Bharata Natyam Grade 8

Bharata
Natyam
Grade 8
MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology
Bharata Natyam
Grade 8
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,
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Tel: (230) 260 93 00
First published 2019

Reprinted 2021
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: 978-99949-948-8-5
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.D. Dwarka-Bania - Educator (Bharata Natyam),(M.O.E, T.E, Sc. &
Tech.)
Mrs. K.Mahadoo Coonlic - Educator (Bharata Natyam) - (M.O.E, T.E,
Sc. & Tech.)
Contributors
Dr D. Pentiah - Appadoo - Music Organiser - (Oriental) (M.O.E, T.E, Sc. &
Tech.)
Ms. S. Jootun - Educator (Kathak) - (M.O.E, T.E, Sc. & Tech.)
Vetter
Mrs.S.Mungur - Former Assoc. Professor (Dance) - MGI
Proof Reading
Mrs D.G Samy - Deputy Rector - MGISS
Graphic Designers - MGI
(cover, illustration, layout and photography)
Ms. D. Jadoo Ms. V. Jatooa Mr. V. Napaul Ms. P. Juckhory
Cartoonist
Mr T.K.Mantadin - School of Fine Arts( student of MGI)
Photography
Mr G.Moonesawmy - Pro Foto Plus
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:
Mrs. S. Bundhoo Ag. Director Schooling - MGI
Mrs.U. Kowlesser Registrar (MGI)
Dr (Mrs) P.M. Hungsraz Senior Lecturer (Vocal),
Head School of Performing Arts, MGI
Dr. D.Pentiah - Appadoo Music Organiser (Oriental),
(M.O.E, T.E, Sc. & Tech.)
Quality Vetting Team
Dr J Chemen Assoc. Professor, Head, Centre for Quality
Assurance - MGI (Coordinator)
Dr (Ms)S.D.Ramdoo Lecturer (Bharata Natyam) - MGI
Mrs S.Gopee Educator (Bharata Natyam) - (M.O.E, T.E, Sc. &
Tech.)
Ms. N.Lallmamode Lecturer, Head Department of Design and
Communication - MGI
Mrs. D.Ramcharan-Maloo Educator (English) - MGSS
Administrative Staff
Mrs.H. Chudoory Administrative Officer - MGI
Mrs. G. Checkooree Clerical / Higher Clerical Officer - MGI
Mrs. S. Appadoo Clerical / Higher Clerical Officer - MGI
Mrs. P. Purmessur Word Processing Operator- MGI
Photo Courtesy
Mrs. P.Mahadea - Educator (Kathak) - MGSS
Ms. Yoshita Gangabissoon Ms. M. Mungroo

Ms. Manasvi Runglall Mr. G. Juggernauth
Ms. Prajakta Auree
• 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 grade 7, 8 and 9 lays the foundation in each discipline and
provides learners with the essential knowledge, skills and attitudes needed to
progress towards higher grades. 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.
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 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 give more activities, depending upon the availability of resources and
time.
v
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
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
ix
Table of contents
Chapter 1 - Invocation 1
Chapter 2 - Body Conditioning for Dance 7
Chapter 3 - Mythological Origin Of Indian Dance 23
Chapter 4 - Samyuta Hastas 33

Chapter 5 - Adavus 41
Chapter 6 - South Indian Tala System 89
Chapter 7 - Folk And Ritual Dances In Mauritius 97
Chapter 8 - Adi Tala And Its Components 113

and Notation Form
Chapter 9 - Sangeetam 129
Chapter 10 - Introduction To Kathak 141

Chapter 11 - Pioneers Of Kathak Dance 149
Chapter 12 - Creative Exercises 155
Chapter 13 - Practice for Bharata Natyam 161
Glossary of terms 163
x
Chapter 1
INVOCATION
LEARNING OBJECTIVES
At the end of this chapter, learners should be able
to:
• Memorise the Sanskrit Shlokas.
• Translate the Sanskrit Shlokas into English.
• Recite the Sanskrit Shlokas.
• Recognise the spirituality behind Bharata Natyam as an
art form.
• Develop respect for the teacher and discipline towards
the class.
Chapter 1 - Invocation
INVOCATION
Invocation is usually done before a Bharata Natyam class so as to ask blessing

from God. This is followed by the Namaskar to pay obeissance to God, the
teacher (Guru) and the audience.
Goddess Saraswati
Sanskrit Shloka on Goddess Saraswati

In Hindu culture, Goddess Saraswati is considered as the Goddess of knowledge
and music.
SHLOKA
Saraswati namastubhyam Varade kama roopini
Vidyarambham karishyami Siddhir bhavatu me sada
CONTEXT TRANSLATION
O Goddess Saraswati, I bow down to You,

You are the giver of boons, and can take any form at will,
I am about to begin my studies,
Please always grant me success.
2
Lord Dakshinamurti
Sanskrit Shloka on Lord Dakshinamurti

Lord Shiva is also known as Lord Dakshinamurti in the South of India. This name
is given to Lord Shiva as He is sitting and facing the South. Lord Dakshinamurti
is also revered as the Teacher.
SHLOKA
Gurave sarva lokanam Bhishaje bhava roginam
Nidhaye sarva vidyanam Dakshina murthaye namaha
CONTEXT TRANSLATION
The preceptor of the whole universe,

The One who cures diseases from sick people,
And who possesses all the knowledge,
I bow down to that Lord Dakshinamurti (Lord Shiva who is sitting and facing the
South).
3
Saraswati shlokas
https://www.youtube.com/watch?v=jm7Z03-n1-8
Lord Dakshinamurti shlokas

https://www.youtube.com/watch?v=TCSLO6oyzm8
Points To Remember
• Namaskar is done so as to pay obeissance to God, the

teacher and the audience.
• Goddess Saraswati is known as the Goddess of learning
and music.
• Lord Dakshinamurti is Lord Shiva facing the South.
4
Assessment
1. Fill in the blanks with the appropriate words:
(a) Shlokas on Goddess Saraswati:

Saraswati -------------------
Varade ----------------- roopini
------------------ rambham -----------------
Siddhir ------------------- me sada
(b) Shlokas on Lord Dakshinamurti

Gurave -------------lokanam
----------------- bhava -----------------
Nidhaye sarva ---------------------
------------------murthaye namaha
2. Match the Shlokas of Goddess Saraswati and Lord Dakshinamurti

with their appropriate meaning in the table given below:
(a) SHLOKAS MEANINGS
Saraswati namastubhyam You are the giver of boons, and

can take any form at will.
Varade kama roopini I am about to begin my studies.
Vidya rambham karishyami O Goddess Saraswati, I bow

down to You.
Siddhir bhavatu me sada Please always grant me success.
5
(b) SHLOKAS MEANINGS
And who possesses all the

Gurave sarva lokanam
knowledge.
I bow down to that Lord

Bhishaje bhava roginam
Dakshinamurti.
Nidhaye sarva vidyanam The preceptor of the whole

universe.
The One who removes

Dakshina murthaye namaha
diseases from sick people.
3. Write the Sanskrit Shlokas on Goddess Saraswati and Lord

Dakshinamurti with their context translations.
6
Chapter 2
BODY CONDITIONING
FOR DANCE
LEARNING OBJECTIVES
to:
• Execute warm-up, pre-dance and cool-down exercises
for safe practice.
• Execute the body conditioning exercises with accuracy
for its benefits.
• Practice 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 2- Body Conditioning for Dance
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 easy and free
movements.
The hair should be well tucked away from the face and plaited or tied at the
back.
For boys, the dress
code for dance class
is Kurta and Pyjama.
BODY CONDITIONING
Body conditioning consists of warm-up, pre-dance and cool-down exercises.
WARM-UP EXERCISES
The dance class should always start with a series of warm-up exercises
followed by some pre-dance exercises. Warm up exercises help to gradually
increase the body temperature, heart rate and blood circulation, thus slowly
preparing the body for the dance activity. Warm-up exercises allow the muscles
to become more flexible, hence allowing a wider range of movements.
Warm-up exercises also reduce the risk of injury and muscle ache after
practice.
8
Leg exercises
Arms cross side lunge

• Stand straight with the feet shoulder-width apart and arms stretched
horizontally to the sides.
• Step out to the side with the right leg, bend the right knee and cross
the arms at the front.
• Return to the starting position and repeat the movement with the left
leg.
Hip exercises
Forward Leg Swings

• Stand straight with the feet hip-width apart and hold onto a wall.
• Stand on one leg and slowly swing the other leg forward and
backward in a single smooth movement.
• Repeat the same movement on the other side.
9
Abdominal Stretches
Standing knee raises

• Stand on one leg, raise the other leg and bring the knee at chest level.
• Hold the movement for 10 seconds and bring the leg back to the floor.
• Repeat the same movement on the opposite side.
Standing knee raises
Kick crunch
• Stand straight with the feet shoulder-width apart.
• Lift the left leg as high as possible and touch it with the right hand.
• Return to the initial position and repeat the movement on the
opposite side.
10
Arm stretches
Big arm circle

• Stand straight with the feet shoulder-width apart.
• Raise and extend the arms to the sides without bending the elbows.
• Slowly rotate the arms forwards in big circles.
• Complete a set in one direction and then switch rotating backwards.
PRE-DANCE EXERCISES
Pre-dance exercises are meant to prepare the core muscles of the body that
are to be used in dance.
STEP 1
1. Waist Exercise
Stand with both feet together and
cross the fingers with palm facing
upward above the head.
Bend on right side and look up at the

hands to the left side. Repeat the
opposite movements on the left side.
11
STEP 2
Side Stretch
1. Stand with the feet apart, then turn on the right side and sit down on the toes
of the right foot while stretching the left leg at the back.
2. Repeat on the left side.
STEP 3
Sitting exercises
1. Hold the hands in pairs, and sit down alternately on the toes in a slow pace,
then gradually increase the pace.
Hold hands in pairs and sit down alternately
12
STEP 4
1. Sit on the floor and fold the feet so as the soles touch each other.
2. In the same position as number 1, twist the torso and turn the head to look
at the back. Hold the posture for few seconds and repeat the same movement
on the opposite side.
STEP 5
Balancing exercises
Tree pose
• Stand on the left leg and then lift the right leg by placing
the sole of the right foot against the upper inner thigh.
The folded leg is perpendicular to the standing leg.
• Raise the arms above the head and press the palms of
the hands together.
• Hold this posture for 30 seconds. Repeat the same
movements on the opposite side.
13
COOL DOWN EXERCISES
Cooling down exercises are light exercises that help the body to gradually
transit from intense activity to resting. It is important to cool down after a dance
class. The cooling down process consists of low intensity exercises focusing
on deep breathing so that the heart rate returns to normal. This should be
followed by some stretching exercises to target the muscles that have been
worked out during the dance class. Finally the cool-down process should end
with some relaxation exercises.
• Slow walking is a simple way to cool-down as it gradually lowers the

heart rate and breathing to normal after intense exercises.
14
Pigeon stretch
• Bring the right knee forwards and stretch the left leg at the back.
• Place the palms on both sides of the floor.
• Bend the head at the back.
• Stay in the pigeon stretch for 30 seconds and then change legs and
repeat the same posture on the opposite side.
Wall shoulder stretch

• Place both hands on the wall and move away at arm length.
• Start bending the body from the hips until a stretch is felt in the
shoulders and hold for 30 seconds.
15
Seated Mountain pose

• Sit down cross-legged, hold the back straight and relax the arms.
• Stretch the arms above the head with the fingers interlocked.
• Keep the posture for 30 seconds to 1 minute.
Child’s pose
• Kneel on the ground with the butt on the heels.

