Jayadeva, the renowned Sanskrit poet and lyricist was born in Kenduli, Orissa in the 11th century AD. The works of Jayadeva have had a profound influence on Indian culture. It forms the basis of the Indian classical dance form, Odissi, and has strongly influenced the Bharatanatyam classical dance as well as Carnatic music. Jayadeva was instrumental in […]
Devdasi, servant of God or Godess, is the Sanskrit word for a girl dedicated to worship and in the service of a deity or a temple for rest of her life. Devdasis, though an essential part of the temple worship tradition by taking care of temple duties and rituals also practised Sadir, the original form of […]
We at Kalyani Kala Mandir try to stage at least one show or performance every year which is a fusion of dance styles or music or collaboration with artists from other streams of music or styles or dance. As you all know our collaboration with Sumana Banerjee with Rabindra Sangeet was well appreciated. My interest in […]
All the readers who have been following this blog for the last couple of months will understand that naturalist intelligence or nature smart is the eighth and the last of the intelligences put forth by Howard Gardner, added a few years later to his list of original seven intelligences we have discussed this far – […]
The learning or teaching of the classical dance of Bharatnatyam begins with the foot movements known as tatta adavus, followed by the mudras, which together are then composed into Jattis. Pieces such as “Alaripu” and “Jatiswaram” are adavus performed to swara patterns. The next step in the progression of learning is a Shabdam. As the […]
Intrapersonal intelligence, listed by Howard Gardner as the last of the seven intelligences in his ‘Theory of Multiple Intelligences’, is the ability to understand oneself and one’s thoughts and feelings, and further using this knowledge to plan and set goals and direction to one’s life. Also known as being Self Smart, it involves introspective and self-reflective […]
Rasa as well as Bhav are beautifully articulated by Bharat Muni in the Natyashastra, an ancient work of dramatic theory. Rasa, the essence, denotes an essential mental state where as Bhav, the state of mind, is often translated into feeling, emotion or mood. The two are closely interlinked and intertwined. Rasa-abhinaya, in the text explains rasa as […]
Texts on dance assign a definite place to the taladhari or the nattuvanar on a stage. It is relevant to understand his role, his place in a bharatnatyam recital, his qualities and also the actual techniques of playing the talams. The nattuvanar sits with the mridangist to his right and the singer to his left. While […]
The shlokam for the Drishti Bheda is as follows: Samam alokitam sachi pralokitam Nimilite ullokita anuvritte chaivaavalokitam The Viniyogam Of Samam Is: Naatyarambhe thulaayaamcha chaapyanya chinthaa vinishchayeh Aascharyeh devataaroope sama drishti rudhaahruthaa Meaning: Beginning of dance, scale (physical balance), effort to think what the other person is thinking, certainly, surprise to look at the image of […]
Sthanaka are the postures assumed at the beginning and end of an adavu. The Abhinaya Darpanam mentions 6 of these: Aindram Brahma Ekapadam Garuda Nagabandha Samapada The Natya Shastra mentions: Alidha Mandala Pratyalidham Samapadam Vaishaka vaishnava