this show was complied from amny books for the basic knowledge of bharatnatyam -it shows hand gestures, shiro bheda and drishti bedha and rear pictures of gurus of bharatnatyam --compiled by third eye cultural school -09417026908
3. MEANING OF BHARAT-NATYAM
• According to TIRUVILAYDAL
Purana
• BHA- denotes -Bhava-
(expressions)
• RA---------------Raga (music)
• TALA—--------- Taal
(Rhythm)
• NATYAM—-----is Tamil
word means NRITTYA
• Some people relate it to
SAGE BHARAT –who
wrote encyclopedia on
art
10. 10 Commandments to be a successful BharataNatyam Dancer
Half Sitting - Maintain Proper Half sitting (Aramandi) – It is the forte
of Bharatanatyam .
Mudras - Always hold clear Mudras
Stretch - Arms should be stretched while doing Adavus and kept at
shoulder level when needed.
Proper eye movements – eyes should follow the hand
Elbows up - When the hand is held in , make sure the elbows are
kept up
Smile – always smile
Expression - Expression REALLY matters.
Rhythm – Always be in tala (rhythm) with music.
Practice! – ‘makes you perfect’
Distance between hands – when held in the front keep 6 inches
between your body and hands.
11. Bharatanatyam
• Bharatanatyam is evenly divided between three
elements Nritta, Nritya and Natya
• Nritta--- Pure dance whose constituents are, taal
and laya - time measure and rhythm. In nritta the
emphasis is on pure dance movement.
• Nritya : Combination of Rhythm with Expression.
• Natya : Natya is a combination of nritta and
nritya dramatisation of a theme.
12. Nritta
•
Nritta can be broadly divided into Chari,
Karana, Angahara and Mandala. Movement of
a leg is called Chari. Movement of both the
legs is Karana. The rythmic BODY movements
along with hand gestures are called Aduvus.
120 aduvus exist in total. Only about 70 - 80
are in practice.
13. Parts of body
• The entire body is divided as Anga, Pratyanga and
Upaanga
• Anga-- Head, Hands, Chest, Waist, Bottom, Legs are
the Six Angas. Some people include Neck also
• Pratyanga-- Shoulders, Arms, Stomach, thighs, Knee
are the Six Pratyangas. Some people include Wrist,
elbow and Ankle also
• Upaanga-- Sight, Eyebrow, Eye lids, Eye balls, Cheeks,
Nose, Gums, Lower Lip, Teeth, Tongue, Chin and Face
are the 12 Upaangas. Few people include Heels,
Fingers, Feet, Palm also into upaangas
14. Classification of moving parts
• The way of moving body parts, are described below.
• Shirobhedha - Head Movement
• Greevabhedha - Neck Movement
• Drushtibhedha - Eye Movement
• Paadabhedha -Mandala - Standing Posture
• Utplavana - Leaps
• Bhramari - Circling Movement
• Chari - Leg Movement
• Gatibhedha - Characteristic walks and
• Hastas or Mudras - Hand Movements
15. SHIRO BHEDAS
Movements of Head are called
Shiro bheda
BASED ON NATYASHASTRA
Lord Brahma created the Fifth veda,
Natyaveda, It is believed that he has taken
Words form the Rig veda
Abhinaya (gesture) from the Yajur veda.
Music and chants from Sama veda .
Rasa (sentiment )from Atharva veda .
21. GREEVA BEDA
• GREEVA BEDAS (MOVEMENTS OF NECK ) ARE
CLASSIFIED INTO 4 KINDS
• THIS SLIDES SHOW IS BASED ON THE BOOKS WRITTEN BY GREAT GURUS .
• PREPARED BY
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26. DRISHTI BEDAS
• THERE ARE 08 VARIATIONS OF DRISHTI BEDAS.
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27. DRISHTI BEDAS
• SAMA DRISHTI
• Keep the eyes
without blinking
• Uses – the
begining of
recital
• concentration
28. DRISHTI BEDAS
• ALOKITA DRISHTI
• Role the eyes
widely opened
• Uses
• Wonder
• Surprise
• admiration
35. HAND GESTURES
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36. HAND GESTURES
Hand gestures are called mudras.
A mudra is symbolic
representation of place, person or
thing in which palm ,fingers and
thumb are arranged in different
formations . The hand gestures
are classified into two categories.
37. • According to ABHINAYA DARPANA there are two major
varieties of HASTA MUDRAS .
• They are Asamyukta hasta (single hand gestures ) and
samyuktahasta (double handgestures ) mudras .
• Single hand gestures are 28 in number.
HAND GESTURES
52. DOUBLE HAND GESTURES ARE
24 IN NUMBER.
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HAND GESTURES
65. Nritya
Nritya -- Combination of Rhythm with
Expression. There are nine main or
primary emotions, Sthayibhavas. It is also
termed as Rasa(Mood). Navarasas, or the
nine emotions of dance is very important
in a dance performance, because it allows
the dancer audience to experience the full
beauty and meaning of the lyrics.
66. Navarasas
• Eyes and the face are predominantly
used by the performer, to express
the different rasas. Subtle muscle
shifts on the face, the movement of
the brow , slight movement of the
body, are done to convey the
emotion of the character .
67. RASA BHAVA MEANING COLOUR
Shringar (Erotic) Delight Rati Pale Light Green
Hasya (Humorous) Hasa Laughter White
Karuna (Pathetic) Shoka Sorrow Grey
Raudra (Terrible) Krodh Anger Red
Veera (Heroic) Utsaha Heroism Pale Orange
Bhayanaka (Fearful) Bhaya Fear Black
Bibhatsa (Odious) Jugupsa Disgust Blue
Adbhuta(Wonderous) Vismaya Wonder Yellow
Shanta (Peaceful) Calm Peace White
68. Abinaya.
• The expressions which are shown to
express poetic meanings is Abinaya.
• Angikabhinaya : Expressing the
meanings of lyrics using the body
parts like Head, Hands, Legs etc.
Vachikabhinaya : Expressing the
Story using narrations in the dance
drama .
Aharyabhinaya : Imitating the
Costumes, Jewellary, Make-up etc.
Satvikabhinaya :Showing the moods.
69. ADAVUS
• The rhythmic BODY
movements along with hand
gestures are called Adavus.
120 Adavus exist in total. Only
about 70 - 80 are in practice.
70. BASIC POSITION
ARAMANDI END OF PART 0NE
• MADE ON THE BASIS OF
ABHINAY-DARPAN
BY
THIRD EYE CULTURAL SCHOOL
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• 094170-26908
71. ADAVUS
THE DANCE STEPS OF BHARAT-
NATYAM
TATTA---ADAVU;--
MEANS STIRKING THE FLOOR
WITH SOLE OF FOOT
ALTERNATIVELY ---
IT HAS 8 VARIATIONS
72. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAIYA
RIGHT
FEET
TAI
LEFT
FEET
TAIYA
RIGHT
FEET
TAI
LEFT
FEET
TAIYA
RIGHT
FEET
TAI
LEFT
FEET
TAIYA
RIGHT
FEET
TAI
LEFT
FEET
TATT- ADAVU No 1
TAIYA -TAI
73. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAIYA
RIGHT
FEET
TAI
RIGHT
FEET
TAIYA
LEFT
FEET
TAI
LEFT
FEET
TAIYA
RIGHT
FEET
TAI
RIGHT
FEET
TAIYA
LEFT
FEET
TAI
LEFT
FEET
TATT- ADAVU No 2
TAIYA -TAI
74. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAI
RIGHT
TAI
RIGHT
TAM
RIGHT
---------
PAUSE
TAI
LEFT
TAI
LEFT
TAM
LEFT
---------
PAUSE
2ND
SPEED
TAI-TAI TAM----
PAUSE
TAI-TAI TAM----
PAUSE
TAI-TAI TAM----
PAUSE
-
TAI-TAI TAM----
PAUSE
-
3RD
SPEED
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TAI-TAI-
TAM----
PAUSE
TATT- ADAVU No 3
TAI- TAI- TAM (AADHI TAAL 8BEATS)
75. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAIYA
RIGHT
TAIYA
RIGHT
TAIYA
RIGHT
TAI
RIGHT
TAIYA
LEFT
TAIYA
LEFT
TAIYA
LEFT
TAI
LEFT
2ND
SPEED
TAIYA
TAIYA
RT,RT
TAIYA
TAI
RT,RT
TAIYA
TAIYA
LT,LT
TAIYA
TAI
LT,LT
TAIYA
TAIYA
RT,RT
TAIYA
TAI
RT,RT
-
TAIYA
TAIYA
LT,LT
TAIYA
TAI
LT,LT
-
3RD
SPEED
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TAIYA
TAIYA
TAIYA
TAI
TATT- ADAVU No 4