• Keep the knees at least hip distance apart.
• Lean the body forward on the thighs and touch the floor with the
forehead.
• Extend the arms in front and breathe deeply to relax.
• Keep the posture for 30 seconds to 1 minute.
16
Hero pose
• Kneel on the floor with the knees together and the feet hip-width
apart.
• Sit back on the feet and place the hands on the thighs.
• Stay in this pose for 1 minute or as long as it feels comfortable.
17
NUTRITION TIPS FOR DANCERS
Dance is a physical activity which requires stamina and focus.
The body relies heavily on carbohydrates as the main source of energy during
training. About half of a dancer’s daily intake needs to be from
carbohydrate-containing foods.
The dancer’s diet should also include proteins, fruits, vegetables and healthy
fats. Protein-containing foods help in the repair and recovery of muscles after
intense training.
Fruits, vegetables and healthy fats support healing, growth, as well as the
overall good health of a dancer.
Dancers need to stay hydrated by consuming plenty of water, so as to replace

the fluids lost through sweating. Lack of body hydration results in muscle
cramps, tiredness and headaches.
Fats, Oils and Sweets

use Sparingly
Milk, Yogurt and Meat, Poultry, Fish

Cheese Group Dry Beans and
3 Servings Nut Group
2 Servings
Vegetable Fruit Group
Group 2 Servings
3 Servings
Fortified, Rice and

Cereal, Pasta
Bread 6 Servings
Water 8 Servings
18
Keywords
Body conditioning, Warm-up exercise, Pre-dance exercise,
Cool-down exercise, Stretching exercise, Relaxation exer-
cise, Low-intensity exercise.
Points To Remember
• Body conditioning consists of warm-up, pre-dance and

cool-down exercises.
• It is important to perform warm-up and pre-dance exercises
before dancing to prevent any risk of injury.
• Cool-down exercises should be done at the end of the
dance class to help the body transition from working to
resting.
• A dancer should consume sufficient carbohydrate
containing-foods, proteins, fruits, vegetables, healthy fats
and plenty of fluids.
19
Assessment
1. Observe the pictures given below and identify which one is a
warm-up, pre-dance or cool-down exercise.
20
2. Tick whether the following statements are True or False.
Statements True False

1. Warming up allows the muscles to be
less flexible.
2. Cool-down exercises should be done

after intense exercises.
3. Dance activity should always start with

some warm-up and pre-dance
exercises.
4. Carbohydrates are the main source of
energy.
5. Warm-up exercises should be done after
intense exercises.
3. Explain the importance of warm-up and pre-dance exercises.
4. Explain why cool-down exercises should be performed after a

dance activity.
21
Notes
22
Chapter 3
MYTHOLOGICAL ORIGIN OF
INDIAN DANCE
LEARNING OBJECTIVES
to:
• Name the text on the science of dramaturgy and its
author.
• Describe the creation of Natya Veda by Lord Brahma.
• Describe the dance-drama Amrita Manthana.
• Relate how Tandava and Lasya were introduced in the
dance drama.
• Explain the purpose of Natya.
• Develop an appreciation for Indian dance.
Chapter 3- Mythological Origin Of Indian Dance
MYTHOLOGICAL ORIGIN OF INDIAN DANCE
Once upon a time, the daily activities of men had settled into a routine.
The Gods realised that, there was no pastime nor entertainment and the life of
the people had become very boring.
Consequently, a group of people went to see Indra, the Vedic Lord of heaven,
to make an appeal to Him to create a pastime.
24
Lord Indra in turn, went to see Lord Brahma, the creator of the universe, and
asked Him to create an entertainment worthy of Gods. He also mentioned that
the entertainment should be enjoyed by the people of both higher and lower
classes.
Lord Indra also requested Lord Brahma that this type of entertainment should
be pleasing to the eyes as well as to the ears.
Lord Brahma went into a deep meditation and He reflected upon the four
Vedas. He then, took the essence of each of the four Vedas in order to create
an entirely new activity which He called ‘Natya’.
From the Rig Veda, He took the words. From the Sama Veda, He extracted
music. From the Yajur Veda, He derived the code of gestures. From the
Atharva Veda, He took the elements of sentiment or aesthetic flavour.
25
Language Music
Sentiments &
Gestures Aesthetic Flavour
Ultimately, Lord Brahma created a fifth Veda which He named the Natya Veda.
He gave the Natya Veda the same dignity and sacredness as the other four
Vedas.
Lord Brahma then gave the responsibility to Bharata Muni to put into practice
the techniques of the Natya Veda.
Bharata Muni set to work with his hundred sons to present the first
entertainment in the form of a drama on the stage.
26
He then realised that certain aspects of the dance could only be performed by
women. To solve the problem, Bharata Muni, asked for the help of Lord
Brahma who then created the twenty-three nymphs or Apsaras.
Bharata Muni requested Vishwakarma, the architect of the world, to build a

theatre for the performance.
27
The first performance was presented in the court of Lord Indra.
The three worlds (Triloka), that is, the people on earth, the Gods in heaven and
the Demons in hell were invited to watch the performance.
28
The first drama was called Amrita Manthana (churning of the ocean to obtain
nectar). The dance-drama depicted a fight between Gods and Demons.
The Gods and the Demons were churning the ocean in order to get the nectar
of immortality (Amrita). Infact, both parties were eager to get the Amrita.
Ultimately, the Gods were victorious as they got the nectar of immortality in
their possession.
After watching their defeat in the dance-drama, the Demons felt insulted and
protested. They went to meet Lord Brahma as they could not accept their
people being humiliated.
Then, Lord Brahma explained that the aim of Natya was not to prove the
superiority of any being over any other one. Natya is a make-belief it is only a
mimicry of human behaviour and the activities of the three worlds.
Natya is meant for all categories of people. It is also intended to be an endless

source of recreation and instruction for everyone.
29
Lord Brahma then, suggested to Bharata Muni that the work be performed in
front of Lord Shiva, the God of dance, for his approval and advice.
After seeing the dance-drama, Lord Shiva was so pleased that He ordered his
disciple Tandu to further instruct Bharata Muni in the art of dancing.
Tandu instructed Bharata in Shiva’s Tandava, (masculine aspect of dance),

and Parvati, the consort of Lord Shiva taught Lasya (feminine aspect of dance)
to the Apsaras.
In the course of time, Bharata Muni passed on the revealed art to the people on
earth.
Later Bharata Muni wrote a famous treatise on the science of dramaturgy

called the Natya Shastra.
30
Keywords
Mythology, Nectar of immortality, Dramaturgy.
Points To Remember
• Life became a routine without any pastime and people went
to see Indra, the Vedic Lord of heaven, to find a solution.
• Lord Indra went to see Lord Brahma to create a pastime for
the people.
• Lord Brahma went into a deep meditation and out of the four
Vedas He created the Natya Veda.
• He gave the knowledge of the Natya Veda to Bharata Muni
and asked him to create the first entertainment in the form
of drama.
• Bharata Muni together with his hundred sons and the
Apsaras created by Lord Brahma, mounted the first drama
named Amrita Manthana.
• The theme of the drama consisted of a fight between the
Gods and the Demons.
• The Gods and the Demons were churning the ocean of milk
in order to get the nectar of immortality.
• The Gods finally got the nectar of immortality.
• The Demons got angry and went to see Lord Brahma.
• Brahma then explained to them the purpose of Natya.
31
Assessment
1. Fill in the blanks with the appropriate words in the following
sentences:
i. is the Vedic Lord of heaven.

ii. The creator of the universe is Lord .
iii. The four Vedas are the , ,
and .
iv. The fifth Veda was known as the Veda.
v. The theatre was built by .
vi. mounted the first drama.
vii. The first drama was named .
2. Describe the origin of dance in Indian mythology.
3. Match the element that was taken from each of the Vedas by Lord
Brahma to create the Natya Veda.
VEDAS ELEMENTS
Rig Sentiments or
aesthetic flavour
Sama Words
Yajur Code of gestures
Atharva Music
32
Chapter 4
SAMYUTA HASTAS
LEARNING OBJECTIVES
to:
• Recall the Asamyuta Hastas.
• Memorise the names of the twenty-three and the one
additional Samyuta Hasta.
• List the names of the twenty-three and the one additional
Samyuta Hasta.
• Enumerate and demonstrate the twenty-three and the
one additional Samyuta Hasta.
• Recite the Shlokas and demonstrate the twenty-three
Samyuta Hastas.
• Identify the Asamyuta and Samyuta Hastas in the
Adavus.
Chapter 4- Samyuta Hastas
SAMYUTA HASTAS (Double Hand Gestures)
Samyuta Hastas are gestures that are performed

with both hands combined together. According to Quick Recap
Abhinaya Darpanam there are twenty-three Samyuta
Hastas. Each of these Hastas can be used to denote Asamyuta Hastas
various ideas and objects. For example, Pushpaputa
1. Pataka
denotes the holding or offering of flowers.
2. Tripataka
3. Ardhapataka
4. Kartarimukha
5. Mayura
6. Ardhachandra
7. Arala
8. Shukatunda
9. Mushti
10. Shikhara
11. Kapittha
12. Katakamukha
13. Suchi
14. Chandrakala
Notes To Students 15. Padmakosha

16. Sarpashirsha
It is to be noted that 17. Mrigashirsha
twenty-three combined 18. Simhamukha
hand gestures are 19. Kangula
mentioned in the 20. Alapadma
Abhinaya Darpanam.
21. Chatura
Avahitta hand gesture
22. Bhramara
has been added
23. Hamsasya
afterwards and is now
24. Hamsapaksha
recognized as the
25. Samdamsha
twenty-fourth combined
26. Mukula
hand gesture.
27. Tamrachuda
28. Trishula
34
NAMES AND PICTURES OF THE SAMYUTA HASTAS
Anjali Kapota Karkata
Swastika Dola Pushpaputa
Utasanga Shivalinga Katakavardhana
Kartariswatika Shakata Shankha
Chakra Samputa Pasha
35
Kilaka Matsya Kurma
Varaha Garuda Nagabandha
Khatwa Bherunda Avahitta
NAMES OF THE SAMYUTA HASTAS
1. Anjali 9. Katakavardhana 17. Matsya

2. Kapota 10. Kartariswastika 18. Kurma
3. Karkata 11. Shakata 19. Varaha
4. Swastika 12. Shankha 20. Garuda
5. Dola 13. Chakra 21. Nagabandha
6. Pushpaputa 14. Samputa 22. Khatwa
7. Utsanga 15. Pasha 23. Bherunda
8. Shivalinga 16. Kilaka 24. Avahitta
36
SHLOKA OF THE TWENTY-THREE

SAMYUTA HASTAS
Anjalishcha kapotashcha karkatah swastikastatha/
Dolahastah pushpaputa utsangah shivalingakaha//
Katakavardhanashchaiva kartariswastikastatha/
Shakatam shankha chakrecha samputah pashakilakau//
Matsyah kurmo varahashcha garudo nagabandhakaha/
Khatva bherunda ityete samkhyata samyutaha karaha//
Trayavimshatirityuktah purvagayabharatadibhihi/
Keywords
Samyuta Hasta Double hand gestures,

Combined hand gestures
https://youtu.be/SHs4xX2AvCE
Points To Remember
• Samyuta Hastas are combined hand gestures.
• There are twenty-three Samyuta Hastas mentioned in the
Abhinaya Darpanam.
• Avahitta hand gesture has been added afterwards to the
Samyuta Hastas.
37
Assessment
1. Match the pictures of the Samyuta Hastas with their appropriate
names.
Pasha
Kapota
Swastika
Shivalinga
Pushpaputa
38
2. Identify and name the Samyuta Hastas given in the pictures below:
3. List the names of the Samyuta Hastas in sequence.
4. Identify the hand gestures used in the following Adavus.

i. The second step of Shutru Adavu.
ii. The second step of Pakka Adavu.
iii. The third step of Sarikkal Adavu.
iv. The fourth step of Pakka Adavu.
39
Notes
40
Chapter 5
ADAVUS
LEARNING OBJECTIVES
to:
• Memorise the basic dance postures.
• Memorise the sequence of movements in the prescribed
Adavus.
• Memorise the Sollukattus of the Adavus.
• List the names of the series of Adavus.
• Identify the different hand gestures and basic dance postures
as performed in the Adavus.
• Recognise the Sollukattus of the series of Adavus.
• Recite the Sollukattus of the Adavus.
• Execute the prescribed Adavus in the three Kalas while
maintaining Anga Shuddham.
• Develop physical abilities such as endurance, strength and
agility.
Chapter 5- Adavus
Quick Recap
ADAVUS
Basic Dance
Adavus are the basic rhythmic unit of steps in
Postures
Bharata Natyam.
Adavus consist of short sequences of movements Samapada

which coordinate all parts of the body that is,
the head, the eyes, the hands and the feet.
Anga Shuddham (clarity of body movements) Sausthava

should be observed while performing Adavus.
The basic dance postures should be maintained
while executing Adavus.
Natyarambhe
BASIC SERIES OF ADAVUS
PRACTICAL
Araimandi
PAKKA ADAVU
This series of Adavus makes use of space through

