Mridangam is hailed as the ‘King of drums’ today as it is the product of years of experiments of our ancestors with the various rhythm and percussion instruments to get this most suited and refined instrument for classical Carnatic music and Bharatanatyam. There have been references of an instrument such as modern mridangam in its […]
Red font – higher octave, Green font – lower octave X ( CLAP) X ( CLAP) V (WAVE) S . . . . . S . N . P . M . P . G . . . M . R . S . . . . . N . S . R . P […]
X ( CLAP) 1 ( TAP THE LITTLE FINGER) 2 ( TAP THE RING FINGER) TAA . . . TAI . . . TAI . YUM. TAT . . . TAA. . . KITA TAKA TAA . . . TAI . . . TAI . YUM. TAT. . . TAA. . . KITATAKA TALA. NGU […]
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 […]