Basics of Bharat-natyam
•Download as PPTX, PDF•
18 likes•23,154 views
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
Recommended
More Related Content
What's hot
What's hot (20)
Similar to Basics of Bharat-natyam
Similar to Basics of Bharat-natyam (20)
More from Anand Kumar
Recently uploaded
Recently uploaded (20)
Basics of Bharat-natyam
- 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
- 4. GURUS OF BHARAT-NATYAM SH CHINNA PILLAY SH POONAI PILLAY
- 5. GURUS OF BHARAT-NATYAM SH KEETAPA PILLAY SH KUBERNATH TANJOLKAR
- 6. GURUS OF BHARAT-NATYAM MEENAXI SUNDERAM PILLAY
- 7. FAMOUS DANCERS OF BHARAT-NATYAM SMT MRINALINI SARABHAI SMT MALIKA SARABHAI
- 8. FAMOUS DANCERS OF BHARAT-NATYAM SMT HEMA MALINI SMT VYJAYANTIMALA BALI
- 9. FAMOUS DANCERS OF BHARAT-NATYAM SMT MEENAKSHI SHESHADRI
- 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 .
- 16. SHIRO BHEDAS
- 17. SHIRO BHEDAS
- 18. SHIRO BHEDAS
- 19. SHIRO BHEDAS
- 20. SHIRO BHEDAS
- 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 THIRD EYE CULTURAL SCHOOL GREEN FIELDS ,SHASTRI NAGAR PATHANKOT, INDIA 094170-26908 E;MAIL-thirdeyeculturalschool@gmail.com
- 22. GREEVA BHEDA • Sundari – Movement of the neck from side to side
- 23. GREEVA BHEDA • Tiraschina – Movement of the neck like a snake's movement
- 24. GREEVA BHEDA • Parivartita – Movement of the neck to the side in the form of a crescent
- 25. GREEVA BHEDA • Prakampita – Movement of the neck back and forth like a dove
- 26. DRISHTI BEDAS • THERE ARE 08 VARIATIONS OF DRISHTI BEDAS. THIRD EYE CULTURAL SCHOOL GREEN FIELDS ,SHASTRI NAGAR PATHANKOT, INDIA 094170-26908 E;MAIL-thirdeyeculturalschool@gmail.com
- 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
- 29. DRISHTI BEDAS ULLOKIA DRISHTI • Looking up • Uses • Looking at sky stars,moon,sun etc. • Remembering past
- 30. DRISHTI BEDAS AVALOKITA DRISHTI • Looking down • Uses • Shyness • Reading • Writing • Self admiration
- 31. DRISHTI BEDAS • SACHI DRISHTI • Side glance • uses • Aiming • Secretly admiring
- 32. DRISHTI BEDAS PRAKITA DRISHTI • Looking both the sides • Uses • Addressing a meeting • Full view
- 33. DRISHTI BEDAS • MEEITA DRISHTI • Half opened eyes • Uses • Peace • Meditation • Trance • Prayer • intoxication • MEEITA DRISHTI • Half opened eyes • Uses-----Peace • Meditation • Trance • Prayer • intoxication
- 34. DRISHTI BEDAS ANUV RUTAA DRISHTI • Looking up and down • Uses • Admiring • Anger
- 35. HAND GESTURES THIRD EYE CULTURAL SCHOOL GREEN FIELDS SHASTRI NAGAR PATHANKOT ,INDIA . E;MAIL;- thirdeyeculturalschool@gmail.com 094170-26908
- 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
- 38. SINGLE HAND GESTURES PATAKA TRIPATAKA
- 39. SINGLE HAND GESTURES ARDHA-PATAKA KARTAREE-MUKHA
- 40. SINGLE HAND GESTURES MAYURA ARDHA- CHANDRAS
- 42. SINGLE HAND GESTURES MUSHTI SHIKHARA
- 43. KAPITTHA KATAKA-MUKHA SINGLE HAND GESTURES
- 44. SINGLE HAND GESTURES SOOCHI CHANDRAKALA
- 45. PADMAKOSHA SARPA-SHEERSHA SINGLE HAND GESTURES
- 46. MRUGASHIRSHA SIMHA-MUKHA SINGLE HAND GESTURES
- 47. KANGULA ALA-PADMA SINGLE HAND GESTURES
- 48. CHATURA BHRAMARA SINGLE HAND GESTURES
- 50. SINGLE HAND GESTURES SUNDAMSA MUKULA
- 52. DOUBLE HAND GESTURES ARE 24 IN NUMBER. THIRD EYE CULTURAL SCHOOL GREEN FIELDS ,SHASTRI NAGAR PATHANKOT, INDIA 094170-26908 E;MAIL-thirdeyeculturalschool@gmail.com HAND GESTURES
- 53. Double hand gestures ANJALISCHA KAPOTA
- 54. karkata swastika Double hand gestures
- 55. DOLA-HASTA PUSHPAPUTA Double hand gestures
- 56. UTSANGA SHIVA-LINGA Double hand gestures
- 57. KATAKA-VARDHANA KARTAN-SVASTIKA Double hand gestures
- 58. SHAKATA SHANKHA Double hand gestures
- 59. CHAKRA SAMPUTA Double hand gestures
- 60. PASHA KEELAKA Double hand gestures
- 61. MATSYA KOORMA Double hand gestures
- 62. VARAHA GARUDA Double hand gestures
- 63. NAGA-BANDAN KHATVA Double hand gestures
- 64. BHERUNDA AVAHITTHA Double hand gestures ALAPADMA WITH BOTH HAND INFRONT OF THE CHEST
- 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 • THANK YOU • 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.