In the second half
Pushpanjali
This is an item where the artist salutes to god, guru and the audience. This item is a warmup item where the artist prepares the body for the next few hours of vigorous performance.
[Since Indian Dance was performed in the temples, therefore as a ritual the dancer would begin by offering the flowers to the God. Hence the name Pushpanjali- offering of flowers. The dancer pays her obeisance to the Ashtadikpãlas, that is, the Guardians of the eight directions, the Guru and the audience. Later when dance no longer remained confined in the Temples and stepped out to be developed as an exclusive presentation, then some of the ritualistic compositions got lost. Perhaps that is the reason items like Pushpanjali and Kautukams are not being included in the Tanjore Quartette Format and instead we have Alãrippu as the invocatory item. But again these items are being performed in todays recitals as they bring variety in the programme and also because of the fact that flowers are symbolic of pure mind.
]
Alaripu
This is a tamil word.Alar meaning to bloom. It comprises of set of movements without any meaning or expression. The movements are performed for syllables set for a beat(Tala). The complexity of the movements gradually increase. The steps are so formed that it looks like a bud blooming into a flower. This is also a warmup piece to prepare the body for the next few hours of performance. Eventhough there is no meaning, this can also be considered as an item where the artist salutes god,guru and the audience.
[Alarippu is the shortest and the simplest item of a BharatNatyam Recital. It is an invocatory piece where in the dancer pays her obeisance to the Gods, the Guru and the assembly of the onlookers.
Alar, Alaru is a Dravidian word and in most Dravidian languages, the verbal form means 'to blossom'. Alarippu literally means 'flowering', that is, opening of the body and limbs to get prepared to execute more difficult pieces to be taken up subsequently.
Hence it is a short piece with simple poses and movements in an equally simple tune and rhythm. It is a piece of 3-5 minutes duration and is preceded by a shloka or a verse. Alarippu is valuable in freeing the dancer from distraction and making her single-mindedness. In Alarippu which is based on rhythm (Taala) alone, the dancer takes leave of her subjective consciousness and identifies herself with the universal consciousness.
]
Jatiswaram
This is also an item where the movements will not convey any meaning or theme. Here the steps are more complex than the previous items. The composition can have amazing postures and teermanas or muktayas(ending of a jati). This is a musical composition set to a raga unlike alaripu which has only syllables.
[Jatiswaram is a more difficult item of pure dance(nritta) which has the adavus set to the Jatis (rhythmic syllables) and the Swara patterns set in a particular Raaga and Taala.
It has both melody (Raaga) and movement. It has no special mood and its aim is pure aesthetic pleasure by the creation of forms of beauty through poses and movements in rhythm. The Korvais show beautiful combination od Adavus and jatiswaram begins with a Teermaanam.
]
Shabda
This is a dance item with both nritta & abinaya. Usually the theme of the lyrics will be devotional like praising lord krishna, depicting lord krishna's childhood , praising a king etc.The movements here are leisurely.
[In the third item, Shabdam, for the first time words of sahitya and the abhinaya or gestural expression for that is introduced.
Lines of lyrics and rhythmic syllables (jatis) alternate in shabdam. Thus both abhinaya as well as the nritta is found here. Shabda means words of praise, hence a shabdam is a piece in which the deity/God or the king are praised for their deeds, glory, generosity and qualities. In Sanskrit it is called Yashogita, a song in praise praising the subjects' fame.
Shabdams usually ended with the word 'salaamure', that is, a salutation, hence they were also called as salaamus.
A large numbers of shabdam have been composed by gifted vaggeyakars of Melattur Village in Tanjore District like Bharatam Kasinadhayya, Ventaka Rama Shastri. Most of them are in raaga kaambhoji and a few in ragamaalikaa.
]
Varna
This is the item where the dancers are tested for their capacity to perform abinaya & nritta. This can be treated as a benchmark to judge the artist's talent.The item will contain many complex steps and will have lot of room for expressions also. To perform this item one should have lot of stamina & concentration. The lyrics can be devotional, praising a king etc. Varna can also have shrigara rasa as its theme.
[Varnam is the most enthralling, interesting and a challenging item in a bharatnatyam recital. It is a piece-de-resistance where in the expertise of the dancer is known.
There is a perfect synchronisation of Bhava, Raaga and Taala, thus giving the dancer abundant scope for displaying her rhythmic talents along with rich and variegated abhinaya. It is also a measure of one of the 'Dashapraanas' (the 10 vital characteristics of a good dancer), that is 'ashrama'(endurance), since it is the longest and the most demanding item where in the dancer uses her feet dancing to the Adavu-Jatis, the hands and the hastaas indicating the meaning of the song, while the feeling (inner emotion) is potrayed by the saatvika abhinaya through subtle facial expressions.
Varnam is nearly 45 minutes to one hour long item and creates an impression of beauty, grandeur and profundity while depicting the changing moods of love for the hero who is a God. The mood is of Shringaara Bhakti- the worship through love.
» Stucture of Varnam:
Varnam is divided into two sections:
The 'Purvaranga', that is, the first half comprising pallavi, anupallavi and muktaayi swara, also called as chitta swara with abhinaya being alternated with pure dance steps.
The second half is the 'Urraranga', also called as the 'Ettugada' or 'Charana' comprising ettugada sahitya and ettugada swaraas.
The first half opens with a 'mukaala termaanam', that is a teermaanam in three kaala (speeds) which is choreographed with complex and graceful adavus, performed to the recital of the 'shollukattu'. Then the pallavi and anupallavi sahitya is alternated with nritta followed by the muktaayi sahitya and the muktaayi swara indicating the end of 'purvaranga'. The pallavi sahitya is rendered once again and then the charana (ettugada) begins with the alternate occurence of sahitya and swara on one hand and abhinaya and pure nritta on the other hand. After the last charana swara , the sahitya is rendered again and brought to an end on aappropriate note till the cycle of taala is completed.
There are two kinds of Varnams- one is Pada Varnam and the second is Taana Varnam.
Taana Varanam is mainly intended for musical practice. Much of it is in middle or fast tempo. Though it has sahitya but the sahitya does not have much room for the exposition of rich and variegated abhinaya.
