THEORY PORTIONS

1. LIFE HISTORY OF THE CHIEF EXPONENTS AND CONTRIBUTORS TO BHARATANATYAM

A. RUKMINI DEVI ARUNDALE

 Rukmini Devi Arundale ,born on 29 February 1904 – 24 February 1986 was an
Indian theosophist, dancer and choreographer of the Indian classical dance form
of Bharatanatyam, and an activist for animal rights and welfare.
 Rukmini Devi Arundale is the most important revivalist in the Indian classical
dance form of Bharathanatyam.
 Recognizing the beauty and spiritual value of this art form, she not only learned
the dance, but also presented it on stage in spite of strong public protests.
 She later went on to establish the prestigious Kalakshetra Foundation in
Chennai, India.
 She was awarded the Padma Bhushan in 1956, and Sangeet Natak Academy
Fellowship in 1967.
 Rukmini Devi was also an Indian theosophist and an activist for animal rights,
animal welfare and vegetarianism.
 Rukmini Devi was nominated as a member of the Indian Parliament's Council of
States (the Rajya Sabha) in April 1952 and re-nominated in 1956. She was the
first Indian woman to be nominated in Rajya Sabha.
 Rukmini was introduced to Bharatnatyam by E. Krishna Iyer, founder-secretary of
the Madras Music Academy. During the 1930s Iyer fought a successful battle to
save the dance which seemed likely to be buried along with the disfavoured
devadasi system. 
 Rukmini Devi Arundale ,born on 29 February 1904 – 24 February 1986 was an
Indian theosophist, dancer and choreographer of the Indian classical dance form
of Bharatanatyam, and an activist for animal rights and welfare. In January 1936,
she along with her husband, established Kalakshetra, an academy of dance and
music, built around the ancient Indian Gurukul system, at Adyar, at Chennai.

Sample Questions

1. Who is Rukmini Devi Arundale?

2. When was she born?
3. When was Kalakshetra formed?
4. Where is Kalakshetra situated?
5. What were her remarkable achievements?
2. TANJORE BALASARWATI
 Tanjore Balasarswati , also known as Balasaraswati was born on 13 May 1918.
 She was an Indian dancer, and her rendering of Bharatanatyam, made this style
of dancing well known in different parts of India and many parts of the world.
 She was awarded the Padma Bhushan in 1957 and the Padma Vibhushan in 1977,
the third and the second highest civilian honours given by the Government of
India. In 1981 she was awarded the Sangeetha Kalasikhamani award of The
Indian Fine Arts Society, Chennai.
 She learned music within the family from her infancy, and her rigorous training
in dance was begun when she was four under the distinguished dance teacher K.
Kandappan Pillai, a member of the famed Thanjavur Nattuvanar family.
 Balasaraswati's debut took place in 1925. She was the first performer of her
traditional style outside of South India, performing first in Calcutta in 1934. As a
young teenager, she was seen by choreographer Uday Shankar, who became an
ardent promoter of her performances
3. MEENAKSHI SUNDARAM PILLAI
 He was born on 22nd September, 1869 in Pandanallur
 He is the grandson of Ponnaya from Tanjor Quartette
 He received initial Bharatanatyam training from Kumaraswamy Nattuvanar
 Meenakshisundaram Pillai was proficient in music and dance along with being an
eminent Tamil Scholar
 Meenakshisundaram Pillai passed away in 1954 at the age of 85
 Meenakshisundaram Pillai introduced the Bharatanatyam style of Pandanallur
 This style is known for the emphasis placed on linear geometry within his adavu
techniques and intense abhinaya.
 In 1934, Meenakshisundaram Pillai was invited by Rukumini Devi to Madras and
conducted thorough Bharatanatyam training for her
 Meenakshisundaram Pillai taught Bharatanatyam in Kalakshetra which is the dance
school established by his disciple, Rukumini Devi.
4. TANJORE / TANJAVUR QUARTET
 Bharatanatyam was formally codified into a structured performance in the
eighteenth century by the four brothers from Tanjavur, well-known as the
Tanjore Quartet─Ponniah, Chinniah, Sivanandam, and Vadivelu.
 They hailed from the dance lineage of the Brihadisvara temple of Tanjavur
and were associated with the royal courts of Tanjavur, Tiruvananthapuram
and Mysore.
  They were the fi rst to formalise the performance pattern of
bharatanatyam, and codify lessons called adavus (basic steps and the
different categories of rhythm patterns) required for the same.
 They were the ones to plan and set the order of the different items of the
repertoire(Margam) in performance. The order they set is as
follows. Melaprapti , alarippu, jati swaram, sabdam, swarajati , chauka
varnam, ragamalika, padam, javali, and tillana.
 They also composed several pieces for each category set to different ragas
and talas (rhythm structure). 
 
