This Warm- up is quite a bit more demanding than the previously introduced sequences, so please make certain that you have practised the following though the past months, atleast 5 times each, slowly with awareness before doing this warm-up.

Legs and core 1, 2
Obliques and flat back
Warm up Iso...

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...

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 keep...

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...

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 keep...

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 keep...

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 keep...

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...

Bramari literally means to turn. The second Bramari adavu that we practise in the Raadha Kalpa method introduces, quarter, half and full turns.

These turns are used in choreography to change direction with precision.

Things to keep in mind:
- The lengthening of the bent knee and the turn happ...

Bramari literally means to turn. The third Bramari adavu that we practise in the Raadha Kalpa method introduces half turns while using the same technique as the previous Bramari.

These turns are used in choreography to change direction with precision.

Things to keep in mind:
- The lengthening o...

Bramari literally means to turn. The fourth Bramari adavu that we practise in the Raadha Kalpa method introduces full turns while using the same technique as the third Bramari adavu.

The arm movement is varied in this turn just so students can practise a different combination of upper an lower ...

Bramari literally means to turn. The fifth Bramari adavu that we practise in the Raadha Kalpa method introduces full turns while changing the technique of the turn.

The arm movement is like the first Bramari Adavu, and the leg movement incorporates a swivel.

This Adavu is usually not done in v...

Bramari literally means to turn. The fifth Bramari adavu that we practise in the Raadha Kalpa method introduces full turns while changing the technique of the turn.

The arm movement is like the first Bramari Adavu, and the leg movement incorporates a swivel.

This Adavu is usually not done in v...

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 ...

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 c...

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 c...

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 Last kartharee adavu uses a big jump to land with the legs crossed.

The arms move in a complete mandala, cir...

The Kuditta mettadavu, named so because of the combination of a small jump and then the dropping of the heel, is usually done with hands to the side and then a small cross at the wrists.

These variations, continue with the same movement of the feet while changing the torso and arm movements.
-...

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. ...

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...

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...

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...

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...

The chest or Uras is considered one of the Angas according to the Natyashastra. The movements of the chest 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. Please no...