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Tillana: It is the concluding piece of any bharatnatyam recital and is purely a nritta number ending with a short line of Sahityam. In terms of movements, Tillanas have designs in space along straight lines, diagonals, triangles and rectangles. The outstretched arm positions, leg extensions, bhramaris, the pirouettes etc give the tillanas a certain dynamic quality. The use of periya adavu, the dance unit covering the space is quite eye cayching. All the tempos are used in the tillanas with dance cadences which give the impression of a mobile sculpture.
The pallavi and anu pallavi of a tillana are composed of the jatis with a charanam. In the first half of the charanam, there is a a signature of the composer and the name of the deity or patron. The second concluding half is composed of jatis. At the end of the tillana, the sahitya suggesting the place and the deity and the namamudra, are enacted with the hastas and appropriate facial expressions. Finally, in the fast tempo, the dancer ends the number with a concluding movement or by a quick exit. It livens up the mood of the onlookers. It is an epitome of pure artistry where the variegated patterns of movements move in one sheer rapturous symphony creating alluringly sculpturesque dance poses as found in the temples of South India.
Written below is the pallavi and Anupallavi of Tillana set to Raga Kadana kudugallam, Talam Adi:


  • Natru tadim tadana tom tadara taani, natru tadim, natru tadim, dhi tillilana


  • Tadara tani tiranaa, nita, udanataani Tirana
  • Takitajam ma dha ni, taki ta jam ga, pa, sa,
  • Tatta kita tom, Sa ni dha pa ma ga ri sa
  • Tari kita tom tarikita tom tajanutam, tari kita tom, tari kita tom tajanutam,
  • Tat tari kita taka, takadhit talangu, taka dhit tari kita takadhit talangu tom, dhim tom tat tom,
  • Tillana, dhi tillana, dhi tillana,
  • Sa, ri ma ga, ri sa ri, ri ma da, da, ni, ga, ga pa sa, Sa ni dha pa ma ga pa ma ga ri.

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