Based on the mode of performance and usage, dance can be broadly classified under three main heads such as Nritta, Nritya and Natya. Nritta: Nritta means pure dance, a presentation of rhythm through graceful movement of the body. It always reflects the mood, Bhava and Rasa underlying the compositions sung for dance. It is important […]
Introduction “hastadvayasya sanyoge viyogecaapi vartate vyaaptimaan yo dashapraanaihi sa kaalastaalasajnakaha” Process of union and separation of the two hands in accordance with the 10 elements of musical time is called taala. Taala is any rhythmic beat or strike that measures musical time. This rhythmic beat is not arbitrary but in fact it is governed by […]
Icons are objects through which worship is offered to God. Hence, Iconography means a detailed description of Icons. It is the classification or identification of an image according to what is seen and understood from the outwardly appearance. Iconology, on the other hand, literally means “the science of icons”. It also identifies and studies the […]
As we celebrate Krishna Janamashthami, the birthday of Lord Krishna, let us reflect upon the philosophy which was propagated by him through his dialogue with the Pandav prince Arjun as his guide and charioteer, also known as ‘Bhagwat Geeta’. In the Bhagavatgeeta Lord Krishna says अहमात्मा गुडाकेश सर्वभूताशयस्थितः। अहमादिश्च मध्यं च भूतानामन्त एव च।। I […]
Any good exposition of Bharatnatyam is dependent not only on the talent, commitment and skill of the dancer, but also on other equally significant factors as well. These are known as the “Pranas”. The word “Prana” literally means “life” and Bharatnatyam, if is devoid of these “pranas” would automatically become dull and lifeless. Pranas can […]
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 […]