Bharata Natyam

Grade 7
Extended Programme
FOUNDATION

MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology
 Bharata Natyam
Grade 7
Extended Programme
FOUNDATION
Textbook

Based on the National Curriculum Framework

2016

MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology.
Republic of Mauritius
2021
 Mahatma Gandhi Institute (2019)

All rights reserved.No part of this publication may be reproduced, stored in

a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without the prior
permission of the Copyright owner.

Printed by:
Dragon Printing & Co. Ltd,
75, Route des Pamplemousses,
Ste Croix.
Tel: (230) 240 46 30

First published 2018

Reprinted 2019

While every effort has been made to trace the copyright holders for reproductions,
we might have not succeeded in some cases. We offer our sincere apologies
and hope that they will take our liberty in good faith. We would appreciate any
information that would enable us to acknowledge the copyright holders in our
future editions.All materials should be used strictly for educational purposes.

ISBN: 978-99903-39-97-0

i
 Performing Arts
(Indian Music and Dance) Panel
Mr. K. Mantadin - Project Coordinator
(organisation and development),
Senior Lecturer (Tabla),
Head, Department of Curriculum Development,
Mahatma Gandhi Institute.

Ms. S. Dabee - Panel Coordinator

Senior Lecturer (Bharata Natyam),
Head Department of dance, MGI.

Writing Team Bharata Natyam

Mrs. P.D. Luchman - Team Leader Educator (Bharata Natyam) - MGI

Mrs. A. Dwarka-Bania - Educator (Bharata Natyam),(M.O.E, T.E, Sc. & Tech.)

Contributors
Dr D. Pentiah - Appadoo - Educator (Kuchipudi) - M.O.E, T.E, Sc. & Tech.

Mrs R. Beeharry - Lecturer (Kathak) - MGI

Ms. S. Jootun - Educator (Kathak) - M.O.E, T.E, Sc. & Tech.

Vetter
Mrs.S.Mungur - Former Associate Professor (Dance) - MGI

Proof Reading
Mrs M. Bhujohory - Educator (English) - MGISS

Graphic Designers - MGI

(cover, illustration, layout and photography)

Ms. D. Jadoo Ms. V. Jatooa Mr. V. Napaul Ms. P. Juckhory

Word Processing Operator

Mrs. N. Mugon

ii
 Acknowledgements
Mrs S. N Gayan, GOSK, Director General, Mahatma Gandhi Institute and
Rabindranath Tagore Institute for her continued advocacy for music
education especially Indian Music and Dance.

Dr (Mrs) V Koonjal, Director, Mahatma Gandhi Institute for her

unwavering support to this project.
The Performing Arts (Indian Music and Dance) panel is also grateful
to the following persons:
Mr. T. Mauree Director Schooling - MGI
Mrs.U. Kowlesser Registrar (MGI)
Dr (Mrs) P.M. Hungsraz Senior Lecturer (Vocal),
Head School of Performing Arts, MGI
Mrs. S. Seboruth Ag. Music Organiser (Oriental) - M.O.E, T.E, Sc. &
Tech.
Quality Vetting Team
Dr J Chemen Associate Professor, Head, Centre for Quality
Assurance - MGI (Coordinator)
Mrs.S.B. Mattabaddul Educator (Bharata Natyam) - MGI
Mrs. L. Ramduth Lecturer (Design & Communication) - MGI
Mrs S.Gopee Educator (Bharata Natyam) - M.O.E, T.E, Sc. &
Tech.
Mrs. C.A. Naidu Educator (English) - MGSS
Mrs. D. G. Samy Deputy Rector - MGSS

Administrative Staff
Mrs.H. Chudoory Administrative Officer - MGI
Mrs. S. Appadoo Clerical / Higher Clerical Officer - MGI
Mrs. G. Checkooree Clerical / Higher Clerical Officer - MGI
Mrs.K.P. Binda Clerical / Higher Clerical Officer - MGI
Mrs. P. Purmessur Word Processing Operator- MGI

Photographer
Daksha Seetaram

Courtesy
Yoshita Gangabissoon
Shreya Appadu
Manasvi Runglall
• The parents and their wards for giving us the permission to reproduce their
photographs and images in the textbook.

iii
Foreword
‘Where the mind is allowed to stumble upon cascades of emotion and where the
surprise of creative exchange comes out of tireless striving towards perfection’
Rabindranath Tagore

Should music, dance, arts, drama be taught in schools? Do such subjects matter ?

As in the case of all debate, there are those who are for and those who are
against. The decision, in the context of the reforms leading to the Nine Year
Continuous Basic Education, to include teaching of the performing arts in the
secondary school curriculum shows that ‘the ayes have it.’ At least for the time
being.

Traditionally, music teaching takes place in a one-to-one mode. The piano

teacher teaches one student at a time, so does the sitar guru. Dance is more of a
group experience. But for each of these disciplines, the context of institutional level
teaching introduces opportunities of reaching a broader cross-section of population,
thereby giving rise to fresh challenges. Students come from a variety of social and
cultural environments which expose them to different types, genres and registers in
the arts. Students also come with different levels of aptitude. These are but two of
challenges encountered.

From another perspective, it has been repeatedly pointed out that the ‘digital
natives’, while definitely coming to learning with resources hitherto not available,
may, in the process, be losing their ability to grasp, decipher and understand
emotional language. In short they may be losing empathy.

The ultimate aim of arts education in the curriculum is to provide a pedagogical

space where the young will be able to explore their own affective responses to
forms of artistic expression, to develop sensibility, while acquiring a whole set of
skills, including not only spatial awareness, pattern recognition or movement
coordination, but also the benefits of group and team work, of joint effort, higher
level creative thinking and expression, as well as an overall sense of shared
pleasure and of achievement. This is what emotional intelligence is all about.

The specialists who prepared the syllabus and the present textbooks for Indian
music and dance had all the above in mind while undertaking the task. The
teacher training for these disciplines needs to be a continuous process of
exchange between curriculum developers, teaching practitioners, textbook-writers
and learners.

The MGI is particularly happy to be part of this major development, at a time when
the country is looking at new avenues for continued economic development, and
more importantly at new avenues to enhance equity, social justice and inclusion.
It is our small contribution to the ‘grande aventure’ of holistic education.

Mrs Sooryakanti Nirsimloo-Gayan, GOSK

Director-General (MGI & RTI)

iv
Preface
This textbook is the first instructional material in the field of Performing Arts (Indian
Music and Dance) written by a team of experienced Mauritian teachers and
experts in Vocal Music, Instrumental Music and Dance.

It has been designed on the Aims, Objectives and the Teaching and Learning
Syllabus of the Performing Arts from the National Curriculum Framework (2016),for
those learners who have embarked on the Extended Programme under the Nine
Years Continuous Basic Education Programme.

The Performing Arts Curriculum is articulated around four strands: Performing,

Creating, Responding and Performing Arts and Society. Thus, the textbook takes
into account the development of key skills and understandings under the four
strands.

This set of textbooks for the students of the Extended Stream lays the foundation in
each discipline and provides learners with the essential knowledge, skills and
attitudes needed to progress towards higher grades. The contents and activities
have been arranged progressively so as to attain the targets of the Nine Years
continuous Basic Education. It also takes into consideration the multicultural nature
of our society and its traditions.

This textbook is a support material that gives direction to the educators in the
teaching and learning process by linking the curricular components, curricular
expectations, pedagogical principles and assessments.

A textbook is not an end in itself like any other instructional material. It is a means
to facilitate learning to take place in a continuous and continual manner.

Learning objectives in each chapter of the textbook reflect the curricular

outcomes. It will help the teacher to design his/her lesson plans which will further
ease the teaching and learning transaction towards achievement. Teachers will
have to plan their work so that learning takes place in an effective and efficient
way. They will have to provide appropriate and enriched experiences and modify
the teaching and learning strategies according to the needs of learners to cater
for student diversity. Student diversity should not be seen as a means to narrow the
gap between individual students, but rather to encourage them to fulfill their
potential.

The practical aspects of the discipline have been integrated under “practical”
with step-by-step technique laying emphasis on the mastery of skills from one level
to another.

We are aware that children construct knowledge in their own way and have
different learning styles.The textbook has been designed to cater for such needs.
Special features and a generous number of illustrations, pictures, concept maps

v
and activities have been included to promote collaborative learning and other
additional skills like team spirit, cooperation and understanding diverse nature of
learners. These would help teachers to organise their interactions at classroom
level. Teachers may rearrange learning materials and activities to facilitate
learning. In the process of learning and teaching, educators have to pay
constant attention to learners’responses in order to adjust the strategies and
progress of learning and teaching, and to give appropriate assistance to learners
wherever necessary.

Assessments in the form of activities, projects and questions are also included at
the end of each chapter. These are check points to assess the learners. It will help
teachers gather evidences about the expected level of learning taking place in
the learners.

I would also request all the Educators to go through the National Curriculum
Framework (2016), the Teaching and Learning Syllabus of the Performing Arts
(Indian Music and Dance) documents and especially the “Important Note to
Educators” which has been provided in the textbook to have a
thorough understanding of the Philosophy and Perspective behind those
documents and their implications in the implementation of the Reform process in
the education system.

