Online Bharatanatyam

Greeva Bheda or Neck movements

Anjali — Fri, 12 Feb 2010 20:11:42 +0000

Neck movements are an integral part of most indian classical dance forms. If performed in a smooth and delicate manner it increases the quality of both Nritta and Abhinaya. The grace emerging out of Attami’s plays a very important role in communicating an idea in abhinaya pieces or as an ornament in Nritta. Like Gamakas are to carnatic music, neck movements are to Bharatanatyam.

The four types of neck movements mentioned in AbhinayaDarpanam are:-

1. Sundari : Here the neck is moved from side to side. It is also called as Attami.

2. Tirashchina: Here neck is moved in a V-shape.

3. Prarivartita: Here the neck is moved in a Semicircle or moonlike shape.

4. Prakampita: Here the neck is moved forward and back.

The Sanskrit verse (shloka) for Greeva Bheda is

“Sundari cha Tirashchina tathaiva Parivartita

Prakampita cha bhavagnair gneya greeva chaturvidha”

Watch the video below to see how neck movements are done and can be practiced.

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Korvai or a Dance sequence

Anjali — Thu, 21 Jan 2010 19:19:02 +0000

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. Dancer Mrinalini Sarabhai says “If we consider ‘Adavus’ as beads, ‘ Talam’ is the thread and ‘ Theermanam’ is the final knot we tie to finish the garland.” Jatiswaram and Tillana are pure dance pieces, where many such korvais are joined together.

Following video is an example of Korvai

We begin with six walking steps. The basic walking steps are called Chalam. To walk, first the body takes a slight dip, while it lifts one feet. Then place the lifted feet forward on the heels. This time body will rise.

After the walks are completed we do the fifth step of Tatti metti Adavu (taka jham tari taka ta). Followed by a step which is similar to the eleventh step of Teermanam Adavu (tai tai tai tai dhit dhit tai). This is repeated both to the left and right.

Then followed by the Tatti Mettu adavu second variation(Ta ka jham tari taka ta ha). Repeat it on both sides.

Step similar to Tatti mettu Adavu sixth variation is done for Ta ka jham tari, taka nam tari. Then Ta Dhi is a jump forward. For Tai dhit dhit Tai the Seventh step of Teermanam is done.

Also taka jham tari taka nam tari is also done as Ta kita ta kita (similar to Trishra jati Adavu) on both sides. Lastly Ta ka jham tari is a full sitting and Ta ka nam tari is a turn. Such turns are called Bhramari. And what you see here is Ekapada Bhramari.

Natya Kala Conference-2009

Anjali — Sat, 02 Jan 2010 23:56:33 +0000

This conference was held in Chennai during this music season from 26th to 31th December. Convener danseuse Padmashri Ananda Sankar jayant, brought together some top class dancers of the current and last decades to analyze and highlight the features of their legacy and personal style. Chennaistream has done a wonderful job of capturing those presentations.

1. Padmashri Shri Dhananjayan and Smt Shanta who are the founders of Bharata Kalanjali and followers of the Kalakshetra tradition featured their male students on stage and demonstrated the postures for male dancers and Adavus in general. Talked about the revival of Bharatanatyam under Kalakshetra tradition. His students performed some unique Bharata Kalanjali choreographic works. Click here to watch the video. Else follow the link:

http://www.chennaistream.com/nkc2009/index.asp?fl=nkc2009_272vpdhananjayan

2. Smt Priyadarshini Govind in her presentation emphasized on her experimentation and creative work with jathis and Tillana. Click here to watch the video or follow the link below.

http://www.chennaistream.com/nkc2009/index.asp?fl=nkc2009_262priyadarshinigovind

3. Hari Krishnan and Srividya, talked about Kittappa Pillai’s legacy and how he taught differently to all his students as per their individual capabilities unlike the standardization that exists in all schools today. Click here to watch the video or follow the link below

http://www.chennaistream.com/nkc2009/index.asp?fl=nkc2009_261harisrividya

4. Smt Nandini Ramini presented her views about her Guru Balasarawati and her legacy. She talked about Bala’s innovative abhinayas that went beyond the lines of the poem. Her percussionists who would set some exclusive jathis and theermanams. Click here to watch the video or follow the link below.

http://www.chennaistream.com/nkc2009/index.asp?fl=nkc2009_271nandiniramani

Hope you all will enjoy!!

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Happy New Year

Anjali — Fri, 01 Jan 2010 00:01:44 +0000

Image Credit: optical_illusion on Flickr

This year has been wonderful and as we step into a new one, I wanted to thank each of you who made it possible!

More than two years since Online Bharatanatyam started we have now completed the Advaus with all the videos and sollukettu needed. The website now has the explanatory videos for more than 75 basic steps. Almost a year since we started the one to one Bharatanatyam classes, I have many wonderful students from various places across the globe. I would like to thank all parents and students who believed in the possibility of imparting dance lessons online. Thank you for your faith and support while I was away for two months.

I thank Ajay and Aarthy, Suparna, Meena for the articles they have contributed. My thanks to all the fellow bloggers, readers and dancers who have helped enrich this journey during the past two years.

Wishing you peace and joy for the year ahead. Happy New Year!!!!

