This Warm- up is quite a bit more demanding than the previously introduced sequences, so please make certain that you have practised the following though the past months, atleast 5 times each, slowly with awareness before doing this warm-up.

Legs and core 1, 2
Obliques and flat back
Warm up Iso...

This works on all the muscles that stabilise at the hip joint. These muscles are needed to lunge with stability, squat with proper muscular engagement and also balance on one leg. These muscles will help the dancer develop stability while dancing and also prevent injuries in the process.

You mu...

The head is considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the head are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. ...

The thighs are considered one of the Upāngas, or minor limbs according to the Natyashastra.

The movements of the thighs are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciat...

The hips are considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the hips and waist are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronun...

The side, Parshva is considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the side are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronun...

The feet are considered one of the Angas, or major limbs according to the Natyashastra.

The movements of the feet are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. P...

Jānu bheda according to the Sangīta Ratnākara, is an Upānga. The knees are considered one of the minor limbs.

The movements of the knees are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture. Some of the positions elucidate...

The shins/ shanks are considered one of the Upāngas, or minor limbs according to the Nātyaśāstra

The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

Please refer to the Shloka below for pronunciation. Plea...

Align your knees and stay safe. These videos will help you reinforce alignment and thus help you employ proper usage of the knee joint through movement. The videos will address common misnomers as well as small strengthening exercises that can be practised on days that you do not dance. Try to re...

This video will address knee alignment during a squat, while simplifying the exercise for those who need to work slowly.

Align your knees and stay safe. These videos will help you reinforce alignment and thus help you employ proper usage of the knee joint through movement. The videos will addre...

This video will address knee alignment during a lunge, while adding variations that challenge the strength during movement.

Align your knees and stay safe. These videos will help you reinforce alignment and thus help you employ proper usage of the knee joint through movement. The videos will add...

This video will address knee alignment in Alidam, while simplifying the exercise for those who need to work slowly.

Align your knees and stay safe. These videos will help you reinforce alignment and thus help you employ proper usage of the knee joint through movement. The videos will address com...

Please watch the subsequent Talam lectures that incorporate Gati and Yati and revisit this korwe.

The Korwe series continues with a variety of Talams. This is the first Korwe in Khanda Gati that has rhythmic layers of other counts for the adavus on top of the 5 count base.

Gati refers to an int...

Please watch the first three lectures on Talam before beginning the Korwe series. There is an instruction video for each Korwe.

A Korwe is a set of adavus that are formatted to a specific rhythmic structure, ending with a Muktayam/Teermanam adavu and layered on a Swara like in a Jatiswaram or Ta...

Please watch the first three lectures on Talam before beginning the Korwe series. There is an instruction video for each Korwe.

A Korwe is a set of adavus that are formatted to a specific rhythmic structure, ending with a Muktayam/Teermanam adavu and layered on a Swara like in a Jatiswaram or Ta...

Please watch the first three lectures on Talam before beginning the Korwe series. There is an instruction video for each Korwe.

A Korwe is a set of adavus that are formatted to a specific rhythmic structure, ending with a Muktayam/Teermanam adavu and layered on a Swara like in a Jatiswaram or Ta...

Please watch the Talam lectures upto Lecture 5 before beginning this Korwe. There are two parts for the instruction of this Korwe, in Adi Talam.

The Korwe series continues with a variety of Talams. This is the first Korwe in Adi Talam that layers the adavus in all 5 Jathis. (Tishra, Chatushra, K...

Please watch the first three lectures on Talam before beginning the Korwe series. There is an instruction video for each Korwe.

The Korwe series continues with a variety of Talams. This is the first Korwe you will learn in Tishra Eka Talam.

Try to notice the difference in the rhythmic cycle as...

Please watch the Talam lectures upto Lecture 5 before beginning this korwe. There is an instruction video for each Korwe.

The Korwe series continues with a variety of Talams. This is the second Korwe you will learn in Tishra Eka Talam.

Try to notice the difference in the rhythmic cycle as you ...

The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.

The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...

The Theermana or Makutadavu, is placed at the end of a Korwe or Jathi in specific rhythmic patterns, to create an ending.

The leg is either placed outstretched directly in front or at a diagonal of 45 degrees. The foot is flexed and the heel strikes the floor. In the Raadha Kalpa method we begi...

Pushpanjali
Raaga: Aarabhi
Aditala
Composer: Dr Balamuralikrishna
Choreography: Rukmini Vijayakumar

The Pushpanjali is choreographed with many rhythmic layers. You will have an appending document that you can download to understand the Rhythm clearly.

There is an added verse from the Ganesha P...

Raga : Rasikapriya
Adi Tala
Composer : Lalgudi G Jayaraman

The Jatiswaram will be taught in parts with detailing on rhythm and alignment.

A Jatiswaram is traditionally performed after an Alaripu or Pushpanjali in a BHaratanatyam performance, a combination of Jatis and Swaras, it is a piece that...