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All Links  Margam Part 1       Allaripu    Jatiswaram   Shabdam      Varnam     Padam      Kirtanam      Tillana       Mangalam     Javeli       Ashtapadi      Malhari     Pushpanjali    Kavutham

The word " Tillana " comes from the north Indian word " Tarana ". Many say that the composition of Tarana in Hindustani or north Indian classical music is pretty similar to that  of the Tillana of  south Indian Carnatic music .  Even though its similar, yet specific differences are visible. Common syllables (many of which have Persian influence ) like "Odani" ,"Todani", "Tom","Dhrum", "Nam" etc are commonly used in both Tarana and Tillana.  Tillana is a rhythmic composition mainly consisting of Nrittya and  a very small Abhinaya part. Tillana mainly consists of the following parts..... Pallavi , Anupallavi , Sahityam and Caranam . Each Tillana is dedicated to a particular deity or a king. Traditionally, the Pallavi and Anupallavi would be sung in 3 speeds ( Vilambitaha , Madhyama and Dhrutam ) and the performance would continue for around 20 to 25 mins. However in modern times due to time constraints, many tillanas

Shabdam  means "words", " stories" " describing qualities of a particular being". It  is  a Abhinaya based composition. It is the first item where the students of Bharatnatyam are introduced to expression. Shabdam teaches the students how to translates the words into mudra, thus speaking through dance. The songs of Shabdam tells us the story of a deity or a king or a particular incident. These stories can be divided into 3 to 4 stanzas where a single line can be repeated several times in each of the stanzas and the dancer needs to perform on the same. In the second type - Shabdam can be performed on a particular deity where each stanza contains different incidents based on his/her life. The korvais (based of the adavus) separate the stanzas. The emotions and abhinaya are composed and sequenced in a disciplined way. Another unique feature of Shabdam is that it is very short just the Pallavi and a couple of Charanas. RBU Campus Picture  Usually a parti

Once a dance student perfects Allaripu, he moves on to the next step -- "Jatiswaram". Jatiswaram, traditionally the second item of a bharatnatyam performance emphasises " Nritya" or physical movements. Here the rythemic jati patterns blends with the swaras (musical notes) hence the name Jatiswaram (Jati plus swaram). There is no Sahittayam only Charanam( which can be 3 or more ) and pallavi. Here the pallavi is sung many times where the dancer performs different Adavus (basic steps), Korvai( combinations of adavus) and Tirmanam (conclusions). This dance has both mellody and movements. It has special note and asthetic pleasure is created by poses and movemts. Jatiswaram can be set to different Talam and Ragam to create an interesting performances. Being from Thanjavur the most famous Jastiswaram that I have seen are Kalyani (Rupaka talam), Vasantha (Rupakam ), Ragamallika ( Mishra Chapu). Swarajatis are also very similar to Jatiswaram, the only difference that I c

The word Allaripu comes from the word "Allarimpu" which literary means "blossoming of a bud". Just like a flower blooms from a bud, a dancer blooms into her or his real form and makes himself or herself ready for the next performances of the evening. An Allaripu starts with the attamis or the greeva (neck) and drishti (eyes) movements, shoulder movements with small jumps and then moves on to the mandi adavu and finally the tirumanam and Kati adavus are used. This can be taken as a warm up performance for the rest of the evening. The various adavus are merged along with the rythm to form a dance sequence. At the end we pray to the God (by putting hands above head), praying to Guru (by joining hands infront of the forehead), and greeting the audiences (by joining hands infront of the chest). Allaripu has its own charm. Its a pure Nritta item where lots of importance are given to the physical movements. This item is used to make the audience curious of the dancers and

Arala Hasta : Arala Mudra is formed when all the fingers are joined with thumb and first finger bent but not touched. Shloka  Vishadhyammrutham paneshu |  Prachanda Pavanepicha || Meaning of the Sloka Vishadhyammrutham paneshu   -- Drinking poison or nector Prachandapavana  --  Violent Wind Note : We will soon be posting the related videos. Important Links All Links   Abhinay :  Navarasa Krishna's Stories Abhinay :  Navarasa Devi Stories   Abhinaya : Navarasa Rama's Stories Abhinaya : Techniques Abhinaya : 4 Types Abhinay  : Navarasa Practical Techniques Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement Drop your queries or suggestions at sangeetkalakendra1@gmail.com Visit us on FB : https://www.facebook.com/Sangeet-Kala-Kendra-1461430557205352/

Mushti  Hasta :   When all the fingers are joined tightly together to form a fist, its called Mushti. Mushti Hasta Viniyoga Sloka Sthiram kachagraha Daartya    |    Vasthuvadeenamcha dharana || Mallianam yudhabhavaecha     |  Mushti hastanam yamishyatae || Meaning of Sloka   Sthiram – Steadiness Kachagraha – Grasping one’s hair Daartya – Courage Vasthuvadeenamcha dharana – Holding things Mallianam yudhabhava – Fighting mood of wrestlers Note : We will soon be posting the related videos. Important Links All Links   Abhinay :  Navarasa Krishna's Stories Abhinay :  Navarasa Devi Stories   Abhinaya : Navarasa Rama's Stories Abhinaya : Techniques Abhinaya : 4 Types Abhinay  : Navarasa Practical Techniques Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement Drop your queries or suggestions at sangeetkalakendra1@gmail.com Visit us on FB : https://www.facebook.com/Sangeet-Kala-Kendra-146143055

Sukahatandu Mudra : This is performed when you keep pataka mudra (thumb bend) along with the first and the middle finger bend. This is one of the those mudras that are used rarely. Shukatundaka Viniyoga sloka Banaprayoogecha Kunthartha | Alayasyasmrithikarma | Marmukthyam ugrabhava  | Shukatundani yujyathae || Meaning of Sloka Banaprayooga – Shooting an arrow Kunthartha – Spear Alayasyasmrithikarma – Thinking or remembering about the past Marmukthyam – Mystic feeling Ugrabhava – Angry mood Note : We will soon be posting the related videos. Important Links All Links   Abhinay :  Navarasa Krishna's Stories Abhinay :  Navarasa Devi Stories   Abhinaya : Navarasa Rama's Stories Abhinaya : Techniques Abhinaya : 4 Types Abhinay  : Navarasa Practical Techniques Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement Drop your queries or suggestions at sangeetkalakendra1@gmail.com Visit us o