Playlist 50

Playlist 50

This playlist progresses into the second half of the Varnam and continues with the musical series of exercises for various body parts. It also introduces the Shlokas for the Strī and Purusha Sthānas according to the Natyaśāstra.

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Playlist 50
  • Musical Warm-up 3

    This Warm-up series reinforces ideas that have already been introduced in the previous instructed series. It is recommended to start on the musical warm-ups only once you have practised the instructed series over several months, so you already have internal awareness of alignment.

  • Musical Series: Hip openers

    This sequence of exercises reinforces ideas that have already been introduced in the previous instructed series for the Hips. It is recommended to start on the musical series only once you have practised the instructed series over several months, so you already have internal awareness of alignmen...

  • Musical Series: Arms

    This sequence of exercises reinforces ideas that have already been introduced in the previous instructed series for the Arms. It is recommended to start on the musical series only once you have practised the instructed series over several months, so you already have internal awareness of alignmen...

  • Sthānakās Introduction

    Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

  • Strī Sthānas

    Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

    Āyatam avahittam aśvakrāntamatāpi ća
    Strīnām sthānāni kāryāni gatiśvabharaneśu ća

    Āyatam
    avahittam
    aśvakrāntam

  • Purusha Sthāna

    Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

    There are 6 Sthanakas for male characters.

    Vaiśnavam samapādam ća vaiśakham mandalam tathā
    pratyālīdam matālīdam sthanān yethā...

  • Sthanas/ Positions used in Adavus

    Adavus have starting , transitory and ending positions. It is important to know, understand and embody these positions before embarking on Adavu practice. These positions are mentioned in the Natyashastra and Abhinaya Darpana with different names. The RK Method refers primarily to the Natyashastra.

  • Alignment in Adavus

    The video describes the various Sthanas that are used in the practice of Adavus and the right alignment and muscle engagement to ensure longevity and safety in practice.

  • Varnam, "Adi Shivane" : Part 12 (Swara 1)

    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.

    P: Adi shivanaik-kANavE Ashai koNDEnaDi
    nIti nilavum tillai ambalam...

  • Varnam, "Adi Shivane" : Part 13 (Swara sahitya 1)

    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 Charanam and Aradi

    P: Adi shivanaik-kAN...

  • Varnam, "Adi Shivane" : Part 14 (Swara 2)

    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 second Swara

    P: Adi shivanaik-kANavE As...

  • Varnam, "Adi Shivane" : Part 15 (Swara sahitya 2)

    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 Swara Sahitya

    P: Adi shivanaik-kANavE Ashai...

  • Varnam, "Adi Shivane"

    Varnam, "Adi Shivane"

    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.

    P: Adi shivanaik-kANavE Ashai koNDEnaDi
    nIti ...

  • Asamyukta Hasta

    The Asamyuta hastas, as described in the Abhinaya Darpana are 28 in number.

    These Hastas are used as embellishments in adavus as well as to communicate meaning gesturally, The Viniyogas in the Abhinaya Darpana describe a number of possible gestural implications for each Hasta.

    Please refer to...

  • Samyukta Hasta

    The Asamyuta hastas, as described in the Abhinaya Darpana are 28 in number.

    These Hastas are used primarily communicate meaning gesturally, The Viniyogas in the Abhinaya Darpana describe a number of possible gestural implications for each Hasta.

    Please refer to the Shloka below for pronunciat...