C. Shankar Narayan

Welcome to the world ofBharatnatyam !!!

C. Shankar Narayan

The heritage of Indian Classical Dance embraces several styles, the most popular being Odissi, Kuchipudi, Manipuri, Kathakali and Bharatanatyam. They can all trace their origins to the “Natya Shastra “ a treatise on dance, written by Sage Bharata over 2000 years ago. Bharatanatyam is perhaps the oldest among classical dance. Bharata was a legendary sage whom Brahma, the god of creation, himself is supposed to have instructed in the art of dance for the purpose of propagating the art to all mankind. The three syllables, Bha-Ra-Ta, illustrates the three quintessential components of the dance, namely, Bhava (expressions), Raga (melody) and Tala (rhythm). Bharatanatyam was nurtured in the temples of South India , and even today has very close ties to religion. Bharatanatyam is an exquisite blend of abstract dance (Nritta), dance with expressions(Nritya) and graceful expression (Natya). Proficiency in the art is attained only after several years of intensive training, at which point a student is ready to “ascend to the stage” and present a concert- length solo recital (Arangetram) to the public.

Indian Classical Dance

C. Shankar Narayan

The term "Bharathanatyam" was introduced by Rukminidevi Arundale, and is derived from:

BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dramatic art)

This widely appreciated dance form of Tamil Nadu (a state in Southern India) is Bharatanatyam. Previously known as Sadir, Dasiattam & Thanjavur Natyam,

The contemporary form of Bharatnatyam evolved during the late 18th or early 19th century.The devadasis (girls who are dedicated to gods) dominated the Sadir. The famous Natarajan – Shivan dancing !

Bharatanatyam dancers are predominantly women & always dance bent-kneed. It is a dance style where there is heavy emphasis on hand movements to convey various emotions. The body is visualized as if made up of triangles, one above and one below the torso. It is based upon a balanced distribution of body weight and firm positions of the lower limbs, allowing the hands to cut into a line, to flow around the body, or to take positions that enhance the basic form. A special feature of this dance form are Padams or poems on the hero-heroine theme. The performer has to be aware of the numerous subtle features of the dance style.

Bharatanatyam Dance

C. Shankar Narayan

Bharathanatyam comprises three aspects : Nritta, Nritya and Natya.Nritta are rhythmical and repetitive elements, i.e. it is dance proper Nritya is a combination of Nritta and Natya Natya is the dramatic art, and is a language of gestures, poses and mime. cf. AbhinayaNritta can be broadly divided into Chari, Karana, Angahara and Mandala. One-leg movement are called Chari, two-leg movements are Karana. 3 Karanas make a Khanda. 3 to 4 Khandas make a Mandala. 4 to 9 Karanas make a Angahara. 4 to 5 Angaharas also make a Mandala. 108 Karanas and 32 Angaharas are defined in Natyashatra. The 13 Nritta Hastas (see below) are used to perform nritta. The rythmic body movements along with hand gestures are called Aduvus. A number of aduvus constitute a Jati. Jati will generally end with a Muktaya or Teermana.

There are diferent types of Aduvus: Tattaduvu, Mettaduvu, Nataduvu, Kattaduvu, Kudittamettaduvu, Maiaduvu, Mandiaduvu, Jati, Nadai, Ardi. There are 12 aduvus in each type, making it 120 aduvus in total.

Bharatanatyam Dance

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

Ardhapataka

C. Shankar Narayan

Kartarimukha

C. Shankar Narayan

Mayura

C. Shankar Narayan

C. Shankar Narayan

Arala

C. Shankar Narayan

Shukatundaka

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

Kapittha

C. Shankar Narayan

C. Shankar Narayan

Suchi

C. Shankar Narayan

C. Shankar Narayan

Padmakosha

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

Kangula

C. Shankar Narayan

C. Shankar Narayan

Chatura

C. Shankar Narayan

Bhramara

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

Mukula

C. Shankar Narayan

C. Shankar Narayan

C. Shankar Narayan

Trishula

C. Shankar Narayan

Kataka

C. Shankar Narayan

C. Shankar Narayan

Palli

C. Shankar Narayan

C. Shankar Narayan

Positioning your feet

C. Shankar Narayan

1) While doing this adavu, you need to be in the Ardhamandal(half sitting) posture. Taata = Taps

                                         

STEP I

C. Shankar Narayan

2) Place your Palms on the waist with the inside of the palm facing outside.                                                                                                          

3) Please try to keep a practice of starting every Adavu with your right side(leg in this adavu). So first lift your right leg towards the inner thigh and then tap the floor with flat feet (say “tai ya”).

4) Once the right leg is grounded, repeat the same with the left leg (say ”tai hi”).

5) Continue the steps (”tai-ya”, “tai-hi”) till you have a good feel of the step. We would practice each step 30 times in around 3 minutes. Remember that the one tap each of left and right legs is counted as one step.

C. Shankar Narayan

Stay in the Ardhamandal (Half seated posture). Place your Palms on the waist with the inside of the palm facing outside.

