SangeetKalaKendraKolkata

Important Links 1. Home 2. Profile 3. Objective 4. Contact Details 5. Upcoming Projects 6. Projects Undertaken 7. Opportunities 8. Nrityashree 9. Picture Galary 10. Announcement The aim of this blog is to provide assistance to young students as well as anyone amateur who wants to know more about dance. We will keep on updating the blog based on the request received. Do feel free to contact us for any query or request. Profile  1. Esha Banerjee 2. Guru Smt. Mira Dasgupta 3. Guru Smt. Champa Banerjee 4. Guru Smt. Rajalakshmi Venkatesh   5. Padma awardee Guru Karaikal Natesa Dandayudhapani Pillai  Artist : Esha Banerjee Natya Shastra _Slokas    NatyaShastra (Part 1) --- The story of the Beginning of Dance & Drama   Natya Shastra (Part 2) - Common Mistakes & Promise Natya Shastra ( Part 3)--  Birth of Apsaras NatyaShastra(Part 4)  -- Bharata Muni NatyaShastra (Part 5) ---  The Problem & Its Solution Chatur Sloka         Make Up Series Make

 The science of dance was extremely well developed in ancient India. The word  Angalakshana  (5 types) refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body.  Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Shirobhedam  Dristibhedam Greevabhedam Paadabhedam Gatibhedam  The concept of Human anatomy was  well understood in ancient India.A human body was presented as an inverted tree. This tree has roots at the top (head) and the branches (limbs) connected by the stem (body).  For the benefit of study not just for dance but for Ayurveda, spirituality etc as well the Human body was mainly divided into  3 broad divisions 1.

The word "Abhinaya" means expression. Abhinaya is the ultimate purpose of any dance performance. Done properly, it invokes Rasas in the audience. Abhinaya is a huge subject that cannot be covered in a day. Regular practice under proper guidance can help the students master Abhinaya. It is very difficult to teach Abhinaya. In fact some say, Abhinaya cannot be taught. Only the techniques can be taught and the dancer has to learn himself or herself. There are 4 types of Abhinaya Angikam : As the word "Angik" literaly means physical. Angikam Abhinay involves the physical aspect. This is performed with the help of Anga, Pratyanga and Upanga. It depends on the mudras, eyes, eyebrows etc. It basically is the body language. Vachikam :  As the word "Vachik" translates to "words". This means the vocal part of the abhinaya. This includes the songs, poems, dialogues,swaras, jaatis etc set to different ragam and taalam.  This is called the lyri

                      Head movements are  called Shirobheda . Shira or shirasa means “Head” in ancient Sanskrit. The head movements refer to the head positions, while expressing a particular bhava. There are Nine head movements. In fact each of the Nava Rasas are described with particular head movements.                       It is extremely important for a dancer to understand these details as it will help in properly holding the postures. This should be practiced everyday as warm up before starting with Margam. These neck and head exercises along with  the other Upanga, Pratanga and Anga practices forms the preparatory steps for the hard practices sessions later. ShiroBheda as per AbhinayaDarpana Sama : The head kept straight. As the same suggests it means equal.  Usage: Every time a dance is started. It is also used for looking or searching ahead. Udvahitam : Head looking upwards. Usage : showing Gods, sky, elevated beings. Adhomukham : Looking down. Usage : Depict

Mandalas or the standing position can be further divided into the following. It is very important for the students of classical dance to learn the Mandala Bheda as it will help in understanding the instructions of the Guru clearly. As we have already seen, there are 10 types of Mandalas. They are as follows :   Sthanakam : Stand Straight with Ardhachandra Hasta on the waist  Aayata :  Keep 12 inch distance between the feet and bending the knees a little.  Aalida : Keep the right foot 3 feet in front of the left foot, holding shikhara hasta in the left and katakamukha hasta in right hand  Prenkhana : Stand with one foot on the knee of the other and holding koorma hasta  Prerita : Hit the floor hard with one leg, bend the knees, keep the other foot a little futher, hold shikhara in one hand, near the chest and pataka in another, stretched away  Prtyaalida : Opposite of Aaleedha  Swastika : Keep right leg across the left leg and right hand across the left hand M