TAIYA-TAIYA-TAIYA-TAI (AADHI TAAL 8BEATS)
76. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAI
RIGHT
TAI
RIGHT
TAITAI
RIGHT
RIGHT
TAM
RIGHT
TAI
LEFT
TAI
LEFT
TAITAI
LEFT
LEFT
TAM
LEFT
2ND
SPEED
TAI
TAI
TAITAI
TAM
TAI
TAI
TAITAI
TAM
TAI
TAI
TAITAI
TAM
-
TAI
TAI
TAITAI
-TAM
3RD
SPEED
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TAI-TAI
TAITAI
TAM
TATT- ADAVU No 5
TAI-TAI- TAITAI-TAM (AADHI TAAL 8BEATS)
77. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAI-TAI-
TAM
RIGHT
PAUSE TAI-TAI-
TAM
RIGHT
PAUSE TAI-TAI-
TAM
LEFT
PAUSE TAI-TAI-
TAM
LEFT
PAUSE
TATT- ADAVU No 6
TAI- TAI- TAM (AADHI TAAL 8BEATS)
THIS ADAVU IS SAME AS NO 3 TATTADVU BUT HERE
RIGHT FEET IS REPEATED TWICE TO MAKE 6 BEATS
AND THEN LEFT FEET IS REPEATED TWICE
78. BEAT/
SPEED
1 2 3 4 5 6 7 8
1ST
SPEED
TAI
RIGHT
TAI
RIGHT
TAT
RIGHT
TAT
LEFT
TAI
RIGHT
TAI
RIGHT
TAM
RIGHT
PAUSE
TAI
LEFT
TAI
LEFT
TAT
LEFT
TAT
RIGHT
TAI
LEFT
TAI
LEFT
-
TAM
LEFT
PAUSE
TATT- ADAVU No 7
TAI-TAI- TAT-TAT-TAI-TAI-TAM
. (AADHI TAAL 8BEATS)
79. BEAT/
SPEED
1 2 3 4 5 & 6 7
1ST SPEED TAI
RIGHT
TAI
LEFT
TAI
RIGHT
TAI
LEFT
DHIT
DHIT
RIGHT
LEFT
TAI
RIGHT
TAI
LEFT
TAI
RIGHT
TAT
LEFT
TAT
RIGHT
TAI
LEFT
RIGHT
TAI
LEFT
-
TATT- ADAVU No 8
TAI-TAI-TAI-TAI-DHIT DHIT -TAI
THIS IS 8TH ADAVU BUT HAS ONLY 7 BEATS -1ST 4 BEATS ARE ON 1ST SPEED
,DHIT DHIT AT 2ND SPEED
80. ADAVUS
NATTA---ADAVU
THE WORD NATTA MEANS TO
STRECH . STRECHING CAN BE
EITHER IN FRONT , SIDE WAYS OR
AT ANY ANGLE. PERFORMER IS IN
ARAMANDI POSTION ON ONE LEG
& OTHER LEG IS STRECHED
WITHOUT BENDING AT KNEE
WITH THE HEELS RESTING ON
GROUND. IT HAS 08 VARIATIONS .
81. NATTAADAVU
• TAIYUM TATTAT TAIYUM TAM
• Legs are extended ,toes are raised .
• lift the leg till hitting the seat then extend it
while hitting with force ,when taking back fold
till hitting the seat and strike hard with feet
• This is in AAHI TAAL and 8 beats
82. PAKKA ADAVU
• TA TAI TAI TA
• It has four variations ,we start the step from
right feet and same is repeated with left .
• In aramandi position foot is lifted till the heel
is touching the seat and hitting the ground .
• AADHI TAAL 8 BEATS
83. KUDDITU METU ADAVU
• TAI HA TAI HI
• In Tamil kudditu means jump and mettu
means stamping . Dancer is jumping and
striking the heels and toes are resting on
ground .
• It has 4 variations
• Adhi taal 8 beat .
84. ETTA ADAVU
• It means reach out .legs are stretched to
utmost limit. The feet strikes the floor
alternately .one feet is brought back to tatta
position and other is balanced on toes.
85. SAIKKAL ADAVU
• TAI YA TAI YI (Adhi--taal--- 8 beats)
• Sarikkal means slide .the feet is made to slide
and brought to sama position . Other feet is
raised on heel and both feet hit the floor with
a jump, sitting slightly on knees.
• It has 2 variations .
86. ADAVU
• Apart from this we have
• TIRMANA ADAVU--------- Means conclude.
• VEESI ADAVU---------------Means to throw.
• TATTU METTU ADAVU----Means strike and beat.
• MANDI ADAVU----------- -Means knees.
• SHUTRU ADAVU-----------Means swirls.
• KATT ADAVU----------------Means enclose.
• MAI ADAVU-----------------Means body.
• PERIYA ADAVU-------------Means big.