The Grīvabhedas, as described in the Abhinaya Darpana are 4 in number.
These Grīvabhedas, or gestures of the neck are used primarily communicate meaning gesturally, and also used for specificity in Nritta.
Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put together in a Shloka form 'Sandhis', or compound words in the Sanskrit language. Words like 'ca', 'thatha', mean "and", "also". The separate words for each movement are also given below the shloka.
Sundarī ća Tiraścīnā tathaiva Parivartitā
Prakampitā ća Bhavagne neiryagrīva ćaturvidha
Sundarī
Tiraścīnā
Parivartitā
Prakampitā
The Drishtibhedas, as described in the Abhinaya Darpana are 8 in number.
These Drishtibhedas, or gestures of the eyes are used primarily communicate meaning gesturally, and also used for specificity in Nritta.
Please refer to the Shloka below for pronunciation. Please note that the separate move...
Raga: Todi
Adi Tala
Composer: K.N.Dandayudapani Pillai.
Choreography: Guru Narmada (Jathis) , Adapted by Rukmini Vijayakumar
Language: Tamil
The Varnam speaks from the perspective of a Nayika that is longing to see Lord Shiva.
This video goes through the last line of the pallavi of the Varnam s...
Raga: Todi
Adi Tala
Composer: K.N.Dandayudapani Pillai.
Choreography: Guru Narmada (Jathis) , Adapted by Rukmini Vijayakumar
Language: Tamil
The Varnam speaks from the perspective of a Nayika that is longing to see Lord Shiva.
This video goes through the chitteswaram.
P: Adi shivanaik-kANavE A...