Sample Questions
1. What were the contributions of the Tanjore Quartet?
2. Who all comprised the Tanjore Quartet?
3. What was the margam format they created?
4. Name any 2 compositions of the Tanjore Quartet.
Ans - Ambaneelambari (Neelambari) , Jatiswaram : Ragam - Kalyani ; Thalam -
Rupakam 

DEFINITIONS

1. Nritta -Nritta corresponds to pure dance steps performed rhythmically. Here the
movements of the body do not convey any mood or meaning and its purpose is
just creating beauty by making various patterns, lines in space and time.  
2. Nrithya - Nritya corresponds to the mime performed to the song. That is in other
words, it is the Interpretative dance. According to Abhinaya Darpanam that dance
which relates to Sentiment (rasa) and Psychological States (bhaava) is called
nritya.
3. Natya - Natya corresponds to drama. Natya means dramatic representation or
drama with speech, music and dancing
4. Tandavam –
 Tandava is the divine dance performed by Lord Shiva. It is considered to be the
source of the cosmic cycle of creation, preservation and dissolution. The word
Tandava comes from Tandu, the attendant of Lord Shiva, who at Lord Shiva’s
orders, instructed Bharat muni, the author of Natya Shastra, the usage of
Angaharas and Karanas, which together constitute this cosmic dance.
 Tandava the masculine form of dance is attributed to Lord Shiva which is forceful
and full of vigour often manifesting anger and fear.
 7 TYPES OF TANDAVAS

Nandikeswara in his Abhinaya Darpanam describes seven types of Tandava which are
believed to have been performed by Lord Shiva.

i. Sandhya Tandava: A form of tandava performed by Lord Shiva at the time when the world
was poised between lingering day and the oncoming darkness of the night. It was the dance
of creation and scriptures. It is believed that Sandhya Tandava protects one and all.

ii. Ananda Tandava: This form of Tandava was performed by Lord Shiva for protecting his
disciples. In Chidambaram temple, the deity is represented in this pose. The image is
depicted with four hands holding the drum, fire, the right hand in the Abhaya Hasta, the left
hand with the Danda Hasta bestowing boons. The left leg is in Kunchita pada and the right
tramples upon the sole. This posture is also known as the Sada Tandava.

iii. Kali or Shakti Tandava: This Tandava is the type performed by Shiva and Kali. It is
believed that Kali or Shakti is the energy that cannot be separated from Shiva. Shiva has
the power to create only when he is united with Shakti.
iv. Tripura Tandava: This is the Tandava performed by Shiva after killing the three
rakshasas, Tarakakasha, Veeravana and Vidyunmali. He fought the rakshasas driving the
earth as his chariot, Meru as the bow, Sun and Moon as the wheels, Adishesha as the
rope, Lord Vishnu as the arrows, four vedas as horses and Lord Brahma as the
charioteer. By destroying these rakshasas he freed the three worlds from evil.
v. Sati and Shiva Tandava: This Tandava is believed to have been performed by Shiva
and Sati. This represents the eternal dance of the Man and Woman, depicting the
unity of Purush and Prakriti. This item also depicts both forms of dancing, Tandava
as well as Lasya.

vi. vi. Ardhanaari Tandava: This type of Tandava was performed to show the unity between Nature
and God. Shiva took Parvati as a part of himself and assumed the form of Ardhanareeswara
– one half man the other half woman.

vii. Samhara tandava: This is the dance of annihilation and release. Shiva is believed to
have performed this when Sati burned herself in ashes. Shiva in anger danced so
vigorously that lords feared destruction of the three worlds. Only when Lord
Bramha, Lord Vishnu and Devas appealed to him did he return to normalcy.
Laasya - laasya anga attributed to Godess Parvathi is the feminine form where the movements
are gentle and graceful often depicting love and affection.

