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Namaskaram
(Feb 05, 2002)
Namaskaram is obeisance paid to mother Earth and also all the eight directions. It seeks the blessings of the mother Earth…
Slokam
(Jan 28, 2002)
It has been an established practice to end the performance, after Thillana, to the singing of a Sloka…
Thillana - Part II
(Jan 23, 2002)
The artiste should see to it that there is variety in performance, intelligently including adavu and korvai that are apt and challenging.
Thillana
(Jan 15, 2002)
The thillana is started in different jatis - thisram, kantam - in all the three different paces. It will then be followed by mey adavu…
Ashtapati II
(Jan 08, 2002)
As the lyrics are woven around Lord Krishna, Radha and the gopikaas it offers a very wide scope for the artiste, demanding all his or her skills…
Ashtapati
(Jan 01, 2002)
Though the verses sound like the differing moods of sweethearts, they cannot be taken for their surface meaning…
Keerthana (Dec
25, 2001)
The word keerthana may be taken to mean a ditty sung in glory (keerthi) of the Lord. It may be on any of His avatars or other different forms.
Jaavali (Dec
18, 2001)
Jaavali centres round love in human form. It describes and portrays the nayaki in love with her lover in real life.
Padham II (Dec 11, 2001)
The artiste would bring out the moods of a past day and the present when performing Padham. The past may be distant or recent…
Padham
(Dec 04, 2001)
The songs selected for Padham would therefore be emotionally charged and would have a deeper connotation.
Padha Varnam II
(Nov 27, 2001)
There are different kinds of Padha Varnas. They may be composed with a single raga. Or the first half of the Varna would be sung in a particular raga…
Padha Varnam
(Nov 20, 2001)
The Lord with a magnificent appearance with Ganga flowing from his matted hair would be portrayed in the third recital.
Shabdham
(Nov 13, 2001)
It is through Shabdham that the aspirant is taught to express different kinds of feelings through the face…
Jati swaram
(Nov 06, 2001)
Jati swaram may consist of swaras in a single raga or a mixture of many ragas - raga
malika.
Alaarippu
(Oct 30, 2001)
The dancer stands in balance in the beginning. Or sometimes they stand with arms akimbo. From this posture the body slowly floats into movements.
Bharatam the performing art
(Oct 23, 2001)
In the 1930s there were considerable number of women from many communities other than Devadasis who came forward to learn Bharatam…
The transition from temples to auditorium
(Oct 16, 2001)
The story of Natya that left the temple doors reaching the Stage…
Bharatam - the metamorphosis
(Oct 09, 2001)
We are deeply indebted to the devadasis for preserving this art and handing this over to us down the ages.
Dance in those days
(Oct 02, 2001)
The customs then changed by and by. The dancers, who were performing only within the sanctum sanctorum, came out to perform in the inner
prakara…
The Auditorium - its design and shape
(Sep 25, 2001)
The Natya Sastra says that the person who designs the auditorium undertakes a fast for a few days.
Abhinayam
(Sep 18, 2001)
A simple message like 'Lord Shiva set the Tripuras aflame' has to be conveyed to the audience through Mudras and Abhinaya.
Legs and their positions in Bharata Natya
(Sep 11, 2001)
To start with adavus involve the use of legs. Then it integrates with hand movements and then with that of the body as a whole.
The tool known as body
(Sep 04, 2001)
This would serve as a dictionary in understanding it. There are ten different positions of the legs. Mudras
(Aug 28, 2001)
It would sound unbelievable that friendship and enmity are expressed with a single double-hand Mudra, by a mere change of the fingers employed.
Natya Sastra
(Aug 21, 2001)
It is amazing that the Sastra has detailed methods to be followed in the matter of acoustics…
The Birth of Bharata Natya
(Aug 14, 2001)
The essence of all the four Vedas was collected and compiled as the fifth Veda.
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