When I look back, my life has been devoted to performing, choreography and above all, to the noble profession of teaching Bharatanatyam, sharing whatever knowledge I possess with my students.A child has to have an open mind when he/she goes to the Guru. To make the learning more fruitful and meaningful, the student embarks on a long and arduous journey from the exploration of self to the achievement of the pinnacle of glory.Achieving the goal is not as easy as it may seem. It requires immense dedication and hard work and no doubt, an inborn talent or aptitude for fine arts.Whenever a student joins the Dance Class, he or she wishes to have a book to fall back upon. It is always been a great task for me as a teacher to dictate or to write notes for each and every student so that he or she understands the theory of dance and also its practice. At that stage, even a simple movement appears complicated. Also, one question that is always asked of me is whether I could suggest a book, that would help the student in understanding the basics of dance. Also a guide book which would assist the senior students when they take up to teaching carrier.The basic purpose of this book is to present all the principles, methods and techniques of Bharatanatyam in a simple, systematic and comprehensive manner.It leads the student from the simple to the complex: introduction to the dance form, tala (time measure), gestures, feet positions, the dancer's workout orchestra and the main topics of the dance units, Adavus. The Advus have been explained in detail with complete illustrations.The pre-recorded audio and the video-cassette to assist in the practice is also available.Some speci

Winner of De La Torre Bueno First Book Special Citation, given by DSA, 2021 Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the "classical" forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the twentieth century from an interdisciplinary, transmedia standpoint and features 130 archival images.

Bharata Natyam is currently one of the most popular styles of classical dance in India. It is also well known world-wide. Certain components of this dance have historical associations with religious ritual in the temples of south India. In the course of its transition from performance in temples and courts to the concert stage, the making of modern Bharata Natyam has passed from the purview of traditional/hereditary families, and dancers into the hands of the educated elite. What changes have been brought about in presentation and style as a result of this transition? Although current dancers and teachers make claims for the antiquity of their art, and the authenticity of the tradition, what was the dance of the hereditary practitioners, the devadasis, really like? How much of current practice is an invention of the past fifty years? These and other questions on the fascinating history of the creation of Bharata Natyam are dealt with by Anne-Marie Gaston who provides extensive oral testimony of current perceptions and directions of Bharata Natyam. This illuminating account of how both hereditary and non-hereditary dancers, teachers and critics view the evolution of Bharata Natyam provides a critique of the place of Bharata Natyam in Indian society and of the concept of traditional' in late twentieth-century India.

The compelling story of a beautiful and versatile South Indian dance form

This book, elucidates the basic steps called Adavus of Bharata Natyam in the traditional Pandanallur style, as taught by the revered Gurus Sri Meenakshi Sundaram Pillai and Sri Muthukumara Pillai, to Sri T.K Narayan and Smt. Jayalakshmi Narayan, parents of the author. It is an honest attempt to explain the various steps with unerring and accurate execution technique. The book offers a visual representation of the Adavus with the help of stick diagrams in a sequential manner so that the beginners and practitioners can understand the finer points of each movement. The author has developed simple schematics to show the various moves, such as jump, stretch, turn, hit etc. The author endeavours to illustrate Adavus in a precise manner in this book. Classification and categorization of each step is the salient feature of this work. Gayathri Keshavan makes a humble effort to pass on the knowledge of this ancient and sacred art to the present and future generations of Bharata Natyam dancers.

On Sundays, Varun has his karate lesson, and his sister Varsha heads to dance school with their grandfather. One weekend, Varun reluctantly accompanies his sister to her lesson. Bored of waiting, he peeks into the classroom, and almost immediately, he is fascinated by the rhythm and grace of bharatanatyam, a dance from India that Varsha is learning to perfect. Varun tries a few moves at home in secret because...well, boys don’t dance, do they? His grandfather is not so sure. Will Thatha be able to convince Varun to dance in his footsteps? A heartwarming picture book about a multigenerational Indian-American family discovering a shared love for bharatanatyam, an ancient classical dance that continues to fascinate dancers worldwide.

Bharatanatyam is a dance with ancient origins that has been enjoyed both by practitioners and audiences alike for millennia. Dancer, teacher, and researcher Prakruti Prativadi now explains the purpose of Bharatanatyam and Indian aesthetic theory in Rasas in Bharatanatyam. In this easy-to-understand guide, Prativadi delves into the heart of the classical art of Bharatanatyam by explaining the objective of the dance, which are Rasas. These concepts are described through an engaging dialogue between a questioning student and wise teacher. Whether you are a seasoned dancer or an eager beginner, Rasas in Bharatanatyam illuminates the rich concepts and culture of Bharatanatyam. Prativadi goes back to original Sanskrit texts and treatises, such as the Natyashastra, to reveal the full meaning of this thoughtful and powerful form of expression. Prativadi explains Rasas (aesthetic experience) and their relationship to Abhinaya (emotive acting). With graphics, tables, illustrations, and photographs, she shows you the foundation of the dance and techniques to help you become a well-rounded practitioner. Prativadi also emphasizes the importance of learning the cultural context of the dance. Prativadi honors the dance's long cultural and spiritual roots. She discusses the philosophy and aesthetic theory that form the basis of every performance.

Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam examines how Bharata Natyam, a traditionally Hindu storytelling dance form, moves across religious boundaries through both incorporating choreography on Buddhist, Christian, Muslim, and Jain themes and the pluralistic identities of participants. Dancers traverse religious boundaries by reformulating an aesthetic foundation based on performative rather than solely textual understandings of rasa, conventionally defined as a formula for how to physically craft emotion on stage. Through the ethnographic case studies of this volume, dancers of Bharata Natyam innovatively demonstrate how the rasa of devotion (bhakti rasa), surprisingly absent from classic dance-related texts, serves as the pivotal framework for expanding on their own interreligious thematic and interpretive possibilities. In contemporary Bharata Natyam, bhakti rasa is not just about enhancing religious experience; instead, these dancers choreographically adapt various religious identities and ideas in order to emphasize pluralistic cultural and ethical dimensions in their work. Through the dancing body, multiple religious and secular interpretations fluidly co-exist.

The Dances Of India Are Among The Oldest Dance Genres Still Widely Practiced Today. In Recent Years They Have Become Increasingly Known And Appreciated All Over The World. This Book Details The History Of The Several Styles Of Indian Dance And Gives An Account Of The Cultural, Religious, Social And Political Factors Which Influenced Their Growth And Development. There Are Fascinating Side-Lights On The Etiquette And Mores Of Indian Society. Many Of The Myths And Legends Which Form The Subject Matter Of The Dances Are Recounted And Theories Suggested To Explain Their Inspiration And Sources.This Is A Comprehensive Survey For Readers Who Want To Relate The Classical Dances To The Broader Background Of Indian Culture. For Students, Indian And Non- Indian, It Provides Valuable Historic And Technical Information; And For Dance Lovers It Serves As A Guide Telling Them What To Look For In A Performance. There Is, In Addition, An Overview Of India'S Many Folk Dances. The Glossary Of Terms Germane To The Different Styles Is A Useful Adjunct As Is The Bibliography.In The Latter Part Of This Book The Achievements Of Leading Delhi-Based Dancers Are Recorded And, At The Same Time, New Talent Is Readily Recognized.Written By An Acknowledged Authority, India'S Dances Is, Quite Simply, A Defmitive Volume On Some Of This Country'S Most. Enduring Contributions To World Culture.