Playlist 18: Repertoire Pushpanjali
This playlist completes the last part of the pushpanjali and also begins the alignment series for the knees. Knees are very misused by Bharatanatyam dancers causing a lot of problems in the long run. The alignment essentials series introduces the awareness pointers for the knees.
The next topic in Abhinaya is also addressed in this playlist.
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Warm up : Isolations
The warm up changes in length and content as your body changes. What a conditioned body needs to warm up is very different than a body that is beginning this journey. This warm up is safe and helps a dancer at every level to find openness in the body. It can be done in combination with the hip op...
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Knee Alignment 1
Align your knees and stay safe. These videos will help you reinforce alignment and thus help you employ proper usage of the knee joint through movement. The videos will address common misnomers as well as small strengthening exercises that can be practised on days that you do not dance.
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Obliques, flat backs and legs
This introduces the flat back and builds muscles in the back. It is recommended that you do this sequence after you lengthen your hamstrings to prevent your back from curving. It also introduces a lowering action on your quadriceps which will help build stronger legs.
The flexibility series tha...
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Shiro bheda Shloka
The head is considered one of the Angas, or major limbs according to the Natyashastra.
The movements of the head are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.
Please refer to the Shloka below for pronunciation. ...
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Pārśva Bheda Introduction
The side, Parshva is considered one of the Angas, or major limbs according to the Natyashastra.
The movements of the side are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.
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Pārśva Bheda Shloka
The side, Parshva is considered one of the Angas, or major limbs according to the Natyashastra.
The movements of the side are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.
Please refer to the Shloka below for pronun...
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Katī bheda Introduction
Explains the things to keep in mind when executing the hip and waist movements. Please watch carefully before practising with the shloka.
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Katī bheda Shloka
The hips are considered one of the Angas, or major limbs according to the Natyashastra.
The movements of the hips and waist are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.
Please refer to the Shloka below for pronun...
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Paraval Adavu 2
Paraval literally means to spread. Some schools of thought also call the Paraval adavu, the 'Pakkadavu' as it moves to the side while sliding. Some others change the name based on the way the foot articulates with the floor. A few of the types of Paraval, can be referred to as Marditam adavau, as...
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Parval Adavu 3
Paraval literally means to spread. Some schools of thought also call the Paraval adavu, the 'Pakkadavu' as it moves to the side while sliding. Some others change the name based on the way the foot articulates with the floor. A few of the types of Paraval, can be referred to as Marditam adavau, as...
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Bramari Adavu
Bramari literally means to turn. The first Bramari adavu is introduced in the second set of Adavus, the other varieties will be introduced subsequently. It is important to keep the eyes focussed at a particular point and turn the head faster than the body.
Things to keep in mind:
- When stretc... -
Kartharee Adavu 1
The Kartharee adavu is a movement that begins with a jump, followed by the crossing of the legs. The name could come from the hasta that is used or from the fact that the legs cross.
The bends of the bodies vary in the various types of Kartharee adavu. We usually practice this Adavu to a three ...
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Ta hata Jumtari ta Adavu
The "Ta hata jumtari ta" Adavu, is named after the syllables that are used in the practice of the Adavu. This practise is common amongst most lineages of Bharatanatyam.
The Adavu is a combination of various movements. It has the 'di, di tai" action with the Tattu and Naatu, from the muktaya ada...
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Teermana Adavu 1
The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.
The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...
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Theermana Adavu 2
The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.
The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...
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Theermana Adavu 3
The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.
The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...
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Theermana Adavu 3, variation
The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.
The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...
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Serikal Adavu
"Serikal", means to slide. This series of Adavus include a variety of sliding movements in the Adavu series of The Raadha Kalpa Method. The first variety is introduced in this series. Technically 'Jaaru' and 'Serikal' mean the same thing, but we will call this second series of sliding Adavus as '...
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Sarvalaghu Jathi 1
This Jathi has an instructional video. The counts for all the Sarvalaghu Jathis are all in 4 counts. Please watch and try to learn the Jathi for practice.
Please keep in mind that the Raadha Kalpa method likes to reinforce the idea of neutrality in Nritta patterns that are not placed within a c...
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Sarvalaghu Jathi 2
This Jathi does not have an instructional video. The counts for all the Sarvalaghu Jathis are all in 4 counts primarily. There are small variations in this particular Jathi. Please watch the Tala Theory video after you learn the Jathi and try to analyse where the variations occur.
Please keep ...
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Sarvalaghu Jathi 3
This Jathi has an instructional video. The counts for all the Sarvalaghu Jathis are all in 4 counts. Please watch and try to learn the Jathi for practice.
Please keep in mind that the Raadha Kalpa method likes to reinforce the idea of neutrality in Nritta patterns that are not placed within a c...
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Adi Tala: Pancha Nadai/ Jathi Korwe
Please watch the Talam lectures upto Lecture 5 before beginning this Korwe. There are two parts for the instruction of this Korwe, in Adi Talam.
The Korwe series continues with a variety of Talams. This is the first Korwe in Adi Talam that layers the adavus in all 5 Jathis. (Tishra, Chatushra, K...
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Tishra Eka Korwe 1
Please watch the first three lectures on Talam before beginning the Korwe series. There is an instruction video for each Korwe.
The Korwe series continues with a variety of Talams. This is the first Korwe you will learn in Tishra Eka Talam.
Try to notice the difference in the rhythmic cycle as...
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Tishra Eka Korwe 2
Please watch the Talam lectures upto Lecture 5 before beginning this korwe. There is an instruction video for each Korwe.
The Korwe series continues with a variety of Talams. This is the second Korwe you will learn in Tishra Eka Talam.
Try to notice the difference in the rhythmic cycle as you ...