I hope that this new journey of learning Indian Music and Dance will be an
enriching one.

Mr. K. Mantadin,
Project Co-ordinator - Performing Arts (Indian Music and Dance),
Senior Lecturer (Tabla),
Head, Department of Curriculum Development,
Mahatma Gandhi Institute.

vi
IMPORTANT NOTE TO EDUCATORS
This teaching and learning syllabus of Indian Music and Dance has been
designed on the spiral curriculum model in which core components and
essential topics are revisited within the three years. It caters for both the
theoretical and practical aspects of each discipline.

It also comprises different blocks of knowledge and skills and each block is
supported by specific learning outcomes which cover all the three
domains of learning; cognitive, psychomotor and affective.

The Listening and Viewing component has been integrated in the syllabus
as it is a key factor in the development of music and dance abilities.
Teachers should provide a wide variety of listening and viewing experiences for
learners to stimulate active listening and viewing through questioning,
prompting and suggestion.

In order to achieve the objectives of the syllabus and to keep a good

balance between theory and practical sessions, the teacher will have to
plan his / her work and teaching and learning activities according to the
topics to be taught as specified in the scheme of studies. However, educators
may modify the sequence of the topics in which they wish to teach for the
smooth running of the course.

Educators should:

1. Ensure that learners use the knowledge, skills and understanding developed
from grades 1 -6 and build upon that prior knowledge to construct new
knowledge.

2. Provide learning experiences that include opportunities for hands-on

and interactive learning, self-expression and reflection.

3. Find a variety of ways to align their instruction with the Aims, Learning
Outcomes and Specific Learning Outcomes by focusing on active learning
and critical thinking.

4. Provide learning activities that are appropriate in complexity and

pacing.

5. Provide opportunities for individual and multiple groupings.

vii
6. Actively engage and motivate students in the process of Learning Music
and Dance.

7. Develop the ability in the learners to use and understand the language
of Music and Dance through listening and viewing as well as responding
to live and recorded repertoires.

8. Enrich the musical experience of the students by gaining an understanding

of the cultural and historical context of music and dance exploring personal
connections with them.

9. Carry out active listening and viewing sessions through the use of
Information Learning Technologies(ILT’s). This will facilitate developing
their investigative and methodological
abilities.

10. Model and demonstrate accurate and artistic musical and dance techniques.

11. Differentiate Music and Dance instruction to meet a wide range of

students needs.

12. Educators should also ensure that learners'

• Show proper care and maintenance of classroom instruments

• Demonstrate respectful behavior as performers and listeners
• Participate in classroom protocole and traditions for music making
and dance

13. Reinforce effort and provide recognition.

14. Discuss student performances by using peer assessment as a tool.

15. Give opportunities to students to assume various roles in music

performances, presentations and collaborations.

16. Motivate students to maintain a musical collection and portfolio of their

own work over a period of time. It can be an individual or group initiative
that the learner will undertake under the supervision of the educator.

viii
 Table of contents
Dance 1
Chapter 1 - Invocation 5

Chapter 2 - What is dance ? 11

Chapter 3 - Body conditioning for dance 21

Chapter 4 - Namaskar 37
Chapter 5 - Basic Dance Postures 47
Chapter 6 - Hand Gestures 57

Chapter 7 - Adavus 65
Chapter 8 - Kala & Laya 87
Chapter 9 - Indian Classical dance 93
Chapter 10 - Dance in Mauritius 103
Chapter 11 - Creative Exercises 117
Chapter 12 - Practice for Bharata Natyam 121
Glossary of terms 122
 Dance

Dance in general is a form of self-expression through rhythmic body movements.

It can be natural and spontaneous or arranged movements in different forms.

ELEMENTS OF DANCE

Dance is made up of five elements, B.A.S.T.E that is; B ody

A ction
S pace
T ime
E nergy

The instrument of dance is the body. All the parts of the body are used in dance
in a coordinated manner.

In dance, the body is used to make different shapes and designs in space.
Dance consists of body balancing in pose and in movements

2
 Dance

Different types of action are used in dance such as bending, stretching, walking,
jumping and sliding.

Action is categorised in two types of movements:

• Locomotor (travelling) movements such as walking, sliding, hopping and

jumping.

• Non-locomotor (on the spot) movements such as stretching, bending, twisting

and turning.

Space in dance refers to the personal and general space of the dancer.

Personal space is the space that immediately surrounds the body.

General space is the space within a room or bounded area in which one can
move around e.g. a stage for dance. Use of general space is also in relation to
a partner or other dancers in a performance.

3
 Dance

Space also includes the following:

• Size (if the space is big or small)
• Level (high, low)
• Directions (forward, backward, diagonal)
• Floor patterns (straight, zigzag, circular)

Time is another important element of

dance. It refers to the rhythm in dance.
Dance is build up upon rhythm and it
cannot exist without rhythm.

Rhythm also controls the speed of dance

such as slow, medium or fast. Different
speeds are used in dance to support and
enhance emotions.

Energy in dance is how the movement is executed. The amount of energy put
in a movement can make it tense and forceful or relaxed and soft. An arm
movement might be soft and loose or controlled and tight.

4
INVOCATION

Chapter
1

Objectives
At the end of this chapter, learners should be able to:

• Memorise the Sanskrit Shlokas

• Recite the Sanskrit Shlokas
• Develop an understanding of the spirituality behind Bharata Natyam as an art
form

• Develop respect for the teacher and discipline towards the class
 Chapter
1

Traditionally, a Bharata Natyam class starts with an invocation to God. An

invocation is a prayer and in Indian culture it is usually recited in Sanskrit
Shlokas (verses).

GANESHA

In Indian culture, Lord Ganesha is worshipped first and foremost, before

starting any auspicious activity as He is known to be the remover of obstacles.

SHLOKAS ON LORD GANESHA

Vakra tunda maha kaya surya koti sama prabha
Nirvighnam kurume deva sarva karyeshu sarvada

CONTEXT TRANSLATION

The One with a twisted trunk and who has a huge body.
The One whose brilliance is compared to ten millions of suns.
Oh Lord please remove the obstacles from all my actions and always protect me.

6
 Chapter
1

Activity

Find out other names of Lord Ganesha

Keywords

Invocation, verses, obstacles, Indian

culture, religious ceremonies.

LINK:
Shlokas on:
Ganesha
https://www.youtube.com/watch?v=htYOAmLVs48

7
 Chapter
1

POINTS TO REMEMBER

Bharata Natyam class starts with an invocation which means

prayer.
Recitation of the prayer is done through Sanskrit Shlokas
(verses).
Lord Ganesha is known as the remover of obstacles.
Lord Ganesha is worshipped as the first God in all Indian
religious ceremonies.

8
 Chapter
1

Assessment

1. Rearrange the following Shlokas on Lord Ganesha in sequence.

Nirvighnam kurume deva

Surya koti sama prabha
Sarva karyeshu sarvada
Vakra tunda maha kaya

2. Complete the Shlokas on Lord Ganesha by filling in the blanks with

appropriate words.

Vakra tunda …………. kaya

Surya ..………… sama prabha
………………..... kurume deva
Sarva karyeshu .....……………

9
 Chapter
1

Notes

10
What is dance?

Chapter
2

Objectives
At the end of this chapter, learners should be able to:

• Explain the concept of dance

• List some of the folk and classical dances of the world
• Develop an appreciation for the art of dancing
 Chapter
2

Activity

Let us discover dance

• Students will view some dance videos from the links given below and observe
the movements and music carefully.
Links of different dance styles:
https://www.youtube.com/watch?v=ueg7wePFvVY
https://www.youtube.com/watch?v=w0gamtoWxnE
https://www.youtube.com/watch?v=J9iXXoigZs8
• Some students will also be asked to dance and others will observe.

After having observed the different dance styles answer the following multiple
choice questions:

1. How were the dancers executing dance movements?

a) With the feet only
b) With the hands only NOTES TO
c) With the whole body
TEACHER
2. How were the dancers using space?
Brainstorming session
a) Staying in one place
about what dance is.
b) Moving around

3. How were the dancers expressing themselves?

a) Through speech
b) Through body movements and facial expressions

4. The movements of the dancer were done in ---------------- manner.

a) a random
b) an organised

5. The dancers were following the ---------------- in the musical composition.

a) Words
b) Rhythm

12
 Chapter
2

What is dance?
Dance is rhythmic body movements that can be DID YOU KNOW?
natural and spontaneous or arranged in different
styles. The elements of dance are body, action, 29th April
is the
space, time and energy. Dance is a means of
International Dance Day.
self-expression experienced through the body to
communicate ideas and feelings.

Concept of dance
Dance has always been present in human life. Since ancient times, the primitive
man had learnt a lot from nature. Consequently his dance movements imitated
that of his daily activities and experiences. For example, the primitive man
used to make sounds like animals while dancing and his body movements
resembled the movements of the animals around him.

Dance of the primitive people

Dance kept on changing together with the civilisation of man and it is believed
that gradually dance became related to the culture and civilisation of a country
and its people.

13
 Chapter
2

DANCE EVOLUTION

NATURAL & SPONTANEOUS

RHYTHMIC
BODY MOVEMENTS

TRIBAL & FOLK DANCES

CLASSICAL DANCES

There are two types of dances in general: folk and classical.

