This Warm-up series reinforces ideas that have already been introduced in the previous instructed series. It is recommended to start on the musical warm-ups only once you have practised the instructed series over several months, so you already have internal awareness of alignment.

This Warm-up series reinforces ideas that have already been introduced in the previous instructed series. It is recommended to start on the musical warm-ups only once you have practised the instructed series over several months, so you already have internal awareness of alignment.

The Kuditta mettadavu, named so because of the combination of a small jump and then the dropping of the heel, is usually done with hands to the side and then a small cross at the wrists.

These variations, continue with the same movement of the feet while changing the torso and arm movements.
-...

Pointers for Kuditta Thattadavu:
Try to go down instead of hopping up each time you snatch onto your heels.
Keep dropping your tailbone and pushing your thighs back.
When you bend to the side, elongate your lower side, so the length of your top side and bottom side remain the same.
Do not push...

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...

Varnam, "Adi Shivane"

Raga: Todi
Adi Tala
Composer: K.N.Dandayudapani Pillai.
Choreography: Guru Narmada (Jathis) , Adapted by Rukmini Vijayakumar
Language: Tamil

The Varnam speaks from the perspective of a Nayika that is longing to see Lord Shiva.

P: Adi shivanaik-kANavE Ashai koNDEnaDi
nIti ...

Varnam, "Adi Shivane"

Raga: Todi
Adi Tala
Composer: K.N.Dandayudapani Pillai.
Choreography: Guru Narmada (Jathis) , Adapted by Rukmini Vijayakumar
Language: Tamil

The Varnam speaks from the perspective of a Nayika that is longing to see Lord Shiva.

This video goes through the Abhinaya for the ...

This is a great session to do on a day when you feel tight or sore. It opens up your body without expecting too much of it. You can also do it before you start a warm-up or after a strength or dance session. It is a session that is safe to practice early in the morning.

Mobility and flexibility in ankles are very important for a lot of movements in bharatanatyam. When there is tightness in the ankles, it may lead to injuries in the knees and hips. This video helps promote mobility in the ankles and calf muscles and must be practised after dancing or training, no...

Mobility and flexibility in the hip area is very important for a lot of movements in bharatanatyam. When there is tightness in the gluteals, it may lead to injuries in the lower back. This video helps promote mobility in the gluteals and helps open your hips and mobility in the area.

This series can be practiced after a basic warm up, before beginning an Adavu practice.

The hip opener series will help you navigate through tight hips. It will help you mobilise your hips and enable you to push your thighs back while sitting in Araimandi. Please do this in combination with str...

Mobility and flexibility in the arms is necessary for efficient movement to happen. When there is tightness around the arms, the movement may look restricted when dancing and you will not have proper alignment because of tightness. This video helps promote mobility in the arms and can be done alo...

Length in the hamstrings and hip flexors enables the Bharatanatyam dance to find efficient movement in many adavus. This video goes through a series of stretches that can be practised after dancing or on a day when you want to work only on flexibility.