The Salutation
Salutation/ Pranam
The salutation in Bharathanatyam is called Thatti Kumudu (to tap and salute). The ancient practice of performing the salutation before and after dancing is observed in all parts of India.
1.The salutation is done by tapping the feet in samapada (feet together) with the shikara hasta in both hands, in front of the chest.
2.The practitioner then turns out her toes ,sits in full mandi and brings the hands (in shikhara hasta ) from the shoulders, touches the floor and raises the palms to her eyes, paying her respects to Mother Earth.
3. Then he/she performs the three namaskars:-
-
On top of the head- To salute the God
-
In fornt of the forehead- to salute the Guru
-
In front of the chest- to salute the audience
It is also a pratice to to pay respects to the thattukazhi ( rhythm block and stick) or the cymbals.
Adavu
Araimandi is a very important posture in Bharatanatyam. It becomes a comfortable posture with practice. "In this posture, the back should not jut out, the stomach should not protrude and the torso should not bend forward. The 'Brahmasutra' (the vertical imaginary line passing through the centre of the body) is in balance. This means that the araimandi (half sit posture) adjusts according to the height of the dancer. When the araimandi is beyond the threshold point, there is an invlountary urge to lift the heels, which will result in imbalance. Too much of sitting or standing is not aesthetically beautiful. " Prof (Smt.)Sudharani Raghupaty (Chennai, India)
Adavus or steps are the building blocks of Bharathanatyam. There are different types of adavus and the nomenclature or naming also varies according to the style or Pani. There are many styles or tradition of Bharathanatyam , the most common of which being the Vazhuvoor, Kalakshetra, Pandanallur,
The adavus elucidated here have their basis in those taught by Padmashri smt. Chitra Visweswaran at Chidambaram Academy of Performing Arts, Chennai following the Vazhuvoor tradition.
Name/ Nomenclature |
Meaning |
Sollu/Syllable |
No.of Steps |
|
Thatt Adavu |
Tapping/stomping |
Tha-ya tai (varies) |
8 |
|
Naat Adavu |
Perching (on the heel) |
Thai- yum –that-tha |
8 |
|
Mardhita Or Paraval Adavu |
Uses mardhitam foot movement To move |
That-Thai-Thai-Tha |
8 |
|
Gudhitametti |
Jumping |
Thai-ha-Thai-he |
6 |
|
Sharakkal |
Sliding |
Thai-ha-Dhi-thai |
4 |
|
Pancha nadai* |
Gait/Jaati |
varies |
5 |
|
Paaydhal |
Leaping |
Thai-Thaiyum-thatha |
4 |
|
Ettadavu |
To reach Out |
Thai-Thaiyum-thatha |
3 |
|
Sharakku |
slide in Mandi |
That-Thai-Tham Dhit-Thai-Tham |
2 |
|
Mandi |
Full sit position |
That-Thai-Tham Dhit-Thai-Tham |
2 |
|
Kuttadavu |
Kuttanam- on the toes |
That-thai-Tha-ha Dhit-Thai-Tha-ha |
8 |
|
Korvai Adavu |
String of Movements |
That-Thai-Tham Dhit-Thai-Tham |
9 |
|
Theermanam/Arudi Dhit-Dhit-Thai |
Ending |
That-Thing-Gina-Thom Kita-thaka-thari-Kita-thom Tha-katha-Jam-thari-Tha |
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