basics of bharat-natyam

JAI MAA SARASWATI

NATRAAJ-DIETY OF DANCE

MEANING OF BHARAT-NATYAM• According to TIRUVILAYDAL

Purana • BHA- denotes -Bhava-

(expressions)• RA---------------Raga (music)• TALA—--------- Taal

(Rhythm)• NATYAM—-----is Tamil word

means NRITTYA • Some people relate it to

SAGE BHARAT –who wrote encyclopedia on art

GURUS OF BHARAT-NATYAM

SH CHINNA PILLAY SH POONAI PILLAY

GURUS OF BHARAT-NATYAM

SH KEETAPA PILLAY SH KUBERNATH TANJOLKAR

GURUS OF BHARAT-NATYAMMEENAXI SUNDERAM PILLAY

FAMOUS DANCERS OF BHARAT-NATYAM

SMT MRINALINI SARABHAI SMT MALIKA SARABHAI


SMT HEMA MALINI SMT VYJAYANTIMALA BALI


SMT MEENAKSHI SHESHADRI

10 Commandments to be a successful BharataNatyam Dancer Half Sitting - Maintain Proper Half sitting (Aramandi) – It is the forte of Bharatanatyam . Mudras - Always hold clear Mudras Stretch - Arms should be stretched while doing Adavus and kept at shoulder level when needed. Proper eye movements – eyes should follow the hand Elbows up - When the hand is held in , make sure the elbows are kept up Smile – always smileExpression - Expression REALLY matters. Rhythm – Always be in tala (rhythm) with music.Practice! – ‘makes you perfect’ Distance between hands – when held in the front keep 6 inches between your body and hands.

Bharatanatyam

• Bharatanatyam is evenly divided between three elements Nritta, Nritya and Natya

• Nritta--- Pure dance whose constituents are, taal and laya - time measure and rhythm. In nritta the emphasis is on pure dance movement.

• Nritya : Combination of Rhythm with Expression.

• Natya : Natya is a combination of nritta and nritya dramatisation of a theme.

Nritta

•Nritta can be broadly divided into Chari, Karana, Angahara and Mandala. Movement of a leg is called Chari. Movement of both the legs is Karana. The rythmic BODY movements along with hand gestures are called Aduvus. 120 aduvus exist in total. Only about 70 - 80 are in practice.

Parts of body• The entire body is divided as Anga, Pratyanga and

Upaanga• Anga-- Head, Hands, Chest, Waist, Bottom, Legs are the Six

Angas. Some people include Neck also• Pratyanga-- Shoulders, Arms, Stomach, thighs, Knee are

the Six Pratyangas. Some people include Wrist, elbow and Ankle also

• Upaanga-- Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include Heels, Fingers, Feet, Palm also into upaangas

Classification of moving parts• The way of moving body parts, are described below.• Shirobhedha - Head Movement • Greevabhedha - Neck Movement • Drushtibhedha - Eye Movement• Paadabhedha -Mandala - Standing Posture• Utplavana - Leaps• Bhramari - Circling Movement• Chari - Leg Movement • Gatibhedha - Characteristic walks and • Hastas or Mudras - Hand Movements

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SHIRO BHEDAS

Movements of Head are called Shiro bheda

BASED ON NATYASHASTRALord Brahma created the Fifth veda, Natyaveda, It is believed that he has taken Words form the Rig

veda Abhinaya (gesture) from the Yajur veda.

Music and chants from Sama veda .Rasa (sentiment )from Atharva veda .

SHIRO BHEDAS

GREEVA BEDA

• GREEVA BEDAS (MOVEMENTS OF NECK ) ARE CLASSIFIED INTO 4 KINDS

• THIS SLIDES SHOW IS BASED ON THE BOOKS WRITTEN BY GREAT GURUS .• PREPARED BY

THIRD EYE CULTURAL SCHOOLGREEN FIELDS ,SHASTRI NAGAR

PATHANKOT, INDIA094170-26908

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GREEVA BHEDA

• Sundari – Movement of the neck from side to side

GREEVA BHEDA

• Tiraschina – Movement of

the neck like a snake's movement

GREEVA BHEDA

• Parivartita – Movement of

the neck to the side in the form of a crescent

GREEVA BHEDA

• Prakampita – Movement of

the neck back and forth like a dove

DRISHTI BEDAS

• THERE ARE 08 VARIATIONS OF DRISHTI BEDAS.



