Online Bharatanatyam

Eye Movements or Drishthi Bheda

Anjali — Fri, 25 Jun 2010 19:43:02 +0000

Drishthi in sanskrit meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. Infact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in the shastras:

1. Sama: Eye kept still without any movement.

2. Alokita: Rolling your eye balls in a circular pattern.

3. Saachi: Looking through the corner of the eyes.

4. Pralokita: moving your eyes side to side.

5. Nimilita: It looks like a half shut eye. Here one tries to focus the eye ball towards the heart.

6. Ullokita: Looking upwards.

7. Anuvritta: Rapid movement of the eyes up and down.

8. Avalokita: Looking down.

Shloka :

Samam Alokitam Saachi pralokita Nimility
Ullokita-anuvritte cha tatha chaiva-avalokitam
Ithyashtho drishthi bhedaha syu kirtitah purvasuribhi

The following video should demonstrate how each of these eye movements are done.

Head movements or Shirobheda

Anjali — Thu, 06 May 2010 20:31:59 +0000

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.

Alarippu part 2

Anjali — Sat, 24 Apr 2010 22:08:52 +0000

Here is the second part of Alarippu. I have used some audio in between to demonstrate the speed and how it would match with the beats.

No related posts.

Alarippu

Anjali — Thu, 18 Mar 2010 20:49:54 +0000

The word Alarippu means “a flowering bud.” It is an innovatory piece meaning it is performed before a dancer begins a whole performance. It is considered to be a warm up piece for the dancers. According to T. Balasraswati “Alarippu, which is based on rhythm alone, brings out the special charm of pure dance. The movements of Alarippu relax the dancer’s mind and thereby her mind, loosen and coordinate her limbs and prepare her for the dance. Rhythm has a rare capacity to invoke concentration. Alarippu is most valuable in freeing the dancer from distraction and making her single-minded.”

Alarippu begins with Atamis or neck movements followed by Mandi advau in the second half and later culminates with vibrant foot work and teermanam adavu. In the following video I have tried to explain the first half of Alarippu step by step.

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.

No related posts.

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!!

No related posts.

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!!!!

No related posts.

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.

No related posts.