Muzhumandi
different floor patterns. The steps consist of
stamping one foot and crossing the other at the
back to move on the sides, front and back.
The arms are extended and usually move in

circular movements. Notes To Teacher
The Sollukattus of Pakka Adavus are: Ensure that there is
enough space in the
class for the number of
students.
Ta Tai Tai Tat Dhit Tai Tai Tat
Ensure that the floor of
the class is appropriate
for dancing.
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Chapter 5- Adavus
First Adavu
Method
1. The Adavu starts in the Araimandi position with the hands in Pataka
gestures placed in front of the chest.
2. The right foot is stamped and the right arm is extended in front at shoulder
level in Pataka hand gesture on the syllable ‘Ta’.
Notes To Teacher
Adavus may have some
variations in their execution
according to different schools
of learning.
Ensure that the differences

are clearly explained to
learners so as to facilitate the
learning process.
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Chapter 5- Adavus
3. On the syllable ‘Tai’ the right foot is again stamped slightly away from the left
foot to move on the right side. The left foot is lifted up at the same time. The
arm is moved on the side simultaneously.
4. The left foot crosses at the back on the syllable ‘Tai’. The right arm is brought
at the back on the same syllable.
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Chapter 5- Adavus
5. The right foot is stamped to join the left foot on the side on the syllable ‘Tat’
and the right arm is brought back in front in Katakamukha hand gestures.
6. The whole sequence is repeated on the left side and ends with both hands
in Katakamukha gestures.
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Chapter 5- Adavus
7. The step proceeds again with the same feet movements while both hands
change from Katakamukha to Tripataka on the syllable ‘Ta’.
8. The left arm is extended in front at shoulder level in Tripataka gesture on the
syllable ‘Tai’.
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Chapter 5- Adavus
Both hands are brought in front of the chest on the syllable ‘Dhit’.
9. The movements of method number 8 and 9 are repeated on the left side on
the syllable ‘Tai Tai Tat’.
The whole sequences from method number 1 to 10 are repeated on the left
side.
Second Adavu
1. The step starts in the Araimandi posture with the hands in Katakamukha
gestures in front of the chest.
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Chapter 5- Adavus
2. The right foot is stamped and the right hand opens in Alapadma from
Katakamukha on the syllable ‘Ta’.
3. The arm is then extended upwards in Alapadma gestures on the syllable

‘Tai’.The right foot is stamped away and the left foot is lifted up at the back.
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Chapter 5- Adavus
4. The arms are gradually lowered down on the side at shoulder level on the
syllable ‘Tai’ and ‘Tat’.
5. On the syllable ‘Dhit’ there is a shoulder movement (pull inward and outward)
of the right arm.
6. The right arm is again lifted up and brought back to its initial position in front
of the chest on the syllables ‘Tai Tai tat’.
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Chapter 5- Adavus
7. The same movements are repeated on the left side but ends with the rotating
of the body to face the left side on the syllable ‘Tat’.
8. The movements of method number 2 to 4 are repeated on the syllables ‘Ta

Tai Tai Tat’. The feet move in a forward direction.
50
Chapter 5- Adavus
9. The above movements are repeated in the reverse direction, raising up the
hands which return in front of the chest on the syllables ‘Dhit Tai Tai’.
The movements end with the rotating of the body to face the right side on
the syllable ‘Tat’.
The movements of method number 7 and 8 are repeated for the left side on the
syllables’ ‘Ta Tai Tai Tat Dhit Tai Tai’.
The movements of the right side end with the body turning to face in front on
The eyes follow the hand movements all throughout the step.
The whole movements are repeated on the left side.
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Chapter 5- Adavus
Third Adavu
Method
1. The Adavu starts in the Araimandi posture with the hands in Katakamukha
2. The right foot is stamped while both arms are stretched down in Alapadma
gestures with a forward bend of the body on the syllable ‘Ta’.
52
Chapter 5- Adavus
3. The arms gradually move up above the head in a circular movement around
the body on the syllables ‘Tai Tai Tat’.
4. The arms are then lowered down on the syllables ‘Dhit Tai Tai’.
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Chapter 5- Adavus
5. The previous movements end with the body turning to face the left side on
6. The eyes follow the right hand while it moves up and returns down for the
right side and look to the opposite direction for the left side.
7. The arms move upwards on the syllables ‘Ta Tai Tai Tat then downwards on
the syllables Dhit Tai Tai’.
54
Chapter 5- Adavus
8. On the last syllable that is, ‘Tat’ the body is turned to face the right side.
55
Chapter 5- Adavus
9. The arms moves upwards on the syllables ‘Ta Tai Tai Tat’ then downwards
on the syllables ‘Dhit Tai Tai’.
56
Chapter 5- Adavus
10. The step ends by rotating the body to the initial position on the syllable ‘Tat’
The same movements are repeated on the left side.
Fourth Adavu
Method
1. The Adavu starts in the Samapada posture with the hand in Katakamukha
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Chapter 5- Adavus
2. A slight jump is taken on the left hand corner, maintaining the Samapada
posture. The arms are extended in front in Katakamukha hand gestures on
the syllable ‘Ta’.
3. This is followed by walking two steps on the right side with the hands
changing to Alapadma and brought in front of the chest on the syllables ‘Tai
Tai’.
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Chapter 5- Adavus
4. After walking two steps, a half-sitting posture is taken and the right arm is
stretched with the elbow raised up with the Kartarimukha hand gesture. The
left hand remains in front of the chest and changes to Kartarimukha hand
gesture in an upside down position on the syllable ‘Tat’.
5. A jump on toes is executed by both feet on the syllable ‘Dhit’ and the right
foot is stamped while both hands turn in the opposite position on the syllable
‘Tai’.
The jump on toes is repeated on the syllable ‘Tai’ and the left foot is stamped
on the syllables ‘Tat’ and both hands return to the initial position.
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Chapter 5- Adavus
The movements are repeated on the left side.
Fifth Adavu
Method
1. The step starts in the Samapada posture with

the hands in front of the chest in Katakamukha
gestures.
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Chapter 5- Adavus
2. A high jump is taken with both legs folded at the back. The arms are
stretched up above in Alapadma hand gestures on the syllable ‘Ta’.
3. The jump is followed by the Araimandi posture where the right foot is stamped
and the left foot is crossed at the back on the syllable ‘Tai’. The following steps
consist of crossing the left foot at the back of the right foot repeatedly while
covering as much space as possible on the syllables ‘Tai Tat Dhit Tai Tai’. The
arms are lowered down gradually forming a circle around the body. On the
syllable ‘Tat’ the hands return to the initial position in Katakamukha gestures
infront of the chest.
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Chapter 5- Adavus
The floor pattern is as follows:
• Move in a straight line to the right side.
• Move to the left side by making a curve in a forward direction.
• Move to the right side to form a semi-circle.
• Move to the left and return in a straight line to the initial position.
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Chapter 5- Adavus
4. The eyes follow the hand in the opposite direction in which the body moves
throughout the execution of the step.
The movements are repeated on the left side.
SARIKKAL ADAVU
Sarikkal means to slide. In this series of steps, one foot slides while the other
foot is lifted to join it. Both feet are lifted on the heels and then stamped
together with a slight jump.
All the steps consist of 3 variations.
Sollukattus for Sarikkal Adavus are:-
1st variation:- Tai Ya Tai Yi

2nd variation:- Tai Ya Tai Yi Tai Ya Tai Yi
3rd variation:- Tai Ya Tai Ya Tai Yi Tai Yi
1st step
1st variation
Method
1. Start in Samapada posture and arms in

Natyarambhe position. Both hands are in
Pataka gestures.
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Chapter 5- Adavus
2. Slide the right foot on the right side to place it away from the left foot on the
syllable ‘Tai’. The right arm is pulled in and pushed out on the same syllable.
3. Then lift the left foot to join the right foot on the syllable ‘Ya’. The left shoulder
is also pulled in and pushed out on the same syllable.
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Chapter 5- Adavus
4. On the syllable ‘Tai’ and ‘Ya’ the eyes first look at the right hand, then in front
and at the left hand, then in front.
5. Lift the right foot and place it on the heel, with both hands in Pataka gestures
raised up on the syllable ‘Tai’. Then raise the left foot also on the heel.
6. Finally stamp both feet with a slight jump on the syllable ‘Yi’. The Pataka
hands are slightly bent down with the jump.
Look up then in front simultaneously with the hand movements.

Repeat the movements on the left side.
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Chapter 5- Adavus
2nd variation
Repeat the movements of the first variation from method 1 to 5 twice on the
right and left sides.
3rd variation
Repeat method number 1 to 3 of first variation twice, then repeat method

number 4 and 5 of the first variation twice. Same movements are repeated on
the left side.
2nd step
1st variation
Method
1. Start in Samapada posture with the right hand in Alapadma gesture in front
of the chest and the left hand in Katakamukha in an upside down position
above the head.
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Chapter 5- Adavus
2. Slide right foot to right side, away from the left foot and turn the torso slightly
from left to right side simultaneously on the syllables ‘Tai’. The eyes follow
the right hand.
Notes To Teacher
Note that the second
step can also be
executed by sliding
the feet forward for all
three variations.
3. On the syllable ‘Ya’ lift the left foot to join the right foot and look in front.
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Chapter 5- Adavus
4. Lift the right foot and place on the heel while the right Alapadma hand
gesture lifts up at the same time on the syllable ‘Tai’. Look up simultaneously
with the hand movement.
5. The left foot is also placed on the heels and both feet are stamped with a
slight jump while the Alapadma hand is bent down on the syllable ‘Yi’. Look
in front simultaneously with the hand movement.
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Chapter 5- Adavus
2nd variation
Repeat the movements of the 1st variation from number 1 to 5 twice on the
3rd variation
Repeat method number 1 to 3 of the first variation twice, then repeat method
number 4 and 5 twice. Same movements are repeated for the left side.
3rd step
1st variation
Method
1. Start in Samapada posture and the hands in Katakamukha gestures in front

of the chest.
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Chapter 5- Adavus
2. Slide the right foot to the right side as both arms move to open diagonally on
the sides (right hand downwards and left hand upwards) with the hands in
Alapadma gestures.
3. The right shoulder pulls in and pushes out on the syllable ‘Tai’. Look at the
right hand, then in front on the same syllable.
The left foot joins the right foot while the left shoulder pulls in and pushes out
slightly on the syllable ‘Ya’. Look at the left hand and in front on the same
syllable.
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Chapter 5- Adavus
4. Lift right foot to rest on the heel. Then place the left foot also on the heel on
the syllable ‘Tai’. Stamp both feet with a slight jump on the syllable ‘Yi’. Both
hands in Alapadma gestures are slightly thrown up on the syllable ‘Tai’, then
return to the initial position on the syllable ‘Yi’. Look up on ‘Tai’ and look
infront on ‘Yi’.
5. Repeat all the movements on the left side.
2nd variation
Repeat the movements of the third variation from number 1 to 3 twice on the
3rd variation
Repeat method number 1 and 2 of first variation twice then repeat method
number 3 twice. Same movements should be repeated on the left side.
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Chapter 5- Adavus
4th step
1st variation
Method
1. Start in Samapada posture with left arm in Natyarambhe and the right hand
in front of the chest in Pataka gesture.
2. Lift the right foot to sit in half–sitting posture on the right side on the syllable
‘Tai’. The eyes follow the left hand and move to the right hand on the same
syllable.
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Chapter 5- Adavus
3. Then lift the left foot to join the right foot in a standing position and look in
front on the syllable ‘Ya’.
4. Lift the right foot and place it on the heel, with both hands in Pataka gestures
raising up at the same time, then raise the left foot also on the heel on the
syllable ‘Tai’. Finally stamp both feet with a slight jump on the syllable ‘Yi’.
The hands in Pataka gestures are slightly lowered with the jump. Look up,
then in front while the hands are raised up and lowered.
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Chapter 5- Adavus
2nd variation
Repeat the movements of the first variation from number 1 to 4 twice to the
right and left sides
3rd variation
Repeat method number 1 to 3 of the 1st variation twice then repeat method
number 4 twice. Same movements should be repeated on the left side.
5th step
1st variation
Method
1. Start in Samapada posture with the right hand in Mrigashirsha gesture