Where as PadaVarnam which is also known as ChaukaVarnam is sung in slow tempo (chaukakaala meaning vilamb or slow tempo) and hence give ample scope for abhinaya as well as the nritta.
» Brief history
Varnam was not part of the Sadir Attam till the 18th century. The earliest composer of Varnam is beleived to be Melattur Veerbhadrayya who was in the court of Prataapa Simhaa (1739-1763). The idea of a musical composition with sahitya for all angas was probably suggested by 'Husseni Swarajati' by Veerbhadrayya himself. He is also known to have given a definite shape to Carnatic music. Patchimiriyam Adiyappa, Ramaswami Dikshitulu (1735-1817), Mudduswami Dikshitulu (1775-1835), Shyama Shastri(1763-1827), Ponnaiya and Vadivelu of the Tanjore Quarttette and more are some of the later nattuvanaars who composed Varnams.
]
Padam
In this dance item the dancer's abhinaya is put into test. It narrates expression of divine love or pangs of seperation in love. The tempo is slow and the performance is based on a specific mood of love.Padams will have Nayaka(Hero, Supreme lover, Divine Lord)& Nayika(Heroine, the yearning soul). Heroine will talk to her friend(sakhi) and narrate her feelings towards her hero. The lyrics can be about how the hero has betrayed, how he has delayed the arrival, how she is angry with her beloved hero etc. The Nayika and Nayaka Bhavas are explained in detail
[Padams are abhinaya items, usually love lyrics and are rendered in a slower tempo. The various moods and emotions of the Naayikaa are executed by the dancer giving immense scope for the expression of variegated sentiments and shades of emotions.
Unless the dancer has understood and experience the meaning behind the words, she can never express fully the song. The naayikaa is longing for her naayaka symbolising the longing of each individual soul for union with the universal Divine Spirit. Seperation (Vipralambha) and Union (Sambhoga) are the two aspects of love that dominate this item in which the dancer can surrender herself to God, forget her own self in utter renunciation and begin to experience awareness of the highest truth. The Padams of Kshetrayya and the Ashtapadis of Jayadeva are frequently chosen for the performance besides others.
» Javalis
Javalis are also love lyrics based on shringara rasa like padams but they are shorter and executed in faster tempo. They have a touch of folk music. The javalis are in a lighter mood than the padam. The nritta and abhinaya portions of the dance are also not demarcated .
» Kirtanams
Kirtanams are compositions which are in praise of God which begin with pure dance steps performed on rhythmic syllables (shollus) followed by abhinaya on the sahitya (lyrics) of the song. They are executed in madhyam kaala , that is in a medium tempo.
]
Ashtapadi
These are poet Jayadeva's Sanskrit compositions called Geetagovinda, an extremely romantic composition. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. The songs are sung by Krishna or Radha or by Radha's maid. Each Canto is named differently considering Krishna's status of mind.
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Saamodadamodara - Joyful Krishna
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Aakleshakeshava - Careless Krishna
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Mugdhamadhusoodhana - Bewildered Krishna
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Snigdhamadhusoodhana - Tender Krishna
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Saakankshapundareekaksha - Longing Krishna
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Kuntavaikunta - Indolent Krishna
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Naagaranaaraayana - Cunning Krishna
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Vilakshalakshmeepatihi - Abashed Krishna
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Mandamukunda - Languishing Krishna
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Chaturachaturbhuja - Intellegent Krishna
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Saanandadamodara - Blissful Krishna
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Supreetapeetambara - Ecstatic Krishna
Expressions are given foremost importance while performing these poems. Needs lot of grace. The artist should be mature enough to understand the lyrics and the situation to show the rasas.
Devaranama
This item is a devotional piece where the lyrics are in praise of god, describing the god etc. This is a pure abhinaya item with almost no emphasis on nritta. Usually the lyrics are in Kannada. These songs are the compositions of great mystics like Purandharadaasa, Kanakadaasa, Vijayadaasa, Vyasaraaja to name a few. The compositions are popularly known as Daasa Sahitya. It is a devotional literatures written in simple language understood by common man. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching phylosophy of Love, Devotion and Peaceful Co-Existance.
If you are looking for some compositions, .
Tillana
This is usually the last item in any bharatanatyam performance. Tillana is full of complicated movements & postures. This will also have complicated Muktayas or Sholkattu, ending of any step or aduvu. This is mainly a nritta piece which might have a charana, a meaningfull lyrics for which abinaya is shown.
[Tillana is a nritta item comprising of beautiful and graceful pure dance steps along with a number of alluringly sculpturesque poses and varied patterns of movements.
Each adavu is executed in Vilambit (slow), Madhya (medium) and Dhrut (fast) kaala (speed) with a meticulous combination of the adavus, resulting in scintillating teermaanams. It ends in Dhrut kaala, thus impressing and spell bounding the audience.
Composed in specific raaga and taala, tillana comprises of pallavi, anupallavi and a sahitya which is in praise of God or the Diety in the temple or the King who has built the temple where the dance used to be performed.
]
Mangala
Meaning ending the performance. Here the artist will again salute god, guru & the audience for making the performance a success
[The performance closes either with abhinaya or a shloka or a verse according to the tradition. The dancer does the Namaskar and pays her gratitude to the audience, Guru, musicians, Earth and God. She prays for everybody's well being and success at the end of her performance.
A bharatnatyam recital lasts for about two and half to three hours and hence the main purpose of Mangalam is to show that even after the strenuous dance, she is as fresh as she was in the beginning..
]
About My Self & My Gurus
I, Annapoorna Anand, am a dancer myself and have learnt bharatanatyam for about 16 years. I have passed Vidwat exam, Highest exam for classical dance ,Karnataka Examination Board, Karnataka,India. I am also a Classical Carnatic Vocal singer. I have given innumerable peformances in Karnataka and have participated in number of dance dramas composed by my guru.