The dance is extremely soft in movements and contains mostly shringara in expressions. Female
dancers perform the dance more effectively. Lasya is the feminine version of Tandava.

Laasya can be classified into three categories.

 Vikata Lasya – The dance form in which laya, taala, bhava are exhibited while performing
is called Vikata Lasya
 Visham Lasya – By using bhramari through horizontal, circular, slanted movements,
special footwork in lasya based dance visham lasya is performed
 Laghu Lasya – By producing sound on earth through anklets and through anchitham,
kunchitham, padavinyas, laghu lasya is performed.
LAASYA -laasya anga attributed to Godess Parvathi is the feminine form where the
movements are gentle and graceful often depicting love and affection.
5. LOKADHARMI – The abhinaya performed that seems more realistic and less disciplined
and structured.
6. NATYADHARMI – A stylized and disciplined way of Abhinaya

SHLOKAS AND MEANINGS OF THE FOLLOWING

1. STHANAKA BHEDAS

This bheda is describing the way we keep our legs while the body is in a steady
position as per Abhinaya Darpana

Shlokam

“Samapaadamcha eka paadam Naagabandhas thathaf param

          Aindramcha gaarudamchaiva Brahmasthaanamithi kramam”

2. Chari Bheda

These are the various movements using one foot. Abhinaya Darpana describes 8
variations of chaari bheda

Shlokam

” Aadautu chalanam proktham pashchaath sankramanam thatha

 Saranam veginey chaiva kuthanam cha thatha param

Luthitam lolitham chaiva thatho vishrama sancharaha

Chaari bedhaamiashtau proktha bharathavedibhihi”

3. Mandala Bheda

These are the various positions of the feet placed in different positions

Shlokam

“Sthanakamcha Aayatham Aalidam Prenkhana   Prerithaaniicha

Pratyaalidam Swasthikamcha Motitham   Samasoochika

Paarshvasoochiithicha Dasha mandala neerithaaniha”

4. Bhramari Bheda

These are the different movements involving turns and twirls by the body.

“Uthplutha bhramariichakra bhramarie garudaabhidha

Thathaikapaada bhramarie kunchitha bhramarie thatha

Aakasha bhramarie chaiva Thathaanga bhramaree thicha

Bhramaryaaha saptha vigneyaa natyashastra visharadaihi”

5. Uthplavana Bheda

These movements involve leaps and jumps that can be forward, backward, sideways or
even by turning around.
Shlokam

“Alakam kartharischaiva ashvothplavanam motitham thatha

Kripalagamithi khyatham panchadothplavanam budhaihi”

 HASTHA BHEDAS

ASAMYUTHA HASTHA - https://youtu.be/ygHE9woOJk8

SAMYUTHA HASTHA - https://youtu.be/ARjHi9rGGmY

VINIYOGAS

THRIPATHAKA - makute ,vrikshabhaveshu, vajjre, thaddhara vaasave

ketaki kusume , deepe , vanhi jwaala vijrumbhane , Kapothe , pathralekhaayaam ,

baanarthe , parivarthane. yujyathe thripathakoyam kathitho bharathothamaihi

ARDHAPATHAKA – Pallave , phalake , theere , ubhayorithi vaachake , krakache ,

churikaayamcha , dhwaje , gopura shringhayom . Yujyathe ardhapathaakoyam thattha
karma prayogake.

ABHINAYA – This is classified into 4 types

SHLOKAM(IMPORTANT)

Angikam Bhuvanam Yasya

Vachikam Sarva Vangmayam
Aaharyam Chandra Taradi
Tam Vande Sattvikam Shivam

it means:

We bow to Him the benevolent One

Whose limbs are the world,
Whose song and poetry are the essence of all language,
Whose costume is the moon and the stars…”

 Angika Abhinaya :

Abhinayam, is four folds- Angikam, Vachikam, Aharyam and Sattvikam.

It is expressed in three ways:

1. ANGA
 angika abhinayam is classified into- angas(major limbs), pratyangas(minor limbs) and
upangas (subsidiary limbs). Among these, the angas are six in number:

o head.
o the two palms.
o chest.
o the two sides.
o the two sides of the waist.
o the two feet.
Some other scholars include the neck also.