resting on the right shoulder and left hand Ardhachandra gesture at the back
of the waist.
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Chapter 5- Adavus
2. Lift and place the left foot on the left side to rest on the heel, and bend the
body to the right side and turn in a circular movement from the waist to face
the left side on the syllable ‘Tai’. Look from the right hand corner in front to
follow the circular movement and ending on the left side on the same
syllable on the syllable ‘Ya’ joining the right foot to the left one.
3. Lift the left foot to rest on the heel, then place the right foot also on the heel
on the syllable ‘Tai’. Stamp both feet with a slight jump on the syllable ‘Yi’.
Look up on ‘Tai’ and in front on ‘Yi’.
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Chapter 5- Adavus
2nd variation
Repeat the movements of the 1st variation from number 1 to 3 twice to the right
and left sides.
3rd variation
Repeat method number 1 and 2 of the first variation twice then repeat method
number 3 twice. Same movements are to be repeated on the left side.
6th step
1st variation
Method
1. Start in Samapada posture and both hands in Ardhachandra gestures are

placed on the waist.
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Chapter 5- Adavus
2. Both arms are stretched in front and pulled in front of the chest on the
syllable ‘Tai’.
3. On the syllable ‘Ya’ join the left foot to the right one while the arms open in
Natyarambhe and look at the right hand.
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Chapter 5- Adavus
4. Lift the right foot to rest on the heel, then lift the left foot also on the heel on
the syllable ‘Tai’. Stamp both feet with a slight jump on the syllable ‘Yi’. Look
up on ‘Tai’ and in front on ‘Yi’.
2nd variation
Repeat the movements of the first variation from number 1 to 3 twice to the right
and left sides.
3rd variation
Repeat method number 1 and 2 of the first variation twice then repeat method
number 3 twice. Same movements are repeated on the left side.
78
Chapter 5- Adavus
SHUTRU ADAVU
The Shutru Adavu usually consists of the twisting and turning movements of
the body.
The first three steps of Shutru Adavu start in the Araimandi posture. Both
hands are in Shikhara gestures placed in front of the chest.
The Sollukattus of the Shutru Adavus are:
Tat Tai Tam Dhit Tai Tam
1st Step
Method
1. Start in Araimandi position with both hands in Shikhara gestures in front of

the chest.
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Chapter 5- Adavus
2. Strike the right foot followed by the left on the syllables ‘Tat Tai’ and
simultaneously move the hands slightly up and down while looking up and
then in front.
3. On the syllable ‘Tam’ the right foot is stretched on the heel on the right side.
Look at the right hand as the arms are opened in Natyarambhe with the right
shoulder slightly pulled in on the same syllable.
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Chapter 5- Adavus
4. Strike the right foot back to the initial position, while the right shoulder
pushes out slightly on the syllable ‘Dhit’. Look at the right hand, then in front
on the same syllable. On the syllable ‘Tai’, hold the same position.
5. Jump on the toes while changing the hands from Alapadma to Katakamukha
on the syllable ‘Tam’ while looking at the hands, then in front on the same
syllable.
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Chapter 5- Adavus
2nd Step
Method
1. Repeat method number 1 to 4 of the first step.
2. Start the Samapada posture, hands in Katakamukha gestures in front of

the chest, on the syllable ‘Tam’.
3. In Araimandi position, lift and stretch the right foot on the heel. The right hand
is extended at shoulder level on the right side in Alapadma gesture while the
left arm remains in front of the chest in Katakamukha gesture. These
movements will be executed on the syllables ‘Tat Tai’.
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Chapter 5- Adavus
4. On the syllable ‘Tam’ lift the left foot and cross it front of the right foot. The
right foot is stretched at the back on toes. The left hand is stretched on the
left side in Alapadma gesture and the right arm is folded in front of the chest
in Katakamukha gesture. The body is twisted and the face is turned to look
at the left hand.
5. On the syllables ‘Dhit Tai’ jump on the right side by lifting the right foot, then
the left foot.
6. On the syllable ‘Tam’ the step ends with the left foot crossed on the toes
behind the right foot. The right hand is stretched on the right side in Pataka
gesture at the shoulder level and left hand is moved above the head in
Shikhara (upside down) gesture. The eyes follow the movement of the left
hand and end up by looking at the right hand.
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Chapter 5- Adavus
3rd Step
Method
1. Repeat method number 1 to 4 of the first step.

2. Strike the right foot back in the initial Araimandi position, looking in front,
while the right shoulder pushes out slightly on the syllable ‘Dhit Tai Tam’.
3. On the syllables ‘Tat Tai’, lift the right foot, then turn in an anti-clockwise
direction and sit in the Muzhumandi posture, facing at the back. The hands
are brought in front of the chest in Katakamukha gestures.
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Chapter 5- Adavus
4. On the syllable ‘Tam’, the left foot is stretched on the toes on the right side
and the right foot flexed on the left side. Both arms open diagonally on the
sides (right hand downwards and left hand upwards) in Alapadma gestures.
The body is twisted in front and the face is turned to look at the right hand.
5. The left foot is stretched to be placed on the heel at the back on the syllable
‘Dhit’ while the right leg is in the Araimandi position. The right arm is folded
in front of the chest and the left hand is placed above the head (upside
down) in Katakamukha gestures. The eyes follow the right hand.
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Chapter 5- Adavus
6. On the syllable ‘Tai Tam’ lift the right foot and place it on the left knee then take
a full turn on the left foot in an anti-clockwise direction to end up facing in front.
The right hand is extended in front in Alapadma gesture and turned together
with the feet movements to end in front of the chest changing again to
Katakamukha gesture. The eyes follow the movement of the right hand and
then look in front at the end of the step.
Keywords
Coordination, Hand Gestures,
7. Repeat all the movements Posture, Simultaneously
on the left side.
Points To Remember
• 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.
• Anga Shuddham (clarity of body movements) should be
observed while performing Adavus.
• The basic dance postures should be maintained while
executing Adavus.
• Pakka Adavu series make use of space through different
floor patterns.
• Sarikkal Adavus are steps where the sliding of the feet is
used.
86
Chapter 5- Adavus
Assessment
1. Match the following Sollukattus with their appropriate series of
Adavus.
Note that more than one Sollukattus can match with a series of
Adavus.
Sollukatus Series of Adavus
Tai Ya Tai Yi
Shutru
Tat Tai Tam Dhit Tai Tam
Pakka
Tai Ya Tai Ya Tai Yi Tai Yi
Sarikkal
Ta Tai Tai Tat Dhit Tai Tai Tat
2. Identify the hand gestures used in the Pakka, Sarikkal and

Shutru Adavus series.
3. Identify the basic dance postures used in the Pakka,

Sarikkal and Shutru Adavus series.
4. Execute the first Adavu of the Pakka Adavu Series in the

three speeds.
5. Execute the three variations of the second step of the

Sarikkal Adavu in the three speeds.
6. Demonstrate the hand gestures used in the Shutru Adavu

series.
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Chapter 5- Adavus
Notes
88
Chapter 6
SOUTH INDIAN TALA SYSTEM
LEARNING OBJECTIVES
to:
• Define the following terms used in the South Indian Tala
system.
- Anga
- Laghu
- Druta
- Anudruta
- Kriya
- Aksharakala
- Avartana
• Identify the symbols of the main Angas.
• State the value of the three main Angas.
• Demonstrate the Kriyas of Laghu, Druta and Anudruta.
• Differentiate between Laghu, Druta and Anudruta.
Chapter 6- South Indian Tala System
SOUTH INDIAN TALA SYSTEM Quick Recap

Indian classical music consists of two systems, Tala is the cyclic
namely: measurement of time in
Indian music. It is an
• The North Indian music or Hindustani music arrangement of a fixed
• The South Indian music or Carnatic music. number of beats played
usually on a percussion
instrument.
Indian Classical
Music
Hindustani Music Carnatic music
The Hindustani and the Carnatic system of music consist of two different
systems of Tala:
The North and the South Indian Tala system.
Indian Tala System
North Indian Tala South Indian Tala

System System
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Bharata Natyam classical dance style has its origin in the South of India and
therefore uses the Carnatic music system and the South Indian Tala system.
The South Indian Tala system consists of seven main Talas known as the
Sapta Talas. Each of the seven Talas is recognised by particular symbols
called Angas.
THREE MAIN ANGAS
Angas represent different sections of a Tala. There are six Angas known as the
Shadangas in the South Indian Tala System but only three of them are
commonly used. They are:
• Laghu
• Druta
• Anudruta
Each Anga is represented by a specific symbol.
Angas Symbols
Laghu
Druta
Anudruta
LAGHU
The symbol of a Laghu is a vertical bar . It is a variable Anga and its value
can be either of 3, 4, 5, 7 or 9 units of time measures. The five units of time
measures are known as the Panchajatis.
The value of the Laghu depends on the combination of the unit of time
measure. For example if the Laghu has the value of three counts its symbol will
be written as follows: .
3
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It is to be noted that when the value of the Laghu is not stated it automatically
takes the value of four units.
The first beat of the Laghu is always denoted by a clap of the hand and the
other beats are followed by counting on the fingers, which always starts with
the little finger.
Clap Little finger Ring finger Middle finger
DRUTA
The symbol for Druta is represented as O. It is an invariable Anga, consisting

of two beats which is denoted by a clap and a wave of the hand. The wave of
the hand is known as Visarjita.
ANUDRUTA
The symbol for Anudruta is represented as ‘ ’. It is an invariable Anga

consisting of only one beat which is denoted by a clap of the hand.
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KRIYA
The term ‘Kriya’ means action. Kriya is the action of the hand while counting a
Tala. It is the Kriya that indicates the Angas or sections of a Tala. For example,
if a Tala has a Druta O and a Laghu as its Angas, it will be denoted by the
actions of the hand as such:
Druta - A clap and a wave of the hand.

Laghu - A clap followed by finger counts.
Kriyas are of two kinds.
Kriyas
Sashabda Nishabda
(i) Sashabdakriya – an action with sound.

For example, a clap of the hand.
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(ii) Nishabdakriya - a soundless action.

For example, a wave of the hand or finger counts.
AKSHARAKALA
In the South Indian Tala System the number of counts or beats of a Tala is
known as Aksharakalas.
AVARTANA
An Avartana is one cycle of a Tala. One cycle of a Tala is completed when all
the Angas of a Tala are executed.
For example, if a Tala has 8 beats and all the 8 beats are executed, it is said
that one Avartana is completed. After the completion of the eighth beat the Tala
starts again on the first beat to complete another Avartana. Hence, the total
counts of two Avartanas of a Tala of 8 beats will be of 16 beats.
Keywords
Time measure, Percussion instrument,
Variable, Invariable
94
Points To Remember
• Indian music consists of two systems; the Hindustani and

the Carnatic.
• In the South Indian Tala system there are seven main Talas
known as the Sapta Talas.
• Each of the seven Tala is recognised by particular
symbols called Angas.
• Anga is a section of a Tala.
• There are six Angas known as the Shadangas.
• There are three main Angas and they are: Laghu, Druta and
Anudruta.
• Each of the Angas is represented by a specific symbol;
Laghu
Druta
Anudruta
• The Laghu is a variable Anga and its value can be either of

3, 4, 5, 7 or 9 units of time measures.
• The Druta is an invariable Anga and it has the value of two
counts.
• The Anudruta is an invariable Anga and its value is of one
count.
• Kriya is the action of the hands while counting a Tala.
• There are two types of Kriya and they are the Shashabda
(action with sound) and the Nishabda (action without
sound).
• In the South Indian Tala System the number of counts or
beats of a Tala is known as Aksharakalas.
• One cycle of a Tala is known as an Avartana.
95
Assessment
1. Fill in the blanks in the sentences given below with appropriate
words.
i. Indian music consists of two systems; the --------------- and the

------------------ .
ii. In the South Indian Tala system there are ------------- main Talas
known as the ------------------.
iii. The six Angas are known as the ------------------------- .
iv. The three main Angas are the ----------------, ------------------ and
---------------- .
v. The ----------------is an invariable Anga and has the value of one count.
vi. The ----------------is an invariable Anga and has the value of two
counts.
vii.The two types of Kriya are -------------and -------------------
viii. The counts of a Tala in the South Indian Tala system is known as
-------------- .
ix. One cycle of a Tala is known as an ---------------------- .
2. Answer the following questions:
i. Explain the term Angas ?

