In previous posts, jatiswaram part 1 and part 2, we talked about the structure of Jatiswaram, Pallavi and charanam.  ” Da” Charanam was demonstrated in the previous posts. The following videos demonstrate the Charanams “Ni” and “Sa”.   1. Ni piece   2. Sa Piece.

The following videos demonstrates the 4th Korvai and the Charanam ‘Dha’.  For all the repeations of the Pallavi (Starting lines or thematic line of the song that is often repeated severel times), steps are done in accordance with the  swarams. The second video shows the first Charanam ‘da,,, ni da pa da’. They sound different from the Pallavi ( Sa,,,ni [...]

I have here worked on the Natesha Kautukam. This was the Kautukam that I learnt probably when I was 8 or 9. The steps are same almost in every style. I like the the Kalakriya series music for this Kautukam. Hence the demonstration is a blend of what I had learnt and Mrs Priyadarshiniji’s choreography.  [...]

Pushpanjali is an invocatory dance in Bharatanatyam.

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 [...]

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 [...]

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. [...]

The following is the sollukettu for sutral adavu. The Bols are Tat Tai Tam Dhit Tai Tam. If you would like to download this audio, right click here and save to computer

Kuditta Metta refers to Jumping on the toes and then striking the heels. The initial jump though not very obvious. Both jumping and striking the heels are executed in the Araimandi position. It is also known as Guditta Metta. I have read somewhere (cannot recollect the source) KudittaMetta is also referred as Kutta Adavu. May [...]

Following is the sollukettu for the fourth and the ninth variation. The sollukettu (syllables or bols) of these steps are “Tai Tai Tai, Dhit Dhit Tai“. If you would like to download this audio, right click here and save to computer