Lift your right leg towards the inner thigh and tap the floor with flat feet (say “tai ya”). Once the right leg is grounded, again lift the same (right) leg and then tap the floor with flat feet (say “tai hi”). After the second tap of the right leg, lift your left leg in a similar fashion and then tap the floor with flat feet (say “tai ya”). Once the Left leg is grounded, again lift the same (left) leg and tap the floor with flat feet (say “tai hi”)

We can now practice the first and second step together for 25 times each. Please note that (”tai-ya”, “tai-hi”) is one count and so for the second step, one count is completed on one side itself i.e. double tap with right leg is one count.

STEP II

C. Shankar Narayan

Note that from the third step onwards the Bols are “Tai ya tai hi tai tai tam”. The third step is similar to the first two and as you may have guessed it, you would tap each feet thrice on each side. The detailed steps are below (please note the changes in Bols below):

Stay in the Ardhamandal (Half seated posture). Place your Palms on the waist with the inside of the palm facing outside. Lift your right leg towards the inner thigh and tap the floor with flat feet (say “tai ya”). Once the right leg is grounded, lift the same (right) leg and then tap the floor with flat feet (say “tai hi”). Again lift the same leg (right) leg and then tap the floor with flat feet (say “tai tai tam”)

After the third tap of the right leg, lift your left leg in a similar fashion and then tap the floor with flat feet (say “tai ya”). Once the Left leg is grounded, again lift the same (left) leg and tap the floor with flat feet (say “tai hi”). Again lift the same (left) leg and tap the floor with flat feet (say “tai tai tam”).

STEP III

C. Shankar Narayan

Stay in the Ardhamandal (Half seated posture). Place your Palms on the waist with the inside of the palm facing outside. Lift your right leg towards the inner thigh and tap the floor with flat feet (say “tai ya”). Once the right leg is grounded, lift the same (right) leg and tap the floor with flat feet (say “tai hi”). Again lift the same leg (right) leg a third time and tap the floor with flat feet (say “tai tai”)

After the third tap of the right leg, lift your left leg in a similar fashion and tap the floor with flat feet (say “tam”). With this, we finish one count for this step.

For the next count, we begin with the left leg. So, Lift the Left leg towards the inner thigh and tap the floor with flat feet (say “tai ya”), tap again (say “tai hi”) and tap again (say “tai tai”) Once the left leg is grounded lift the right leg and tap with flat feet(say”tam”). This completes the second count for this step.

STEP IV

C. Shankar Narayan

Today I describe the penultimate step in this first Adavu. In this step, we tap the leg five times on each side. Please repeat and note the Bols (sollukattu) for each of the taps.

1. Stay in the Ardhamandal position. Place your palms on the waist with the inside of the palm facing out. Avoid the common pitfalls as you practice the steps in this posture.

2. Lift your right leg towards the inner thigh and tap it on the ground (say”tai ya”), lift the right leg again and tap the floor with flat feet (say”tai hi”). Again lift the same leg (right) and tap the floor with flat feet say (”tai”) , Tap the floor again with the right leg (say”tai”). Lastly again lift your right leg and tap it with flat feet (say”tam”). Here we finish one count.

3.For the second count lift your left leg and tap it on the ground (say”tai ya”), again lift your left leg and tap the floor with flat feet (say”tai hi”). Again tap the left feet flat on the ground (say”tai”) . Tap the floor again with left feet (say”tai) and once again tap a final time with the left feet (say”tam”).

4. Please note that when we are doing this step “tai ya” & “tai hi” taps are slow. Comparatively, the taps with “tai”, “tai” & “tam” (the last three taps) are fast taps.This is because we are using every syllable to tap in tai, tai & tam. Whereas in the former(”tai ya” and “tai hi”), every two syllable makes one tap.

STEP V

C. Shankar Narayan

The bols (sollukattu) here differ from the previous steps. They are “tai tai tat tat tai tai tam“. Here we need to tap thrice on right side then once on left side and again thrice on right side (when you start with the right side).

1. Stay in Ardhamandal position and place the palms on the waist with inside of the palm facing outside.

2. Starting with your right side tap the leg with flat feet (say”tai”) , tap the same feet again (say”tai”), again tap the right leg with flat feet (say”tat”). Now tap the left leg with flat feet (say”tat”). Once the left leg is grounded tap your right feet (say”tai”), once again tap the right feet to (say”tai”) and finally tap your right feet flat on the floor (say”tam”). This ends one count for this step.

3. Now starting with your left side tap the leg with flat feet (say”tai”) , tap the same feet again (say”tai”), again tap the left leg with flat feet (say”tat”). Now tap the right leg with flat feet (say”tat”). Once the right leg is grounded tap your left feet (say”tai”) once again tap the left feet to (say”tai”) and finally tap your left feet flat on the floor (say”tam”). Here ends the second count.

Practice this step for around 25 counts till you have a good feel for this step. Now you can combine all the steps and practice each to a count of 20 each.

STEP VI

C. Shankar Narayan

Thank you !!!