ii. Explain the three main Angas.
iii. Explain the terms Kriya, Aksharakalas and Avartana.
iv. Calculate the value of each of the Talas having the following Angas:
3
v. How many counts are there in 4 Avartanas of a Tala which consist

of 8 beats?
96
Chapter 7
FOLK AND RITUAL DANCES
IN MAURITIUS
LEARNING OBJECTIVES
to:
• Describe the common folk and ritual dances in the different
communities in Mauritius.
• Name the musical instruments used for the accompaniment
of the folk and ritual dances.
• Develop an appreciation for the multicultural diversity.
Chapter 7 - Folk and ritual dances inMauritius
FOLK AND RITUAL DANCES IN MAURITIUS
Mauritius has inherited a rich cultural background from the various immigrants
who came as settlers from Europe, Africa, Madagascar, India and China.
These settlers brought with them their cultural heritages such as languages,
traditions, artefacts, food habits, music and dance forms that have been
passed on from one generation to another.
Old drawing of Sega dance in Indentured labourers with their

Mauritius musical instruments
Folk and ritual dances are part of the cultural practices brought by the
immigrants. These folk and ritual dances played a major role in preserving the
identity of the various ethnic groups in the multicultural society of Mauritius.
The common folk and ritual dances prevailing in Mauritius are:
1. Sega
2. Bhojpuri dance
3. Kolattam
4. Jhakri
5. Ramabhajanam
6. Dragon dance
7. Sega Tambour from Rodrigues
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Sega
Sega is the dance originated from the Malagasy and African culture. The Sega
is mainly associated with the Creole community in Mauritius. The basic
movements of the Sega is to sway the hips to the rhythm of the music. The
women hold the edges of their voluminous skirts while dancing and the men
move in shuffling steps with opened arms. Dancers also kneel down and move
their torso forwards and backwards.
Sega dance is the most common dance of Mauritius.
Occasions:
Sega dance is usually performed on family events, cultural events and has
become part of the Mauritian tourism industry.
Costumes:
The women wear long skirts with short blouses. The men wear informal pants
and shirts. The skirts and the shirts are usually of colourful floral designs.
99
Musical instruments:
Ravanne Maravanne Triangle
Bobre
Coco
Bhojpuri dance: Geet- Gawai
Geet-Gawai is a pre-wedding ceremony that combines rituals, prayer, songs,

music and dance. The dance performed during the Geet-Gawai ceremony is
commonly known as the Bhojpuri dance. This dance has its origin in the
various regions of Bihar and is practised mainly by the Bhojpuri and Hindi
speaking community in Mauritius. The dance is performed by women moving
in shuffling steps with opened arms and swinging their hips to the beat of the
music.
Geet-Gawai has been inscribed on the UNESCO Representative list of

Intangible Cultural Heritage of Humanity in December 2016.
Occasions:
The traditional practice takes place at the home of the bride and groom prior to
the wedding.
100
Costumes:
Dancers wear saris with blouse (choli) or a lehenga with blouse.
Chimta
Dholak
Lota and spoons

Kartal Wooden Clapper
101
Kolattam
Kolattam is derived from the words ‘kol’ meaning small stick, and ‘attam’
meaning dance. Kolattam is a dance where the dancers play with sticks. The
kolattam dance is a popular folk dance originating from Tamil Nadu in India and
practised mainly by the Tamil community in Mauritius. Kolattam dance is also
performed by the Telugu community in Mauritius.
This dance is usually performed by young girls and women holding two sticks
in their hands. Dancers strike their sticks while making various patterns in a big
circle. They also dance in pairs by striking each other’s sticks.
Occasions:
The dance is performed during festivals, processions and cultural events.
Costumes:
The young dancers wear the ‘pavadai’, which is a long pleated skirt with a
blouse and a contrasting stole, while the women wear the traditional sari and
blouse (choli).
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Manjira
Dappu or Tappu
Jhakri
Jhakri is a popular ritualistic dance form mainly associated with the Marathi
community in Mauritius. It originates from the region of Maharashtra. The
dancers form a big circle around the drummer who is the lead singer. Both men
and women sing and dance while moving in a circle with various steps.
Dancers also clap their hands while dancing.
Occasions:
Ganesh Chaturthi festival and during Marathi wedding ceremonies.
Costumes:
The dancers wear the blouse (choli) and the ‘kashti’ which is a sari drapped
around each leg like a pant.
103
Dholak
Naal
Chimta
Manjira
Ramabhajanam
The Ramabhajanam is a Telugu ritual originating from the state of Andhra

Pradesh in India. Prayers are offered to a large brass lamp with smaller lamps
attached to it, representing a tree. The songs are all in praise of Lord Rama.
The men play the copper Manjira while the women clap their hands when
dancing around the lamp.
Occasions:
Ramabhajanam is performed during the Ram Navmi festival.
104
Costumes:
The men are dressed in kurta and dhoti while the women wear the traditional
sari with blouse (choli). Young girls wear the ‘pattulangavoni’, which is a long
pleated skirt with a hip length blouse or a choli and stole.
Manjira
Dholak
Chimta
105
Dragon Dance
The dragon dance is the traditional dance form of the Chinese community.
The dragon dance originating from China is an important part of the Chinese
New Year celebrations.The frame of the dragon is made of wood, bamboo or
aluminium.
A team of dancers carry the different sections of the dragon using poles. The
lead dancers lift, dip, thrust and sweep the head of the dragon. A wave-like
pattern is achieved by the coordinated swinging of the body of the dragon.
The dancers run in spiral formations to make the dragon’s body turn and twist.
Occasions:
Chinese New- year
Costumes:
Different colours of the dragon can be chosen. Green is usually the main colour
representing good harvest. Other colours include yellow, to represent the
empire, golden and silver to symbolise prosperity, and red, to denote good
fortune. All the dancers wear the same colour of pants and upper garment.
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Gong
Cymbals Drum
Sega Tambour (Rodrigues)
Rodrigues is an autonomous outer island which forms part of the Republic of

Mauritius. Although it is part of Mauritius, it has its own cultural practices. One
of the cultural practices is the Sega Tambour. The dancers move rhythmically
in small steps by striking their feet flat. The dancers move in circles or dance in
pairs.
The Sega Tambour was inscribed as an intangible cultural heritage of humanity

by the UNESCO in December 2017.
Occasions:
Family events, socio-cultural events, part of the Rodrigues’ tourism industry.
Costumes:
Men wear long trousers and shirt, while women wear colourful dresses.
107
Ravanne Triangle Accordion
Keywords
Identity, Ethnic groups, Cultural heritages, Multicultural
society, Descendants, Rhythm, Community, Cultural practice,
Cultural events, Festivals, Processions, Ritual, traditional.
Sega
https://youtu.be/NcjvV8P_dF4
Sega Tambour
https://www.youtube.com/watch?v=RiW7YjObe1U
Bhojpuri dance
https://youtu.be/sW6tpJDASx8
Kolattam dance
https://youtu.be/Rt5I3OYcFik
Jhakri dance
https://youtu.be/YT_em1MAC0A
Ramabhajanam
https://youtu.be/PsUK76_TdHA
Dragon dance
https://youtu.be/cp-pZoohO-4
108
Points To Remember
• The folk and ritual dances play a major role in preserving

the identity of the various ethnic groups in Mauritius.
• The common folk and ritual dances in Mauritius are:
1. Sega
2. Bhojpuri dance.
3. Kolattam.
4. Jhakri.
5. Ramabhajanam.
6. Dragon dance.
7. Sega Tambour from Rodrigues.
• Sega dance is the most common dance in Mauritius.

• Bhojpuri dance, commonly practised during the Geet-Gawai
ceremony is associated with the Bhojpuri and Hindi
speaking people of Mauritius.
• Geet-Gawai has been inscribed on the UNESCO
representative list of intangible cultural heritage of
humanity in December 2016.
• Kolattam dance is a folk dance mainly practised by the
Tamil community in Mauritius.
• Jhakri is a ritual dance practised by the Marathi community
in Mauritius.
• Ramabhajanam is a Telugu ritual performed by the Telugu
people of Mauritius.
• Dragon dance is the traditional dance form of the Chinese
community.
• The Sega Tambour was inscribed as an intangible cultural
heritage of humanity by the UNESCO in December 2017.
109
Assessment
1. Multiple choice questions.
(i) The Bhojpuri dance is the dance form originating from the regions of
....................... in India.
A Tamil Nadu B Bihar
C Maharashtra D Andhra Pradesh
(ii) The famous Chinese dance is known as ………………………

A Sega B Geet- Gawai
C Dragon dance D Jhakri
(iii) Jhakri is mainly performed by the ………………… community in Mauritius.

A Tamil B Chinese
C Telugu D Marathi
(iv) During the kolattam dance, dancers hold the ………………..

A Sticks B cymbals
C Dholak D Triangle
(v) ....................... is one of the Indian folk dance form.

A Dragon dance B Sega Tambour
C Sega D Kolattam
(vi) The Ramabhajanam is practised by the …………... community.

A Tamil B Chinese
C Marathi D Telugu
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2. Match the following dance forms with their corresponding

instrument used during the performance.
Dance form Instrument
Jhakri
Dragon dance
Bhojpuri dance
Kolattam
Sega
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3. List any four common folk dances practised in Mauritius.
4. Name the instruments used in the Mauritian Sega.
5. Fill in the blanks with the appropriate words.

(i) The Sega Tambour was inscribed as an intangible cultural heritage of
humanity by the UNESCO in ………………. (December 2017, December
2016)
(ii) The Ramabhajanam dancers hold the……………………………. in
their hands. (Manjira, sticks)
(iii) The women dancers performing the Jhakri dance wear………………..
(skirt, Kashti)
(iv) Sega is the dance that originated from the music of …………………
(India, Africa)
(v) The dholak is one of the musical instruments of the ………….. folk
dances. (Indian, Chinese).
(vi) The Bhojpuri dance (Geet-Gawai) was inscribed as an intangible
cultural heritage of humanity by the UNESCO in ……………….
(November 2017, December 2016)
112
Chapter 8
ADI TALA AND ITS COMPONENTS
AND NOTATION FORM
LEARNING OBJECTIVES
to:
• Describe Adi Tala.
• Recognise the Angas of Adi Tala.
• Interpret the Angas of Adi Tala in an Avartana.
• State the number of Aksharakalas in Adi Tala.
• Notate Adi Tala in the three speed.
• Differentiate between the three speed of Adi Tala.
• Demonstrate the Kriyas (actions of the hand) of Adi Tala.
• Count Adi Tala in the three speed.
• Notate the Sollukattus of the Adavus in the three speed
of Adi Tala.
• Recite and count the Sollukattus of the Adavus in the
three speed of Adi Tala.
Chapter 8 - Adi Tala and its components
and Notation form
Adi Tala
Adi Tala is one of the most popular Tala used in the South Indian Tala system.
The Adavus in Bharata Natyam are practised in Adi Tala in order for students
to get acquainted with the basic rhythm which is known as the Sarva Laghu.
Adi Tala is composed of 8 beats and comprises of 3 Angas, that is, 1 Laghu
and 2 Drutas.
Angas of Adi Tala
Quick Recap
Laghu
Angas represents
Adi Tala has one Laghu which comprises of 4 counts the sections of a Tala
known as the Chaturasra Laghu. The Chaturasra
Laghu is represented by the symbol │4 . Kriya is the action
of counting a Tala
with the hands.
Druta There are two types
of Kriyas:
Adi Tala has 2 Drutas which are represented by the
symbols Ο Ο. Each Druta comprises of 2 counts, thus Sashabdakriya –
making a total of four counts. an action with sound
Nishabdakriya –
a soundless action
114
and Notation form
The Kriyas (actions of the hand) of Adi Tala are as follows:
Sashabdakriya Nishabdakriya
(with sound) (without sound)
3 finger counts
1 clap [the first count starts with
Laghu [Clapping of the palm] the little finger and finishes
with the middle finger]
1 clap
Druta 1 wave of the hand
[Clapping of the palm]
1 clap
Druta 1 wave of the hand
[Clapping of the palm]
Execution of Adi tala:
1 2 3 4
5 6 7 8
Aksharakalas of Adi Tala