Types of Dances

Folk Classical

14
 Chapter
2

Folk Dance

The word ‘folk’ means people in general. Therefore, folk dance is the dance of
the people. Every country and culture have their own folk dances which differ
according to their traditions and beliefs as well as their geographical, historical
and climatic conditions.

There are many folk dances around the world, for example, Bhangra, Garba,
Kummi and Kollattam of India, Maori dance of New Zealand, Hat dance of
Mexico, Scottish Sword dance, American Square dance and Sega of Mauritius.

Sega dance from Mauritius Maori dance from New Zealand

Square Dance from America Hat dance from Mexico Bihu dance from India

Chinese Lion Dance African folk dance Bhangra from India

15
 Chapter
2

Classical Dance

Classical dances have very highly developed techniques such as specific

steps, body movements with perfect postures, particular hand gestures and
facial expressions.

Classical dances are divided into two styles: Indian and Western. Some of the
names of the Indian classical dances are Bharata Natyam, Kathak, Kuchipudi.
The classical dance of the western countries is ballet.

16
 Chapter
2

Keywords

Rhythmic, spontaneous, facial expression,

evolution, folk dance, classical dance, primitive

LINK:
Folk dances around the world
https://www.youtube.com/watch?v=mvPWgo3JL9c

POINTS TO REMEMBER
Dance refers to rhythmic body movements that can be natural
and spontaneous or arranged.
Dance has been part of human life since the primitive time.
Dance is a form of communication to express the inner feelings.
The elements of dance are: body, action, space, time and
energy.
Folk dances and classical dances are the two types of dances.
Some examples of folk dances are Sega, Bhangra, Kummi and
Kollattam.
Some classical dances are Bharata Natyam, Kathak and Ballet.

17
 Chapter
2

Assessment

1. Identify the type of dance in the pictures given below. State whether it
is Folk or Classical dance.

2. Tick whether the following statements are True or False.

True False

Dance has existed since primitive time.

Dance is considered as a means of communication and

consists of rhythmic body movements.
International Dance Day is celebrated on the 25th of
November.

Folk dance is known as the dance of the people.

Maori is a folk dance of Mauritius.

18
 Chapter
2

3. Complete the chart below which illustrates the evolution of dance : -

DANCE EVOLUTION

4. Tick the names of the classical dances in the list given below:

Bhangra Maori

Garba Hat dance

Bharata Natyam Kuchipudi

Kummi Sega

Kathak

19
 Chapter
2

Notes

20
 BODY
CONDITIONING
FOR DANCE

Chapter
3

Objectives
At the end of this chapter, learners should be able to:

• Practise warm-up, pre-dance and cool-down exercises for their benefits

• Execute the warm-up, pre-dance and cool-down exercises with accuracy for
safe practice

• Practise the exercises to develop flexibility, agility and endurance

• Adhere to the practice of warm-up, pre-dance and cool-down exercises for
safe and effective practice
 Chapter
3

BODY PARTS

Physical activities make use of the body to execute movements. Different

parts of the body are used simultaneously or in isolation to perform particular
movement.

To facilitate an understanding of the body parts, a labelled diagram is given

below:

Body Parts
Forehead
Head

Eyebrow Eye

Nose Ear

Mouth Cheek

Chin
Chest
Shoulder
Elbow
Neck
Arm
Waist
Hip
Hand
Thigh
Finger
Calf Knee
Heel Shin

Arch Ankle

Foot

Toe

22
 Chapter
3

BODY CONDITIONING FOR DANCE

Conditioning the body through warm-up and pre-dance exercises before

dancing is important for various reasons. When the body is at rest, it is not
advisable to start any intense physical activity immediately. The body needs to
be prepared for safe and effective practice.

STEP 1
Breathing Exercises

A good warm-up exercise could

start with some breathing
exercises; inhaling deeply and
exhaling slowly. Deep breathing
relaxes the muscles and
provides more oxygen to the body. Inhale through Exhale through
the nose the mouth

Inhale as you lift

your arms up
above your head
and exhale as you
lower your arms
down.

23
 Chapter
3

STEP 2
Head and neck exercises

These exercises gradually and gently help to increase the flexibility

and range of movement of the head and neck.

Move head to the right and left and then up and down.

STEP 3
Stretching exercises

Stretch all the body parts to allow blood circulation, loosen the body
and reduce stiffness.

24
 Chapter
3

STEP 4
Specific stretches for Indian classical dancers

All Indian classical dancers need to stretch the lower back, the
hamstrings, the quadriceps, the calves, the Achilles and the arches of
the feet before dancing.

Lower Back stretch

Achilles stretch

Hamstrings stretch

Quadriceps stretch Arches of the

feet stretch

25
 Chapter
3

STEP 5
Some more warm-up exercises

Walking around the class at a brisk pace. This will help to raise the
heart rate and pump blood to the working muscles.

Small jumps while opening and closing the feet and lifting the hands
above the head at the same time.

26
 Chapter
3

STEP 6
Pre-dance exercises

1. Sitting Exercises

Butterfly exercise - This exercise helps to stretch the inner and outer
thighs.

- While seated on the floor, draw both feet in and place the soles of the
feet together.
- Hold the toes with both hands then lift up the knees and hold tight,
then lower down the knees by pressing down the thighs to the ground
gently.

27
 Chapter
3

STEP 6
Pre-dance exercises

2. Standing and sitting exercises

Open the feet on the sides, lift up the heels and gradually sit down on
the toes while opening the knees on the sides as much as possible.
The body should be kept straight while executing this exercise.

28
 Chapter
3

STEP 7
Waist exercises

Bend the body to the right and to the left.

29
 Chapter
3

STEP 8
Types of Jumps

Standing jump
Standing with the feet together and the hands clasped in front of the
chest, jump on the toes while lifting the legs at the back and landing
lightly on the floor without making any sound.

Sitting jump
In the full - sitting position on the toes and knees opened on the sides,
keep the hands clasped in front of the chest then jump on toes while
trying to lift the legs as high as possible.

30
 Chapter
3

COOL-DOWN EXERCISES

Cool-down exercises are done after the dance class. It is intended to relax the
muscles and give time for the heart rate to decrease gradually as the blood
circulation returns to normal.

STEP 1
Breathing exercises

Breathing
Inhale and exhale to stabilise the heart beats and relax the body.

Inhale through Exhale through

the nose the mouth

31
 Chapter
3

STEP 2
Stretching & Relaxing

Stretching is done for both legs and arms to avoid muscles cramps
and pains.
(i) Stretching of Arms

(ii) Stretching of Legs

NOTES TO
TEACHER
Make sure that :
(ii) Relaxing • Safe flooring of the
Sit on a chair or on the floor by letting dance class to prevent
the arms and legs loose. injury.
• Proper ventilation of
the dance room.
• Proper space area.
• No health issues on
the part of the students.

32
 Chapter
3

Benefits of body conditioning for dance

Warm-up exercises Pre-dance exercises Cool-down exercises

Help in increasing the Help to develop and Help to bring the heart
amount of oxygen in condition core muscles rate back to normal.
the body. of the body for dance.
Help in decreasing the
Help stretch the muscles Help the body to body temperature back
and prepare them for become more flexible. to normal.
physical exercises.
Help to gain muscle Help the muscles feel
Help in increasing the control and improve less sore.
heart beat gradually postures.
and prepare it for
intense activity.
Help to reduce the risk
of muscle injury.

Dress Code For Bharata Natyam Class

Students are advised to wear cotton salwar

kameez (dress and pant), with a dupatta (stole)
for the practice of Bharata Natyam to enable NOTES TO
easy and free movements. TEACHER
The hair should be well tucked away from the
Teacher may choose
face and plaited or tied at the back.
any uniform colour
of salwar kameez
and dupatta for the
school. Wearing of
the dupatta should
be taught.

Male students usually wears a Kurta and Pyjama.

33
 Chapter
3

Keywords

Body conditioning, warm-up exercises,

pre-dance exercises, cool-down exercises,
safe practice.

LINK:
Pre-dance exercises for Bharata Natyam
https://www.youtube.com/watch?v=gtv2K_Jy0xg&t=16s

POINTS TO REMEMBER

Body conditioning is the preparation of the body for dancing.

It is important to warm-up before dancing for safe and effective
dance practice.
Pre-dance exercises are essential as they help to develop and
condition core muscles of the body for dance.
Cool-down exercises help the body to gradually return to normal
after an intense activity.

34
 Chapter
3

Activity

Execute the body conditioning exercises in pairs.

35
 Chapter
3

Assessment

1. Complete the sentences below with either the word warm-up, pre-dance
or cool-down.

a) ……………………… exercises are done before starting any dance activity.

b) ………………………... exercises are done after a dance activity.
c) ……………………….. exercises help together develop and condition core
muscles of the body for dance.
d) Body conditioning for dance starts with …………………… exercises.
e) ………………………….. exercises help in decreasing the body
temperature and bring it back to normal.

2. Complete the chart below with the appropriate words.

Body conditioning for

dance includes

Warm-up Pre-dance
exercises exercises

36
NAMASKAR

Chapter
4

Objectives
At the end of this chapter, learners should be able to:

• Explain the purpose of doing Namaskar

• Execute Namaskar with accuracy
• Identify the hand gestures used in Namaskar
• Identify the basic dance postures used in Namaskar
• Develop discipline and respect towards the class and the art of dancing
 Chapter
4

NAMASKAR
Namaskar is salutation in Indian culture.
Namaskar is performed in all Indian classical dances before starting and at the
end of every dance session and performance to pay respect to mother earth,
God, the teacher and the audience.

In Bharata Natyam the movements of Namaskar are executed in the following

ways:

Practical

Method:
1. Stand with both feet together (Samapada).
The hands are kept in front of the chest in Katakamukha gestures. Stamp the
right and then the left foot.

38
 Chapter
4
2. Then open the feet sideways and sit down on the toes with the knees gradually
opening on the sides.
The Shikhara hands turn around the shoulders simultaneously with the sitting
down movements.

3. A full-sitting position (Muzhumandi) is achieved with the knees well opened

on the sides and Shikhara hands positioned down in front with extended arms.

39
 Chapter
4
4. The Pataka hands touch the ground and then the eyes for the purpose of
asking permission and forgiveness to mother earth for stamping the feet on her
while dancing.

5. The Anjali hands are then raised above the head to seek God’s blessing.

40
 Chapter
4

6. The Anjali hands are kept in front of the forehead to seek the teacher’s
blessing and it is also a sign of respect to him/her.

7. The Anjali hands are finally brought down in front of the chest to welcome, to
salute and to seek the audience’s blessing.

DID YOU KNOW?

All Indian classical dances

have their own way of
doing Namaskar.

NOTES TO TEACHER

To Create An Atmosphere Conducive To Dance.

• The dance space should be kept clean at all times.
• No footwear should be allowed in the classroom and learners should
remove their shoes and arrange them neatly in rows outside the
classroom.
• The classroom should be well lit and aerated.

41
 Chapter
4

Keyword

Salutation

POINTS TO REMEMBER

Namaskar is done in all Indian classical dances before starting

and at the end of every dance session and performance to
pay respect to mother earth, God, the teacher and the audience.
The Pataka hands touch the ground and then the eyes for
the purpose of asking permission and forgiveness to
mother earth for stamping the feet on her while dancing.
The Anjali hands are raised above the head to seek blessing
from God.
The Anjali hands are placed in front of the forehead to seek
blessing from the teacher.
The Anjali hands are placed in front of the chest to welcome,
to salute and to seek blessing from the audience.
The hand gestures used in Namaskar are: Katakamukha,
Shikhara, Pataka and Anjali.
The basic dance postures used in Namaskar are Samapada
and Muzhumandi.

42
 Chapter
4

Assessment

1. Match the following hand gestures with their specific names.

Katakamukha

Shikhara

Pataka

Anjali

43
 Chapter
4

2. Write down the names of the two postures given into brackets under
the appropriate pictures. (Muzhumandi, Samapada)

3. Rearrange the following pictures by numbering them in sequence:

Example of picture number 1 has already been given.

1.

44
 Chapter
4

4. Fill in the blanks in the sentences with the appropriate words given in
brackets:

a) The -------------------- (Pataka/Shikhara) hands touch the ground and then the
eyes for the purpose of asking permission and forgiveness to mother earth for
stamping the feet on her while dancing.
b) The Anjali hands are raised above the head to seek blessing from
------------------- (audience/God).
c) The Anjali hands in front of the forehead are meant to seek blessing from the
------------- (God/ teacher) and also as a sign of respect.
d) The Anjali hands placed in front at chest-level are meant to seek blessing, to
salute and to welcome the -------------- (teacher/audience).

45
 Chapter
4

Notes

46
BASIC DANCE
POSTURES

Chapter
5

Objectives
At the end of this chapter, learners should be able to:

• List the basic dance postures

• Describe the basic dance postures
• Name and demonstrate the basic dance postures used in Namaskar
• Name and execute the basic dance postures
 Chapter
5

BASIC DANCE POSTURES

In Bharata Natyam there are five basic dance postures which are commonly
used and they are as follows: Samapada, Sausthava, Araimandi, Natyarambhe
and Muzhumandi.

Samapada
Samapada is the position where the feet are kept close together in a standing
posture.

Sausthava
Sausthava posture is standing straight with a slight bend of the torso in front. This
is the usual standing position in Bharata Natyam.

48
 Chapter
5

Araimandi
Araimandi is one of the most important basic postures in Bharata Natyam as
almost all the steps are executed in this position. It is a half-sitting posture.

NOTES TO
TEACHER

Ensure that in the

Araimandi posture:

1. The spine of the

learners is straight.

2. The Brahmasutra
Araimandi gives stability to the dancer. In (the vertical imaginary
line passing through
Araimandi posture, the feet are turned on the
the center of the body)
sides in an almost horizontal line and the legs
is in balance.
are bent at the knees which open sideways in a
half-sitting position.

The body is kept straight and the wrists of the hands in Ardhachandra gestures
are firmly placed on the waists above the hip bones.

49
 Chapter
5

In this posture a number of triangular shapes is achieved by the body.

ACTIVITY

Count the number of

triangles achieved in
the Araimandi posture.

Araimandi is also known as Ardhamandali, Ukkaramandali or Ayatamandala.

In the Natya Shastra (a book on which all Indian classical dances are based),
it is mentioned that when the Araimandi posture is taken, the distance from the
head to the navel should be equal to that from the navel to the floor.

Natyarambhe

Natyarambhe is a very typical posture

of the arms in Bharata Natyam. The
arms are stretched out on the sides at
shoulder level in a semi-circular shape
with the elbows raised.

50
 Chapter
5

Muzhumandi
Starting from the Araimandi position, sit down on the toes with the heels raised
up and the knees opened on the sides.

Activity

In small groups or in pairs, practise the Araimandi and Natyarambhe

basic dance postures while counting up to 25 and gradually
increasing up to 100.

51
 Chapter
5

Keywords

Basic posture, shoulder level,

half-sitting.

POINTS TO REMEMBER

There are five basic dance postures which are commonly used
in Bharata Natyam and they are: Samapada, Sausthava,
Araimandi, Natyarambhe and Muzhumandi.
Araimandi is one of the most important basic dance postures
of Bharata Natyam.

52
 Chapter
5

Assessment

1. Match the name of the basic dance postures to their corresponding

explanation.

Basic Dance Postures Explanation of Basic Dance Postures

Samapada Arms opening in a semi-circular position at

shoulder level

Sausthava Full-sitting on toes with the knees opening

on the sides

Araimandi Standing with both feet together facing in

front

Half–sitting posture with the feet and the

Natyarambhe
knees opening sideways

Standing straight with a slight forward

Muzhumandi
bend of the torso

53
 Chapter
5

2. The alphabets of the name of each basic dance posture is given

randomly, rewrite them correctly.

a) pamadasa:
b) vasaustha:
c) manaraidi:
d) rambhenatya:
e) mandimuzhu:

4. Write down the missing alphabets in the names of the basic dance
postures given below:

a) S m pada
b) N t ara bh
c) Mu h man i
d) A a m nd
e) Saus ha a

54
 Chapter
5

3. Identify and name the basic dance postures from the pictures given
below.

55
 Chapter
5

Notes

56
HAND GESTURES

Chapter
6

Objectives
At the end of this chapter, learners should be able to:

• Define the term ‘Hasta’

• Memorise the names of the twelve Asamyuta Hastas in sequence
• List the names of the twelve Asamyuta Hastas
• Name and demonstrate the Asamyuta Hastas in sequence
• Recite the Shlokas and demonstrate the twelve Asamyuta Hastas in sequence
• Identify the Asamyuta Hastas at random
 Chapter
6

Human beings have always used their hands to express themselves as a support
to words. Many messages can be expressed and communicated with the
hands and at times it can even replace words.

ACTIVITY 1

• Make pairs and try to

communicate with your
friend using only the
hand gestures.
• Ask your friend to
guess what you are
saying.

The hands can also be used in an artistic way

ACTIVITY 2
to depict various things. This can be done in
hand shadow art where the shadows of the Use your hands in
hands are projected on a flat surface with the different gestures to
help of a source of light. depict things as a
shadow on a wall as
shown in the picture.
Be creative while you
are having fun.

NOTES TO
TEACHER

An overhead projector on
a white board or a source
of light will facilitate
activity 2.

58
 Chapter
6

HASTAS OR MUDRAS

In all Indian classical dances hand gestures

are called Hastas or Mudras. NOTES TO
TEACHER
Hastas are used to beautify dance movements.
They are also used as a code to symbolise Ensure that Hastas are
various things and act as a support to learnt with accuracy and
express emotions in Indian classical dances. proper pronunciation.

Each Hasta can be identified by a specific

name. Hastas are usually recited and
demonstrated in Shloka form by all Indian NOTES TO
classical dance learners. STUDENTS

Hastas should be
practised and performed
with precision as this
Hastas according to Abhinaya Darpanam (a will help in the clarity of
famous text on dance gestures) are movements in dance
classified into two categories and they are: compositions.
Asamyuta and Samyuta Hastas.

HASTAS

Asamyuta Hastas Samyuta Hastas

(Single Hand Gestures - 28) (Double Hand Gestures - 23)

59
 Chapter
6

ASAMYUTA HASTAS

The Asamyuta Hastas are the single hand gestures used in Indian classical
dances. Each Asamyuta Hasta has a specific name and various uses. For
example; the Pataka Hasta can denote a river, clouds, a forest, night, and the
Simhamukha can denote a deer’s head.

A deer’s head Simhamukha

Names and Pictures of Asamyuta Hastas

Pataka Tripataka Ardhapataka Kartarimukha

Mayura Ardhachandra Arala Shukatunda

60
 Chapter
6

Mushti Shikhara Kapittha Katakamukha

NAMES OF THE ASAMYUTA HASTAS

1. Pataka 4. Kartarimukha 7. Arala 10. Shikhara

2. Tripataka 5. Mayura 8. Shukatunda 11. Kapittha

3. Ardhapataka 6. Ardhachandra 9. Mushti 12. Katakamukha

SHLOKA FORM OF TWELVE ASAMYUTA HASTAS

Patakas tripatako ardhapataka kartarimukhaha/

Mayurakhyo ardhachandrascha aralah shukatundakaha//
Mushtishcha shikharakhyascha kapitthah katakamukhaha/

DID YOU KNOW?

A Shloka is a Sanskrit
word meaning a verse.
A Shloka rhymes with a
fixed number of words.

61
 Chapter
6

Keywords

Hand gestures, single hand gestures, double

hand gestures, non-verbal communication.

LINKS:
Hand shadow art:
https://www.youtube.com/watch?v=czWjRopXCFo
https://www.youtube.com/watch?v=2lj57kAX5_k

Asamyuta Hastas
https://www.youtube.com/watch?v=Y_vUCoufnws&t=290s

POINTS TO REMEMBER

Hand gestures are known as Hastas or Mudras in Bharata

Natyam.
Single hand gestures are known as Asamyuta Hastas.
According to the Abhinaya Darpanam there are two categories
of hand gestures; the Asamyuta and Samyuta Hastas.
There are 28 Asamyuta Hastas and 23 Samyuta Hastas
according to the Abhinaya Darpanam.

62
 Chapter
6

Assessment

1. Fill in the missing names of the Asamyuta Hastas given in sequence

below:

1. Pataka 7.
2. Tripataka 8. Shukatunda
3. 9.
4. 10.
5. Mayura 11. Kapittha
6. Ardhachandra 12.

2. Identify the hand gestures given in the pictures below:

3. Answer the following short questions:

i. Name the text on gestures used for Bharata Natyam?

ii. Name the terms used for hand gestures in Indian classical dances?

iii. What are the terms given for single and double hand gestures?

iv. How many single hand gestures are there according to Abhinaya Darpanam?

63
 Chapter
6

4. Match the following pictures of hand gestures with their respective

names.

Katakamukha

Shukatunda

Tripataka

Ardhapataka

Shikhara

64
ADAVUS

Chapter
7

Objectives
At the end of this chapter, learners should be able to:

• Define the following technical terms; Adavus, Sollukattus, Angika and Anga
Shuddham
• Memorise the name of the series and Sollukattus of the Adavus
• Execute the prescribed Adavus while maintaining the basic dance posture
(Araimandi) in three speed
• Develop static body balance
 Chapter
7

ADAVUS

What are ADAVUS?

• Adavus are the basic rhythmic unit of steps in Bharata Natyam.

• Adavus consist of short sequences of movements which coordinate all
the parts of the body that is the hands, feet, eyes and head.

• Adavus should be executed with proper maintenance of basic dance

postures and clarity of body movements (Anga Shuddham) in order to
develop basic skilled movements and good dancing abilities.

• Adavus do not have any meaning and consist of beautiful and decorative
movements accompanied by specific rhythmic syllables called Sollukattus.

• Adavus are learnt in a basic rhythm of eight counts which are usually
practised in three speed.

66
 Chapter
7

SOLLUKATTUS

What are SOLLUKATTUS?

• Sollukattus are the dance syllables which are recited rhythmically for the
practice of Adavus.
• Sollukattus are specific to each Adavu or series. An example of the Sollukattus
of Natta Adavu series is: ‘Taiyum Tattat Taiyum Tam’.
• The Sollukattus are commonly set to a rhythm of eight counts for the
practice of the Adavus so that learners develop a basic rhythm known as
Sarva Laghu.
• Sollukattus are normally recited by the teacher and played in rhythm on
the Tattu Manai and Tattu Kazhi for class practice.

Tattu Manai
and
Tattu Kazhi

• Sollukattus in a Bharata Natyam dance recital, are recited by the dance

master or singer and played on the Nattuvangam and Mridangam.

Nattuvangam

67
 Chapter
7

ANGIKA

Angika means the body. The body as used in Indian classical dances is divided
into three parts namely:

1. Anga
2. Pratyanga
3. Upanga

ANGIKA

Anga Pratyanga Upanga

The Angas are the The Pratyanga are The Upanga is the
major parts of the the intermediate parts minor parts of the
body and they are of the body and they body and they are the:
the: head, hands, are: the neck, shoulder shoulder, face, eyes,
chest, waists, flanks -blades, arms, elbows, eye-brows, eyeballs,
(sides) and legs. wrists, stomach, belly, cheeks, nose, lips,
back, thighs, knees teeth, tongue, jaw,
and calves chin, fingers, heels,
ankles and toes.

68
 Chapter
7

ANGA SHUDDHAM

Anga Shuddham consists of two words; Anga which means body and
Shuddham means pure and clear.

Anga Shuddham in Bharata Natyam means purity and clarity of the body
movements while executing Adavus. It is achieved when its four characteristics
(Lakshanas) are observed.

The four Lakshanas of Anga Shuddham are as follows:

ANGA SHUDDHAM

Sthanaka Nritta Hasta

Chari
Hasta Kshetra
The posture Hastas used in The movements The position of
assumed at an Adavu. of hands and feet hands throughout
the beginning in an Adavu. the performance of
and end of an an Adavu.
Adavu.

69
 Chapter
7

BASIC SERIES OF ADAVUS

Practical
TATTA ADAVU
The Tatta Adavu is the first series of steps in Bharata Natyam. The word Tatta
is derived from the word ‘Tattu’ which means to strike flat. These Adavus are
executed in the Araimandi, that is, the basic posture of Bharata Natyam.

The Tatta Adavus are intended to train the learner in the Araimandi basic
posture and to develop body balance. One of the main aspects which should
be considered while practising the Tatta Adavu series is the body weight which
should always remain in balance, that is, in the centre of the body. The upper
part of the body should remain steady without moving and the eyes looking
straight in front.

70
 Chapter
7

TATTA ADAVU
The Tatta Adavu series have eight steps in different patterns of beats which
gradually increase in number.

The Sollukattus of the Tatta Adavu are:

Right Left
1. Taiya Tai
2. Taiya Tai Taiya Tai
3. Taiya TaiyaTai (Kitataka) Taiya Taiya Tai (Kitataka)
4. Taiya Taiya Taiya Tai Taiya Taiya Taiya Tai
5. Taiya Taiya Tai Tai Tam Taiya Taiya Tai Tai Tam
6. Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka)
7. Tai Tai Tat Tat Tai Tai Tam (Kitataka) Tai Tai Tat Tat Tai Tai Tam (Kitataka)
8. Tai Tai Tai Tai Dhit Dhit Tai (Kita –Taka) Tai Tai Tai Tai Dhit Dhit Tai (Kita-Taka)

First Adavu : Taiya Tai

Method:
1. The Adavu starts with the Araimandi posture where the hands are kept either
at the back in the Ardhachandra gestures and the wrists firmly placed on the
hip bones of the waists or the arms extended in the Natyarambhe position.

71
 Chapter
7

2.The right leg is lifted at the back and then brought down to stamp firmly with
the sole of the foot. The same is repeated on the left.

NATTA ADAVU

The second series of Adavu is known as Natta Adavu. The word Natta is
derived from the word Naatu which means to stretch. In this step, the leg is
stretched either on the side or in front with the heel touching the floor and the
toes raised up. The leg is also stretched with only the toes touching the floor.

72
 Chapter
7

In this series, the arms and hands movements are introduced and gradually
build up into more complex movements as further steps are learnt. There are
eight steps in the Natta Adavu series.

Natta Adavu
The Sollukattus of the Natta Adavu are:

Taiyum Tattat Taiyum Tam

First Adavu

Method:

1. The first step starts with the Araimandi posture with the arms stretched in the
Natyarambhe position.

73
 Chapter
7

2. The right leg is lifted and stretched on the side with only the heel touching
the floor and the toes raised up.

3. The arms are in the Natyarambhe position and the hands in the Tripataka
gestures. As the right leg is stretched on the side and the heel touches the floor,
the right hand turns on the right side simultaneously. The head and the eyes
turn to the right side to follow the movements of the hand on the syllable
Taiyum.

4. The right foot is lifted up again and stamp flat in the original position. The
right hand together with the head and the eyes return back to the initial position
on the syllable Tattat.
The same movement is repeated on the left side.