2. PRATYANGA
There are six pratyangas :

o the two shoulders.

o the two arms.
o back.
o stomach.
o thighs.
o shanks.
According to some scholars, the wrists knees and elbows are also pratyangas.

3. UPANGA
There are twelve Upangas:

o eyes.
o eye brows.
o eye lids.
o pupils.
o cheeks.
o nose.
o jaws.
o lower lip.
o teeth.
o tongue.
o chin.
o face.
Some scholars also add to these the heels, ankles, fingers and soles. The movements of the
pratyangas and upangas depend upon the movements of the angas. Mostly, the ones useful in
bharatnatyam are described in detail in the classification of the siro bhedas, drishti bhedas,
greeva bhedas and hastas.

 Vachika Abhinaya:

Vachika Abhinaya is the expression through speech. It is done with the help
literature such as poems and dramatics. Speech is used in drama and also in
music when the singer expresses the emotion through his or her singing. In
the Kuchipudi and Melattur styles of Indian classical dance the dancers often
mouth the words of the songs (padartha abhinaya). Kerala still has stage art
forms that have Vāchika Abhinaya as a dominant component - Koodiyattam,
Nangyar Kooothu, Ottan Thullal, Seetangan & Parayan

 Aharya Abhinaya

Aharya abhinaya is expression through costume, make-up, jewellery, etc., worn

according to the character depicted by the dancer. Like all other kinds of
Abhinaya, Aharya abhinaya is an important part of bharatanatyam dance.
However it becomes of special importance as without proper make up, costume
and jewellery, the other abhinayas cannot be justly emoted and conveyed to the
audiences.

The aharyam or attire should be appropriate according to the character being

portrayed. For example, a king should have a crown, royal clothes, jewellery and
a simhasana to sit on. Krishna should have flute, yellow attire, along with a
peacock feathered crown. Shiva should have a tiger skinned dress, a crescent
moon on his head, a snake around his neck, rudraksha mala, bhasm on his body
and a neel kantha.

Similarly the sets should also be appropriate as per the script. For example, a
forest scene should have a set with a backdrop of trees, creepers and shrubs. A
royal court scene should be staged with a lavish set, a symbol of the kingdom or
a flag, singhasana, etc. A village scene should have huts, mud houses, wells etc.
Animals and birds should be dressed in a proper costume, head gear, wings and
plumes.

 Saathvika Abhinaya
This abhinaya is when the dancer expresses through emotion and needs a lot of involvement in
expression. Sattwika Abhinaya is performed with the sattvika emotions by those who can
represent then proficiently. It deals with the expression of psychic states, intimately associated
with emotional conditions. A dancer registers on her face the appropriate expressions in
keeping with the translation of the song, and creates the right mood. The eight
sattvika conditions are as follows:

 Motionlessness / Stillness

 Perspiration

 Horrification

 Change of voice

 Change of colours

 Trembling

 Tears

 Fainting

SANGEETHA , TALA , LAYA

SANGEETHAM or MUSIC in Bharatanatyam - The music of Bharatanatyam is based on Carnatic

classical music. The instruments used are Veena, Flute, Mridangam and Violin. The dance
direction is done by 'Nattuvanar' giving the Thaalam using hand symbols and singing necessary
Jathis. There will be a vocalist to give the vocal music.

Thalam – The rhythmic aspect of music is called thalam. The terms related to thalam are Jaati ,
Laya , Gati.

Jaati – There are 5 jaatis namely Tisra , Chathurasra , Khanda , Mishra , Sankeerna. Depending
on the Jaati the laghu should be set in the respective thalam.

SAPTHA THALAS – Dhruva , Matya , Rupaka , Jhampa , Tripura , Ata , Eka thalas are the 7
different types of thalas. The angas or parts of a tala are laghu , dhrutham and anudhrutham.
The below table shows the different angas of the 7 thalas.

