DAY 1 WORKSHOP:

 Slide 1 -- Presentation of kuchipudi dance.

 Slide 2 -- Origin of dance:

 Slide 3 --According to Bharata’s Natya Shastra, Indra and other Gods approached
Lord Brahma, the creator of Universe and requested him to create a
“Kridaniyakam” (Entertainment). They wanted this pastime to be instructive and
pleasing to the eyes and ears and can be enjoyable to all sections of people. Lord
Brahma then memorized all the four Vedas extracted the fifth Veda, namely the
Natya Veda. This could be learned by those people who were denied the privilege
of learning the four Vedas.

 Slide 4 -- Brahma took “Pathya” (Word or Speech) from “Rigveda”; “Gana” (Music)
from “Samveda”; “Abhinaya” (Expression) from “Yajurveda” and “Rasa” (Feel)
from “Atharvana Veda”, which bestows Dharma, Artha, Kama and Moksha, the
four principle objects of human existence, and created the "Natya" on Fifth Veda.
This is origin of "Natya" called Natyotpathi.

 Slide 5 --Brahma first initiated Indra to this science and asked him to teach it to
other divine beings. Indra believed that such an art needs to be taught and
developed to true perfection. He believed that only sages who learned the secrets
of Vedas and have high discipline and self-control are the eligible to learn. So he
called Bharatha muni and bestowed upon him the knowledge of Natya Veda.
Bharata muni understood this and started with his 104 disciples (sons) to perform
this art. Brahma released that the performance lacked grace without women.

 Slide 6 -- And then Bharatha taught it to 24 Apsaras along with his 104 sons. Later
on this art developed into several kinds of classical dances.

 Slide 7 – Indian Classcical Dance Forms.

According to the regions in India the Dance has been formed like
Kuchipudi from Andhra Pradesh
Bharatanatyam from Tamil nadu
Mohini Attam from Kerala
Kathakali from from Kerala
Odissi from Orissa
Manipuri from Manipur
Kathak from Uttar Pradesh
Satthriya from Assam
 Slide 8 --History of kuchipudi: Kuchipudi, is a dance-drama tradition and derives
its name from the village of Kuchipudi in the Southern State of Andra Pradesh. In
recent years, it has evolved as a solo dance for the concert platform and is
performed by women, thougt it was formerly the preserve of men. The female
roles were enacted by men and even today, the tradition boasts of gifted male
dancers enacting female roles with such consummate artistry that hardly anyone
would notice them as male dancers.
The movements in Kuchipudi are quicksilver and scintillating (exciting and
intelligent), rounded and fleet-footed. Performed to classical Carnatic music, it
shares many common elements with Bharatanatyam. In its solo exposition
Kuchipudi nritta numbers include jatiswaram and tillana whereas in nritya it has
several lyrical compositions reflecting the desire of a devotee to merge with God -
symbolically the union of the soul with the super soul.
The songs are mimed with alluring (attractive) expressions, swift looks and fleeting
emotions evoking the rasa. A special number in the Kuchipudi repertoire is called
tarangam, in which a dancer balances herself on the rim of a brass plate and
executes steps to the beat of a drum. At times she places a pot full of water on her
head and dances on the brass plate. The song accompanying this number is from
the well-known Krishna Leela Tarangini, a text which recounts the life and events
of Lord Krishna.
In expressional numbers a dancer sometimes chooses to enact the role of
Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-
drama Bhama Kalapam. She goes through various stages of love. When in
separation from Lord Krishna, she recalls the happy days of union and pines for
him. At last they are reunited when she sends him a letter. One more number
from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which
a milkmaid invites Krishna to meet secretly of ways giving full scope for the dancer
to display the charms of a woman.

 Slide 9 – Natyaramba slokas

 Slide 10 – prayer to Lord Brahma the creator of dance, siva the Lord of Dance.

 Slide 11 – salutations to God, Guru (teacher), Parents and elders.

 Slide 12 – salutations to Earth (Dharti maa).

 Slide 13 – position of hands, hips, chest (soustavam)

 Slide 14 –start every step with your right side.

 Slide 15 – Pada Bhedas. Basic 6 foot movements.

 Slide 16 – Namaste (Thank you).