74
 Chapter
7

Second Adavu

Method:

1. The same movement as in the first Adavu is repeated twice on the right and
the left side.

Third Adavu

Method:

1. The third step starts with the same movement as in the first one. This is
followed by crossing the right foot on toes at the back of the left and the right
hand folded in front of the chest. In this position there is a slight bend on the
right side. The eyes follow the hand movements on all the ‘Taiyum’ syllable and
look straight on the other syllables.

75
 Chapter
7

Fourth Adavu

Method:

1.The fourth Adavu is similar to the third one but with the difference that each
movement is repeated twice.

KUDITTA METTU ADAVUS

In this series of Adavu, the feet movements consist of jumping on the toes on
the syllables ‘Tai’ and then pressing firmly with the heels on the syllables ‘Hat‘
and ‘Hi’. It is to be noted that in this series the hand movements are executed
only on the syllable ‘Tai’ while the feet move on both syllables.

Tai Hat

76
 Chapter
7

The Sollukattus of the Kuditta Mettu Adavus are:

Tai Hat Tai Hi

First Adavu

Method:

1.The first Adavu starts with the Araimandi and Natyarambhe posture. The
hands are in Katakamukha.

2. On the syllable ‘Tai’ a jump is executed on toes and the Katakamukha hands
change into Alapadma. On the syllable ‘Hat’ only the heels of both feet are
pressed down firmly with the hands remaining in the same position.

77
 Chapter
7

3. This is followed by another jump on the toes with the hands changing to
Katakamukha again on the syllable ‘Tai’ and the heel is pressed down on the
syllable ‘Hi’.

4. The next movement consists of another jump and press of the feet with the
hands in Avahitta gesture in front of the chest. The hands then return to the
initial position with same feet movement.

78
 Chapter
7

Second Adavu

Method:

1. The Adavu starts with the Katakamukha in front of the chest in the Araimandi
posture.

2. The arms are then stretched in front in a downward direction with the
Alapadma hand gestures. A slight bend from the waist is taken while the feet
jump on toes and press down firmly with the heels.

3. The hands are brought back to the initial position with the same feet
movement.

79
 Chapter
7

Third Adavu

Method:

1. The Adavu starts with the Katakamukha hands in front of the chest in the
Araimandi position.

2. The right arm with the Alapadma hand gesture is stretched at shoulder level
on the right side, as shown in the picture, with the same feet movements and
brought back to the initial position.

80
 Chapter
7

3. Then the hands in Alapadma is stretched in front at shoulder level and

brought back with the same feet movements. The eyes follow the hand
movements.

4. The same is repeated on the left side. It is to be noted that in this Adavu to
complete the right side a pair of movements should be executed, that is on
both the right and the left side.

Fourth Adavu

Method:

1. The initial position is in Araimandi posture with the right hand in

Katakamukha in front of the chest and the left arm is stretched in Natyarambhe
with Pataka hand.

81
 Chapter
7

2. The right arm is stretched diagonally in a downward direction with Alapadma

gesture while the body is bent at the waist on the right side. The feet execute a
jump and a press movement. The eyes follow the right hand movements. The
same movements are repeated twice on each side.

Activity

Choose Adavus at random and ask your friend to execute them in

turns.
Correct and evaluate the performance of your friends with the help
of your teacher.

Keywords
Basic rhythmic unit of step, dance syllables.

82
 Chapter
7

POINTS TO REMEMBER

Adavus are the basic rhythmic steps in Bharata Natyam.

Adavu is a small sequence of movements of the whole body
in a coordinated manner.
Adavus in Bharata Natyam are classified into specific series
and the numbers of Adavus which are commonly practised
are approximately 65 or more in number.
Each Adavus has specific Sollukattus to accompany their
execution.
There are four characteristics of Anga Shuddham that have to
be observed and they are:
• Sthanaka
• Nritta hasta
• Chari
• Hasta Kshetra
The Tatta Adavu is the first series of the steps in Bharata
Natyam.
The word ‘Tatta’ is derived from the word ‘Tattu’ meaning to
strike.
The feet movements of the steps of Natta Adavu series
consist mainly of the stretch of the legs either on the heels or
on the toes.
The feet movements of the steps of Kuditta Mettu Adavu
consist mainly of jumps on the toes and presses of the heels
firmly on the floor.

83
 Chapter
7

Assessment

1. Rearrange in sequence the Sollukattus of the Tatta Adavu series given

at random below. No.4 has already been given.

Right Left
Taiya Taiya Tai (Kitataka) Taiya Taiya Tai (Kitataka)
Taiya Tai
Taiya Taiya Tai Tai Tam Taiya Taiya Tai Tai Tam

Taiya Tai Taiya Tai

4. Taiya Taiya Taiya Tai Taiya Taiya Taiya Tai

Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka) Tai Tai Tam (Kitataka)

Tai Tai Tai Tai Dhit Dhit Tai (Kita –Taka) Tai Tai Tai Tai Dhit Dhit Tai (Kita-Taka)

Tai Tai Tat Tat Tai Tai Tam (Kitataka) Tai Tai Tat Tat Tai Tai Tam (Kitataka)

2. State whether the following statements are True or False.

a). Adavu is the basic rhythmic unit of Bharata Natyam.

b). The Anga in Angika are the minor parts of the body.
c). Adavus consist of beautiful and decorative movements.
d). Adavus are accompanied by dance syllables or Sollukattus.

3. With reference to Angika complete the table given below.

Anga Pratyanga Upanga

Head Shoulders Eyes

Hand

84
 Chapter
7

4. Match the 4 characteristics of Anga Shuddham with their appropriate

meanings.

Sthanaka movements of hands and feet in an Adavu

Nritta Hasta position of hands throughout the performance of an

Adavu

Chari posture assumed at the beginning and end of an Adavu

Hasta Kshetra Hasta used in the performance of an Adavu

5. Fill in the blanks in the sentences with the appropriate words given at
random in brackets.

(Tripataka, Natyarambhe, Kuditta mettu, Natta, Araimandi, Taiyum

tattat taiyum tam)

a. The second series of steps is known as -------------------------- Adavu.

b. Tai Hat Tai Hi is the Sollukattus of the -------------------- Adavus.
c. The ------------------- hand gesture is used in the first step of Natta Adavu.
d. The Sollukattus of Natta Adavus Series are --------------------- .
e. The basic postures used in the second step of Natta Adavus series are
--------------------- and ----------------------- .

85
 Chapter
7

6. List the hand gestures used in each step of the Natta Adavu and Kuditta
Mettu Adavu series.

Natta Adavu 1st and 2nd step

3rd and 4th step

5th step

6th step

7th step

8th step

Kuditta Mettu Adavu 1st step

2nd and 3rd step

4th step

5th step

86
KALA AND LAYA

Chapter
8

Objectives
At the end of this chapter, learners should be able to:

• Define Kala and Laya

• List the three types of Kala and Laya
• Recognise the three types of Kala and Laya
 Chapter
8

KALA

Kala is a term used in Indian Tala system for speed. There are three types of
speed.

KALA
(Speed)

Prathama Dvitiya Tritiya

(Slow) (Medium) (Fast)

Prathama Kala
The first degree of speed is known as the Prathama Kala and it is the slow
speed.

Dvitiya Kala
The second degree of speed, which is known as the Dvitiya Kala, depends on
the first speed. According to the established first speed, the second speed is
two times faster than the first speed.

Tritiya Kala
The third speed which is also known as the Tritiya Kala is in turn two times
faster than the second speed and four times faster than the first speed.

In Bharata Natyam, the Adavus or basic steps are usually practices in the three
degrees of speed. This practice enables the student to not only develop the
skill of performing the basic movements in different speeds but also to build up
a stronger grip on rhythm.

88
 Chapter
8

LAYA

Laya is the term used to denote the regular intervals between the successive
beats in a Tala.

Laya is one of the important element in Tala. It prevents the fluctuation of any
established speed of a Tala. There are three types of Laya and they are:
Vilambita, Madhyama and Druta.

LAYA

Vilambita Madhyama Druta

(slow) (medium) (fast)

Vilambita
The Vilambita Laya is the slow speed.

Madhyama
The Madhyama Laya is the medium speed.

Druta
The Druta Laya is the fast speed.

89
 Chapter
8

Keywords

degree of speed, successive beat, rhythm,

fluctuate.

POINTS TO REMEMBER

Kala is a term used in Indian Tala for speed.

There are three degrees of speed or Kala and they are:
Prathama Kala
Dvitiya Kala
Tritiya Kala
Laya is the term used to denote the regular intervals
between the successive beats in rhythm.
There are three types of Laya that is the Vilambita, Madhya
and Druta.

90
 Chapter
8

Assessment

1. Complete the charts given below:

Prathama Tritiya
(Slow) (Fast)

LAYA

2. (i) List the three types of Kala. (ii) List the three types of Laya.

91
 Chapter
8

Notes

92
INDIAN CLASSICAL
DANCES

Chapter
9

Objectives
At the end of this chapter, learners should be able to:

• List the seven main classical dances of India

• Identify the seven main classical dances of India
• Name the place of origin of each classical dance
 Chapter
9

Seven main Indian classical dances

There are seven main classical dance styles in India. Each of these dance
styles comes from different regions of India and, consequently, they all differ in
terms of costume, jewellery and make-up.