Adi Tala consists of 8 counts or beats and each beat is known as an
Aksharakala. Hence, there are 8 Aksharakalas in Adi Tala.
115
and Notation form
Avartana of Adi Tala

One complete cycle of a Tala is called an Avartana. One Avartana in Adi Tala
consists of 8 Aksharakalas. Execution of the Laghu (4 counts) and 2 Drutas (2
counts each) makes an Avartana in Adi Tala.
Notation Form of Adi Tala

Notation is a way of writing Talas in a systematic way with signs and symbols.
The notation of Talas is divided into sections, depending on the Angas of the
Tala. For instance, Adi Tala which consists of three Angas, its notation form will
automatically consist of three sections.
The notation form of Adi Tala is written in the three degrees of speed
(Kala):
Prathama Kala – slow

Dvitiya Kala – medium
Tritiya Kala – fast
Difference between the three speed

The Prathama Kala is the slow speed.
The Dvitiya Kala is two times faster than the Prathama Kala.
The Tritiya Kala is two times faster than the Dvitiya Kala and four times faster
than the Prathama Kala.
116
and Notation form
Notation Form of Adi Tala
Symbols 4 o o
Aksharakalas
1st speed Ta Ka Dhi Mi Ta Ka Dhi Mi
2nd speed TaKa DhiMi TaKa DhiMi Taka DhiMi Taka DhiMi
3rd speed TaKa TaKa TaKa TaKa TaKa TaKa TaKa TaKa
DhiMi DhiMi DhiMi DhiMi DhiMi DhiMi DhiMi DhiMi
Activity
In groups of 3 to 4 recite and count the syllables of

Adavus taught in the three speed of Adi Tala.
Observe your friends and make sure to keep regular

intervals in between each count while reciting and
counting the syllables of Adi Tala.
117
and Notation form
NOTATION FORM
The Adavus of Bharata Natyam are normally practised in the three speed of Adi
Tala. This allows the learners, in the initial stage, to master the basic
movements and to have a better grip on the basic rhythm.
Notation form is a way of writing Talas in a systematic way with signs and
symbols. In Bharata Natyam the Sollukattus of the Adavus are notated and
counted in the three speed of Adi Tala.
NOTATION FORM OF ADI TALA
Tatta Adavu - First and second steps
Symbols 4 o o
Aksharakalas
1st speed Taiya Tai Taiya Tai Taiya Tai Taiya Tai
Taiya Taiya Taiya Taiya Taiya Taiya Taiya Taiya

2nd speed Tai Tai Tai Tai Tai Tai Tai Tai

3rd speed Tai Tai Tai Tai Tai Tai Tai Tai
Tai Tai Tai Tai Tai Tai Tai Tai
118
and Notation form
Tatta Adavu - Third step
Symbols 4 o o
Aksharakalas
1st speed Taiya Taiya Tai Kitataka Taiya Taiya Tai Kitataka
Taiya Tai Taiya Tai Taiya Tai Taiya Tai

2nd speed Taiya Kitataka Taiya Kitataka Taiya Kitataka Taiya Kitataka

3rd speed Taiya Taiya Taiya Taiya Taiya Taiya Taiya Taiya
Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka
Tatta Adavu - Fourth step
Symbols 4 o o
Aksharakalas
1st speed Taiya Taiya Taiya Tai Taiya Taiya Taiya Tai

2nd speed Taiya Tai Taiya Tai Taiya Tai Taiya Tai

3rd speed Taiya Taiya Taiya Taiya Taiya Taiya Taiya Taiya
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and Notation form
Tatta Adavu - Fifth step
Symbols 4 o o
Aksharakalas
1st speed Taiya Taiya Tai Tai Tam Taiya Taiya Tai Tai Tam
Taiya Tai Tai Taiya Tai Tai Taiya Tai Tai Taiya Tai Tai
2nd speed Taiya Tam Taiya Tam Taiya Tam Taiya Tam

3rd speed Taiya Tai Ya Taiya Taiya Taiya Taiya Taiya Taiya
Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai Tai
Tam Tam Tam Tam Tam Tam Tam Tam
Tatta Adavu - Sixth step
Symbols 4 o o
Aksharakalas
1st speed Tai Tai Tam Kitataka Tai Tai Tam Kitataka
Tai Tam Tai Tam Tai Tam Tai Tam

2nd speed Tai Kitataka Tai Kitataka Tai Kitataka Tai Kitataka

Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka Kitataka
120
and Notation form
Tatta Adavu - Seventh step
Symbols 4 o o
Aksharakalas
1st speed Tai Tai Tat Tat Tai Tai Tam Kitataka
Tai Tat Tai Tam Tai Tat Tai Tam

2nd speed Tai Tat Tai Kitataka Tai Tat Tai Kitataka

Tat Tam Tat Tam Tat Tam Tat Tam
Tat Kitataka Tat Kitataka Tat Kitataka Tat Kitataka
Tatta Adavu - Eighth step
Symbols 4 o o
Aksharakalas
1st speed Tai Tai Tai Tai Dhit dhit Tai Kita Taka
Tai Tai Dhit dhit Kita Tai Tai Dhit dhit Kita
2nd speed Tai Tai Tai Taka Tai Tai Tai Taka
Tai Dhit dhit Tai Dhit dhit Tai Dhit dhit Tai Dhit dhit
Tai Kita Tai Kita Tai Kita Tai Kita
Tai Taka Tai Taka Tai Taka Tai Taka
121
and Notation form
Natta Adavu
Symbols 4 o o
Aksharakalas
1st speed Taiyum Tattat Taiyum Tam - Taiyum Tattat Taiyum Tam -
Taiyum Taiyum Taiyum Taiyum Taiyum Taiyum Taiyum Taiyum

2nd speed Tattat Tam - Tattat Tam - Tattat Tam - Tattat Tam -

3rd speed Tattat Tattat Tattat Tattat Tattat Tattat Tattat Tattat
Tam - Tam - Tam - Tam - Tam - Tam - Tam - Tam -
Kuditta Mettu Adavu
Symbols 4 o o
Aksharakalas
1st speed Tai Hat Tai Hi Tai Hat Tai Hi

2nd speed Hat Hi Hat Hi Hat Hi Hat Hi

3rd speed Hat Hat Hat Hat Hat Hat Hat Hat
Hi Hi Hi Hi Hi Hi Hi Hi
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and Notation form
Pakka Adavu
Symbols 4 o o
Aksharakalas
1st speed Ta Tai Tai Tat Dhit Tai Tai Tat
Ta Tai Dhit Tai Ta Tai Dhit Tai

2nd speed Tai Tat Tai Tat Tai Tat Tai Tat
Ta Dhit Ta Dhit Ta Dhit Ta Dhit

Tat Tat Tat Tat Tat Tat Tat Tat
NOTATION FORM OF SARIKKAL ADAVU (ADI TALAM)
First and second variations
Symbols 4 o o
Aksharakalas
1st speed Tai Ya Tai Yi Tai Ya Tai Yi

2nd speed Ya Yi Ya Yi Ya Yi Ya Yi

3rd speed Ya Ya Ya Ya Ya Ya Ya Ya
Yi Yi Yi Yi Yi Yi Yi Yi
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and Notation form
Third variation
Symbols 4 o o
Aksharakalas
1st speed Tai Ya Tai Ya Tai Yi Tai Yi

2nd speed Ya Ya Yi Yi Ya Ya Yi Yi

3rd speed Ya Yi Ya Yi Ya Yi Ya Yi
Ya Yi Ya Yi Ya Yi Ya Yi
NOTATION FORM OF SHUTRU ADAVU (ADI TALAM)
Symbols 4 o o
Aksharakalas
1st speed Tat Tai Tam - Dhit Tai Tam -
Tat Tam Dhit Tam Tat Tam Dhit Tam

2nd speed Tai - Tai - Tai - Tai -
Tat Dhit Tat Dhit Tat Dhit Tat Dhit

- - - - - - - -
124
and Notation form
Keywords
Basic rhythm, Beats, Symbol, Cycle, Notation form.
Points To Remember
• Adi Tala is the most common Tala used in Carnatic music.

• Learners practise Adavus of Bharata Natyam in Adi Tala.
• The basic rhythm is known as the Sarva Laghu.
• Adi Tala consists of 8 beats, with 3 Angas (1 Laghu and 2
Drutas).
• The Kriyas of Adi Tala consist of 3 Sashabda kriyas and 5
Nishabda kriyas.
• There are 8 Aksharakalas in Adi Tala.
• 8 Aksharakalas makes one Avartana in Adi Tala.
• Adi Tala is counted in three speed.
• Adavus in Bharata Natyam are normally practised in the
three speed of Adi Tala.
• Notation Form is a way of writing Talas in a systematic way
with signs and symbols.
• The Sollukattus are notated and counted in the three
speed of Adi Tala.
125
and Notation form
Assessment
1. Fill in the blanks with the appropriate words.
a) Adi Tala is the most common Tala in ……………. music.(Carnatic,
Hindustani)
b) Adi Tala is a Tala consisting of ……. counts. (8,10, 16)
c) There are ………….. Shashabda Kriya in Adi Tala (seven, three, two)
d) The symbol for Adi Tala is ----------------( OI3, I4I00, I4 OO)
2. State whether the following Kriyas are a Sashabda kriya or a

Nishabda kriya.
3. Name the 3 degrees of speed (Kala).
4. What is the difference between the 3 speed?
5. (a) How many Angas are there in Adi Tala?

(b) Name them.
6. Notate the syllables of the Natta Adavu series in Adi Tala.
126
and Notation form
7. Fill in the missing Sollukattus of Pakka Adavu given below in

notation form of Adi Tala.
Symbols 4 o o
Aksharakalas
1st speed Ta ----- Tai ----- Dhit Tai Tai Tat
Ta Tai ----- Tai Ta Tai ----- Tai

2nd speed Tai Tat Tat Tai Tat Tat
----- -----
Ta Dhit ----- Dhit Ta ----- Ta -----

3rd speed Tai Tai ----- Tai Tai ----- Tai -----
Tai Tai ----- Tai Tai ----- Tai -----
Tat Tat ----- Tat Tat ----- Tat -----
8. The second speed of the Shutru Adavu is given below in the

notation form of Adi Tala.Complete the first and the third speed
accordingly.
Symbols 4 o o
Aksharakalas
1st speed ------- ------- ------- ------- ------- ------- ------- -------
Tat Tam Dhit Tam Tat Tam Dhit Tam

2nd speed Tai - Tai - Tai - Tai -
3rd speed ------- ------- ------- ------- ------- ------- ------- -------
127
and Notation form
Notes
128
Chapter 9
SANGEETAM
LEARNING OBJECTIVES
to:
• Define the term Sangeetam.
• Describe the three components of Sangeetam.
• Identify the types of instruments.
• Classify the types of instruments.
• Appreciate the different types of instruments.
Chapter 9 - Sangeetam
SANGEETAM
The Sanskrit term Sangeetam in Indian music comprises the following

components:
Geetam, meaning vocal music
Vadyam, meaning instrumental music
Nrityam, meaning dance.
Sangeetam has been described in the “Sangeet Ratnakara” (an ancient text
on Indian music and dance) by Sarang Deva as follows:
Geetam vadyam tatha nrityam

Trayam sangeetam uchyate
The Shloka means that vocal music, instrumental music and dance are the
three components of Sangeetam.
THE THREE COMPONENTS OF SANGEETAM
SANGEETAM
GEETAM VADYAM NRITYAM
130
GEETAM/ VOCAL MUSIC
Vocal music is performed through the voice. It is the art of singing.
Tampura
Vadyam / Instrumental music

Instrumental music is performed through the playing of instruments.
Veena
Flute
Tabla
131
VADYAM IS CLASSIFIED INTO FOUR KINDS:
Chordophones - String instruments (Tata Vadya)
Violin
Aerophones - Wind instruments (Sushira Vadya)
Shehnai
Membranophones – Instruments having a surface covered with a membrane

