SangeetKalaKendraKolkata

As per Shivatatva Ratnakara, there are 13 types of  Shira Bhedam.  They are listed below. One thing is to be noted here that the 3rd Tarangam talks about Shia bheda and describes the first 6 head movements. The 4th Taranga starts with dhristi bheda. The definitions and the usage not found in any manuscript. This is yet another example of how we have lost our ancient and mediaeval literature and documents.  1. Dhutam -  Head shaken from side to side slowly ( Usage : Denial, Unhappiness, Looking  2. Vidhutam - Dhutam done faster ( Usage : To portray one is scared, cold and sad) 3. Adhutam - Head is moved sharply to one corner ( Usage : Pride) 4. Ancitam - Neck slightly bent to the side ( Usage : Disease, Faint, Intoxication) 5. Kampitam - Head is moved up and down,  and is raised up and shaken fast repeatedly ( Usage : Argument , Enquiring) 6. Akampitam - From Kampitam head comes down ( Usage : Asking, Advising, Confirming) 7. Paravrttam 8. Avadhutam 9. Adhom...

 Head movement or Shira Bheda is mentioned in the 8th Chapter of Natya Shastra.  1. Akampitam Nodding  the head slowly from above to below Ordering, nodding,  2. Kampitam Nodding  the head  from above to below rapidly Understanding, asserting 3. Dhuta The head is turned slowly from side to side Confidence forbidding 4. Vidhuta Dhuta is quickly and repeatedly done Terror, panic 5. Parivahita Moving the head from side to side to form a sleeping 8 Joy,surprise 6. Udvahita Sideway the head is put up Pride, Bravery, looking up 7. Avadhuta Head lowered side ways Invoke a diety, asking someone to come near 8. Anchita Head tilted on one side with face in front Intoxication, fainting 9. Nihanchita The two shoulders are raised up and the head is pressed in Anger (show off), paralysis 10. Paravritta Head turned away and backward Looking back, Turning away 11. Ukshipta Head is pushed back so that the face...

 The 4 Taranga of the manuscript talks about Dhristi bheda. There are 8 bhedas mentioned. 

Karaikal Natesa Dandayudhapani Pillai  Karaikal Natesa Dandayudhapani Pillai is considered by many as one of the leading experts of Bharatnatyam. He received Padmashri award in 1971 for his contribution in dance.He received many awards like Natyacharya, Kalaimamani, Natyakalachakravarthy.  His book is called “ Aadal Isai Amudam”.  Details Birth 14 July 1921 Father A.K. Natesa Pillai Place Karaikal Puducherry, India Death 12 October 1974 Spouse Chandra Dandayudhapani Pillai Children Dr. Uma Anand Brother Dhakshinamoorthhy Pillai His Work :  He joined Kalashetra as a teacher where he taught for a number of years. He was known to authored many compositions. He was a dance choreographer in many Telegu, Tamil and Hindi films. He founded Sri Rama Nataka Niketan in Chennai in 1967.  He always said ,” I am not interested in accumulating wealth from my artistic  commitments. My mission is to leave behind a treasure trove of Knowledge that can never per...

             Natyashastra is a comprehensive work on the art of Dance, Drama and Music by Bharata Muni. Every dance form of India and most of the dance forms of south east Asia  The initial slokas talk about Bhoomi pranam, Natyarambham and even the way to greet Gods, Gurus and Audience/ Elders are mentioned. In Bharatnatyam, these are followed with absolute respect and to the last word.  Namaskaram : Every dance form in India starts with Bhoomi pranam. This is a way to show respect to the Bhoo Devi (Mother Earth) and seeking her permission before striking feet on her. The Natyashastra slokam related to this is as follows Samudravasanae Devii |  Parvathasthana Mandalae |                                                                          Vishnu Patn...

India is a huge country. Since ancient times the concept of Akhand Bharat  existed, which included a lot of small states governed by individual kingdoms. It is but natural to have variety in every aspect of life, music being not an exception. However, widely speaking, the music can be divided broadly into folk and classical music. Another broad division is North Indian Music (Hindustani Music) and South Indian Music (Carnatic Music).  Though both these music have vaguely similar base and have taken birth from the same land, yet there are distinctive difference that are visible.

 Mandala bhedam is the different ways of standing described in Natyashastra and Abhinayadarpana. It is very important for a student of any classical dance to focus of these leg and feet position. not only we need to teach these theoretically but we have to practice the same practically in the class, only then can we master these. It is very important to learn these and practiced this diligently so that during the performance, postures look extremely nice. Slokam related to Mandala Bheda in Natyashastra is as follows : “Sthaanakam chaayataalidham prenkhanapreritaani cha Pratyaalidham swastika cha motitam samasoochikaa Paarshwesoochiti cha dasha mandalaaniritaaneeha” 1. Stanaka Mandala 2. Ayataa Mandala  : Placing heels together and the toes facing outside (not necessarily 180 degrees as in Aramandi) , with the knees bent facing both sides. Feet position is flat.  3. Aalida Mandala :  From Ayataa lifting the right feet and keeping it in front. Both the knees wil...