Shlokam
Dhruva mattya roopankanchaiva
   Jamphe Triputa evacha ||
|| Ata thaleka thalancha
   Saptha thaalam Prakeerthithaha

Thalam Tala Angas

Dhruvam lOll
Matyam lOl
Rupakam Ol
Jampa lUO
Thriputa lOO
Ata llOO
Eka I

I – Laghu (tapping and counting the fingers according to the jaathi)

0 – Dhrutham (tapping and opening of palm)

U – Anu Dhrutham ( only a tap)

There are 5 jaathis namely tisram, chathurasram , khandam , misram and sankeernam. There
will be a total of 35 thalas considering that there are 5 jaathis. And if the thalam is set in 5
different gathis there is a total of 175 thalas.

TECHNICAL TERMINOLOGY IN BHARATANATYAM

1. ADAVU – Adavu is a basic dance unit in Classical dance. Each adavu has a posture
, rhythmic movement of the feet and an accompanying hand gesture.
2. KORVAI – A combination of adavus made into sequence and ending with
teermaanam adavu is called a Korvai.
3. Shollu / Shollu kattu – Rhythmic syllables used for dance like ta , ri , ki , na are
called Sollu – Kattu. Eg. – Taritha Dhanatha Jhonutha
4. JATI – A Jati is a structured korvai set to sollu – kattu in a chosen tala. The Jati
ends with a teermaana adavu repeated thrice or in multiples of 3 , with its
corresponding sollu – kattu.
5. ARAIMANDI - The word araimandi basically means half sitting posture and
closely resembles the Ayata Mandala.  The height of a person decided
the araimandi, the distance from the navel to the head should be equal to the
distance from the navel to the ground.
6. MUZHUMANDI – Muzhumandi is a Tamil word for sitting fully on the heels even
as the toes are on the ground. Knees are flexed outward to the sides and the
spine and torso are held erect.
7. KUTTANAM - Stamping the bhoomi / ground with the sole, toe or heel.
8. KARVAI – The Karvai is a pause that is added into a Korvai or Jathi. The Karvai can
be any count from 1 onwards, and it is used to enhance the beauty of the Korvai
or Jathi.
9. ARUDHI – This is a short piece that is done right after the completion of a Jathi
and before the Saahithyam/lyrics. Arudhi is also seen as a link between the
theermanams and saahithyam in Thillana .
10. THEERUMANAM – The conclusion of a Korvai or a Jathi is always with the
Theermanam where the mridanga plays the conclusion in sets of 3s.
11. JAATI - A Jaati is a pattern that gives us the basic feel of a Thalam. There are five
Jaatis. Every jaati is denoted by a set of syllables. They are: The Tishra,
Chatushra, Khanda, Mishra and Sankeerna.
12. GATI – Gati can be described as the number or maathras between each akshara.
This denotes the speed of the Layam. There are 5 Gatis – Tisra , Chathurasra ,
Khanda , Mishra , Sankeerna.
13. AVARTHANA – The complete cycle of a thalam that includes the Angas of the
Thalam is called Avarthana. 1 Avarthana can comprise of Laghu , Dhrutham and
Anu Dhrutham depending on the thalam .
14. YATI – These are different types of patterns of permutations and combinations in
a Korvai in Bharatanatyam. The Korvai can be created as per any of the below
mentioned Yatis.

There are 6 kinds of Yatis – SAMA , GOPUCCHA , DAMARU , MRIDANGA ,

SROTOVAAHA , VISHAMA YATI

Yati are expanding and/or decreasing syllabic patterns that, when written, create
a geometric shape. There are many different yati, each with a different structure
and written shape. The Gopuccha Yati begins with a set of syllables and gets one
syllable smaller with each repetition. If we use notes instead of syllables, the yati
would have five notes, then repeat the same notes minus one with every
repetition until there is only one note left [CDEFG, CDEF, CDE, CD, C… or CDEFG,
DEFG, EFG, FG, G]. The Srotovaha Yati on the other hand gets progressively
longer [C, CD, CDE, CDEF…]. The Damaru Yati starts with a length, gets smaller,
and then expands back to the original length [CDEFG, CDEF, CDE, CD, C, CD, CDE,
CDEF, CDEFG]. Its counterpart is the Mrdanga Yati, which starts small, gets larger
then shrinks back [C, CD, CDE, CDEF, CDEFG, CDEF, CDE, CD, C]. The Visama
Yati is the most free-form yati, being random pattern lengths in no particular
order. Visama is the most open, thus the hardest to perform well, as the
brilliance of the yati is dependant on the skill of the performer alone