DAY 2 WORKSHOP:

 Slide 1 –presentation of kuchipudi dance

 Slide 2 –origin of Dance: Lord Brahma created Natya Veda by taking one main part
from each Veda like
Speech – Pathya from RIG VEDA
Music – Gana from SAMA VEDA
Expression – Abhinaya from YAJUR VEDA
Feelings – Rasa from ATHARVANA VEDA

 Slide –3 In India we have 8 Dance forms according to regions based on Natya

shastra.
 Kuchipudi from Andhra Pradesh
 Bharatanatyam from Tamil nadu
 Mohini Attam from Kerala
 Kathakali from from Kerala
 Odissi from Orissa
 Manipuri from Manipur
 Kathak from Uttar Pradesh
 Satthriya from Assam

 Slide—4 Importance of hand gestures in our daily life and Kuchipudi dance.

 Slide --5
 PATAKA HASTA USAGE:
Beginning of dance, cloud, forest, forbidding things, breast,
Night, river, heaven, horse, cutting.

COMMON USAGE: calling someone, go, saying NO, stop,

Closing and opening the door.

 Slide –6
 TRIPAATAKA HASTHA USAGE:
A crown, tree,vajra,Indra,ketaki flower,lamp,flames,cheek,drwaing
of patterns,arrow,turning round or change.

 Slide--7
 ARDHA PATHAAKA HASTHA USAGE:
Tender branch, writing plant or painting board, bank of a river,
Saying ‘both', dragger/saw.
 Slide—8
 KARTHAREEMUKHA HASTHA USAGE:
A separation of woman and man, opposition or overturning, stealing,
Corner of an eye, death, disagreement.

 Slide—9
 MAYOORA HASTHA: USAGE:

A peacocks beak, creeper, bird/ omen, vomiting, stroking,the front

Curly hair, forehead, tilka, wiping away tears or scattering river water.

 Slide—10
 ARDHA CHANDRA HASTA USAGE:
The moon of the 8th day of dark-fortnight, seizing the neck, a spear,
Consecrating an image of god, plate used for eating.

COMMON USAGE: catching someone’s neck, lifting heavy things

 Slide--11
 ARAALA HASTHA USAGE:
Drinking poison or nectar etc. Violent wind.

 Slide—12
 SHUKATUNDA HASTHA USAGE:
Shooting arrow, throwing a spear, saying a secret word and showing
ferocity

 Slide—13
 MUSTI HASTA USAGE:
Steadiness, grasping the hair, firmness, holding things etc., and wrestling.

COMMON USAGE: boxing, fighting, holding, noting

 Slide—14
 SHIKARA HASTA USAGE:
Manmatha, bow, pillar, resolve, silence, offerings to gratify the manes,
Upper lip, entering, tooth, questioning.

COMMON USAGE: how, how much cost, men, drinking water.

 Slide—15
 KAPITTHA HASTHA USAGE:
Goddess Lakshmi, goddess saraswathi, winding, holding cymbals,
milking a cow collyrium, holding flowers gracefully.
 Slide—16
 KATAKAAMUKHA HASTHA USAGE:
Plucking flowers, wearing a pearl necklace or a garland of flowers;
holding the arrow at the middle of the bow or drawing the arrow slowly.

 Slide—17
 SUCI HASTA USAGE:
One, parabrahma, hundred,sun,city,world,saying ‘thus', saying
Which/what and that, fan, threating.

COMMON USAGE: showing someone will beat you, saying no.

 Slide—18
 CHANDRAKALA HASTHA USAGE:
Moon, Face, a thing of the size of pradesa, jatajutam of Siva
Ganga river, hand stick or cane or cudgel.

 Slide—19
 PADMAKOSA HASTHA USAGE:
Fruit, bilwa-kapitta(wood apple) and other fruits,
Turing round or circle, ball of flowers.

 Slide—20
 SARPASEERSHA HASTHA USAGE:
Sandal paste, snake, mandra swara or slowness, sprinkling, cheishing
etc., offering water to gods or sages, hitting the kumbhasthala of
elephant.

 Slide—21
 MRIGASEERSHA HASTHA USAGE:
Matters pertaining to women, cheek, chakra,courtesy or traditional
Manners ,fear ,arguments, costume and make-up.

 Slide—22
 SIMHAMUKHA HASTHA USAGE:
Coral,pearl,fragrance,stroking the curly hair,hearing,a drop of water,
salvation(when the hand is placed on the heart),homam.

 Slide—23
 KAANGOOLA HASTHA USAGE:
Lime fruit, breast of an young girl, white-lily,patridge,betel-nut tree,
little bells, pill.
 Slide—24
 ALAPADMA HASTA USAGE:
Full –blown lotus, wood apple etc. Circular movement or whirlpool,
Breast, village, mirror, full –moon.

