Blog-Naatyam (moved)

Sharikal Adavu Cholkettu - Thayya Thayyi Hastas/Mudras - Pathaka, Katakamukha and Alapadma Posture - Samam  Paada Behdas - Sama Paadam and Anchitha

  Thatti Kudittu Mettu Adavu Cholkettu - Tha Thai Tha Ha                          Dhit Thai Tha Ha Hastas/Mudras - Thripathaka, Katakamukha and Alapadma Posture - Aramandalam  Paada Behdas - Thattu and Mettu

  Kudittu Mettu Adavu Cholkettu - Thai Gha Thai Hi Hastas/Mudras - Katakamukha and Alapadma Posture - Aramandalam  Paada Behdas - Mettu (Udghatithaha)

 Vishara Adavu or Parvai Adavus or Tha Thai Thai That Adavus Cholkettu - Tha Thai Thai That Dhit Thai Thai That Hastas/Mudras - Thripathaka, Katakamukha and Alapadma Posture - Aramandalam and Alhida Paada Behdas - Sama Paadam and Anchitha There are several names for this adavus. Different banis(schools) of bharathanatyam use different ways to refer to this set of Adavus. Adavus can also be referred to by the cholkettu. Naming conventions are not standardized across the various schools. This set of adavus are spanning steps, that involves movements that displace the dancer from the starting point to different directions. With this set of Adavus the dancer develops the ability to move to rhythm and cover space. A lot of co-ordonation and focus is required to get this step to perfection.  Hand eye co-oridnation, moving from position A to position B and shifting between hastas are key here. The practice of transitioning from one hasta to another while executing the adavus which wa...

 Naatta Adavu Cholkettu - Thaiyyum That That Thayhi Ya Ha Hastas/Mudras - Thripathaka, Katakamukha and Alapadma Posture - Aramandalam and Alhida Paada Behdas - Sama Paadam and Anchitha The word "Nattuka or Naatu" means to stretch. And that is the main movement involved in Naatta Adavu. This set of steps/adavus are taught right after Thatta Adavu. The progression of this has been well thought out. Once the dancer gets her balance in the aramandalam posture and can do her Thattu perfectly in Thatta Adavu, he/she is now ready to move to the next very important aspect of movement. Analyzing how to distribute weight when body moves from a stable to a stretched posture is critical when learning Natta Adavu. Stretching the legs out to the side/front/back is the main leg movements involved. These are accompanied by co-ordinated hand movements with either Tripathaka or Katakamukha/Alapadma hastas. The hand/palm movements are little more intricate than that done in the Thatta Adavus. I...

 Thodayam is one of the first dance items taught to a student of Bharathanatyam. The Thodayam done varies based on the different banis in Bharathanatyam. Thodayam in significance equates to a Pushpanjali and is an invocatory item. The Thodayam handed down to me by my first Guru, Rajalakshmi Surendran is a very traditional item. In Thodayam, the dancer enters the stage with the Asamyutha hasta, Pushpaputha. If performed as the very first item, the dancer carries flowers in her hand as offerings. If done after Alarippu, the flower offering is not done a second time. This being an invocatory item, the emotional state of the dancer is that of utmost devotion. Dancer begins on the sides of the stage in pushpaputa hasta and enters the stage with a medium paced walk. Dancer offers the flowers at the Lord's feet and then commenses the pure nritta section with circular arm movements insterspersed with simple adavus. The first part is pure nritta consisting of short korvais. This is then fol...