Skip to main content

Warm Up Exercises for BharatNatyam Student



It is very important for the students to learn the art of warming up before actually moving on to the dance practices. Researches show that warming up helps in slowly tuning the body for the vigorous exercise later on by increasing the body temperature in a controlled way. This in turn makes sure that the wear and tear of the muscles are minimized, hence the chances of injury is absolutely nominated. There is no specific rules and regulations set for warm up exercises. It totally depends on the student's body. The teacher has to work with the student to understand the areas that requires more attention. If practiced regularly these will ensure flexibility of the body.  Each of these exercises are elaborated separately. Please click on the name to know more about the exercises. 

  The First Set

Patangasana   :  Both the feet tucked close to the groin, clasped tightly with the hands like binding the feet. Both the thighs are then moved in a fashion like insects flying or flapping its wings. 

Shishupalan Asana : Bring the right foot and rest it on the middle of your Left Arm, bring your right Hand, from below your right foot and catch hold of your left arm Fingers, such that both Left and Right Hand Fingers are Locked inside Each other and twist your spine like rocking a baby. The other[Left] Foot Rests Between the Anal Outlet and Reproductive Organ. This is Shishupala 
Asana. Shishu means A Baby. Repeat with Left Leg in Right Arm. Do this for 2 Minutes for Each Leg.

Anulom Vilom : Anulom is opposite to Viloma. Close your eyes and sit in Padmasana and rest your hands on your knees. Close the right nostril with the right thumb.Inhale slowly through the left nostril, inhale the oxygen as much as you can, this will fill your lungs with air. Remove your thumb from your right nostril, as you remove your thumb from right nostril just exhale. When you exhale use your middle finger to close your left nostril then inhale with our right nostril and remove thumb from right nostril then exhale. Repeat this process for 5 to 7 minutes. Be focused and concentrate in your breathing.

                                                          The Second Set


Side Stretching : After the first set of excercises one need to do a bit of relaxation (minimum 2 mins) and then move on to the next set. In order to do the first stretching get a partner for yourself and tightly hold hands with him/her. Now sit on one leg sideways (thhis needs to be done very slowly). Get up and sit on the other side.

Stretching : Catch right feet with the right hand in a standing position and try and stretch the feet as far away from the body as possible.

Sitting & Standing : Hold the hand in samputa mudra and sit and stand at the count of 16, 12, 8, 4, 2, 1. Keep in mind that the knees should face two sides and while sitting the force should be on the toes.


                                                       The Third Set


Side Stretching : This is the same as the first stretching of the second set. But this time we need to do it with out the help of the partner. The hands needs to be hold in Samput Mudra.
                                       
Side Stretching Half Sit: As shown in the picture one need to sit in Aramandi and then stretch from sides.

Side Stretching : This requires the upper part of the body to move sideways while keeping the lower part intact.

Padmasana : Fold both the legs and keep the spine straight.




Author's Note : Kids below the age of  need supervision while doing the above excercises. 

Comments

Popular search

Angalakshana Part 1 - Anga Pratyanga & Upanga

 The science of dance was extremely well developed in ancient India. The word  Angalakshana  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. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom.  Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga.  Charaka also proved the co relation of spirituality and physical health c

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage.  Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called  Deva Hastas and AshtaDikpal Hastas.    Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.

Natya Shasatra _Slokas

Artist : Shilpi Nandi  "The joy of dance can not be explained or taught. It has to be experienced."  Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami  Brahamanaya Duthahrutham     I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me  by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu  Gurunamasya samsthithaha  Vakshasthaschaiva vipranaam   Sheshethwa niyamo bhaved     I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire south east Asia. Vishnu shakthi samuthpannae 

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

              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,

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow   Dampati Hasta   : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand.  Matru :  Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi