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Playlist 20

Playlist 20

This playlist introduces the second piece in the bharatanatyam repertoire alongside a lecture on how to count when dancing. The Playlist also elaborates on more exercises for the knee and furthers the Natyashastra Shlokas.

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Playlist 20
  • General mobility

    This is a great session to do on a day when you feel tight or sore. It opens up your body without expecting too much of it. You can also do it before you start a warm-up or after a strength or dance session. It is a session that is safe to practice early in the morning.

  • Arm Strength

    This short set of exercises will help develop some stability and mobility around the shoulders to enable your arm movements to become controlled and precise when dancing.

  • Legs and core 1

    The first Strength regimen concentrates on two primary areas. The core and the legs. These two areas are necessary to move efficiently in a Bharatanatyam practice. The stabilisation of core muscles is necessary to move safely when dancing. This protects our back and helps with speed and clarity. ...

  • Aramandi Tips 4

    This series will deal with a number of exercises that will work with developing a strong and stable Araimandi. It will also help resolve issues with knee and ankle pain. It must be practised in combination with the Hip openers and Leg strength for maximum benefit.

  • Knee Alignment 4

    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. Try to re...

  • Knee Alignment 3

    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. Try to re...

  • 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...

  • Korwe Adavu 1

    The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

    Things to kee...

  • Korwe Adavu (utplavana 1 )

    The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

    Things to kee...

  • 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...

  • 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 '...

  • 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 ...

  • 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. ...

  • 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...

  • 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.

  • Pādah bheda Shloka

    The feet are considered one of the Angas, or major limbs according to the Natyashastra.

    The movements of the feet 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. P...

  • Jānu bheda Shloka

    Jānu bheda according to the Sangīta Ratnākara, is an Upānga. The knees are considered one of the minor limbs.

    The movements of the knees are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture. Some of the positions elucidate...

  • Ūru bheda Introduction

    Explains the things to keep in mind when executing the thigh movements. Please watch carefully before practising with the shloka.

  • Ūru bheda Shloka

    The thighs are considered one of the Upāngas, or minor limbs according to the Natyashastra.

    The movements of the thighs 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 pronunciat...

  • Janghā bheda Introduction

    Explains the things to keep in mind when executing the movements of the shank/shin. Please watch carefully before practising with the shloka.

  • Janghā bheda Shloka

    The shins/ shanks are considered one of the Upāngas, or minor limbs according to the Nātyaśāstra

    The movements 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. Plea...

  • Khanda Chapu Korwe 1

    Please watch the subsequent Talam lectures that incorporate Gati and Yati and revisit this korwe.

    The Korwe series continues with a variety of Talams. This is the first Korwe in Khanda Gati that has rhythmic layers of other counts for the adavus on top of the 5 count base.

    Gati refers to an int...

  • 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...

  • 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...