This Warm- up adds a few more variations to the previously introduced warm-up and expects that your strength has progressed, 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...

As your leg strength grows and develops, it is important to introduce jumps within established movement patterns so you begin to challenge your abilities. The transition from static holds to dynamic transfer must be slow and mindful.

Please do this strength regimen after a proper warm-up and on...

This introduces the flat back and builds muscles in the back. It is recommended that you do this sequence after you lengthen your hamstrings to prevent your back from curving. It also introduces a lowering action on your quadriceps which will help build stronger legs.

The flexibility series tha...

This Adavu has two components, a tapping action with one foot that comprises of the Thattu, and the Udgattitham action on the other leg with a heel. Sometimes both the tap and the Udgattitam can happen on the same foot, depending on the Jathi.

Pointers:
- Try to make sure the heel is lifted pro...

This Adavu has two components, a tapping action with one foot that comprises of the Thattu, and the Udgattitham action on the other leg with a heel. Sometimes both the tap and the Udgattitam can happen on the same foot, depending on the Jathi.

Pointers:
- Try to make sure the heel is lifted prop...

The "Ta hata jumtari ta" Adavu, is named after the syllables that are used in the practice of the Adavu. This practise is common amongst most lineages of Bharatanatyam.

The Adavu is a combination of various movements. It has the 'di, di tai" action with the Tattu and Naatu, from the muktaya ada...

Pointers for Pakkadavu 1:

Watch the level of your arms. Make sure you maintain the length of your neck. Turn to the side with your head straight, without tilting. Keep your eyeballs in the centre of your eyes. When you reach to the side, do not raise the opposite elbow. maintain length.

The ...

Pointers for Pakkadavu 2:

Keep your shoulders down when stretching your arms.
Keep the height of the arm that you are looking away from. It is common to let this arm go too far back or let it drop below shoulder height.
Keep your head straight when you look to the side.
Make sure you keep you...

Pointers for Pakkadavu 3:

Keep your shoulders down when lifting your arms.
Make sure your arms do not go too far back.
Follow your arm and keep your gaze toward the wrist of the arm you are bending away from.
Make sure you keep your thighs pushing back while retaining Swastikam in your feet.
...

Pointers for Pakkadavu 4:

- Keep your shoulders down when lifting your arm.
- Make sure your arm in front of your chest doesn't cross the centre of your chest.
- Make sure you do not sit in your hip when lifting one leg. Keep the thigh pushing back on the standing leg
- do not rest your raised ...

The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

Things to kee...

The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

Things to keep...

This series will deal with a number of short exercises that will help the student develop awareness and alignment when jumping. It must be done in combination with the strength exercises to have maximum benefit.

Please commence this exercise only after doing hip openers, warming up your ankles, ...

The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

Things to kee...

The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

Things to keep...

The Korwe adavu is a combination of previously introduced foot and body articulations. It is called a Korvey adavu as it cannot be placed into any specific category. It has a Tattu, naatu, Bramari, Serikal amongst other movements. Some Korwe adavus also use a Kudittam in the feet.

Things to keep...

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...

The second piece that is traditionally presented in a Margam is a Jatiswaram. A Jatiswaram is named as such because it is a combination of a Jathis and Swarams. It begins with a Jathi typically followed by the Pallavi, Anupallai and Charanams, to which multiple Korwes are choreographed.

This pa...

Tillana
Raga : Vallachi
Adi Tala
Composer: Dwaraki Krishnaswamy
Choreography: Guru Narmada, (reinterpreted by Rukmini Vijayakumar)

A Tillana is usually the last piece in the performance of a Margam. Adapted from the Tarana, of Hindustani music, the Tillana reflects the joy of finally reaching th...

Raga: Yamuna Kalyani
Mishra Chapu
Composer: Swami Dayananda Saraswati
Choreography: Rukmini Vijayakumar
Language: Sanskrit

It describes Goddess Saraswati, the embodiment of knowledge, speaking of how the knowledge of the self is revealed to those who have clarity of thought, and unselfish intent...

Vandeham Sharadam

Raga: Yamuna Kalyani
Mishra Chapu
Composer: Swami Dayananda Saraswati
Choreography: Rukmini Vijayakumar
Language: Sanskrit

It describes Goddess Saraswati, the embodiment of knowledge, speaking of how the knowledge of the self is revealed to those who have clarity of thought, a...

The four means or tools of expression and communication that we use on stage are , Āngika, Vāchika, Āharya and Sātvika Abhinayas. These lectures will delve into each of these and explain them in detail.