There are 8 types of Paadachari. They are Chalanachaari  : Walk casually Chankramanachaari :Walk while keeping the legs sideways Saranachaari Walk while dragging one feet and bringing the other together without lifting the heel from the ground Veginichaari : Walk fast while changing alapadma &tripataka hasta alternatively · Kuttanachaari :Walk while tapping the feet hard on the floor · Lunthitachaari :Stand in Swastikamandala and perform kuttanachaari in the front leg · Lolithachaari : Perform kuttanachaari in one leg and  walk slowly with the other one · Vishamachaari : Walk while the legs are twisted together  Gathibhedha There are 10 unique ways of Gathibhedha(Gait). They are · Hamseegathi :  Walk while keeping one foot in front  of the other and sway with each step, hold kapitha hasta in both  hands. (Walk like a Swan) · Mayooreegathi :   Stand on the tip of toes, hold  kapitha in both hands and fold up the legs for each step. (

 Error ### 401  Incomplete Updated Page  Introduction Adavus are the basic steps that are taught to the students of Bharatnatyam. These are the initial body and hand movements taught to a novice for body conditioning, who wants to pursue Bharatnatyam. They can also be called the "Alphabets of dance". Like alphabets are put together to form words and then sentences, Adavus are put together to form Chollakattus, Korvais and in turn a dance sequence. This is pure Nritya with no Abhinaya. The initial training of a student in any classical dance form  is of paramount importance. This is the time when the foundations are laid on which the structure will be built later on. Hence it is always advice able to spend more time on Adavus, so that learning dance in future becomes easily. Ideally, in traditional schools of Bharatnatyam, a student spends over 1 year in a degree or a diploma programme and for youngsters who starts training at an early age, it is advice able to spend at least

There are 7 types of Bhramari. They are · Utplutabhramari :  With Samapaada Sthanaka, jump & turn around Chakrabhrama ri :  Hold tripataka hasta in both the hands and turn around while dragging the legs on  the floor · Garudabhramari : Keep one of the knees on the  ground, stretch the other leg and turn around · Ekapaadabhramari :  Stand on one leg and turn  around with the othe r · Kunchitabhramari :  Jump and turn around folding  the legs up · Aakaashabhramari :  Jump , spread the legs apart  and turn around · Angabhramari : Keep the legs 12 inch apart and turn the body around Other Links Introduction Chatur Slokam --- BharatNatyam for Kids Make Up, Ornaments & Dress (Part1) __Bharat Natyam Angalakshana Part 1 - Anga Pratyanga & Upanga Angalakshana Part 2 - Shiro Bhedam or Head Movements Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement Hasta Mudra (Hand Gestures) Part 10 - Dashavataram Ha

              Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side.  Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,

               Greeva or the neck forms an important part of the body which helps a lot in Abhinaya. It is very important to learn all the 4 Greeva bhedam and to use them in dance according to the songs. The 4 types of Greeva bhedam as per Natya Shastra are as follow : Sundarai : Moving the neck from one side to the other. This is mainly used in Allaripu in Bhartanatyam style. This can be used for showing beauty or telling that a particular stuff is good, appreciation etc. This is also known as Attami.  Tiraschina : Moving the neck in "V" shape or diagonally. This is used for showing grievance, betrayal, bhivatsaya rasa, anger, disapproval, jealousy. Parivartitaha : Moving the neck in semi circle. This is used in Tillana.  Parikampitaha : Moving the neck forward and backward. This is used for showing birds, psychedelic  characters. Slokam as per Natyashastra Sundarischa Tiraschinatahaiva Parivartitaha Parikampitacha Bhava Greeva Gyana Chatura Other Links

Utplavana is a Sanskrit word which means to take a leap. In common terms we say that the Jump steps are the Utplavanas. These are very important part of any classical dance especially Bharat Natyam. There are of following 5 types : Alaga :Hold Shikhara hasta on the waist and jump Kartaree : Hop on the toes, hold Kartareemukha hasta behind the left leg and hold shikhara hasta, upside down on the waist Ashvotplavana : Hop forward on one leg and bring the other leg together,hold tripataka hasta in both the hands Motita : Hold tripataka hasta in both the hands,jump like Kartaree Utplavana on both side Krupaalaga : Jump in such a way that the heel touches the back side  Slokam  Athotplavana bhedaanaam lakshanam prikathyate Alang kartari vaa shvo utplavanam motitam tatha  Kripaalagamiti khyaatam panchadhotplavanam budhaih a   Other Links Introduction Chatur Slokam --- BharatNatyam for Kids Make Up, Ornaments & Dress (Part1) __Bharat Natyam Ang