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 sequence of exercises reinforces ideas that have already been introduced in the previous instructed series for the Hips. It is recommended to start on the musical series only once you have practised the instructed series over several months, so you already have internal awareness of alignmen...

This sequence of exercises reinforces ideas that have already been introduced in the previous instructed series for the Arms. It is recommended to start on the musical series only once you have practised the instructed series over several months, so you already have internal awareness of alignmen...

Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

Āyatam avahittam aśvakrāntamatāpi ća
Strīnām sthānāni kāryāni gatiśvabharaneśu ća

Āyatam
avahittam
aśvakrāntam

Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

There are 6 Sthanakas for male characters.

Vaiśnavam samapādam ća vaiśakham mandalam tathā
pratyālīdam matālīdam sthanān yethā...

Adavus have starting , transitory and ending positions. It is important to know, understand and embody these positions before embarking on Adavu practice. These positions are mentioned in the Natyashastra and Abhinaya Darpana with different names. The RK Method refers primarily to the Natyashastra.

The video describes the various Sthanas that are used in the practice of Adavus and the right alignment and muscle engagement to ensure longevity and safety in practice.

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 nilavum tillai ambalam...

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 Charanam and Aradi

P: Adi shivanaik-kAN...

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 second Swara

P: Adi shivanaik-kANavE As...

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 Swara Sahitya

P: Adi shivanaik-kANavE Ashai...

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 ...

The Asamyuta hastas, as described in the Abhinaya Darpana are 28 in number.

These Hastas are used as embellishments in adavus as well as to communicate meaning gesturally, The Viniyogas in the Abhinaya Darpana describe a number of possible gestural implications for each Hasta.

Please refer to...

The Asamyuta hastas, as described in the Abhinaya Darpana are 28 in number.

These Hastas are used primarily communicate meaning gesturally, The Viniyogas in the Abhinaya Darpana describe a number of possible gestural implications for each Hasta.

Please refer to the Shloka below for pronunciat...