Could you please tell me the popular ‘Adavu’s’ names, how many steps are in it and the beats?

Here’s a list of common Adavus. Different schools of dance perform them with slight variations. You could also check out some books that will tell you more about Adavus.

You could try ‘Laghu Bharatam’ – Volumes I ; III published by Shree Bharatalaya, for a detailed description of the adavus with illustration of stick figures. Mohan Khokar’s book ‘Adavus’ is another reference work.

We Will Write a Custom Essay Specifically
For You For Only $13.90/page!


order now

1. Thattu Adavu – Thaiya thaiyi

2. Naattu Adavu – thaiyum thath- tha thaiyum -tha

3. Pakka Adavu / Meetu Adavu – Taa thai thai tha

4. Kudhitha Mettu Adavu / Mettu Adavu – thai-ha thai-hi

5. Kutha Adavu / Etta Adavu – thath-thai tha-ha

6. Shutru / Bhramari – Thath thai thaam, dhith thai thaam

7. Thaangidu thathadhina Series

a. Mandi Adavu

b. Karthari Adavu – thai thai-dhath tha

c. Shimir Adavu – thai thai-dhath tha

8. Theermana Adavus

a. Thai dhi dhi thai / tha dhing gin na thom

b. Kita thaka thari kita thom

9. Jark Adavu – thai-ya thai-yi

10. Sharukkal Adavu

11. Mei Adavu

12. Thattu Mettu

13. Uthplutha / Thalaangu / Jumps

14. Bhramari / Turns

15. Nadai / Walk

THE ADAVU (or Adaivu as the author prefers to spell it) is a dance unit called Karana in Sanskrit and is made up of a specific pose, a foot movement and a Nritta Hasta. A combination of Adavus is known as an Adavu Jati. According to experts, there are 10 different groups of Adavus, each having 12 different modes, making in all 120 basic dance arrangements. Dancers, however, generally learn about 40 to 72 Adavus.

Mrinalini Reddy asks –

Could you give me the words for “Nateshwara Kavutuvvam” it goes something like this: tadavana munijan sakhala sura asura…..

Dear Mrinalini,

You wanted the words of Natesha Kauthuvam. Here they are

Natesha Kauthuvam

Thatavana munijana sakala surasura

Sannutha padha kinkini jamjam

Jana jana jana jana noopura layagathi

Gana gana gana gana vidhi hari sevitha

Thakudu thikudu thaka thari kita thaka tham tha tha

Thandavidhambara

dhik kita kita thaka dhi dhi kita kita thaka

Vyagra charmadhara

Thom kita kita thaka thona kita kita thaka

Thrishuladhara

Nam kita kita thaka nan kita kita thaka

Nandi Vahana

Nadha yoga priya

Jakanam kita thaka jakanam kita thaka thona thaka thath thaka thai

Jaka jaka jaya jaya sashi ravi bhushana

Rupa bhayankara damaruha hastham

Thrithiya sahasra dhikshitha nadha natesha kauthuvam

Thaka thaka tham dhigi dhigi thai

Thaku dhiku thom kita

Thom kita kita thaki thang

Thangi kitathaka dhiku tham

Tha tha tham

Tha tha tham

Dear Prof. Sudharani,

I wanted to know if there is a good video cassette as well as audio cassette that i can purchase to practice adavus on a daily basis……i have learned dance for few years, I was forced to leave dance since i left India and haven’t been able to keep in touch ever since. iam craving to get back to dance and is intending on practicing adavus, and other items… so it will be extremely helpful if u culd suggest some video cassette has all adavu’s in it……your advice in this regard will be greatly appreciated..

Thanks,

Akshara

“the state of pure awareness, that is timeless and of indescribable beauty, pure joy and eternally auspicious- the state called Siva.” It refers to Nataraja the Cosmic Dancer and explains the five cosmic activities of srishti, sthiti, samhara, tirobhava and anugraha.