Example 1: Gopuccha Yati (“The Cow’s Tail”)

CDEFG

CDEF

CDE

CD

Example 2: Srotovaha Yati (“Stream Becomes a River…”)

CD

CDE

CDEF

C D E F G 

Example 3: Mrdanga Yati (“The Barrel-Shaped Drum”)

CD

CDE
 CDEF

CDEFG

CDEFGA

CDEFG

CDEF

CDE

CD

Example 4: Damaru Yati (“The Hour-Glass Drum of Lord Shiva”)

 C D E F G

CDEF

 C D E

CD

CD

CDE

CDEF

CDEFG

15. TAALANGA – The angas of a thalam define the Thaalanga. The angas of a thalam
are LAGHU , DHRUTHAM and ANUDHRUTHAM. Laghu is denoted by I ,
Dhrutham by – O and ANUDHRUTHAM by – U.
16. THATTUKAZHI – This comprises of a wooden stick and a wooden rectangular
shaped base and is used by the nattuvanar or the teacher to strike the thalam of
the dance.
 17. NATTUVANGAM – These are the metal cymbals used to strike the Thalam of the
dance by the Nattuvanar.
18. ARANGETRAM – The ceremony which denotes the entry of the student into deep
learning of the dance form. In order to perform the Arangetram, the student
must know the items present in a margam namely PUSHPANJALI , ALARIPPU ,
JATISWARAM , SABDAM , VARNAM , PADAM , KEERTHANAM ,ASHTAPADI ,
SHLOKAM , THILLANA

TRADITIONAL COSTUMES IN BHARATANATYAM , MAKE UP AND ORNAMENTS

Bharatanatyam Costume:
Bharatanatyam costume is very beautiful and colorful. In olden days it was performed on
special occasions, at king’s courts and in the temples during the festival days. There are several
varieties of Bharatanatyam costumes worn according to the theme of the dance and comfort
for the dancers movements. The style of the costumes was the same.

Generally, the costumes of Bharatanatyam are of two types. They are Pyjama style and the skirt
style. These two styles of dresses are artistic and comfortable to the dancer to perform
Although, in olden days people used the threads of Gold and Silk to stitch the costumes of
Bharatanatyam. The pleats of the sari are stitched with zari work of beautiful designs and
motifs. When the dancer performs the symbolic posture like Muzhu mandi, which is a sitting
pose and a half sitting pose, the pleats of the sari opens out beautifully and brings the look of
the dance to enrich. Now there are more types like the DHOTI and saree type that are also
gaining popularity due to its comfort factor.

Bharatanatyam Costume For Women:

Bharatanatyam costumes for women resemble Indian traditional sari. But the sari may not be a
single piece; it is the combination of many varieties of cloth pieces. Hence, the dress is stitched
to be worn easily.

Bharatanatyam Costume For Men:

The traditional Bharatanatyam costume for men is very simple. The dress covers the lower body
of the dancer and upper part cover with a simple jewel, they do not use the garments for the
upper part of the male dancer. The male dancer uses very less jewelry than women. Makeup is
the same for women and men.

Ankle Bells:

The ankle bells are an essential item in Bharatanatyam dance. In response to the ‘Tala’ sounds,
the dancer makes the right rhythmic footwork. The beginners wear 2-row bells, the
intermediate dancers wear 3 rows and talented dancers wear 5 rows bells. The ankle bells are
treated as sacred objects and worshipped on special occasions. The dancers never wear them
casually.

Jewellery

Bharatanatyam dancers wear a unique set of a jewellery. The set of Jewellery is called ‘Temple
Jewellery, such are bangles, earrings, necklaces, and bracelets. The bun or plait of the hair is
decorated with a semi-circle of flowers. The forehead is applied with impressive ‘tika’ or ‘dot’.
The important jewellery ‘thalaisaman’, which is called ‘headpiece’ is worn just above the
flowers in the hair. The ‘chandrasuryan’ kept on either side of the heads. The beautiful earrings
hanged to the ears, a longer chain hung to the neck. The chain designed is in peacock or floral
designs, studded the red, green and pearl stones. ‘Vankies’ are ties to both sides of the upper
arm, broad ornament belt, snake decoration for the long plait.