COMMON USAGE: bowl, carrying pot on head, when.

 Slide—25
 CHATURA HASTHA USAGE:
Musk, meaning a little, gold-copper and other metals, wetness, difference
Experience of aesthetic pleasure or enjoying drink.

 Slide—26
 BHRAMARA HASTHA USAGE:
Bee, parrot, yoga-abhyasa, crane, kokila etc.

 Slide—27
 HAMASASYA HASTHA USAGE:
Benediction, tying thread or tying managalasuthra,initiation,certainity
horripilation, pearl etc. Extending the wick of a lamp.

 Slide—28
 HAMASAPAKSHA HASTHA USAGE:
Number six, constructing a bridge ,making marks with the nails,
and arranging.

 Slide—29
 SAMDAMSA HASTHA USAGE:
Stomack,generosity,sacrificial offerings,tumor,insect,apprehension,great
fear, fear of death, worship and number five.

 Slide--30
 MUKULA HASTHA USAGE:
Water lily, manmatha, holiding a seal or giving etc.,

 Slide—31
 TAAMRACHOODA HASTHA USAGE:
Cock, crane, crow,camel.child.calf,writing etc.

 Slide—32
 TRISOOLA HASTHA USAGE:
Bilwa leaf, three together trinity.
  Slide –33

Importance of Rhythm in our daily life and dance.

Cycle is something different from speed.

For example: Heartbeat for a normal person is 72 beats per minute. Here 72 beats
per minute is cycle and gap between each beat is speed.
Whereas a Blood Pressure patient or cardiac patient will be having either more
than 72 beats or less than 72 beats which is out of the cycle. Similarly in Indian
Music system the cycle will be called as TAALAM and speed is KAALAM. To keep on
going one has to keep up the rhythm. So, Rhythm is the pulse of Music. There is no
dance without Music. The rhythm plays an important role in Dance and Music.

 Slide –34
Explanation and performance of Nattuvangam (cymble)

 Slide—35

 Instruments &Music:

The ensemble of a Kuchipudi performance includes a

Sutradhara or Nattuvanar who is the conductor of the entire
performance. He recites the musical syllables and uses
cymbals to produce rhythmic beat. The story or spiritual
message is sung either by the conductor or another vocalist or
sometimes by the actor-dancers. The musical instruments
usually include cymbals, mridangam, tambura, veena and
flute.

 Slide –36

 Nattuvangam a cyble which the GURU (teacher) plays the

rhythm according to the song and expression.

 Mrudangam is a percussion instrument leads an is a double-

headed drum also known as “King of percussion instruments”. It is
considered as one of the ancient drums. It also holds great religious
significance as it was used by Lord Ganesha and Nandi Devar(vehicle and
companion of Lord Shiva).
  Slide –37

 Violin and Veena: it is a string instrument and it supports

vocalist.

 Slide –38

 Flute: it is a wind instrument and supports for

expressions.

 Slide –39

 Costumes

While a male character wears dhoti, a female character wears a

colourful sari that is stitched with a pleated cloth which opens like a hand fan when
the dancer stretches or bends her legs while portraying spectacular footwork.
Make-up is generally light complimented with traditional jewellery of the region
which adorns her hair, nose, ear, arms and neck. A light metallic waist belt made of
gold or brass adorns her waist while a leather anklet with small metallic bells
called ghunghroo is wrapped on her ankles that produce rhythmic sounds while
she performs brilliant footwork. Her hair is neatly braided and often beautified with
flowers or done in tribhuvana style that depicts the three worlds. Her eye
expressions are highlighted by outlining them with black collyrium. Sometimes
special costumes and props are used for particular characters and plays, for
example a peacock feathered crown adorns the dancer playing Lord Krishna.

 Slide –40

 Makeup and Alta for foot.

 Slide—41

 Female costume for solo performance.

 Slide—42

 Male costume for solo performance.

 Slide—43

 Ardhranareeswaram (a combination of vigorousand

graceful movement of Lord Shiva and Goddess
Parvathi).
 Slide—44

 Male portraying Female characters.

 Slide –45

 Female portraying Male characters.

 Slide –46

 Costume of a sage and Apsara ( Menaka Vishwamitra),

and Yashoda Krishna

 Slide—47

 Costumes for Lord Vishnu and Goddess Lakshmi and

Yashoda and Gopikas.

 Slide –48 and 49.

 Thank you