The nine moods of Sri Rama has been described in a Sanskrit shloka. The following is the shloka on ‘Navarasa Rama’:

Shrngaaram kshithinandhini viharane, Veeram dhanurbhanjane

haasyam shoorpanamukhe, Bhayam aghe, Bheebatsam anyamukhe, Kaarunyam balibhojane, Adbhutharasam sindhau giri sthapane, Raudhro raavana mardhane, Munijane shaantham

vapuh paathunah

Translation:

Love while sporting with the daughter of Goddess earth, heroism while breaking the bow, humour on seeing the face of Shoorpanaka, fear of sins, disgust for another lady’s face, compassion in the kakasura episode, wonder while placing the mountain on the ocean, anger while killing Raavana, tranquility towards sages.

aangikam bhuvanam yasya

vaachikam sarvaangmayam

aahaaryam chandhrathaaraadhi

tham numah saathikam shivam”

Natya Sasthras

Whose bodily movement is the Universe,

Whose speech is the language,

Whose ornaments are the moon and the stars,

Him we worship, the serene Lord shiva.

Named after sage Bharata, the author of Natya Shastra (manual of dramatic art), originated in temples, used to enact religious themes. Involves elaborate system of postures, hand gestures, foot movements (13 postures of the head, nine of the neck, 36 of the eye, 37 of the hand) The classic mentions 13 postures of head, 36 of the eyes, 9 of neck, 37 of the hand and 10 of the body.

[email protected]

Over the years, Shri Adyar Lakshman has choreographed a vast number of dances compositions. His items are well noted for their striking rhythmic passages and sensitive portrayals.

Dance Compositions of Bharatha Choodamani

TITLE

SONG

RAGAM

Invocatory Item

Pushpanjali

Nattai

Khanda Alarippu

Tisra Dhruvam

Nandichollu & Sivadhyanam

Todayamangalam

Ragamalika

Stuthi Pancharatnam

Ganaragam

(Ganesh Stuthi)

Sri Vighnarajam

Jathiswaram

Saraswathi

Saraswathi

Hemavathi

Hemavathi

Varali

Varali

Aabogi

Aabogi

Poorvi Kalyani

Poorvi Kalyani

Sabdam

Thillaiambalam

( Smt. Nagamani S. Rao)

Kamboji

Swarajathi

Sambasivayanave

Varnam

Nee Inda Mayam

Dhanyasi

Swami Naan Undan

Natakuranji

Enthanine

Kamas

Danike

Todi

Viriboni

Bhairavi

Mohamana

Bhairvi

Dasavataram

Ragamalika

Nityakalyani

Ragamalika

Sundaranga

Suddha Dhanyasi

Slokam

Parthasarathi

Madhyamavathi

Simhasanastithe

Ragamalika

Ananda Natamaduvar Thillai

Poorvi Kalyani

Tiruparam Kundravela

Sri Saraswathi

Meenakshi Kalyanam

Skanda Leela

Ragamalika

Padam

Chinna Chinna Paadam

Kapi

Kshirasagara

Devagandhari

Kautuvam

Ganesha

Natesha

Meenakshi Talattu

Neelambari

3 Ragam Tanam Pallavi

composed for Ananda Valli Sachidanandam

Varnam

Tanam Varnam

Ragamalika

Javali

Chelirunetlu

(Composed by Sri.Rama Rao)

Thillana

Mohanam

Mohanam

Sankarabaranam

Sankarabaranam

Hindolam

Hindolam

Masil Ayodhiyil

(Composed by Smt. Nagamani S. Rao)

Ragamalika

Kathanakutuhalam

(Composed by Smt. Nagamani S. Rao)

Kathanakutuhalam

Pancharagam, Panchagathi

Bheda

Andal Pasuram

Kannan madura geetham

Hamsanandhi

Nadanai

(Composed by Smt. Nagamani S. Rao)

Kambodhi

Varnam

Nandagopalanai

(Composed by Geeta & Gopinath)

Bhariravi

Anandanatanaprakasam

(Composed by Sri. K. Rama Rao)

Kedaram

Varnam

Sathiyim

Ragamalika

Other notable Dance Drama which he assisted in choreographing during the years at Natyala are Tiruppavai, Sangat Tamizh Malai, Azhagar Kuruvanji, Chandaalika. During the choreography of Chandaalika. Shri. Lakshman had the unique opportunity to work with Pt. Ravi Shankar. During the time when Vidwan Madurai N Krishnan composed the music for the Dance Drama “Azhagar Kuruvanji” Shri. Lakshman assisted in the dance choreography. The dance drama “Varunapuri Kuruvanji” was choreographed by him in 1973.

