11. Katicchinham(Split Waist) Paryayassa: Katischinnabahvo: sirasipallavau Puna: punaschaKaranamkatichinhamthuthadbhaved The movement involves moving the hips from side to side with the hands held above the head in Pallava Mudra. This Karana involves the movement being repeated for at least two to four times. Its usage is generally recommended for the depiction of wonder. 12. Ardharechita(Half Whirl) […]
9. Nikuttakam (Shouldered Arms) Nikuttithauyadahastauswabahusirasonthare Padaunikuttithauchaiva JneyamThathunikuttakam Sculptures depict this Karana in a Mandala Sthanakambody position. The feet remain on the ground and the hands move in between the head and the shoulders. A more detailed illustration of the Karana describes one hand to be held in Alapallavanear the shoulder and its corresponding foot to […]
7. Swasthikarechitham (whirling cross) Swasthikaurechithaavidhauvislishtaukatisamsthithau Yatrathathkaranamjneyambudhai: swasthikarechitham This Karana begins with both hands being crossed and held in Swastikam Hasta at the chest. The hands are then rotated, separated and placed on the waist. It is usually used to depict joy and beauty, and has the characteristics of Manipuri, Odissi and Kathakali. 8. Mandalaswasthikam (Crossed […]
5. Samanakham(level nails) Slishtausamanakhaupadau Karou cha apipralimbithau Deha: swabhavikoyatrabhavethsamanakhamthuthath This Karana includes standing in Samapada, i.e., legs straight and touching each other, with the hands let down on both sides in Latato maintain symmetry. The body is held in a normal straight position. Since this Karana involves the Samapada, it is usually used in the […]
This is in continuation of our series on Karanas as explained in the classical texts. In this blog we discuss the formation, meanings and usage of these karanas. 3. Valitorukam(folded thigh) Sukathundamyadahastauvyavrittaparivarthithau Ooru cha valithauyasminvalithoruthaduchyathe Scholars explain valithamas the twisting of the thigh. The sculptures in Thanjavur depict a folded and lifted thigh, bent at […]
1. Honing of mental Capabilities Proper performance of any classical dance requires the harmonious coordination between the hand and the feet, coupled with the projection of the appropriate facial expressions in consonance with the rhythm, melody and mood of the song being performed. The learning of the classical dance thus enables the students to expediently […]
Karana is described in the Natyashastra as “hastapaadasamaayogaahnrttsyakaranambhavet”. It is a combination of three elements, namely nritta hasta (dance movement of the hands), sthaana (a dance posture for the body) and a chaari (a dance movement of the leg). The karanas form the basis of the adavus. Therefore, each karana was practised as a movement […]
Dasiattam is an ancient Indian Classical dance form which derives its roots from the Natyashastra. Originating from many regions of South India, its name is derived from the Devadasis, who were considered to serve the Gods through their art. This art form was developed by the Dravidians in the pre- Aryan era and was practiced […]
Indian Classical dance or ShastriyaNritya is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text NatyaShastra. These dances are traditionally regional, all of them include music or recitation in local language or Sanskrit and they represent a unity of […]
The Hindustani and the Carnatic Tala Systems form the backbone of Indian music and dance. They are well developed, intricate systems using different kinds of beats in various mathematical metric cycles during performances of dance, music or other musical instruments. Although the comparison between these two systems can be quite elaborate, we have tried to […]