My guru Sri.H.R. Keshavamurthy is a doyen in the field of bharatanatyam in Bangalore,India. He has been my Guru for 16 years. He is the founder of Shri Keshava Nritya Shala , a dance school which trains students in bharatanatyam. He has dedicated himself to this field from more than five decades. He has been honoured with many awards. Recently he was awarded "The Shantala Award", given for outstanding contribution to the field of Classical Dance. He has directed more than 30 dance dramas like Sri Krishna Tulabhara, Kaveri Vaibhava, Jatayu Moksha, Mohini Bhasmasura, Parvati Koravanji, Tirukana Kanasu to name a few. Latest project he is working on is, to adopt the works of number of famous indian poets to dance, like Kalidasa's Shakuntala, Ranna's Gadhayudda etc., a very challenging & commendable step. He has trained thousands of students under his able guidence, many of whom have taken this as a profession and running their own dance schools. This year he is celebrating the 50th anniversary of his dance school. To commemerate the occation, year long dance performances & workshops are held in bangalore.
Here in St.Louis, Missouri my Guru is Smt. Asha Prem. She is the director of the School of Dances of India. She has performed extensively in India & USA. She has been the reciepient of numerous awards and honors from various cultural associations. She was invited to inaugurate the Festival of India program in New York. She is a faculty of Washington University in St.Louis. She has enriched the cultural life of the Midwest by dedicating herself to teaching & performing classical dances over the past twenty years.
Other Bharatanatyam Links
References
I have refered to
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The Geetagovinda of Jayadeva, Love song of the Dark Lord - By Barbara Stoler Miller , for information about Geetagovinda.
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Aspects of Abhinaya - By Kalanidhi Narayanan , for Nayika & Nayaka Bhavas.
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Abhinayadarpana, Kannada traslation - By Sri.M.Sridharmurthy., for Hasta Viniyogas.
All other information were part of my Vidwat exam, given to me by my Guru, Sri. H.R.Keshavamurthy.
Reference Books
Hasta (Hand Movements)
HASTA PRANALAKSHANA
The way a hasta/mudra is held, is divided into 12 Pranalakshana ie 12 different ways of holding a hand.
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Prasarana Hasta - The fingers are stretched
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Kunchita Hasta - The fingers are folded
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Rechita Hasta - The fingers are given movement
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Punchita Hasta - The fingers are folded or moved or stretched
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Apaveshtita Hasta - The fingers are bent down
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Prerita Hasta - The fingers are bent back or moved or stretched
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Udveshtita Hasta - Holding the hands UP while dancing
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Vyavrutta Hasta - Hands help UP in the sides
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Parivrutta Hasta - Hands are brought together from sides (like a namaskara)
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Sanketa Hasta - Hands used to convey Implied Meanings
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Chinha Hasta - While dancing a dancer tries to show lot of things which are visible & invisible like a person's physical appearence, face, weapons, places of limbs & other parts of the body, his/her influence on others, their mannerisms etc. Hands used to show such things are called Chinhe
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Padarthateeke - Hands used to confirm the meanings of certain words
The hand gestures are divided as
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Asamyuta Hasta - Single hand gestures
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Samyuta Hasta - Double hand gestures
There are 28 asamyuta hastas & 24 Samyuta hastas. Each hasta has a defined usage called Viniyoga. These viniyogas are again sanskrit shlokas written in Natyashastra.
Asamyuta Hasta
Pataka tripatakordhapataka kartareemukhaha
Mayurakyordhachandrashcha arala shukatundakaha
Mushtishta shikarakyashcha kapitha katakamukhaha
Suchee chandrakala padmakosham sarpashirastata
Mrugasheersha simhamukho langulasolapadmakaha
Chaturo bramarashchiva hamsasyo hamsapakshakaha
Samdamsho mukulashchiva tamrachooda trishoolakaha
Ashtavimshatihastanaam evam naamaanivikramat.
Samyuta Hasta
Anjalishcha kapotashcha karkata swastikastatha
Dolahasta pushpaputaha Utsanga shivalingakaha
Katakavardhanashchiva kartaree swatikastata
Shakata shankha chakrecha samputa pasha keelakau
Matsya Koorma Varahashcha Garudonagabandakaha
Khatwa bherundakakhyashcha avahitastathivacha
Chaturvimshatisankhyakaha samyuta katithakaraha
The Viniyoga (usage) of these are described below.
Hasta Viniyogas
Using the above two, one can show lot of other things in dance like
Asamyuta Hastas
Pataka Hasta
Stretch all the fingers & hold them tightly together to show Pataka Hasta.
Nattyaarambhe Vaarivaahe Vane Vastunishadhane
to begin the dance, clouds, forest, to refuse something
Kuchasthale Nishanyaamcha Nadhyaam Amaramandale
to show brests, night sky, river, the heavens
Turage Khandane Vaayau Shayane Gamanodyame
horse, strike down, wind, sleeping, to go quietly
Prataapecha Prasaadecha Chandrikaayam Ghanaatape
to indicate greatness, to offer something, moonlight, bright sunlight
Kavaattapaattane Saptavibhaktyarthe Tarangake
to open a door, seven scriptures, waves
Vithipraveshabhaavepi Samatvecha Angaraagake
to enter a street, to show equality, to anoint ones body
Aatmaarthe Shapathechaapi Tushnimbhaavanidarshane
to show oneself, to take an oath, to show silence
Aashirvaadakriyaayaamcha Nripashreshtasyabhaavane
to bless,ideal king,
Taalapatrecha Khettecha Dravyaadisparshane tatha
palm leaf, shield, to touch things
Tatratatretivachane Sindhautu Sukrutikrame
to indicate such and such person, ocean, to indicate everything is alright
Sambhodhane Purogepi Khadgarupasyadharane
to address a person, going forward, sword
Maase Samvatsare Varshaadine Samaarjane tatha
month, year, rainy season, to sweep
Evamartheshuyujyante Pataakahastabhavanah
these are the different usages of Pataka Hasta
Tripataka Hasta
Bend the fourth finger & hold the rest tightly, like in pataka hasta to show Tripataka Hasta.
Makute Vrukshabhavecha Vajre Taddharavasave
Crown, Tree, Weapon of Lord Indra, Lord Indra
Ketakee kusume Deepe Vanhijwalavigrumbhane
Ketakee Flower, Lamp, to show flames
Kapole Patralekhayaam Baanarthe Parivartane
Cheeks, Letter writing, Arrow, Changing
Streepumpsayosamayoge Yujyate Tripatakakaha
Getting together of Man & Woman Tripataka is used.