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DRISHTI BEDAS • SAMA DRISHTI• Keep the eyes

without blinking • Uses – the

begining of recital• concentration

DRISHTI BEDAS

• ALOKITA DRISHTI• Role the eyes

widely opened• Uses• Wonder• Surprise• admiration

DRISHTI BEDAS

ULLOKIA DRISHTI• Looking up• Uses• Looking at sky

stars,moon,sun etc.• Remembering past

DRISHTI BEDAS AVALOKITA DRISHTI• Looking down• Uses• Shyness• Reading • Writing• Self admiration

DRISHTI BEDAS

• SACHI DRISHTI• Side glance• uses• Aiming • Secretly admiring

DRISHTI BEDAS

PRAKITA DRISHTI• Looking both the

sides• Uses• Addressing a

meeting• Full view

DRISHTI BEDAS

• MEEITA DRISHTI• Half opened eyes• Uses• Peace • Meditation• Trance • Prayer• intoxication

• MEEITA DRISHTI• Half opened eyes• Uses-----Peace • Meditation• Trance • Prayer• intoxication

DRISHTI BEDAS ANUV RUTAA DRISHTI • Looking up and

down• Uses• Admiring • Anger

HAND GESTURES

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PATHANKOT ,INDIA .

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HAND GESTURES

Hand gestures are called mudras. A mudra is symbolic representation of

place, person or thing in which palm ,fingers and thumb are

arranged in different formations . The hand gestures are classified into two

categories.

• According to ABHINAYA DARPANA there are two major varieties of HASTA MUDRAS .

• They are Asamyukta hasta (single hand gestures ) and samyukta hasta (double hand gestures ) mudras .

• Single hand gestures are 28 in number .

HAND GESTURES

SINGLE HAND GESTURES

PATAKA TRIPATAKA


ARDHA-PATAKA KARTAREE-MUKHA

SINGLE HAND GESTURES MAYURA ARDHA- CHANDRAS

SHUKATUNDA ARALA


SINGLE HAND GESTURES MUSHTI SHIKHARA

KAPITTHA KATAKA-MUKHA


SINGLE HAND GESTURES SOOCHI CHANDRAKALA

PADMAKOSHA SARPA-SHEERSHA


MRUGASHIRSHA SIMHA-MUKHA


KANGULA ALA-PADMA


CHATURA BHRAMARA


SINGLE HAND GESTURES HAMSAPAKSHA HAMSASYA

SINGLE HAND GESTURES SUNDAMSA MUKULA

SINGLE HAND GESTURES TRISHULA TAMRACHOODA

DOUBLE HAND GESTURES ARE 24 IN NUMBER.



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HAND GESTURES

Double hand gestures ANJALISCHA KAPOTA

karkata swastika

Double hand gestures

DOLA-HASTA PUSHPAPUTA


UTSANGA SHIVA-LINGA


KATAKA-VARDHANA KARTAN-SVASTIKA


SHAKATA SHANKHA


CHAKRA SAMPUTA


PASHA KEELAKA


MATSYA KOORMA


VARAHA GARUDADouble hand gestures

NAGA-BANDAN KHATVA


BHERUNDA AVAHITTHA


ALAPADMA WITH BOTH HAND INFRONT OF THE

CHEST

Nritya

Nritya -- Combination of Rhythm with Expression. There are nine main or primary emotions, Sthayibhavas. It is also termed as Rasa(Mood). Navarasas, or the nine emotions of dance is very important in a dance performance, because it allows the dancer audience to experience the full beauty and meaning of the lyrics.