The seven Indian classical dances are:

1. Bharata Natyam
2. Kathak
3. Kathakali
4. Manipuri
5. Odissi
6. Mohini Attam
7. Kuchipudi

1. Bharata Natyam

Bharata Natyam originated in

Tamil Nadu, a state in the
South of India.

94
 Chapter
9

2. Kathak

Kathak has its origin in the

States of Uttar Pradesh and
Rajasthan situated in the
North of India.

3. Kathakali

Kathakali comes from Kerala,

a state in the South-West of
India.

4. Manipuri

Manipuri dance originates

from the state of Manipur
which is situated in the
North-East of India.

95
 Chapter
9

5. Odissi

Odissi is the classical dance

of Orissa, a state in the East
of India.

6. Mohini Attam

Mohini Attam comes from

Kerala, a state in the South-
West of India.

7. Kuchipudi

Kuchipudi has its origin from

the state of Andhra Pradesh in
the South-East of India.

96
 Chapter
9

DID YOU KNOW?

Bharata Natyam, Kathak
and Kuchipudi classical
dances are taught in
Mauritius.

Bharata Natyam Kathak Kuchipudi

Keywords

Classical, originate, State.

LINK:
Seven main Indian classical dances
https://www.youtube.com/watch?v=w0gamtoWxnEo2b3E

97
 Chapter
9

POINTS TO REMEMBER

Indian classical dances States of Origin

Bharata natyam Tamil Nadu

Kathak Uttar Pradesh and Rajasthan

Kathakali Kerala

Manipuri Manipur

Odissi Orissa

Mohiniattam Kerala

Kuchipudi Andhra Pradesh

98
 Chapter
9

Assessment

1. Re-arrange the alphabets given at random for each of the names of

the seven Indian classical dances.

ratabha yamnat takhak akithakal parimanu

idosis mihino matat puhikudic

99
 Chapter
9

2. Fill in the blanks in the sentences with the appropriate words from the
list given into brackets:

(Andhra Pradesh, Orissa, Mohini Attam, Kathak, Bharata Natyam,

Manipuri, Kathakali)

i. ....................... and .......... have their origin in the state of Kerala.

ii. ............. originates from the state of Uttar Pradesh and Rajasthan.
iii. ................ is a classical dance from the state of Tamil Nadu.
iv. ...................classical dance comes from the state of Manipur.
v. Kuchipudi has its origin from the state of............................ .
vi. Odissi comes from the state of....................... .

3. Fill in the blank spaces with either the names of the classical dance or
the state of origin as appropriate.

Indian classical dance State of origin

i. Bharata natyam ………………....

ii. ........................... Uttar Pradesh

iii. Kathakali …………………

iv. ............................ Manipur

v. Odissi ………………....

100
 Chapter
9

4. Identify the name of the Indian classical dance styles through the
pictures given below:

1 ………………… 2 .…………………… 3 .………………….. 4 ………………… 5 ..…………………

5. Situate the places of origin of the seven Indian classical dances on the
map of India given below:

Jammu &
Kashmir

Himanchal Pradesh
Punjab Arunachal
Uttaranchal Pradesh
Haryana
Sikkim
Delhi

Rajasthan Uttar
Pradesh Assam
Nagaland
Bihar
Meghalaya
Jharkhand Manipur
Gujarat
Madhya Pradesh
Tripura Mizoram

West
Orissa Bengal
Maharashtra
Chhattisgarh

Andhra
Pradesh

Goa

Karnataka

Pondicherry

Kerala
Tamil
Nadu

101
 Chapter
9

Notes

102
DANCE IN MAURITIUS

Chapter
10

Objectives
At the end of this chapter, learners should be able to:

• State the different cultures prevalent in Mauritius

• Identify the types of dances in Mauritius
• Describe how these dance forms have been established in Mauritius
 Chapter
10

Mauritian Society

Mauritius is a country which had no

indigenous population. The colonisation
of the island brought together thousands
of people of different cultures, from various
parts of the world.

In 1638, the first settlers in Mauritius The monument marks the first landing
were the Dutch. They brought slaves of the Dutch at the bay of Grand Port.

from Madagascar to work on the island

but due to various problems that they
faced, the Dutch left in 1710.

The first permanent settlers in Mauritius

were the French in 1715. They brought
slaves from Africa to work in Mauritius.
The monument marks the presence
and contribution of the French.

In 1810, the British captured Mauritius

from the French and occupied the island.
During the British rule slavery was
abolished in 1835 and indentured
labourers were brought to work in the
sugarcane fields from different parts of
Indentured labourers in Mauritius
India.

The last settlement in Mauritius was the

Chinese who came as small traders
towards the end of the 19th century.

Chinese shop in Mauritius

104
 Chapter
10

Cultural Heritage

The majority of the immigrants who settled

down permanently in Mauritius came from
Europe, Africa, India and China. Consequently,
the Mauritian population became a
multi-cultural society consisting of
Franco-Mauritian, Creole, Hindu, Muslim and
Chinese.
The settlement of these people in Mauritius also brought along a rich and
diverse cultural heritage in terms of language, tradition, music and dance.
These cultural heritages have been carefully preserved and passed on from
one generation to another.

United Kingdom

Netherlands
France

China

India

Africa

Mauritius
Madagascar

105
 Chapter
10

Music and dance in Mauritius

The diversity in the Mauritian society has given rise to a variety of music and
dance forms in Mauritius which are performed on different occasions such as:

• Festivals
• Socio-cultural events
• Religious ceremonies

The dance forms prevalent in Mauritius have been classified according to the
countries of origin in the chart below:

Dance forms in
Mauritius

European African Indian Chinese

Ballroom Folk Folk Folk

Classical Bollywood Classical

Classical

European Influence

The successive French and British settlements have enriched the country in
terms of music and dance. Western dance is commonly seen in celebrations
such as weddings and birthday parties.

106
 Chapter
10

Common European dance forms seen in Mauritius:

Ballroom Dancing Classical Ballet

Malagasy and African Influence

Slaves from Madagascar and Africa were brought to work in Mauritius during
the Dutch and French period. It is believed that the Sega dance has
originated from the culture of slaves.

The Sega is most common dance of Mauritius.

Common dance forms of Malagasy and African origin

Sega Dance of Mauritius

107
 Chapter
10

Traditional instruments of Sega

1. Ravanne (goatskin drum) 2. The triangle 3. Bobre (bow)

4. Maravanne (rattle) 5. Coco

DID YOU KNOW?

Geet-Gawai is a
pre-wedding ceremony
which includes rituals,
prayer, songs, music
and dance brought by
people from Bihar. It
has been listed as part
of UNESCO's intangible
cultural heritage:

Since December 2017

"Séga Tambour" has
been listed as part of
UNESCO's intangible
cultural heritage.
Sega Tambour of Rodrigues

108
 Chapter
10

Indian Influence
Following the abolition of slavery during the British period, thousands of Indians
were brought to Mauritius as indentured labourers.

The Indian migrants originated from the states of Tamil Nadu, Andhra Pradesh,
Bihar and Maharashtra. During the British period, there was a marked presence
of the Indian ritualistic and folk dance forms. Indian classical dances were also
introduced in Mauritius.

Common dance forms from India

Kollattam from Tamil Nadu Jhakri from Maharashtra

Bhojpuri dance from Bihar

Bollywood Dance Ramabhajanam Dance from

Andhra Pradesh

109
 Chapter
10

Indian classical dances namely Bharata Natyam (Tamil Nadu), Kathak (Uttar
Pradesh and Rajasthan) and Kuchipudi (Andhra Pradesh) are also taught and
practised in Mauritius.

Bharata Natyam Kathak Kuchipudi

Chinese Influence
The Chinese came as traders and were the last settlers in Mauritius. Their
culture gradually became established as part of the Mauritian multi-cultural
society.

Common dance forms from China.

ACTIVITY

Make a list of the

dances seen in Mauritius
and the occasions on
which they are performed.
Dragon Dance Lion Dance

Nowadays, with globalisation and the influence of new technologies, various

dance forms around the world are becoming popular in Mauritius. Youngsters
learn and practise many dance styles that are popular and fashionable.

110
 Chapter
10

Keywords

Cultural heritage, Multi-cultural society, Migrant

POINTS TO REMEMBER

The Sega is most common dance of Mauritius.

The majority of immigrants who settled in Mauritius came
from Europe, Africa, India and China.
The migrants came to Mauritius with their respective cultural
heritage.
The Indian migrants originated from the states of Tamil Nadu,
Andhra Pradesh, Bihar and Maharashtra.
There are various dance forms prevalent in Mauritius which
were brought by our ancestors and which have been
preserved from one generation to another.
Bharata Natyam, Kathak and Kuchipudi are the Indian classical
dances that are being taught and practised in Mauritius.

111
 Chapter
10

Assessment

Multiple choice questions:

1. dance refers to Hindi film dance.

A Bhojpuri B Jhakri

C Bollywood D Ballet

2. is the most common dance of Mauritius.

