Nadanam : Deepali Ravi
Nadanam : Deepali Ravi
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Bharatnatyam
- Introduction
- Features

Antiquity
- Legend
- History
- Revival

Technique
- Training
- Gestures
- Margam

Music
- Ancient References
- Tanjore
- Importance of music
- Basic Structure of Music

Costume

Shlokas

Dancers/Institutes




Features of Bharatnătyam        


Features

Technique & Theme

Bharat Nătyam is basically a solo dance which includes both the aspects -
'nritta' (pure steps) as well 'abhinaya'(expressions) in equal measures.
The meaning of lyrics of the song that the dancer dances to, is conveyed to the audience with the help of hand gestures and facial expressions. It mostly has a love theme but is devotional. The dancer represents the devotee, an eternal 'năyikă'(heroine) who is seperated from her lover the eternal năyaka(hero), none other but the diety/God and earns to be united with Him. Hence the themes are based on the stories of Krishna, Răm, Vishnu, Shivă, etc who are worshipped, being Gods.
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Basic Posture

The distinctive feature of BharatNatyam is its basic stance or the posture, called the 'Araimandi' or 'Ardhamandali'. It is the half sit position where in, the body is broken up in a series of triangles. The first triangle is formed by a line joining the the two outstretched knees, as the base and the heels as its apex. Similarly the second triangle is formed by the line joining the two outstretched knees as the base and the waist as the apex. Third triangle is formed with waist being the apex and the line joining the shoulders being the base. This position is very imperative in BharatNatyam and the entire dance is carried out in this position with a few exceptions.





Music

Bharat Nătyam is based on Carnatic Music (South Indian Classical Music). It has a rigid and a well defined Tăl structure and a Răga system. The accompanying artists are equally important and it requires a great deal of co-ordination and understanding between the musicians and the dancer.
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Mărgam

Bharat Nătyam Recital has a definite tradional order of the items that are performed, called as 'Mărgam'. This format was framed by the Tănjore Quartette (Chinniah, Sivanandam, Ponniah and Vadivelu) - the four court musicians of the time of King Sarfoji (1798-1832). And till today, this basic format is taught in the same pattern.
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