Navarasas

• Eyes and the face are predominantly used by the performer, to express the different rasas. Subtle muscle shifts on the face, the movement of the brow , slight movement of the body, are done to convey the emotion of the character .

RASA BHAVA MEANING COLOURShringar (Erotic) Delight Rati Pale Light Green

Hasya (Humorous) Hasa Laughter White

Karuna (Pathetic) Shoka Sorrow Grey

Raudra (Terrible) Krodh Anger Red

Veera (Heroic) Utsaha Heroism Pale OrangeBhayanaka (Fearful) Bhaya Fear Black

Bibhatsa (Odious) Jugupsa Disgust Blue

Adbhuta(Wonderous) Vismaya Wonder Yellow

Shanta (Peaceful) Calm Peace White

Abinaya.

• The expressions which are shown to express poetic meanings is Abinaya.

• Angikabhinaya : Expressing the meanings of lyrics using the body parts like Head, Hands, Legs etc.Vachikabhinaya : Expressing the Story using narrations in the dance drama .Aharyabhinaya : Imitating the Costumes, Jewellary, Make-up etc. Satvikabhinaya :Showing the moods.

ADAVUS

• The rhythmic BODY movements along with hand gestures are called Adavus. 120 Adavus exist in total. Only about 70 - 80 are in practice.

BASIC POSITION

ARAMANDI END OF PART 0NE• MADE ON THE BASIS OF

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ADAVUS

THE DANCE STEPS OF BHARAT-NATYAM

TATTA---ADAVU;--MEANS STIRKING THE FLOOR

WITH SOLE OF FOOT ALTERNATIVELY ---

IT HAS 8 VARIATIONS

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIYA RIGHT FEET

TAI LEFT FEET

TAIYA RIGHT FEET

TAI LEFT FEET

TAIYA RIGHT FEET

TAI LEFT FEET

TAIYA RIGHT FEET

TAI LEFT FEET

TATT- ADAVU No 1 TAIYA -TAI

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIYA

RIGHT FEET

TAI

RIGHT FEET

TAIYA

LEFT FEET

TAI

LEFT FEET

TAIYA

RIGHT FEET

TAI

RIGHT FEET

TAIYA

LEFT FEET

TAI

LEFT FEET

TATT- ADAVU No 2 TAIYA -TAI

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIRIGHT

TAIRIGHT

TAMRIGHT

---------PAUSE

TAILEFT

TAILEFT

TAMLEFT

---------PAUSE

2ND SPEED

TAI-TAI TAM----PAUSE

TAI-TAI TAM----PAUSE

TAI-TAI TAM----PAUSE-

TAI-TAI TAM----PAUSE-

3RD SPEED

TAI-TAI-TAM----PAUSE








TATT- ADAVU No 3 TAI- TAI- TAM (AADHI TAAL 8BEATS)

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIYARIGHT

TAIYARIGHT

TAIYARIGHT

TAIRIGHT

TAIYALEFT

TAIYALEFT

TAIYALEFT

TAILEFT

2ND SPEED

TAIYATAIYA RT,RT

TAIYATAIRT,RT

TAIYATAIYA LT,LT

TAIYATAI LT,LT

TAIYATAIYART,RT

TAIYATAIRT,RT -

TAIYATAIYA LT,LT

TAIYATAI LT,LT-

3RD SPEED

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TAIYATAIYATAIYATAI

TATT- ADAVU No 4 TAIYA-TAIYA-TAIYA-TAI (AADHI TAAL 8BEATS)

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIRIGHT

TAIRIGHT

TAITAIRIGHTRIGHT

TAMRIGHT

TAILEFT

TAILEFT

TAITAILEFTLEFT

TAMLEFT

2ND SPEED

TAITAI

TAITAITAM

TAITAI

TAITAITAM

TAITAI

TAITAITAM

-

TAITAI

TAITAI-TAM

3RD SPEED

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TAI-TAITAITAITAM

TATT- ADAVU No 5 TAI-TAI- TAITAI-TAM (AADHI TAAL 8BEATS)

