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title: Home - Nritya Kala Mandir

description: Welcome to Nritya Kala Mandir

keywords: Classical, Bharat, Natyam, Kanan, Rupal, Mudra, Dance, Toronto, Scarborough, Vaughan, Woodbridge, Indian, Nritya, Kala, Mandir, Class

encoding: ISO-8859-1

language: en

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one word phrases repeated minimum three times

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B tags

There are  several gharana's Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram, Melattur style and Balasaraswati's style.  Nritya Kala Mandir practices and preaches Tanjore Gharana’s form of Bharatanatyam. Tanjore was considered the seat of Carntic Music and Dance for many years. It is here that the music of the most illustious Trinity of South Indian Music flourished. The Trinity included Tyagaraj

Muthuswami Dikshitar

Syama Shastri

Many of the Kings and Princes of Cochin and Travancore were excellent musicians and one of them was Swati Tirunal 

 Abhinaya

Natya

Nritta

Nritya

Alarippu

Kautuvam

Ganapati Vandana

Jatiswaram

Shabdam

Varnam

Padam

Stuti

Koothu

Javali

Thillana

Angikam

Hindi Abroad coverage on Nrityaoutsava 2011

International Dance Day ? Pearson International Airport - Friday April 29th 2011

INDIA PAVILION AT CARASSAUGA FESTIVAL OF CULTURES, 2011

International Dance Day ¿ Pearson International Airport

U tags

I tags

Lord Shiva's physical manifestation (Angika Abhinaya) represents the universe, his acting cum speech (Vachika Abhinaya) is the world of language itself, he has set the world as a stage (Aharya Abhinaya) which includes the Sun and Moon as spotligths and his expresion of emotion (Sattvika Abhinaya) is pure bliss. In Indian mythology there are Four Vedas, Rig Veda, Yajur Veda, Sama Veda, Atharva Veda.  The Gods and Goddesses approached Lord Brahma who is believed to have created another veda for the common man to understand. The Fifth Veda was Natya Veda. Natya Veda is an abstract of other four Vedas. The Natya veda derived words (Pathya) from Rig Veda, Gestures (Abhinav) from Yajur Veda, Music and Chanting (geet) from Sama Veda, sentiment and emotions (rasa) from Atharva Veda. Lord Bhahma entrusted Sage Bharata to popularize this veda on the earth. Sage Bharata authored  Natyashastra, a great, comprehensive work on the science and technique of Indian drama, dance and music. Bharatanatyam might have got its name from sage Bharata also. Bharatanatyam is the oldest classical form of Indian dances. Bharatanatayam is also interpreted asBHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dance) = BharatanatyamBharatanatyam embodies the beauty, grace and charm, it is know for its sculptures poses and takes the dance to a higher spiritual consciousness.There are  several gharana's Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram, Melattur style and Balasaraswati's style.  Nritya Kala Mandir practices and preaches Tanjore Gharana’s form of Bharatanatyam. Tanjore was considered the seat of Carntic Music and Dance for many years. It is here that the music of the most illustious Trinity of South Indian Music flourished. The Trinity included Tyagaraj , the great singer and poet (1800-1850) composed and sang his 2000 songs immortal songs moslty in Telugu, Muthuswami Dikshitar(1776 - 1835 A.D.), the youngest of the Trinity (wrote about 300 compositions in sanskrit) and Syama Shastri(1762-1827 AD), who wrote about 300 compositions in Sanskrit and Telugu.Many of the Kings and Princes of Cochin and Travancore were excellent musicians and one of them was Swati Tirunal (1813-1847) who was perhaps the most brilliant composer with his compositions ranging in six different languages; Sanskrit, Tamil, Telugu, Malyalam, Hindustani and Marathi. Thus there are many other such great composers in the post -trinity period who were proficient in this art and there is a treasure of beautiful compositions which are being and to be explored and danced. Abhinaya or Natya - dramatic art of story-telling in BharatanatyamNritta - pure dance movements, as a medium of visual depiction of rhythms Nritya combination of abhinaya and nrittaIn the margi form nritta is composed of karanas, while the desi nritta consists mainly of adavus.KaranasKaranas are the 108 key transitional movements that punctuate Bharatanatyam and other classical Indian dances. Most of these 108 Karanas have a central, static pose as a base, i.e. the dancer is usually supposed to stop and maintain it for a very brief duration (0.5 sec). Read more about Karanas.HastasA distinctive feature of Bharata Natyam Dance is the use of expressive hand gestures as a way of communication. Hastas refers to the varieties of hand symbols that a dancer can use. Many of these hand gestures are well known. For example, Anjali is often used as a salutation when a person greets another person. The Tamil text Koothanoolcontains descriptions of over 300 hastas and mudras.There are two types of Hastas : Asamyukta and Samyukta (single and combined, respectively).Abhinayadarpanam