thing of utmost beauty and astonishment.
Head movements are also called Shirobheda.
Shira or shirasa meaning ” Head” in sanskrit. The head movements refer to the head positions, while expressing a particular bhava. There are Nine head movements.
Sama : The head kept straight
Udvahitam : Head Looking upwards
Adhomukham : Looking Down
Alolitam: Circular Movement of the head
Dhutam: Right to left movement of the head
Kampitam: Up and down nod of the head
Paravrittam: Brisk turning of the head to the right or left
Ukshiptam: Head is turned and raised or a slanting position of the head.
Parivahittam: Quick small shakes of the head.
Shloka :
Sama udvahitam adhomukha-lolitam Dhutam
kampitam cha paravrittam ukshiptam parivahitam
navdhakathitam shirasa natyashastra visharadaihi.
The following Video will demonstrate the Head movements.
Exercises:
https://www.youtube.com/watch?v=1VsDic1nsBE&list=PLVb_JHi9p1f4SZqe-e2zyQVT4TJlFEkL6&index=20&t=74s
3:17 namaskarikal
5:16 1st exercise
5:46 2nd exercise
6:08 3rd exercise
6:45 4th exercise
7:01 5th exercise
7:24 6th exercise
7:45 7th exercise
Online Guru - Lekshmi S. Menon from Adithya school of Dance.
Alarippu
This is the first item in the Bharatanatyam Concert. Simple steps are used in this concert. It is a recap of what is learned so far, and offers Salutation to lord, guru and audience. This item is composed in Natta Raga or Sangarabharana Raga. Different Talas can also be used and one among them is Rupaka Tala. Bani. It has MandiAdavu, Theermana Adavu, chari, Brahmari, Mandalam - summary of all the above - done after a year of practise of the above.
Alarippu comes under Nrutha meaning importance is given for steps. No importance to Abhinayam. Alarippu has been composed in Tishra, Chaturashara, Khanta, Mishra Nadas. This ends with Theermana. It is considered as praising to Lord and first to be done starting with standing in Samanila.
The Bharatanatyam dance performance consists of six portions: Alarippu, Jathiswaram, Shabdam, Varnam, Padam, and Tillana. Alarippu: A Tamil word meaning 'to bloom'. Alarippu is the beginning portion of a performance, consisting of a set of movements set to a beat.
Have just finished this. Sure, miles to go....Fingers crossed.
Nrutha, Nrithyam, Natyam.
- Natya – Natya corresponds to drama. Natya means dramatic representation or drama with speech, music and dancing. According to Abhinaya Darpanam, Natya or Nataka has some traditional story for its theme is an adorable (art).
- Nritya – Nritya corresponds to the mime performed to the song. That is in other words, it is the Interpretative dance. The vaachikaabhinaya of natya where the actors themselves use speech, is replaced by the music and song which accompanies dance. According to Abhinaya Darpanam that dance which relates to Sentiment (rasa) and Psychological Staes (bhaava) is called nritya.
- Nritta – Nritta corresponds to pure dance steps performed rhythmically. Here the movements of the body do not convey any mood or meaning and its purpose is just creating beauty by making various patterns, lines in space and time. According to Abhinaya Darpanam, dance which does not relate to any Psychological State (bhaava) is called nritta.
There is also the *DHYANASLOKAM*
1. Anghikam
2. Bhuvanam
3. Yasya
4. Vachikam
5. Sarva
6. Vangmayam
7. Aaharyam
8. Chandra
9. Tharadhi
10. Tham
11. Numa ( pronounced as Namah)
12. Sathvikam
13. Shivam
Dhyana Shlokam
“Angikam bhuvanam yasya
Vachikam sarva vangmayam
Aharyam chandra taradi
Tam numah satvikam sivam.”
The full meaning of this sloka is:
"We bow to Him the benevolent One
Whose limbs are the universe,
Whose song and poetry are the essence of all languages,
Whose ornaments are the moon and the stars…"
Word meaning:
- Angikam - body
- Bhuvanam - universe
- Yasya - whose
- Vachikam - speach, song
- Sarva - everyone
- Vangmayam - language
- Aharyam - ornaments
- Chandra - moon
- Taradi - starts
- Tam - to YOU
- Numah - to bow
- Satvikam - pure
- Shivam - God Shiva
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Thank you Meera, this is so helpful for Shriya.
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