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAI-TAI-TAMRIGHT

PAUSE TAI-TAI-TAMRIGHT

PAUSE TAI-TAI-TAMLEFT

PAUSE TAI-TAI-TAMLEFT

PAUSE

TATT- ADAVU No 6 TAI- TAI- TAM (AADHI TAAL 8BEATS)

THIS ADAVU IS SAME AS NO 3 TATTADVU BUT HERE RIGHT FEET IS REPEATED TWICE TO MAKE 6 BEATS AND THEN LEFT

FEET IS REPEATED TWICE

BEAT/ SPEED

1 2 3 4 5 6 7 8

1ST SPEED

TAIRIGHT

TAIRIGHT

TATRIGHT

TATLEFT

TAIRIGHT

TAIRIGHT

TAMRIGHT

PAUSE

TAILEFT

TAILEFT

TATLEFT

TATRIGHT

TAILEFT

TAILEFT

-

TAMLEFT

PAUSE

TATT- ADAVU No 7 TAI-TAI- TAT-TAT-TAI-TAI-TAM . (AADHI TAAL 8BEATS)

BEAT/ SPEED

1 2 3 4 5 & 6 7

1ST SPEED TAIRIGHT

TAILEFT

TAIRIGHT

TAILEFT

DHITDHITRIGHTLEFT

TAIRIGHT

TAILEFT

TAIRIGHT

TATLEFT

TATRIGHT

TAILEFTRIGHT

TAILEFT

-

TATT- ADAVU No 8 TAI-TAI-TAI-TAI-DHIT DHIT -TAI THIS IS 8TH ADAVU BUT HAS ONLY 7 BEATS -1ST 4 BEATS ARE ON 1ST SPEED ,DHIT DHIT AT 2ND SPEED

ADAVUSNATTA---ADAVU

THE WORD NATTA MEANS TO STRECH . STRECHING CAN BE EITHER IN FRONT , SIDE WAYS

OR AT ANY ANGLE. PERFORMER IS IN ARAMANDI POSTION ON

ONE LEG & OTHER LEG IS STRECHED WITHOUT BENDING

AT KNEE WITH THE HEELS RESTING ON GROUND. IT HAS

08 VARIATIONS .

NATTAADAVU

• TAIYUM TATTAT TAIYUM TAM• Legs are extended ,toes are raised .• lift the leg till hitting the seat then extend it

while hitting with force ,when taking back fold till hitting the seat and strike hard with feet

• This is in AAHI TAAL and 8 beats

PAKKA ADAVU

• TA TAI TAI TA • It has four variations ,we start the step from

right feet and same is repeated with left .• In aramandi position foot is lifted till the heel

is touching the seat and hitting the ground .• AADHI TAAL 8 BEATS

KUDDITU METU ADAVU

• TAI HA TAI HI • In Tamil kudditu means jump and mettu

means stamping . Dancer is jumping and striking the heels and toes are resting on ground .

• It has 4 variations • Adhi taal 8 beat .

ETTA ADAVU

• It means reach out .legs are stretched to utmost limit. The feet strikes the floor alternately .one feet is brought back to tatta position and other is balanced on toes.

SAIKKAL ADAVU

• TAI YA TAI YI (Adhi--taal--- 8 beats)

• Sarikkal means slide .the feet is made to slide and brought to sama position . Other feet is raised on heel and both feet hit the floor with a jump, sitting slightly on knees.

• It has 2 variations .

ADAVU

• Apart from this we have• TIRMANA ADAVU--------- Means conclude.• VEESI ADAVU---------------Means to throw.• TATTU METTU ADAVU----Means strike and beat.• MANDI ADAVU----------- -Means knees.• SHUTRU ADAVU-----------Means swirls.• KATT ADAVU----------------Means enclose.• MAI ADAVU-----------------Means body.• PERIYA ADAVU-------------Means big.

basics of bharat-natyam

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