Touch, to me, has always meant love, compassion and support. It reminds me of my mother, who was and is, a constant in my life. It means friendship, it means easing away pain and sorrows. The greatest healer in life can sometimes be just the human touch. Touch is a symbol of an unbreakable bond […]
It’s the first week of September, with two significant days for me personally, the birthday of Smt Vijayalakshmi Krishnan, my Guru for Carnatic music and of course the Teacher’s Day. So, today’s blog is dedicated to Smt Vijayalakshmi Krishnan, the Guru who inspired me and scores of others to take up Carnatic vocals. Kind and […]
Anga of Rupaka Talam with Talalipi of all Jatis The Rupaka Talam of the South Indian Tala System has only 2 angas- the Dhrutam which has 2 beats (symbolised by a 0) and a laghu which has variable beats according to the jati (symbolised by l). Hence in talalipi, the symbol of Rupaka talam is […]
In Bharatnatyam dance endless stories are depicted through pure dance and emoting by male and female characters. The male lead is the Nayak or the hero who can have various shades to his character. Nayika, the female lead, is also presented in her many moods and hues. Before we go into the details of Nayak […]
Tala means cyclic rhythms of beats. According to some scholars, it is derived from ‘ta’ (referring to Shiva’s Tandava aspect) and ‘la’ (referring to Pallavi Lasya). The union of these two or of the right and left hands produce tala. The smallest unit measured in tala is one akshara kala. There are mainly three angas […]
The South Indian Talam System has primarily Seven Talams. These are as follows: Ada Talam Dhruva Talam Eka Talam Jumpa Talam Matya Talam Rupaka Talam Triputa All of these talams consist of different parts or angas, which can be a few or all combinations of Laghu, Dhrutam and Anudhrutam. The Laghu is expressed with a […]
In India, Classical dance is broad term used to refer to a group of dance form which can trace their origin to the Natya Shastra, the ancient text for theatre and drama. Classical dance forms are well developed in terms of their technique, grammar and execution and are formally taught or learnt through the Guru-Shishya tradition through […]
From Thanjavur came the great Kandappa Pillai in the late 20th Century, with a lineage to boast of. Guru Kandappa Pillai was himself the inheritor of a great tradition. For over six generations, the family were nattuvanars and dance teachers. Kandappa’s great great great Grandfather Gangamuthu must have been a contemporary of Papamamal. Two generations […]
The Shanta Rasa, one of the nine rasas, is the state of peacefulness or tranquillity. It is marked by is the feeling of calmness, quietness and peacefulness. Its Sthayi Bhava is Sama, ie, state of freedom from everything be it worldly desires or actions. Its foundation is patience, service-mindedness, philosophical knowledge, self- control, pure spirits […]
The History of dancing can be categorised broadly into three periods: The initial pre- historic period where references of dance in some form can be traced to ancient cave paintings, engravings, older civilisations, Vedic references in Upanishads, Puranas, Bramhana, epics etc. The period starting from the 2nd century B.C. through 9th Century A.D., wherein we get references […]