(Avnadha Vadya)
Mridangam
Idiophones - Solid instruments (Ghana Vadya)
Nattuvangam
132
There is another category of instruments that has

emerged with evolution of technology, which is Activity
known as electrophones. These are instruments
where sound is produced either electrically such List and classify the
as with the guitar or electronically through the musical instruments
keyboard. used in the folk dances
of Mauritius.
Keyboard
NRITYAM/ DANCE
Nrityam or dance is the rhythmic

movements of the body to express an
emotion.
Nrityam in Sangeetam
Nrityam or dance is one of the components of Sangeetam. It is interrelated
with the other two components of Sangeetam, that is, Geetam and Vadyam.
Music and dance are even called ‘Twin Arts.’ Music sustains the beauty of
dance with rhythmic, dramatic and emotional elements.
133
Geetam in Dance
Vocal music embellishes Indian classical dance compositions through the

combination of musical notes and dance syllables.
The lyrics in vocal music also support expressional dance compositions and
help to better understand the interpretations of the dancer. The song which is
set in a particular melody (Raga) supports and enhances the emotions of the
dance.
Vadyam in Dance
Bharata Natyam performance with orchestra
134
Instruments that play the melody, embellish and support dance. Different
moods and emotions can also be evoked through melodies. Examples of such
musical instruments are the Veena, Sitar, Flute and Violin.
Percussion instruments, which form part of instrumental music, keep the

rhythm. Rhythm is said to be the backbone of dance as it guides the dancer to
stay within the parameter of the music by giving it a structure.
CLASSIFICATION OF INSTRUMENTS
Tatta Vadya or Chordophone

Tatta Vadya or Chordophones are string instruments which consist of strings
that are vibrated to produce sound. There are two ways of vibrating the strings,
that is, either by plucking it or by rubbing a bow on it.
Chordophone
Example of Chordophone:
Veena Sitar
Violin Sarangi
135
Sushira Vadya or Aerophone

Sushira Vadya or Aerophones are wind instruments played by blowing wind
into them such as Flute, Trumpet, Harmonica, Shehnai, Shruti Box and
Harmonium.
Harmonium Flute Shruti Box
Avanadha Vadya or Membranophone

Avanadha Vadya or Membranophones are percussion instruments that are
covered with a membrane such as the skin of animals.
Examples of Avanadha Vadya are the Tabla, Dholak, Mridangam, Dhol, Khol,
Ravane, Djembe and all types of drums.
Mridangam
Djembe
Ghana Vadya or Idiophone
Ghana Vadya or Idiophones are instruments that are solid such as wood or
metal. Examples of such instruments are (Cymbals) Manjira, Jhal,
Nattuvangam and Triangle.
Nattuvangam Cymbals
136
Activity
Collect and stick pictures

of different categories of
musical instruments on a
poster presentation.
Keywords
Vocal music, String instruments, Wind instruments, Solid
instruments, Percussion instruments, Chordophone, Aerophone,
Membranophone, Idiophone, Electrophone.
Points To Remember
• The three elements of Sangeetam are Geetam, Vadyam and

Nrityam.
• Geetam is the art of singing
• Vadyam is the art of playing instruments
• Nrityam is the art of dancing
• There are four types of instruments namely: chordophone,
aerophone, membranophone and idiophone.
• Electrophones and electrical instruments are other types of
instruments.
137
Assessment
1. Classify the list of instruments, given into brackets, under
their respective categories.
(Veena, Flute, Sitar, Dholak, Shehnai, Mandoline, Mridangam, Tabla,

Violin, Harmonium,Guitar, Shruti Box)
PERCUSSION
STRING INSTRUMENTS WIND INSTRUMENTS
INSTRUMENTS
2. With reference to the musical instruments used for accompanying

a Bharata Natyam performance, answer the questions given below:
Name one instrument pertaining to the category of:

• Avanadha Vadya.
• Tatta Vadya.
• Tatta Vadya.
• Sushira Vadya.
• Ghana Vadya.
138
3. Classify the following instruments into the category of Tatta,

Sushira, Avandha and Ghana Vadya:
139
Notes
140
Chapter 10
INTRODUCTION TO KATHAK
LEARNING OBJECTIVES
to:
• State the place of origin of Kathak.
• Explain the derivation of the word kathak.
• Write an introduction to kathak.
• Name the traditional languages used in the lyrics for
Kathak dance.
• State the musical system prevalent in Kathak dance.
• List the musical instruments used for Kathak dance.
Chapter 10 - Introduction To Kathak
INTRODUCTION TO KATHAK
Kathak is a North Indian classical dance form originated from the regions of
Uttar Pradesh and Rajasthan.
KATHAK’S
GEOGRAPHICAL DISTRIBUTION
The word Kathak is derived from the word ‘Katha’, meaning story. Stories from
the Hindu epics and mythologies were narrated by a group of professional
storytellers called Kathakars who were moving from village to village and
temple to temple. Traditionally dance, music and mime were combined by the
Kathakars so as to make stories more captivating.
During the 15th Century, the Bhakti movement also known as the Krishna cult,
emerged in India and the Rasa-Lila play became very popular. The Rasa- Lila
play based on the Radha-Krishna legend was a combination of song, narrative,
acting and dancing.
The art of the Kathakars and the play of the Rasa- Lila evolved into a dance
form called Kathak.
Later with the invasion of the Mughal, Kathak dance was taken from the temple
to the court and it developed in two different milieus, namely in the Hindu
courts of Rajasthan and in the Mughals’ courts of Uttar Pradesh. Kathak came
to be regarded as a form of entertainment in both Hindu and Mughal’s courts,
with the emphasis on solo performance.
142
During the Mughal period, dancers were brought

from Central Asia and Kathak adopted certain
Persian dance elements. Elaborate footwork and
pirouette (Chakkar) were added to Kathak. Ankle
bells with more than 100 bells tied to each leg
were worn.
During the British rule, Kathak came to be known as ‘Nautch’ and was
considered as an entertainment designed only for the purpose of seduction.
The art of Kathak dance suffered a decline.
In the 1930s Maharaj Kalka Prasad, Maharaj Bindadeen and Madam Menaka
revived the Kathak dance by adding new elements.
143
Maharaj Bindadeen Madame Menaka
Activity
Did you know? Observe a Kuchipudi dance picture
Nautch girl refers to a and a Kathak dance picture and
class of professional discuss the features of the dance
dancing girls. costumes.
Traditional Languages used in Kathak.
Hindi, Sanskrit and Braj languages are used in the various dance compositions
of Kathak.
Musical system prevalent in Kathak.
Kathak is a North Indian dance form and makes use of the North Indian
classical music system, also known as Hindustani music.
144
Musical Instruments used for Kathak dance.
Pakhawaj, Sitar, Harmonium, Tabla, Sarangi and Flute are the musical
instruments used in a Kathak dance composition.
Pakhawaj Sitar
Tabla Harmonium
Sarangi Flute or Basuri
145
Keywords
Storyteller, Mythology, Pirouette, Invasion.
Points To Remember
• Kathak is a North Indian classical dance form from Uttar
Pradesh and Rajasthan.
• The word Kathak is derived from the word ‘Katha’, meaning
story.
• Stories of the Hindu epics and mythologies were narrated
by a group of storytellers called ‘Kathakars’.
• Music, dance and mime were used by the Kathakars to
narate the stories.
• The art of the Kathakars and the play of the Rasa- Lila
evolved into a dance form called Kathak.
• During the Mughal invasion Kathak became an entertainment
in their courts.
• Elaborate footwork and pirouettes (Chakkar) were added to
Kathak dance form during the Mughal period.
• During the British period, Kathak came to be known as
‘Nautch’ and consequently Kathak dance suffered a decline.
146
Assessment
1. Fill in the blanks with the appropriate words given below:
(story, Uttar Pradesh, Hindi, classical, Pakhawaj, Rajasthan)
(i) .................... is one of the musical instruments used in kathak.

(ii) Kathak is derived from the word ‘katha’ meaning ....................
(iii) Kathak originates from the regions of ................. and ....................
(iv) ....................... is one of the traditional languages used in Kathak.
(v) Kathak is a ............................... dance form.
2. State whether the statements given below are True or False:
Statement True/ False
Kathakars are a group of Mughal kings who

1.
travelled from village to village narrating stories.
2. Tabla is one of the musical instruments used in

Kathak.
3. During the British period, Kathak moved out from

the courts to the temples.
4. Kathak uses Hindustani music system.
5. Chakkar is a feature of Kathak dance.
3. Name the traditional languages used in the lyrics for Kathak

dance.
147
4. Identify the following instruments used in Kathak:
5. Write an introduction to Kathak dance.
148
Chapter 11
PIONEERS OF KATHAK DANCE
LEARNING OBJECTIVES
to:
• Name the pioneers of Kathak dance.
• Write about the contributions of the pioneers to Kathak
dance.
Chapter 11 - Pioneers of Kathak Dance
PIONEERS OF KATHAK DANCE
Madam Menaka
Leila Roy Sokhey took the name of Madame Menaka as her artiste name.
She learnt Kathak from great masters like Sitarama Mishra, Ram Dutt and
Lachchu Maharaj. Madame Menaka is known to be one of the pioneers of
Kathak as she was the first performer to break the concept of ‘Nautch’ that was
linked to Kathak during the decline period of the dance. She was the first
dancer to conceive a dance drama in Kathak and used narratives of Sanskrit
dramas in her choreographies.
Madame Menaka brought in stage elements to make Kathak presentable on

the stage and also brought innovations in the costume of the Kathak dance.
She has worked with professional musicians on orchestral arrangements to

innovate from the traditional Thumri and Ghazal musical forms which were
associated with ‘Nautch’ performances.
Finally, she toured all over India, South- East Asia and Europe to promote the
classical art form of Kathak.
150
Thumri is a musical composition used in Kathak where the

dancers interpret the words of the song through facial expressions
and sentiments.
Ghazal is a style of singing consisting of lyrical poem dealing with
love themes.
Pandit Birju Maharaj
Pandit Birju Maharaj is a renowned Kathak dancer belonging to a family

practising the Kathak art form. He was born on 4 February 1938 and started
learning Kathak at a very young age. He is also known as an accomplished
musician, percussionist, composer, teacher, choreographer and poet.
Pandit Birju Maharaj is still contributing in the field of Kathak. Pandit Birju
Maharaj spread the awareness of Kathak worldwide through workshops,
lectures and performances. He also choreographed dance ballets that were
appealing to the audience and popularised the ballets on the Radha- Krishna
legend. He used Kathak dance to express non-mythological and social issues.
One of his biggest achievements was to choreograph Kathak dance
sequences in Bollywood movies.
151
Keywords
Decline, Choreography, Innovation, Facial expression, Lyrical

poem, Dance ballet.
Points To Remember
Madame Menaka and Pandit Birju Maharaj are known as the

pioneers of Kathak dance form. Both have popularised
Kathak in India and abroad.
Some major contributions of Madame Menaka are:
(i) She is known as the first performer to break the concept
‘Nautch’ that was linked to Kathak.
(ii) She is the first lady dancer to conceive a dance-drama in

Kathak.
(iii) She used narratives of Sanskrit dramas in her

choreographies.
(iv) She brought on the stage elements to make Kathak

presentable on stage.
(v) She brought innovations in the costumes of Kathak

dance.
Some major contributions of Pandit Birju Maharaj are:

(i) He popularised the ballets on the Radha- Krishna legend.
(ii) He used Kathak dance to express non- mythological and

social issues.
(iii) He choreographed Kathak dance sequences in

Bollywood movies.
152
Pandit Birju Maharaj:

http://www.youtube.com/watch?v=4V4ntveybTo
Assessment
1. Write about two contributions of Madame Menaka to the field of

