This book is a study material for Bharatanatyam students and a handbook for teachers. This book contains information about the first 4 set of Adavus (24Adavus), slokas, details about Abhinaya and Asamyukta hasta mudra. This will be helpful for beginners and students preparing for grade examinations in Bharatanatyam.
When I look back, my life has been devoted to performing, choreography and above all, to the noble profession of teaching Bharatanatyam, sharing whatever knowledge I possess with my students.A child has to have an open mind when he/she goes to the Guru. To make the learning more fruitful and meaningful, the student embarks on a long and arduous journey from the exploration of self to the achievement of the pinnacle of glory.Achieving the goal is not as easy as it may seem. It requires immense dedication and hard work and no doubt, an inborn talent or aptitude for fine arts.Whenever a student joins the Dance Class, he or she wishes to have a book to fall back upon. It is always been a great task for me as a teacher to dictate or to write notes for each and every student so that he or she understands the theory of dance and also its practice. At that stage, even a simple movement appears complicated. Also, one question that is always asked of me is whether I could suggest a book, that would help the student in understanding the basics of dance. Also a guide book which would assist the senior students when they take up to teaching carrier.The basic purpose of this book is to present all the principles, methods and techniques of Bharatanatyam in a simple, systematic and comprehensive manner.It leads the student from the simple to the complex: introduction to the dance form, tala (time measure), gestures, feet positions, the dancer's workout orchestra and the main topics of the dance units, Adavus. The Advus have been explained in detail with complete illustrations.The pre-recorded audio and the video-cassette to assist in the practice is also available.Some speci
This book, elucidates the basic steps called Adavus of Bharata Natyam in the traditional Pandanallur style, as taught by the revered Gurus Sri Meenakshi Sundaram Pillai and Sri Muthukumara Pillai, to Sri T.K Narayan and Smt. Jayalakshmi Narayan, parents of the author. It is an honest attempt to explain the various steps with unerring and accurate execution technique. The book offers a visual representation of the Adavus with the help of stick diagrams in a sequential manner so that the beginners and practitioners can understand the finer points of each movement. The author has developed simple schematics to show the various moves, such as jump, stretch, turn, hit etc. The author endeavours to illustrate Adavus in a precise manner in this book. Classification and categorization of each step is the salient feature of this work. Gayathri Keshavan makes a humble effort to pass on the knowledge of this ancient and sacred art to the present and future generations of Bharata Natyam dancers.
This book will help all art lovers to know more about the Theatrical space through the motion of dance and its compositions. To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. The Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of a south Indian aesthetic and Performance to it.
India is a pioneer in Performing arts. This books deals with five classical dance forms of india in detai, viz., Bharatanatyam,Kathakali,orissi,manipuri and Kathak.
India’s rich cultural legacy has been founded on the abiding faith of the Indians in the divine power, whose worship had found expression through dance. ‘Bhakti’ or devotion was the underlying essence of the various dance forms that developed in India. Indian Classical Dances is a unique presentation of the eight classical dance styles – Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi and Sattriya, through a concise portrayal of the background of each dance form, the salient features, format of presentation, music and costume. The simplistic approach of the narration coupled with the unique collection of photographs, will enable the lay reader to visualise, comprehend and appreciate the diverse dance forms of India.
This book examines the making of the Goddess Durga both as an art and as part of the intangible heritage of Bengal. As the ‘original site of production’ of unbaked clay idols of the Hindu Goddess Durga and other Gods and Goddesses, Kumartuli remains at the centre of such art and heritage. The art and heritage of Kumartuli have been facing challenges in a rapidly globalizing world that demands constant redefinition of ‘art’ with the invasion of market forces and migration of idol makers. As such, the book includes chapters on the evolution of idols, iconographic transformations, popular culture and how the public is constituted by the production and consumption of the works of art and heritage and finally the continuous shaping and reshaping of urban imaginaries and contestations over public space. It also investigates the caste group of Kumbhakars (Kumars or the idol makers), reflecting on the complex relation between inherited skill and artistry. Further, it explores how the social construction of art as ‘art’ introduces a tangled web of power asymmetries between ‘art’ and ‘craft’, between an ‘artist’ and an ‘artisan’, and between ‘appreciation’ and ‘consumption’, along with their implications for the articulation of market in particular and social relations in general. Since little has been written on this heritage hub beyond popular pamphlets, documents on town planning and travelogues, the book, written by authors from various fields, opens up cross-disciplinary conversations, situating itself at the interface between art history, sociology of aesthetics, politics and government, social history, cultural studies, social anthropology and archaeology. The book is aimed at a wide readership, including students, scholars, town planners, heritage preservationists, lawmakers and readers interested in heritage in general and Kumartuli in particular.
Bharatanatyam is a dance with ancient origins that has been enjoyed both by practitioners and audiences alike for millennia. Dancer, teacher, and researcher Prakruti Prativadi now explains the purpose of Bharatanatyam and Indian aesthetic theory in Rasas in Bharatanatyam. In this easy-to-understand guide, Prativadi delves into the heart of the classical art of Bharatanatyam by explaining the objective of the dance, which are Rasas. These concepts are described through an engaging dialogue between a questioning student and wise teacher. Whether you are a seasoned dancer or an eager beginner, Rasas in Bharatanatyam illuminates the rich concepts and culture of Bharatanatyam. Prativadi goes back to original Sanskrit texts and treatises, such as the Natyashastra, to reveal the full meaning of this thoughtful and powerful form of expression. Prativadi explains Rasas (aesthetic experience) and their relationship to Abhinaya (emotive acting). With graphics, tables, illustrations, and photographs, she shows you the foundation of the dance and techniques to help you become a well-rounded practitioner. Prativadi also emphasizes the importance of learning the cultural context of the dance. Prativadi honors the dance's long cultural and spiritual roots. She discusses the philosophy and aesthetic theory that form the basis of every performance.