Ardhapataka Hasta
Bend the fourth & the last finger and hold the rest tightly like in Tripataka Hasta to show Ardhapataka Hasta.
Pallave Phalake Teere Ubhayoritivachake
Sprouts, Board, Banks of rivers, to show two persons
Krukache Churikayancha Dhwaje Gopura Shrungayoho
Hack Saw, Sword, Flag, Shrine, Horns
Yujyaterdhapatakoyam Tatatkarmaprayogataha
Ardhapataka is used to show all these things.
Kartareemukha Hasta
Hold Ardhapataka Hasta. Then make an angle between the second & third fingers (like in scissors) to show Kartareemukha Hasta.
Streepumsayostuvishleshe Viparyasapadepicha
Seperation of Man & Woman,differentiation
Lunthane Nayanantecha Marane Bhedabhavane
Stealing, Glance, Death, Showing Difference
Vidyudarthe Ekashayya Virahe Patanetatha
Lightning, Single Bed, Pain of Seperation, Falling Down
Latayaam Yujyatechayam Kartareemukha Isyate
Creeper Kartareemukha is used for all these things.
Mayura Hasta
Hold Tripataka Hasta but touch the fourth finger with the thumb to show Mayura Hasta.
Mayurasye Latayancha Shakune Vamanetatha
Peacock, Creeper, Bird, Vomitting
Alakasyapanayane Lalate Tilakeshucha
Curls, Forehead, Dot on the Forehead(bindi)
Netrasyodakavikshepe Shastravade Prasidhake
Tears, Predictions, Famous
Yevamartyeshu Yujyante Mayurakarabhavanaaha
To show all these meanings Mayura Hasta is used.
Ardhachandra Hasta
Leave the thumb in the Pataka Hasta to show Ardhachandra Hasta.
Chandre Krishnashtameebhaje Galahastadikepicha
Moon, Krishna's Birthday, pushing out holding the neck
Bhallayudhe Devatanaamabhishechanakarmanee
Weapon, worshipping the gods
Bhukpatrecha Udbhave Katyaam Chintayaam Aatmavachake
Plate, Creation, Waist, Worrying, Saying that "It is mine"
Dhyanecha Prarthanechapi Angasamsparshane tatha
Meditation, Praying, Touching the Limbs
Prakrutanaamnamaskarepyardhacahndroniyujyate
To salute the common man Ardhachandra Hasta is used.
Arala Hasta
Fold the second finger in Pataka Hasta to show Arala Hasta.
Vishamrutadipaneshu Prachandapavanepicha
Drinking Poison or Nectar, Thunder storm
Yujyateraalahastoyam bharattagamakovidhihi
Arala Hasta is used to show all these things.
Shukatunda Hasta
Bend the fourth finger in Arala Hasta to show Shukatunda Hasta.
Baanaprayoge Kuntarthe Marmoktaaugrabhavane
To Shoot an Arrow, Weapon, Saying Cunning things, Showing Fury
Shukatundakarogneyo Bharatagamavedhibhihi
Shukatunda Hasta is used for all these things.
Mushti Hasta
Fold all the fingers in to the palm & keep the thumb on them to show Mushti Hasta(like a fist).
Sthire Kachagrahe Dardhye Vastraadeenaanchadharane
Strength, Dragging by the Hair, Courageous, Holding Things
Mallanaam Yudha bhavecha Mushtihastoyamuchyate
Wrestling To show all these Mushti Hasta is used.
Shikhara Hasta
Stretch the thumb finger in Mushti Hasta to show Shikhara Hasta.
Madane Karmukhe Sthambe Nishabdhe Pitrutarpane
Cupid, Bow, Piller, Silence, Offerings to the dead ancestors
Oshte Pravishtaroopecha Radane Prashnabhavane
Lips, Enterung, Teeth, Questioning
Ange Naasteetivachane Smarane Abinayaantare
Limbs, saying 'NO', Recollection, At he end of an expression
Katibandhakarshanecha Parirambhavidhoudhave
Tieing around the waist, Hugging
Shaktitomarayormokshe Ghantanadecha Peshane
Weapon names Shakti, Weapon called Tomara, Ringing the Bell, Churning
Shikharo Yujyatesoyam Bharatagamavedhibhihi
Shikhara Hasta is used to show all these things.
Kapitha Hasta
Fold the second finger on the thumb in the Shikhara Hasta to show Kapitha Hasta.
Lakshmyamchiva Saraswatyam Veshtane Taladharane
To show Godess Lakshmi, Saraswati, Going Around, Holding the symbols(Tala)
Godohanechanjanecha Leelattasumadharane
Milking the cows, Putting eye liners, Holding Flowers
Chelanchaladigrahane Patasyivavakuntane
Holding the Saree(pallu), Draping a cloth on the face
Dhoopadeepaarchanechapi Kapithasamprayujyate
To Hold Lamp and Incense, Kapitha Hasta is Used.
Katakamukha Hasta
Bring together the thumb, index & middle fingers & stretch the other two fingers at an angle to show Katakamukha Hasta.
Kusumapachaye Muktasrajaam Daamnancha Dharane
Plucking the flowers, Pearl necklace, Wearing Flowers
Sharamandaakarshanecha Nagavallee Pradanake
Getting attracted by the cupid arrows, Giving Beetle Leaf
Kastoorikadi Vastoonaam peshane Gandhavasane
Showing Kastoori & other Perfumes, Enjoying the perfumes,
Vachane Drushtibhavecha Katakamukha Ishyate
To show Talking & Seeing Katakamukha Hasta is used.
Suchi Hasta
Stretch the index finger & bring together all others to show Suchi Hasta.
Ekarthepi Parabrahmabhavanayam Shatapicha
Showing Number One, Showing Para Brahma, To show 100
Ravou Nagaryam Lokarthe Tathepivachanepicha
Sun, City, Univerce, Saying 'That's how it is'
Yachabdepichatatchabdhe Vyajanarthepitarjane
Asking 'when, why, who, how?', Scaring
Karshye Shalakavapushe Ashcharye Venibhavane
Thin or Skinny, Wonder, Showing the hair
Chatre Samarthe Konecha Romalyam Bheribhedhane
Umbrella, Capable, Room, Exitement,
Beating an instrument called Bheri
Kulalachakrabhramane Rathange Mandaletatha
Showing potter's Wheel, Wheel of a chariot, Group of People
Vivechane Dinantecha Suchi Hasta Prakeertithaha
Thinking, Evening all these are shown using Suchi Hasta.
