Anchita

It is a movement of the pada bheda. In this movement, the heels are placed on the ground and the forepart of the foot and toes are raised. It suggests the following acts:

Moving with a wound on the forefoot
Turning in all directions
Being struck by something
It is also used in various bhramaris

Aharya Abhinaya

Abhinaya is one of the most important aspects in Performing art. A Sanskrit term, Abhinaya means to educate or lead the way towards the audience. Bharata explains that Abhinaya etymologically is derived from the prefix ‘abhi’ meaning towards and the verbal root ‘ni’ meaning to carry. Hence that which carries the performance towards the spectator […]

August 26, 2025

Two Lives, One Legacy: The Timeless Bharatanatyam Contributions of Gurus K N Dandayudapanipillai and K J Govindarajan

“No artist is ahead of his time. He is his time. It’s just that the others are behind his time.” -Martha Graham Music and dance are a medium not as rigid as drama, theatre or movies and hence can survive amongst varieties of audiences and instil certain emotions and sentiments in them as the language […]

July 25, 2025

TECHNIQUES OF SATTRIYA DANCE

Sattriya is one of the eight recognized classical dance forms of India and carries the essence of Assamese culture and spirituality. Founded by the 15th-century saint and cultural icon Srimanta Sankardev, it originated within the satras, or Vaishnavite monasteries of Assam, as a means of propagating the tenets of Bhakti or devotion toward Lord Vishnu, […]

July 25, 2025

Sattriya Repertoire

Sattriya, the classical dance form of Assam, embodies a unique fusion of devotion, rhythm, and storytelling. Originally performed in monastic settings, it has evolved into a refined performance tradition while preserving its spiritual essence. With elements ranging from abstract pure dance to the dramatic depth of Bhaona, Sattriya continues to reflect the profound artistic vision […]

June 10, 2025

Rituals Beyond the Atelier: Movement as Medicine

This blog was written by Tanvi Berry, Kalyani Kala Mandir’s senior student and founder of Tberry Atelier. In 2018, just before I began shaping what would become what T.Berry currently is, I returned from the UK feeling completely burnt out. I stepped away from fashion for over a year because of how bad it was. I didn’t have a […]

June 9, 2025

CHOREOGRAPHY IN SATTRIYA

Sattriya, one of India’s eight classical dance forms, originates from the northeastern state of Assam. Created in the 15th century by saint-scholar Srimanta Sankardeva, Sattriya was initially performed as part of the religious rituals in Vaishnavite monasteries known as sattras. Over time, what began as an offering to the divine has evolved into a sophisticated […]

October 28, 2024

THE NAVARASAS

The Rasas are discussed in Chapter 6 of the Natyasastra, written by sage Bharata. These are primarily 8 in number known as the ASHTA-RASAS. These 8 Rasas as given in the Natyashastra, corresponding with their colours and presiding deities are listed below: Sringara – light green(syama), Vishnu Hasya – white, Pramatha Karuna -grey(kapota), Yama Raudra […]

September 13, 2024

Natyotpatti

The Natyashastra, written between 2nd century BC- 2nd century AD, is probably one of the earliest and certainly one of the best Sanskrit treatises on Indian Dramaturgy. Traditionally, its authorship is ascribed to sage Bharata. But, according to Adya Rangacharya, it is believed to have been written by several scholars who wrote about the practices […]

September 2, 2024

Rasa Theories

All the writers who wrote about Rasa admit that Bharata’s Dictum or Sutra, “Vibhava anubhava vyabhichari samyogad rasanispattihi” defines the scope and nature of Rasa realisation. It is the pivot on which all the latter theories move but the terms Samyoga and Nishpatti, in the sutra were variously understood and interpreted by various later authors. […]

July 17, 2024

Western Art Theories

Art is one of the cultural activities of man through which the artiste brings his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and […]

June 24, 2024

DASARUPAKAS

In the 20th chapter of the Natyasastra, Bharata describes the 10 types of plays under the heading ‘Dasharupavikalpan’. Here, the term ‘Rupaka’ is used in the context of visual representation. Hence, in Bharatha’s theory, the term Rupaka is equivalent to drama and not to the current popular term ‘naatak’ which according to him is one […]

June 10, 2024

Atodhyas – Musical Instruments

“Atodhya Vadya,” as mentioned by Bharata in Chapter 28 of the Natya Shastra, categorizes musical instruments into four types: Tata (stringed), Avanaddha (percussion), Sushira (wind), and Ghana (solid resonators). This classification, based on acoustic principles, highlights the diverse and intricate nature of ancient Indian musical traditions. Tata– Included all stringed instruments, mentioned in Chapter 29 […]

May 20, 2024

Rasa, Bhava, Vibhava, Anubhav, Sanchari And Sthayi Bhava

ABHINAYA TECHNIQUES IN BHARATA’S NATYASHASTRA The Natyashastra of Bharata consists of thirty – six chapters, out of which chapters 6 and 7 relate to “rasas” (sentiments) and “bhavas” (emotions), 8 to 14 discuss Angigaabhinaya, 15 to 22 deal with Vachikaabhinaya and chapter 23 talks of Ahaaryaabhinaya. The Sanskrit word “rasa” fundamentally means ‘taste’ or ‘flavour’ […]

February 21, 2024

The Natyasastra

The art of Music and Dance, which was well developed during Vedic age itself, has been systematized by Bharata in his Natyashastra. He condensed and codified the necessary laws which govern music, dance and drama. Not only these three but all that are essential to the authors and actors like the knowledge of grammar, prosody, […]

February 8, 2024

Musical and Choreographical Analysis of Guru K J Govindarajan’s Hindolam Tillana

This research study by Ms. Rashmi Khanna was published in the UGC approved journal STOM in its 2024 special issue.

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