describes 28 Asamyukta Hastas(Pataka, Tripataka, Ardhapataka, Karktarimukha, Mayuryakyo, Ardhachandrashya, Arala, Shukatundako, Mhushtishya, Shikharakhachya,Khapitya, Khatakamukhyo, Suchi, Chandrakala, Padmakosha, Sarpashiras,etc.) and 24 Samyukta Hastas and their usageviniyoga, although Natya Shastra mentions many more, and the usages stated in Abhinavabharati differ considerably from those of Abhinayadarpanam, which is a relatively recent text.The gestures used in nritta are called nritta hastas, and are described in detail as part of karanas in Natya Shastra. Few Bharatanatyam schools use the full range of these. Many hastas can be used in more than one way, depending on the song accompanying the dance, and what the dancer is trying to convey to the audience.AdavusSeries of steps, adavus, are a relatively recent desi component in Bharatanatyam. The dance steps were first categorized into adavus by Tanjore Quartet. The execution of adavus varies greatly from style to style. Most schools recognize 108 principal adavus, while some styles include over 150 adavus. Few professional dancers use more than 60. A combination of adavus is called jathis, which make up the Nritta passages in a Bharatanatyam performance. Unlike the margi Nritta composed of the Karanas, the adavus do not convey any rasa.Bhedas and eye movementsBharatanatyam technique includes many other elements, such as elaborate neck and eye movements. While Natya Shastra contains the largest number of the movements, and the most detailed descriptions, Abhinaya Darpanam, for instance, has defined only 9 head movements, 4 neck movement and 8 eye movements (compared with 36 of Natya Shastra) which are used extensively throughout the dance.Head Movements (Shiro bhedas): Sama, Udhvahita, Adhomukha, Alolita,Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam.Neck Movements (Griva bhedas): Sundari, Tirashchina, Parivartita, PrakampitaEye Movements (Drishti bhedas): Sama, Alolita, Sachi, Pralokita, Nimilite, Ullokita, Anuvritta, Avalokita [who looks down]After years of hard work and rigoruous trainng the Guru decides to present his/her student before the public and that's called "Arangetram or ranga pravesh".  In literary terms Argaetram is the is beginning of a dancing career for a student and the student enters the threshold of being a professional artist. The Student has to present a two-hour solo performance  which has to cover dance pieces, from Alarippu to Thillana.  Typically a performance includes:Alarippu - A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance. Kautuvam - Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis. Ganapati Vandana - A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali Jatiswaram - An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme. Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover. Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited. Stuti - Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra Koothu - Item containing a lot of dramatic elements. Javali - Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava. Thillana - The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.Apart from these items, there are items such as Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).Angikam - This is a devotional song on Lord Shiva and an item dance in bharatnatyam. It can also be performed in byapti slow motion.Currently, the sequence of items in most solo performances follow either of the two different margam sets: theTanjore Quartet margam and the devadasi margam. Prior to the Tanjore Quartet, the format of a traditional Bharatanatyam performance followed this order:Jaya stuti Sharanu Sharanu Alaru (Alarippu) Sollu Shabdam Varnam Padam Swarajati Abhinaya Padam Thillana Abhinaya Padam Jakkini Padam Geetham Prabandham Triputa Shloka Varnam Kavuthuvam Mangale (Mangalam)Bibliography z (accessed May 4, 2010.  Garba is a popular folk dance from the State of Gujarat, which depicts the rich tradition of song, dance and drama.The word 'Garba' derives its name after a lamp called Garbhadip, which means the lamp inside the earthen pot.It is a circular dance performed by women around an earthenware pot called a garbo, filled with water. A betel nut and a silver coin are placed within the pot, called a kumbh, on top of which a coconut is placed. As the dancers whirl around the pot, a singer and a drummer provide the musical accompaniment. The participants clap in a steady rhythm.The Garba Nritya is a circular form of dance performed by the women of Gujarat and this dance is performed during Navratri, Sharad Purnima, Vasant Panchami, Holi and other festivals. Traditionally it is performed during the nine-day Navarātrī (Nava = 9, rātrī = nights). Either the lamp (the Garbha Deep

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Nritya Kala Mandir

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Spreading the Art of Dance

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Spreading the Art of Dance

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