Chandrakala Hasta
Stretch the thumb finger in Suchi Hasta to show Chandrakala Hasta.
Yesha Chandrakalaa chandrakallayame Vyujyate
This Chandrakala Hasta is used to show Moon.
Padmakosha Hasta
Bend all the fingers towards the palm to show Padmakosha Hasta.
Phale Bilwa Kapithadou Streenaamcha Kuchakumbhayoho
To show Fruits like Bilwa & Kapitha, Breasts
Vartule Kanduke Swalpabhojane Pushpakoshake
Round, Ball, Small qualtity of food, Bud
Sahakaraphale Pushpavarshe Manjarikadishu
Mango, Rain of flowers, Bunch of Flowers
Japakusumabhavepi Ghantaroopa Vidhanake
To show Flowers, Bell
Valmeeke Kumude Ande Padmakoshobhidheeyate
Anthill, Lilly, Egg Padmakosha Hasta is used.
Sarpasheersha Hasta
Bend the fingers a little in Pataka Hasta to show Sarpasheersha Hasta.
Chandane Bhujage Mande Prokshane Poshanadishu
Sandalwood paste,Snake, Slow, Sprinkling, Caring
Devarshudakadaaneshu Hyaspale Gajakumbhayoho
Holy water, Elephant's Forehead
Bhujaasphaletu Mallanaam Yujyate Sarpasheershakaha
To show the muscles of wreslers Sarpasheersha hasta is used.
Mrugasheersha Hasta
Stretch the thumb & the little fingers in Sarpasheersha Hasta to show Mrugasheersha Hasta.
Streenamarthe Kapolecha Krama Maryadayorapi
To show Women, Cheeks, Way of doing things, To show respect
Bheete Vivade Nepathye Aavasecha Tripundrake
Scare, Argument, Back Stage, The place of living, Forehead
Mukhamukhe Rangavalyom Paadasamvahanepicha
Meeting of people, Sacred Design on the floor, Massaging the feet
Sarvasammelanekaarye Mandire Chatradharane
Getting peoplr together, house, Hoding an umbrella
Sopane Padavinyase Priyahvane Tathivacha
Stairs, Gaite, To call the loved one
Sancharecha Prayujyeta Bharatagamakovidhihi
To show Movement this hasta is used.
Simhamukha Hasta
Touch the middle & the ring finger with thumb & stretch the second & little fingers to show Simhamukha Hasta.
Vidrume Mouktikechiva Sugandhe Alakasparshane
to show Coral, Pearl, Fragrance, Curls
Aakarnanecha Prushati Moksharthe Hrudisamstitaha
Hearing, Point, Salvation, Heart
Home Shashe Gaje Darbhachalane Padmadamini
Sacred fire, Rabbit, Elephant, Sacred Grass, Flower
Simhanane Vaidyapakashodhane Simhavakrakaha
Lion's face, Examin the medicinal preparations Simhamukha Hasta is used.
Langoola Hasta or Kangoola Hasta
Fold the ring finger in Padmakosha Hasta to show Langoola Hasta.
Lakuchasya Phale Balakuche Kalharake tatha
To show Lemon, Breasts of a teenager, Flower called Kalhara
Chakore Kramuke Baalakinkinyam Ghutikadike
A bird called Chakora, Beetle nut, Jingles, Tablets
Chaatake Yujyatechayam Kangoolakaranaamakaha
A bird called Chataka Kangoola Hasta is used.
Alapadma Hasta
Stretch & hold all the fingers at an angle to each other to show Alapadma Hasta.
Vikachabje Kapithadiphale Chaavartake Kuche
Lotus, Fruit Called Kapitha, Turning, Breasts
Virahe Mukure Poornachandre Soundaryabhajane
Pain of seperation, Mirror, Full moon, Beautiful things
Dhammille Chandrashalayaam Grame Uddhata Kopayoho
Knotted Hair, Moon Chamber, Village, Height, Anger
Tataake Shakate Chakravake Kalakalaarave
Lake, Cart, Bird Called Chakravaka, Sound of Birds, wind, water
Shlaghane Solapadmashcha Keertito Bharatagame
To Praise Alapadma Hasta is used.
Chatura Hasta
Stretch all the fingers, hold the little finger at an angle to the other fingers & fold the thumb & touch the bottom of the ring finger to show Chatura Hasta.
Kastooryaam Kinchidapyarthe Swarnataamraadilohake
Fragrane called Kastoori, To show small quantity, Gold and other metals
Aardre Khede Rasaaswade Lochane Varnabhedake
Wetness, Sadness, Taste, Eye, Differentiate colors
Pramane Sarase Mandagamane Shakaleekrute
Promise, Romance, Slow movement, Breaking
Aasane Ghruta Tailadou Yujyate Chaturakaraha
Seat, Melted Butter, Oil Chatura Hasta is used.
Bhramara Hasta
Touch the Middle finger with thumb, bend the second finger completely, stretch the last two fingers at an angle to show Bhramara Hasta.
Bhramarecha Shuke Yoge Saarase Kokiladishu
To show Honey Bee, Parrot, Meditation(Yoga),
Birds Called Sarasa & Kokila
Bhramaraabidhahastoyam Keertito Bharatagame
Bhramara Hasta is used.
Hamsasya Hasta
Touch the index finger with thumb & hold the other fingers at an angle to show Hamsasya Hasta.
Mangalyasootrabandhe Chapyupadeshe Vinishchaye
Tying the sacred thread of marriage, Advice, Decission
Romanche Mouktikadoucha Chitrasamlekhane tatha
Excitement, Pearls & other precious stones, Drawing
Damshetu Jalabindoucha Deepavarteeprasarane
Fly, Drop of water, Wick of the lamp
Nikashe Shodhane Mallikadou Rekhavalekhane
Polishing, Searching, Jasmine & other flowers, Drawing a line
Malayaamvahane SohambhavanayanchaRoopake
Holding garland, To say 'i am Brahma'
Naasteetivachanechapi Nikashanamchabhavane
Saying 'No', Looking at the polished article
Krutakrutyepi Hamsasyaha Eerito Bharatagame
Hamsasya Hasta is used to show all these things.