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Mandi Adavu Fourth variation

Anjali — Tue, 22 Dec 2009 23:29:01 +0000

Here is yet another variation to mandi adavu. This is done 100 percent in purna mandi. Dancer would first jump in purna mandi. Then jump and place the right/ left knee on the floor. Such a posture, where one knee rests on the floor is called Parshvasuci. The hands are in Tripataka hasta held in Natyarambhe. Watch the video and take a look at the subtle movements.

Mandi Adavu Third variation

Anjali — Fri, 11 Dec 2009 20:25:37 +0000

Here is the video of the third variation. The sollukettu Ta Ka Dhi Mi, repeated twice on each side.

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Mandi Adavu in Bharatanatyam

Anjali — Tue, 10 Nov 2009 18:24:04 +0000

Mandi in some Indian languages refers to area around the thigh and knee. In some instance we can refer it to a bent knee. Eg: Araimandi is where the knee is half bent. Muzumandi or poorna mandala is where the knee is fully bent.

In mandi adavus we make use of the Muzumadi position often. Steps could vary from jumps in poorna mandala to jumping and touching one knee on the floor.

Tips: In muzumandi the thigh and the calf donot touch. In other words the heels donot touch the buttocks. Also the whole body is balanced on the toes.

Following video shall demonstrate the variations in Mandi Adavus.

1. Mandi Adavu first and second variation

2. Mandi Adavu Third variation

3. Mandi Adavu Fourth Variation

Mandi Adavu First and second variation

Anjali — Tue, 10 Nov 2009 18:23:41 +0000

The first variation uses the Shikhara and pataka hand gesture. Begin the step with a jump down to the Muzumandi mandi position. Hands in Shikahra hasta. Say Ta Ka. Then rise up facing the left. Left leg bent and right leg stretched back on the toes. Left hand in Shikara and right hand in Pataka stretched forward. Say Dhi Mi. Mirror the same looking onto the right side.

The second variation uses the Alapadma and the katakamukha hand gestures. Begin with sitting on the toes in Poorna mandala. Hands held in Alapadma hasta facing up at the chest level. Say Ta Ka. Then rise up with right leg bend forward and left leg stretched back on the toes. Hands are held over the head in katakamukha facing up. Say Dhi Mi

Tips:
1. When the legs are stretched back, donot rest the knee on the floor.
2. Keep your back straight while in poorna mandala, while getting up and even while the legs stretches back.
3. With beginners I have seen a tendency to bend forward while in poorna mandi and getting up. That is because the body naturally stoops forward to balance. Try working on keep the back straight.

Certification program in Bharatanatyam

Anjali — Tue, 06 Oct 2009 20:03:48 +0000

I am now offering certification courses in Bharatanatyam in affiliation with Alagappa Performing Arts Academy (APAA) based out of Escondido, California, USA. APAA offers an online degree program in Bharathanatyam through Alagappa University. This well structured learning program has been developed by APAA in collaboration with the university and leading artists. The certifications currently offered are:

1. Certificate course (1 to 3 year duration): This program gives you an understanding of basic concepts like Nritta, Nritya, Natya, history, Single and double hand gestures. You learn the basic steps (Adavus) followed by Allarippu, Kautukam and Shabdam. Note that the student must be minimum 10yrs of age to enroll for the program.

2. Associate program (1 year duration and after Certificate): Introduction to expression is at this stage. Students also learn Todaya Mangalam and Jatiswaram.

3. Diploma course (1 year duration and after Associate Degree): Students delve deeper into the techniques of abhinaya exploring concepts like the sattvikka abhinaya, bhavas, Ashtanayikas and Sanchari’s. Dance recitals like the Padam and Varnam is learnt.

4. B.A Degree program (1 year duration and after Diploma): Students must be atleast 16 years of age . You are introduced to the concept of Nattuvangam. Vocal music or learning another classical dance form will be an allied subject. Students also choreograph dances like Tillana as a part of their project.

The examinations are both practical and theory. The students are required to record the dance recitals in a CD and send it to APAA for grading. The theory includes both multiple choice and essay type questions. Students can give the theory test online using a login provided by APAA.

Bharatanatyam students spend years learning the art and perfecting the practice to perform the ‘Arangetram’ that can take from 5 to 7 years. If a student were to pursue academic studies during this time, they would be able to complete post-graduate collegiate education. However in the pursuit of learning Bharathanatyam, dancers are not awarded degrees or certifications for their accomplishments. This course ensures that you are given due recognition for your accomplishments pursuing the art form.

Visit the APAA site for more details on the certification programs. For newly enrolling students interested in pursuing certification, please complete the form here and express your interest. Existing students can access and fill out the APAA form here.

Please discuss this certification program in the forums. I have added a discussion area for Certifications.

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Introducing Forums

Anjali — Wed, 16 Sep 2009 15:50:34 +0000

I would like to thank all my readers for their encouraging comments and suggestions. There are many discussions happening in the “About me” and certain other posts. Lot of good points are being discussed and this is lost in the comments under each post. To make it easier for all of us and to capture the points for future reference, I have added discussion forums to the site. This will help us to post and capture all the discussions better. Going forward, I request all the readers and students to post your queries in the forums.

Please register and get started. Let me know if you have comments/suggestions to improve.