Shri. Lakshman has also directed and composed dance sequences for 3 art films Subba Sastri Hamsageethe and Ananda Tandavam.

TITLE

SONG

RAGAM

Invocatory

Alarippu Tisram

Nattai

Alarippu Mishram

Mallari

Gambhiranattai

Jathiswaram

Kalyani

Kalyani

Ragamalika

Ragamalika

Saveri

Saveri

Vasantha

Vasantha

Bhairavi

Bhairavi

Varnam

Roopamu Juchi

Todi

Sakhiye

Anandabhairavi

Manavi

Sankarabharanam

Tsalame

Natakurunji

Padam

Yaro Enrennamal

Sankarabharanam

Natanam Adinar

Vasantha

Netrandhineratile

Huseni

Manchidinamu

Anandabhairavi

Netru Varenenru

Panthuvarali

Sabdam

Aiyar Seriar

Ragamalika

Sraseejakhsaloo

Thillana

Hindolam – Khanda Ekam

Hindolam

Rarasitaramani Manohara

Hindolam Vasantham

Arivoordaiyar

Shankarabharanam

Why Perform Bharatanatyam?

By Srivani Dasi

Many dancers perform Bharatanatyam, but who really knows the purpose of this entertainment ? For many audiences it’s just colorful, spectacular, mystical transformation, which remain behind many questions. As a Bharatanatyam dancer I would like to explain important aspects of Bharatanatyam performance.

Bharatanatyam attained cultural heritage and traditions its own individuality and dignity, and always associated with the temples in India from ancient times. The temples are not simply grand monuments which house beautiful images and employ priests to assists the faithful in their pujas. A temple is created wherever the devotee communicate with the God. This can range from the little shrine in the home to any communal setting, like a performance where the God is present.

Throughout the world, fine art is associated with religion but nowhere is this more apparent than in India where sculpture, music and dance combine to offer the most beautiful and genuine forms of devotion. Whenever and wherever Bharatanatyam is performed with integrity and devotion, a temple is created, where sculpture, music and dance combine to offer forms of devotion. In the symbolism of Bharatanatyam is hidden a deep understanding of how our Universe works. From the tiny atom to inconceivably immense intergalactic spaces. The dance is not just a beautiful symbol, but a reality, taking place within each of us this very moment. When we behold dance, the world is seen as it truly is, sacred. Through the profound emotions that the dance provokes in us, may we all transcend to a higher level of consciousness. Bharatanatyam as a form of devotional worship is given full expression through the concept of God as one’s divine lover.

Rhythm and movement are basic to all creation and existence. Men, birds and beasts, plants, the earth, the planets and the stars, all are engaged in a ceaseless cosmic dance-recital, as it were. Rhythm and movement is life, and its cessation, stagnation, decay and death. Dance symbolizes both evolution and involution and springs from man’s innermost creative impulses, religious urges, emotions and sensibilities. The aesthetic foundations of this art are laid on the rock foundations of spiritual sadhana or rigorous discipline leading to moksha or liberation, however fleeting and momentary in the beginning. This is an art of great thought, heart, and mind.

Whenever I’m watching performance of Bharatanatyam my heart is full of appreciation for the dancer who is like a messenger between the Supreme God and the soul.

With all my respect to the Bharatanatyam art

Srivani dasi

Infodrive Presents classical Indian Dance : BARATA NATYAM

on cdrom.

Dancing seems to have touched the Indian heart in a deep way.Bharata Natyam is exquisite and ancient dance form reformatted and enhanced

with the creative contribution of several exponents of this art,including great composers

and teachers of Tamil Nadu.Madras based info-drive has created a CD-ROM that introduces you to this extraordinary art form.