Hamsapaksha Hasta
Stretch the Little finger in Sarpasheersha Hasta to show Hamsapaksha Hasta.
Shatsankhyayaam Setubandhe Nakharakankhanetatha
To show number 6, Bridge, Impression of the nails
Vidhane Hamsapakshoyam Keertito Bharatagame
Way of doing thing Hamsapaksha Hasta is used.
Samdamsha Hasta
Hold the Padmakosha Hasta, close & open the fingers often to show Samdamsha Hasta.
Udaare Balidanecha Vrane Keete Manobhaye
To show Generosity, Sacrificial Offering, Wound, Insects, Fear
Archane Panchavakravye Samdamshakyobhidheeyate
Offering Worship, Number 5 Samdamsha Hasta is used.
Mukula Hasta
Touch the tips of all the fingers to show Mukula Hasta.
Kumude Bhojane Panchabane Mudradidharane
To shoa Lilly, Eating, Cupid,Smearing sacred marks on the body
Naabhoucha Kadaleepushpe Yujyate Mukulakaraha
Belly button, Banana Flower Mukula Hasta is used.
Tamrachooda Hasta
Hold the Mukula Hasta, seperate the index finger, bend a little to show Tamrachooda Hasta.
Kukkutadou Bake Kaake Ushtre Vatsecha Lekhane
To show Rooster,A bird called Baka, Crow, Camel, Calf and to show letters
Tamrachooda Karakhyasou Keertito Bharatagame
Taamrachooda Hasta is used.
Trishoola Hasta
Fold the thumb & the little finger, stretch the other fingers & hold them together to show Trishoola Hasta.
Bilwapatre Tritwayukte Trishoolakara Eeritaha
To show a leaf called Bilwa & to show the number 3
Trishoola Hasta is used.
Samyuta Hastas
Anjali Hasta
Hold Pataka in both the hands & join the palms to show Anjali Hasta.
Devataguru Vipranaam Namaskarepyanukramaat
To salute God, Teacher & the Learned hold the Anjali Hasta
Karyasshiromukhorassu Viniyojyonjalikaraha
above the head, in front of the face &
in front of chest respectively.
Kapota Hasta
In Anjali Hasta, only the borders of the hands are joined(Palm should not touch one another) to show Kapota Hasta.
Pramaana Gurusambhasha Viniyogeekrutishwayam
To make promise, Speak to the teacher, To be Polite,
To Agree this hasta is used.
Karkata Hasta
Bring the fingers of both the hands between one another to show Karkata Hasta.
Samoohadarshane Tundadarshane Shankhapoorane
To show Crowd, Thick articles, Blowing of Shankha
Angaanaam Motane Shakhonnamanecha Niyujyate
Stretching Limbs, Bending the branches of a tree this hasta is used.
Swastika Hasta
Hold Pataka Hands & cross the hands at the wrist so that the hands are opposite to each other to shoe Swastika Hasta.
Samyogena Swastikakhyo Makararthe Niyujyate
This hasta is used to show Aligater
Bhayavade Vivadecha Keertane Swastikobhavet
To Talk in fear, to Argument and to praise this hasta is used.
Dola Hasta
Hold Pataka Hasta, stretch the arms & keep the hasta upside down along the hip line to show Dola Hasta.
Naatyarambhe Prayoktavya Iti Natyavidovidhuhu
This hasta is used in the beginning of a dance.
Pushpaputa Hasta
Hold Sarpasheersha in both the hands & join them at the wrist to show Pushpaputa Hasta.
Neerajanavidhou Baala Phaladigrahane tatha
To show Lamp Offering, Children, Accept Fruits
Sandhyayaamarghyadanecha Mantrapushpe Niyojayet
Offering to the Sun in the evenings, Chant Holy prayers
This hasta is used.
Utsanga Hasta
Hold Mrugasheersha Hasta in boh the hands, cross the hands, touch opposite shoulders to show Utsanga Hasta.
Aalinganecha Lajjayaam Angadaadipradarshane
To Embrace, To show shyness, To show one's body
Baalaanaamshikshanechaayam Utsango Yujyatekaraha
To deciplinne children Utsanga hasta is used.
Shivalinga Hasta
Hold Ardhachandra Hasta in the left hand(palm up), keep shikhara Hasta in right hand & place it on the left hand to show Shivalinga Hasta.
Viniyogastutatsyva Shivalingapradarshane
This Hasta is used to show Shivalinga (Lord Shiva).
Katakavardhana Hasta
Hold Katakamukha Hasta in both hands, cross the hands at the wrist to show Katakavardhana Hasta.
Pattabhisheke Poojayam Vivahadishu Yujyate
To show Coronation, To worship and to show weddings
this hasta is used.
Kartareeswastika Hasta
Hold Kartareemukha Hasta in both the hands & cross the hands at the wrist to show Kartareeswastika Hasta.
Shakhaasucha Adri Shikhare Vruksheshucha Niyujyate
To show the branches of a tree, tip of Mountains, Trees
This hasta is used.
Shakata Hasta
Leave the thumb & the middle fingers in Bhramara Hasta. Hold like this in both the hands & cross at the wrist to show Shakata Hasta. Another way of showing Shakata Hasta is to cross the Arala Hastas at the wrist.
Raakshasaabhinayechaayam Niyukto Bharatadibhihi
This hasta is used to show Demons.
Shankha Hasta
Hold the Left thumb with the last three fingers of the right hand, stretch the other fingers of the left hand, stretch & touch the thumb & index fingers of the right hand with the stretched fingers of the left hand to show Shankha Hasta.
Shankhaadishuniyujyoya Mityevam Bharataadayaha
This hasta is used to show Conch.
Chakra Hasta
Hold Ardhachandra hasta in both the hands, place them one above the other like a Plus(+) mark to show Chakra Hasta.
Chakrahastassa vigneya chakrarthe viniyujyate
This Hasta is used to show Chakra, the weapon of Lord Vishnu.