Kathak.
2. Write about a major contribution of Pandit Birju Maharaj to the
Indian cinema.
153
Notes
154
Chapter 12
CREATIVE EXERCISES
LEARNING OBJECTIVES
to:
• Express different emotions through facial expressions.
• Communicate through the medium of Hastas.
• Create short sequences through rhythmic body
movements, hand gestures and facial expressions.
Chapter 12 - Creative Exercises
EXPRESSION IN DANCE
People communicate through the use of speech and body language. At times
facial expressions and body language communicate more efficiently than
words.
In dance, the body is used as an instrument to interpret and convey different

types of emotions. The face, which is the primary part of the body, is used for
expressing different sentiments, while the hand gestures together with body
movements act as a support to enhance the expression.
The eyes are the main features in facial expression and they are used in
different ways to express emotions.
156
Activity
Use the face and the eyes to show emotions such as
anger, surprise, pity, disgust, etc.
Ask your friends to guess which emotion you are depicting.
Use the face to show emotions along with simple body

movements and hand gestures (Asamyuta and Samyuta
Hastas)
In the art of dancing, one communicate through the use of the body, lyrics,
costume, stage décors and facial expressions to convey ideas or stories.
In Bharata Natyam, facial expressions and codified hand gestures are used to
interpret and convey meanings.
157
Some of the usages of Samyuta Hastas are given so as to facilitate the

creativity process through the medium of Bharata Natyam.
Anjali – Greeting someone
Swastika – Crocodile
Notes To Teacher
Utsanga- hugging someone
Some usages of the Samyuta
Pushputta – Holding flowers Hastas has been give
Shakata – Demon
Teacher should demonstrate
Shankha- Conch the Viniyogas
Samputta – Hidding something Teacher may demonstrate

some additional Viniyogas for
Pasha – Enemity
both Asamyuta and Samyuta
Kilaka- friendship Hastas depending upon the
needs of the students.
Matsya – Fish
Kurma- tortoise
Garuda – Bird flying
158
Notes To Students
Create sequence of
movements based on
short sentences such
as: I see a beautiful
flower and a bird flying
up in the sky.
I see the waves of the
sea and fish swimming
in it.
159
Notes
160
Chapter 13
PRACTICE FOR BHARATA NATYAM
LEARNING OBJECTIVES
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
with full dedication and devotion.
Chapter 13 - Practice For Bharata Natyam
PRACTICE FOR BHARATA NATYAM
Importance of Practice
Practice in all performing arts is of utmost importance in order to develop new
skills. Learners need to practice on a regular basis to acquire a certain level of
competency.
The repetition of movements enables the body to memorise the patterns of

movements, which are then reproduced without much effort.
Studies indicate that on an average, 80% of everything newly learned is quickly

forgotten. If practice and memorisation is not done after having learnt new
knowledge and skill, learners may forget most of it. Studies have shown that
with frequent practice, one can retain much more.
In Bharata Natyam, practice leads to better memorisation of patterns of

movement, hence better quality in performance.
Practice also helps the body to develop flexibility, agility, strength and
endurance in dance performance.
Maintain the basic dance postures and Anga Shuddham while practicing the
Adavus in order to develop good dancing skills.
Guidelines for practice

• Start with a few warm-up and pre-dance exercises.
• Focus on the correct technique while executing the exercises.
• Practice Adavus that have already been learnt in class in the three Kalas.
• Recite the Sollukattus while practicing the steps in order to memorise them.
• Practice the Adavus which are difficult and not clear in the first speed and only
then, shift to other speeds.
• Count the Sollukattus of Adavus in the three speeds of Adi Tala.
• Maintain regular interval (Laya) in between each count.
• Recite the names and demonstrate the Samyuta Hastas several times so as
to facilitate memorisation.
• Revise the Shlokas of the Asamyuta Hastas while demonstrating the
gestures.
• Execute some cool-down exercises after the dance practice.
• Practice on a regular basis.
162
Glossary Of Terms
Abhinaya Darpanam - a text on gestures for Indian classical dances written by
Nandikeshwara
Accordion - a portable wind instrument.
Adavus - the basic rhythmic units of Bharata Natyam.
Adi tala - one of the oldest Tala in the Carnatic music system.
Aksharakala - a count of a Tala.
Amrita Manthana - refers to the churning of the ocean for the nectar of immortality.
Anga - a constituent of the Tala.
Anga Shuddham - the clarity and purity of the body movements while dancing.
Anudruta - an invariable Anga consisting of only one beat.
Apsara - a celestial nymph.
Araimandi - the half-sitting basic dance posture in Bharata Natyam.
Asamyuta Hastas - the single hand gestures used in Indian classical dance.
Avartana - one revolution or cycle of a Tala.
Avnadha Vadya - a musical instrument covered with a membrane.
Bharata Muni - the author of Natya Shastra.
Brahma - the first God of the Hindu Trinity known as the creator.
Bhojpuri dance - a folk dance of Mauritius originating from Bihar in India.
Bobre - a musical instrument used traditionally in Mauritius and Reunion Island.
Carnatic Music - the South Indian music system.
Chaturasra Laghu - an Anga representing four counts.
Chimta - a percussion instrument also known as Tongs.
Coco - a coconut shell in which beads are inserted to produce a musical sound.
Cymbals - a musical instrument consisting of two round plates of metals.
Dakshinamurthi - Lord Shiva who sits and faces the South direction.
163
Glossary Of Terms
Dappu - a single skinned drum of India which is played with two unequal sticks.
Dholak - a South Asian, two-headed hand drum which is used in folk music.
Dhol - a double headed drum widely used in the Indian subcontinent..
Djembe - a rope-tuned skin covered goblet- shaped drum played with bare hands.
Dragon Dance - a traditional folk dance originating from China.
Druta - an invariable Anga consisting of two beats.
Dvitiya Kala - the second degree of speed.
Ganesh Chaturthi - a Hindu festival that reveres Lord Ganesha.
Geet Gawai - a pre wedding ceremony of Bhojpuri speaking people of Indian descent in
Mauritius.
Geetam - the simplest musical form in Carnatic system of music.
Ghana Vadya - refers to solid musical instrument.
Ghazal - a form of singing consisting of Urdu poem.
Gongs - a South East Asian musical percussion instrument that takes the form of a flat,
circular metal disc.
Harmonica - the French Harp or mouth organ played by blowing wind through the mouth.
Harmonium - a keyboard type of instrument that generates sound as air flows through
reeds.
Hastas - the hand gestures or hand movements used in Indian Classical dances.
Hindustani Music - the North Indian system of music.
Indra - the Vedic king of Heaven.
Jhakri - the ritual dance from Maharashtra in India.
Jhal - a pair of cymbals usually made of brass.
164
Glossary Of Terms
Kala - a term used for speed or tempo in Indian music and dance.
Kathak - a classical dance style from North India.
Kathakars - the storytellers form North India.
Khol - a two-headed drum originating from the state of West Bengal.
Kolattam - a folk dance from the South of India.
Krishna - the major deity in Hinduism worshipped as the eighth incarnation of Lord Vishnu.
Kriya - the action of the hands when counting a Tala.
Laghu - the variable Anga having the symbol I.
Lasya - the feminine aspect in Indian dance which consists of soft and graceful
movements.
Lota - a round water pot typically made of polished brass.
Manjira - a percussion instrument which consists of a pair of small hand cymbals.
Maravanne - a musical instrument used as a shaker and which is made of sugar cane
reeds.
Mughals - the Persians Muslim princes.
Mridangam - a two- headed percussion instrument used in South India.
Muzhumandi - the full sitting basic dance posture used in Bharata Natyam.
Nattuvangam - a pair of cymbal used to give rhythm in Bharata Natyam.
Natya - an Indian dance- drama.
Natya Veda - the fifth Veda created by Brahma.
Natyarambhe - a basic dance posture in Bharata Natyam where the arms are stretched
out in a semi-circular position at shoulder level.
Nautch - the name given to dance by the British in India.
Nishabda Kriya - a soundless action of the hand while counting a Tala.
Prathama Kala - the first degree of speed
Rasa Lila - the dance – drama of Lord Krishna recounting his life history.
165
Glossary Of Terms
Ramabhajanam - a Telegu ritual dance originating in the state of Andhra Pradesh.
Ravanne - a large Tambourine -like instrument made of goat skin used in Sega folk dance.
Ram Navmi - a festival that celebrates the birth of Lord Rama.
Raga - a melody in Indian music.
Rama - a deity in Hinduism worshipped as the seventh incarnation of Lord Vishnu.
Radha - the beloved of Lord Krishna.
Sangeetam - the combination of vocal singing, playing of musical instruments and dance.
Sangeet Ratnakara - a Sanskrit text on music and dance written by Sarangadeva.
Sarva Laghu - the basic rhythm of four counts.
Samyuta Hastas - the double or combined hand gestures used in Indian classical
dances.
Sapta talas - the name given to the seven main Talas used in Carnatic music.
Sashabda kriya - an action of the hand with sound while counting a Tala.
Saraswati - the Goddess of knowledge in Hinduism.
Sanskrit - the language of ancient India.
Sarangi - a bowed, short-necked string instrument of India.
Samapada - a basic dance posture in Bharata Natyam where the feet are kept close
together.
Saushthava - a basic dance posture in Indian classical dances where the dancer stands
straight with a slight bend of the torso.
Sega - the folk dance of Mauritius.
Sega tambour - the folk dance of Rodrigues Island.
Shadangas - the name given to the six Angas or constituents used in the South Indian
Tala system.
Shehnai - a trumpet - like musical instrument used in India.
Shiva - the Hindu God known as the destroyer in the Hindu trinity.
166
Glossary Of Terms
Shloka - a couplet of Sanskrit verse.
Sushira Vadya - the aerophone instruments that are played by blowing wind into them.
Sollukattus - the rhythmic dance syllables used in Bharata Natyam.
Sitar - a string instrument used in Indian classical music.
Triangle - a metal triangle used as a percussion musical instrument.
Tritiya Kala - the third degree of speed.
Tatta Vadya - the stringed musical instruments.
Tandava - the masculine aspect in Indian classical dances where vigorous and forceful
movements are used.
Tandu - the name of one of the disciples of Lord Shiva.
Thumri - a dance composition in Kathak dance where particular types of walking are
used.
Visarjita - the action of waving the hand while counting a Tala in the South Indian music.
Vadyam - the instrumental music in Sangeetam.
Veena - a long necked Indian stringed instrument.
Violin - a stringed musical instrument of treble pitch, played with a bow.
Vedas - the most ancient sacred scriptures in Hinduism.
Vishwakarma - the architect of heaven.
167
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ISBN: 978-99949-948-8-5

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Bharata

MAHATMA GANDHI INSTITUTE

MAHATMA GANDHI INSTITUTE

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

First published 2019

Ms. S. Dabee - Panel Coordinator

Word Processing Operator

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

Ms. Yoshita Gangabissoon Ms. M. Mungroo

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

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

Mrs Sooryakanti Nirsimloo-Gayan, GOSK

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

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

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

4. Provide learning activities that are appropriate in complexity and

5. Provide opportunities for individual and multiple groupings.

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

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

12. Educators should also ensure that learners:

• Show proper care and maintenance of classroom instruments

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

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

Chapter 3 - Mythological Origin Of Indian Dance 23

Chapter 4 - Samyuta Hastas 33

Chapter 8 - Adi Tala And Its Components 113

Chapter 9 - Sangeetam 129

Chapter 10 - Introduction To Kathak 141

Invocation is usually done before a Bharata Natyam class so as to ask blessing

Sanskrit Shloka on Goddess Saraswati

O Goddess Saraswati, I bow down to You,

Sanskrit Shloka on Lord Dakshinamurti

The preceptor of the whole universe,

Lord Dakshinamurti shlokas

• Namaskar is done so as to pay obeissance to God, the

(a) Shlokas on Goddess Saraswati:

(b) Shlokas on Lord Dakshinamurti

2. Match the Shlokas of Goddess Saraswati and Lord Dakshinamurti

(a) SHLOKAS MEANINGS

Saraswati namastubhyam You are the giver of boons, and

Varade kama roopini I am about to begin my studies.

Vidya rambham karishyami O Goddess Saraswati, I bow

Siddhir bhavatu me sada Please always grant me success.

(b) SHLOKAS MEANINGS

And who possesses all the

I bow down to that Lord

Nidhaye sarva vidyanam The preceptor of the whole

The One who removes

3. Write the Sanskrit Shlokas on Goddess Saraswati and Lord

DRESS CODE FOR BHARATA NATYAM CLASS

Body conditioning consists of warm-up, pre-dance and cool-down exercises.

Arms cross side lunge

Forward Leg Swings

Standing knee raises

Standing knee raises

Big arm circle

Bend on right side and look up at the

2. Repeat on the left side.

Hold hands in pairs and sit down alternately

COOL DOWN EXERCISES

• Slow walking is a simple way to cool-down as it gradually lowers the

Wall shoulder stretch