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 the performances that will follow. The Thanjavur brothers (Chinnaiya, Punnaiya, Vadivelu and Shivananda) were the first one who streamlined Allaripu under the patronage of Thanjavur court. They were the one to choreograph Allaripu in all the 5 jaatis. The students of Bharatnatyam give lots of importance to Allaripu as this is the first time they get the taste of a particular dance. Only after perfecting Allaripu, a student should move on the next phaze of dance, Jatiswaram.
During modern times, especially now with the globalisation, new ideas have croped in the traditional margam. This has paved way to lots of experimental works on the traditional margam items without losing its essence. We now see Allaripu in Jatimal where all the 5 jaatis are combined to form 28 matras or beat and set of adavus are chorographed based on this. We also have Allaripu based on deitis like Shiva, Krishna, etc where the eseence of allaripu is absoltuly unharmed while a bit of abhinaya is induce to make it more interesting. We have a allaripu choreographed on animals where the movements of birds and animals are captured while keeping the rythemic patter same as traditional allaripu.
Note : We will be uploading videos regarding this topic so that the readers can get a better understanding of the topic.
All Links
During modern times, especially now with the globalisation, new ideas have croped in the traditional margam. This has paved way to lots of experimental works on the traditional margam items without losing its essence. We now see Allaripu in Jatimal where all the 5 jaatis are combined to form 28 matras or beat and set of adavus are chorographed based on this. We also have Allaripu based on deitis like Shiva, Krishna, etc where the eseence of allaripu is absoltuly unharmed while a bit of abhinaya is induce to make it more interesting. We have a allaripu choreographed on animals where the movements of birds and animals are captured while keeping the rythemic patter same as traditional allaripu.
Note : We will be uploading videos regarding this topic so that the readers can get a better understanding of the topic.
All Links
Margam Part 1 Allaripu Jatiswaram Shabdam Varnam Padam Kirtanam Tillana Mangalam Javeli Ashtapadi Malhari Pushpanjali Kavutham
Abhinaya : Navarasa Rama's Stories
Abhinaya : TechniquesAbhinaya : 4 TypesAbhinay : Navarasa Practical TechniquesAngalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement
Abhinaya : TechniquesAbhinaya : 4 TypesAbhinay : Navarasa Practical TechniquesAngalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement
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