Samputa Hasta
Hold Chakra Hasta, fold the thumb & little fingers in both the hands to show Samputa Hasta.
Vastvaacchchade Samputecha Samputahkara Eeritaha
To cover things and to show the sacred box in which the
idols are placed this Samputa Hasta is used.
Paasha Hasta
Hold Suchi Hasta in both hands, bend the index finger a little & join these fingers like a chain to show Paasha Hasta.
Anyonyakalahe Paashe Shynkhalaayaam Niyujyate
To show Playful Quarrel, Rope, Chains this hasta is used.
Keelaka Hasta
Hold Mrugasheersha Hasta in both hands, bend the little finger a little & join these fingers like a chain to show Keelaka Hasta.
Snehecha Narmalaapecha Viniyogosya Sammataha
To show friendly talk this hasta is used.
Matsya Hasta
Hold Pataka hasta in both the hands, place them one above the other, stretch the thumb a bit (like fins of fish) to show Matsya Hasta.
Etasya Viniyogastu Matsyarthe Sammatobhavet
This hasta is used to show Fish.
Koorma Hasta
Opposite of Chakra Hasta is Koorma Hasta i.e Stretch the thumb & little fingers & fold the other fingers in Chakra Hasta to show Koorma Hasta.
Koormahastasyavigneyaha Koormarthe Viniyujyate
This Hasta is used to show Turtle, Tortoise
Varaha Hasta
Hold Mrugasheersha hasta in both hands, place them one above the other to show Varaha Hasta.
Etasyaviniyogastu Varaharthe tu Yujyate
This Hasta is used to Show Boar (Wild Pig)
Garuda Hasta
Hold Ardhachandra in both the hands, turn them & hold them with the thumbs to show Garuda Hasta.
Garudo Garudarthe cha Yujyate Baratagame
This Hasta is used to show a bird called Garuda.
Nagabandha Hasta
Hold Sarpasheersha in both the hands & cross them at the wrist to show Nagabandha Hasta.
Bhujagadampatee Bhaave Nikunchanaamcha darshane
To show Snakes, Creeper Chamber
Athrvanasya mantreshu Yojyo Bharatakovidhihi
Atharvana Veda Shlokas this hasta is used.
Khatva Hasta
Hold Chatura Hasta in both hands, place the hands one above the other, stretch the index fingers down to show Khatva Hasta.
Khatvahastobhavedeshaha Khatvaadishu Niyujyate
This Hasta is used to show Bed.
Bherundha Hasta
Hold Kapitha Hasta & cross them at the wrist to show Bherundha Hasta.
Bherundhapakshi Dampatyorbherundhaka Eteeritaha
To show a bird couple called Bherundha this hasta is used.
Avahittha Hasta
Hold Alapadma in both the hands, cross them at the wrist, place them near chest to show Avahitha Hasta.
Srungara Natanechiva Leelaa Kandukadharane
To show Love, Catching the ball
Kucharthe Yujyate Soyamavahitthakaraabhidhaha
Breasts Avahittha Hasta is used.
Deva Hasta
Here are some of the hastas used to show the gods & godesses.
Dashavatara Hasta
The 10(Dasha) incarnations(Avatara) of Lord Vishnu can be shown like this.
Navagraha Hasta
Jaati Hasta
Bandhu Hasta
Nritta Hasta
13 Hastas are categorised under Nritta Hasta. They are so named because of their usage in Aduvus.There are different ways of holding the Nritta Hastas. They can be held
- Facing Upward
- Facing Downward
- To the Right
- To the Left
- In Front
Depending on the footwork, the nritta hastas should be held in proper places.
The 13 Nritta Hastas are
- Pataka
- Swastika
- Dola
- Anjali
- Katakavardhana
- Shakata
- Paasha
- Keelaka
- Kapitha
- Shikhara
- Koorma
- Hamsasya
- Alapadma
Shirobedha (head movements)
Shirobedha
Samam Udvahitam Adhomukham Alolitam Dhutam
Kampitancha Patavruttam Utkshiptam Parivahitam.
Samam = Keeping head straight
Udvahitam = Lifting the head up
Adhomukham = Putting the head down
Alolitam = Rotating the Head Clockwise & Anti-clockwise
Dhutam = Nodding the head as if to say "NO"
Kampitam = Shaking the Head
Paravruttam = Lifting the head from right side
Utkhiptam = Lifting the head from left side
Parivahitam = Nodding the head as if to say "YES".
Greevabhedha (neck movements)
Greevabhedha
Sundareecha tirashcheena tathivaparivartita prakampitachabhavagny gneyagreeva chaturvidha
Sundari = Neck movement on both sides
Tirashcheena = Above movement with increase in speed
Parivartita = Movement to the corners
Prakampita = Moving the neck like a rooster
Drushtibhedha (eye movements)
Drushtibedha
Samam Alolitam sachi pralokita nimeelite Ullokita anuvruttecha tathachivavalokanam
Samam = Looking Straight
Alolitam = Turing eye balls clockwise & anti-clockwise
sachi = Looking to the sides without turning the head
Pralokana = Looking to the sides alternatively without turning the head
Nimeelana = Looking down
Ullokana = Looking Up
Anuvrutta = Looking Up & Down
Avalokana = Looking deep down.
Paadabhedha (leg movements)
There are 4 different types of Paadabhedha(leg Movement). They are
Mandala
There are 10 categories in Mandala. They are
- Sthanaka - Stand Straight with Ardhachandra Hasta on the waist
- Aayata - Keep 12 inch distance between the feet and bending the knees a little.
- Aaleedha - Keep the right foot 3 feet in front of the left foot, holding shikhara hasta in the left and katakamukha hasta in right hand
- Prenkhana - Stand with one foot on the knee of the other and holding koorma hasta
- Prerita - Hit the floor hard with one leg, bend the knees, keep the other foot a little futher, hold shikhara in one hand, near the chest and pataka in another, stretched away
- Pratyaleedha - Opposite of Aaleedha
- Swastika - Keep right leg across the left leg and right hand across the left hand
- Motita - Sit on toes, touch the ground with knees, altenatively
- Samasoochi - Toch the ground with toes & knees
- Paarshwasoochi - Sit on toes, touch the ground with one of the knees in one side
Sthanaka Mandala is further classified as
- Samapaada - Stand Straight. While worshipping the god this is used.
- Ekapaada - Stand with one foot on the knee of the other. To show a Saint in Penance this is used.
- Naagabandha - Twist one leg with the other & one hand with the other. To show a pair of snakes this is used.
- Aindra - Bend one of the legs little and lift the knee of the other and keep the hands as usual. To show Indra this is used.
- Garuda - Bend the left leg keeping the foot completely on the floor, bend the right leg and sit on the right leg. This is used to show the bird Garuda, Lord Vishnu's Vehicle
- Brahma - Sit down, cross the feet like Padmasana. This is used to show meditation.
Utplavana
There are 5 types of Utplavana. They are
- Alaga - Hold Shikhara hasta on the waist and jump
- Kartaree - Hop on the toes, hold Kartareemukha hasta behind the left leg and hold shikhara hasta, upside down on the waist
- Ashvotplavana - Hop forward on one leg and bring the other leg together,hold tripataka hasta in both the hands
- Motita - Hold tripataka hasta in both the hands, jump like Kartaree Utplavana on both side
- Krupaalaga - Jump in such a way that the heel touches the back side
Bhramari
There are 7 types of Bhramari. They are
- Utplutabhramari - With Samapaada Sthanaka, jump & turn around
- Chakrabhramari - Hold tripataka hasta in both the hands and turn around while dragging the legs on the floor
- Garudabhramari - Keep one of the knees on the ground, stretch the other leg and turn around
- Ekapaadabhramari - Stand on one leg and turn around with the other
- Kunchitabhramari - Jump and turn around folding the legs up
- Aakaashabhramari - Jump , spread the legs apart and turn around
- Angabhramari - Keep the legs 12 inch apart and turn the body around
Paadachari
There are 8 types of Paadachari. They are
- Chalanachaari - Walk casually
- Chankramanachaari - Walk while keeping the legs sideways
- Saranachaari - Walk while dragging one feet and bringing the other together without lifting the heel from the ground
- Veginichaari - Walk fast while changing alapadma & tripataka hasta alternatively
- Kuttanachaari - Walk while tapping the feet hard on the floor
- Lunthitachaari - Stand in Swastikamandala and perform kuttanachaari in the front leg
- Lolithachaari - Perform kuttanachaari in one leg and walk slowly with the other one
- Vishamachaari - Walk while the legs are twisted together
Gathibhedha (Charecteristic walks)
There are 10 unique ways of Gathibhedha(Gait). They are
- Hamseegathi - Walk while keeping one foot in front of the other and sway with each step, hold kapitha hasta in both hands. (Walk like a Swan)
- Mayooreegathi - Stand on the tip of toes, hold kapitha in both hands and fold up the legs for each step. (Walk like a Peacock)
- Mrugeegathi - Hold tripataka in both hands and run around like a Deer
- Gajagathi - Hold pataka hasta near the ears, walk very slowly with Samapaada
- Turangineegathi - Lift the right leg, hold shikhara in left hand and pataka in right hand and jump with the left leg.(Like a Horse)
- Simheegathi - Hold shikhara hasta in both hands, jump on the toes ans move forward. (Like a Lion)
- Bhujangeegathi - Hold tripataka in both hands & walk as explained in simheegathi. (Like a Snake)
- Mandookeegathi - Like simheegathi.
- Veeragathi - Hold shikhara hasta in left hand, pataka in right and walk as though comming from far.
- Maanaveegathi - Keep the left hand on the waist, katakamukha in right and walk while turning around for each step.
Various imp adavu
Adavus
Then the disciple is taught the basic steps called the 'Adavus'. But before that it is always a good practice to do some Exercises to warm up and help the body in achieving flexibility, balance and poise in the basic positions and movements. While carrying out the Adavus, special importance is paid to the 'Angashuddha', that is, correct posture of the limbs which includes the 'Nritta hastas'; the 'Paadabhedaas'; 'Taalashuddha', that is, accurate rhythm ; then the 'Taandava' (strong movements) and the 'Laasya' (graceful movements). The style of these Adavus vary with each Guru and Sampradaya (tradition). There are about hundred variations of Adavus which are practiced before the main items are taught. Then these Adavus are combined to form the Korvais or Jethis, that is a group of Adavus in varied permutation and combination. The Korvais are in turn combined to form the Teermanams (sequence of Korvais) and Aridis (endings with the repetition of particular adavus for three times on special rhythmic syllables).
There are varieties of Adavus like Tattadavu, Natadavu, TattaMettadavu, Kattadavu, Kudittamettadavu, Maiadavu, Mandiadavu, Jati, Nadai and many more....The posture is always half sit that is 'Ayata' or 'Aramandi' except in cases where mentioned otherwise. After the teachings of Adavus, the main items (Margam) are taught beginning with Alarippu, Jatiswaram and so on.
Costume and Jewelry
» Costume
The costume of BharatNatyam has been developed from time to time. The costume that were prevalent earlier have been improvised and designed according to the needs and aesthetics.
But the most commonly used styles include the Skirt/Sarree style and the Pyjama Style . Some also use the normal sarree and stitch it temperoraily for the dance purpose. The most beautiful part of the costume is the knife-pleated fan which is either knee length or mid-calf length and links the the two legs of the pyjamas. This fan opens up whenever the dancer takes the basic BharatNatyam posture of aramandi.
» Jewelry
The specific jewelry that is used for the dance is called as the Temple jewelry which is made of semi precious stones and metal.
It consists of Maattal and earbells for the ear, Kasumalai (coin necklace made of 'panchdhaatu'), Muthu maalai (long necklace), Necklace (small), Bangles, Talaisaamaan (head set, sun-surya prabha and moon- chandra prabha), Flowers (Jasmine ring and Kanakambaram (orange flowers), other hair decoration, Nose ring, Chalang (Ghungroos -ankle bells-of brass meatl) and Waist band (kamar patta). The raakodi is worn at the top of the head which provides as an anchor for the flowers worn by the dancer. The hair is mostly plaited and tied to a beautiful fringe called the kunjulam.
Abhinayam
Arangetram