A Lion dance B Sega

C Bhojpuri dance D Kollattam

3. Ramabhajanam is a folk dance from .

A Tamil Nadu B Bihar

C Maharashtra D Andhra Pradesh

4. Kathak is a dance form from .

A China B Europe

C India D Africa

5. is a folk dance from China.

A Jhakri B Kollattam

C Waltz D Dragon dance

112
 Chapter
10

Answer the following questions:

1. Name any 2 folk dances from China

2. Identify and name the Indian classical dances practised in Mauritius

given in the diagram below:

Indian classical
dances practised in
Mauritius

113
 Chapter
10

3. Find the words given below in the crossword puzzle:

Ramabhajanam Kollattam Bhojpuri Bollywood Jhakri

b o l l y w o o d a p k
h l p u o e y q p b f o
o a s a e p f h c k e n
j h a k r i q o e z i x
p x y v f a s w a l k a
u w q e y c p d l p h t
r a m a b h a j a n a m
i o t u a z r s a n d o
l q b d t o d q t w b c
k o l l a t t a m q e i
r c p z s a a u o d w a

114
 Chapter
10
4. Color the states on the map of India from where Indian Indentured
Labourers came to Mauritius.

115
 Chapter
10

Notes

116
Creative Exercises

Chapter
11

Objectives
At the end of this chapter, learners should be able to:

• Create different floor patterns in relation to personal and general space

• Execute Nadai in different rhythm and floor pattern
• Execute Nadai in relation to personal and general space
• Integrate any given rhythm to the Adavus
 Chapter
11

USE OF SPACE IN DANCE

Dance has space as one of its main element. It is very important to know how
to use space effectively while dancing. In a solo performance space has to be
used wisely and the dancer has to bear in mind that the centre of the stage is
the main spot to present a dance. In duet or group dancing, the dancers should
understand the use of space in relation to other dancers. For example, one
should not bump into each other while dancing. There should be enough space
in between each dancer so as to allow free movements.

NADAI
Nadai is the walking style in Bharata Natyam. The leg is lifted at the back and
placed on the heel to walk along with a dipping movement of the body.

ACTIVITY 1

In order to explore
space used in dancing
the teacher will guide
students to :
• Create different floor
patterns while executing
Nadai (Bharata Natyam
walking style) in rhythm.
Nadai can be executed
on Ta Ka Dhi Mi sylla-
bles.
• This activity can be
done in solo, pairs or
group.

118
 Chapter
11

ADAVUS AND RHYTHM

Adavus are usually learnt and practised in a ACTIVITY 2
basic rhythm of eight counts and in three
degrees of speed. In Bharata Natyam dance Execute Adavus on
compositions, Adavus are combined and various rhythmic musical
executed in various rhythmic patterns. compositions with the
help of your teacher.

119
 Chapter
11

LINKS FOR ACTIVITY 2:

Instrumental sega:
https://www.youtube.com/watch?v=3o89Ia2xIjM
Carnatic instrumental music:
https://www.youtube.com/watch?v=htsFljTUGBs
Instrumental western music:
https://www.youtube.com/watch?v=3GeCxg8YRck

120
 PRACTICE FOR
BHARATA NATYAM

Chapter
12

Objectives
At the end of this chapter, learners should be able to:

• Develop an awareness of the importance of practice

• Follow the guidelines for practice of Bharata Natyam
• Adhere to a regular practice schedule
• Develop a positive attitude towards the practice of dance
 Chapter
12

Practice for Bharata Natyam

Practice and its importance:

Practice means doing something regularly in order to be able to do it better.
Dance learners must practise Adavus regularly in order to develop basic dance
skills. Through consistent dance practice learners will develop flexibility, agility
and body balance.

Practice also helps learners to develop the ability to sustain prolonged physical
efforts. A regular practice helps in improving on weaknesses and is used as a
reinforcement tool for memorisation. Practice enables the learners to assimi-
late and master new knowledge at their own pace.

Guidelines for practice

Start with a few warm-up and pre-dance exercises.

Practise the basic dance postures: Araimandi, Muzhumandi
and Natyarambhe in front of a mirror.
Verify for correct basic dance postures and body alignment.
Maintain each basic dance posture while counting 1 to 20 and
gradually increasing the count.
Practise the movements of Namaskar.
Recite the Sollukattus for each Adavu in three speeds.
Practise each Adavu in the three speeds.
Recite the names and demonstrate the Asamyuta Hastas
several times so as to facilitate memorisation.
Execute some cool-down exercises after the dance practice.

122
 Glossary of terms
Abhinaya Darpanam - a text on gestures written by Nandikeshwara
Adavu - the basic rhythmic unit of Bharata Natyam
American Square dance - a North American dance performed with four
couples to have a square formation
Anga - the major parts of the body
Angika - the body
Anga Shuddham - the clarity and purity of the body movements while
dancing
Araimandi - the half-sitting basic dance posture of Bharata Natyam
Asamyuta Hastas - the single hand gestures used in Indian classical dances
Bhangra - a traditional folk dance of the state of Punjab in India
Bharata Natyam - a classical dance style from Tamil Nadu in South India
Bhojpuri dance - a folk dance originated from Bihar in India
Bihu dance - a folk dance from the state of Assam in India performed on
Bihu festival
Carnatic music - the South Indian music system
Chari - the movements of the hands & feet in an Adavu
Chinese Lion dance - a Chinese folk dance using the effigy of a lion head
Devadasis - the temple dancers, literally translated as servants of God
Druta - the fast speed in Laya
Dvitiya - the second degree of speed in Kala
Ganesh - the Hindu elephant–headed God, known as the remover of
obstacles
Garba - a traditional folk dance from the state of Gujarat, west of India
Hastas - the hand gestures or hand movements used in Indian Classical
dances
Hasta Kshetra - the position of the hands throughout the performance of
an Adavu
Hat Dance - the national folk dance of Mexico
Jhakri dance - a folk dance from Maharashtra in India
Kathak - a classical dance style from North India
Kathakali - a classical dance from Kerala, South West of India

122
Kala - a term used for speed or tempo in Indian music and dance
Kollattam dance - a folk dance from the South of India
Kuchipudi - a classical dance style from Andhra Pradesh, South East of
India
Kummi - a folk dance from South of India
Kuruvanji - a dance-drama from the South of India consisting of a group of
women interpreting literary or poetic compositions
Lakshanas - the characteristics of Anga Shuddham
Laya - a term used to denote the regular intervals between the successive
beats in a Tala
Madhyama - the medium speed in Laya
Maori dance - a folk dance of New Zealand
Manipuri - a classical dance from Manipur in the North–Eastern part of India
Mohini Attam - an Indian classical dance from Kerala, South-Western part
of India
Mridangam - a percussion instrument used for South Indian music and
dance
Mudras - the hand gestures or hand movements used in Indian classical
dances
Muzhumandi - the full-sitting basic dance posture used in Indian classical
dances
Nadai - the rhythmic walking style of Bharata Natyam
Namaskar - salutation
Natyarambhe - a basic dance posture in Indian classical dances where the
arms are stretched out on the sides at shoulder level
Nattuvanars - the dance masters who accompany Bharata Natyam
dancers in performances
Natya Shastra - a Sanskrit text on Performing Arts, written by Bharata Muni
Navasandhi - a temple ritual dance of South India
Nritta Hasta - the hand gestures used in the Adavus
Odissi - an Indian classical dance from Orissa in the East of India
Prathama - the first degree of speed in Kala
Pratyanga - the intermediate parts of the body
Raga - a melody in Indian music

123
Rajadasis - the dancing girls who used to perform at state functions and
festive occasions in India
Samapada - a basic dance posture in Indian classical dances with the feet
close together
Samyuta Hastas - the double or combined hand gestures used in Indian
classical dances
Sarva Laghu - the basic rhythm of four counts
Sattriya - an Indian classical dance-drama originated from Assam in the
North-East of India
Sausthava - a basic dance posture in Indian classical dances where the
dancer stands straight with a slight bend of the torso in front
Scottish Sword Dance - a folk dance from Scotland known as the war
dance
Sega - a folk dance of Mauritius
Sthanaka - the posture assumed at the beginning and end of an Adavu
Tabla - a percussion instrument used in North Indian music and dance
Tala - a cyclic measurement of time in music
Tanjore Quartet - the four Pillai brothers from Tanjore who shaped the
repertoire of Bharata Natyam
Tattu Kazhi - a wooden stick used to give rhythm while practicing the
Adavus
Tattu Manai - a rectangular wooden bench on which the Tattu Kazhi is
struck on
Tritiya - the third degree of speed in Kala
Upanga - the minor parts of the body
Vilambita - the slow speed in Laya
Viniyoga - the usages of hand gestures in Indian classical dances

124
118
 Music & Dance critic/ Journalist Artistic Director
Accompanist

Cultural Officer
Musicologist

Stage Manager
Composer/ Arranger

Teacher/ Educator

Talent Manager Music & Dance Therapist

Business Agent
Lighting Designer

Impressario
Performer/ Dancer

Music Librarian

Marketing Officer Performing Artist

Event Manager
Researcher
Music Composer
Music Directors
Music & Dance Scholar

Choreographers Cultural Entrepreneur

Producer

ISBN: 978-99903-39-97-0