Make-Up for Bharatanatyam:

Makeup to a Bharatanatyam dancer is very unique, it should display the theme of the dance
and must enhance facial expressions. Heavy lines are drawn around the eyes and darkened and
extended outwards the eyebrows. The total Bharatanatyam performance is mostly based on
the movements of the eyes and eyebrows. A red dye is applied to the tips of the toes,
fingertips, and soles of the feet. The color is also applied in the palm in the shape of a solid
circle. The red color decoration to legs and hands emphasize the movements of hands and legs.

RASA – 9 RASAS OR EMOTIONS

The Navarasas

1. Sringara (Love) – This Rasa emotes pure love. This is the ultimate Rasa; the crown of emotion
that heals anything. This Rasa frees the ego and connects us to devotional love. Sringara can
classified as two kinds – Sambhoga Sringaram and vipralambha Sringaram. Sambhoga
Sringaram is when the hero and heroine are in union and depict happy times whereas
Vipralambha Sringaram is when the hero and heroine are separated due to various reason. The
emotion is pain and agony remembering the good times that does not exist now.
2. Hasya (Laughter) – This Rasa connects us to our sense of humor through laughter, happiness
and contentment. Haasya can be emoted while we see something that causes laughter or
something that is extremely hilarious. Haasya can also be exhibited through the dancer where
she or he becomes the hilarious object that makes the rasikas laugh.
3. Adbhuta (Wonder) – The curiosity, mystery and awe which occurs when we become
fascinated with the very idea of life. It seems like magic. The emotion exhibited when we see
something so beautiful and we are awestruck with its beauty. This emotion is a pleasant one
and denotes happiness in wonder.
4. Vira (Courage) – Bravery, confidence, determination, self-assurance and valor. Vira asserts
itself when you call upon the warrior that lives inside you. It is strong and vibrant.
5. Bheebhatsa (Disgust) – Showing or having a feeling of disgust is done in Bheebhatsa. This
Rasa characterizes the judgmental mind and shows extreme disgust depending on the situation.
6. Karuna (Compassion) – When we can experience another’s sadness and reflect it back to the
cosmos, we then experience compassion. Compassion is what connects us all. Through
compassion we can relate deeply and honestly with each other, it is the bridge between us
and others and helps us understand and empathize with them.
7. Roudra (Anger) – When one is extremely angry and this anger can even cause destruction
just like how the opening of the 3rd eye of Shiva can burn everything into ashes. Roudrais the
depiction of angry in a great intensity.
8. Bhayanaka (Fear) – The emotions like fear, doubt, worry, insecurity etc show out Bhayanaka.
Fear within and also on seeing something fearful outside is expressed through Bhayanakam.
9. Shanta (Peace) – This Rasa is reflected in deep calmness and relaxation. When we become
still, quiet and at peace, we are so full that we are empty of all else but peace. We can only find
peace within. The tranquil and calm effect in the mind denotes shantham.
 CARNATIC MUSIC AND THE RAGA SYATEM

Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian

languages, is a system of music commonly associated with South India, including the modern
Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka.
Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal
performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm
accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the
performance. Other typical instruments used in performances may include
the ghatam, kanjira, morsing, venu flute, veena, and chitraveena.
Some of the important components of Carnatic music are
SHRUTHI - Shruti commonly refers to musical pitch. It is the base or the soul of Carnatic music.
The shruthi must be played while rendering the song.

Swara - Swara refers to a type of musical sound that is a single note, which defines a relative
(higher or lower) position of a note, rather than a defined frequency. There are 7 swaras
namely
Sa, ri , ga , ma, pa , dha , ni. This is similar to the western notes of music like DO , RE , MI , FA ,
SO , LA , TI , DO

These names are abbreviations of the longer

names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada. 

Ragam

A raga in Carnatic music prescribes a set of rules for building a melody. It is formed by different
permutations and combinations of different swaras placed in the Arohanam and the
avarohanam. Arohana is the ascending order of the notes and avarohana is the descending
order of the notes.In Carnatic music, the sampoorna ragas (those with all seven notes in their
scales) are classified into a system called the melakarta, which groups them according to the
kinds of notes that they have. There are seventy-two melakarta ragas. Ragas may be divided
into two classes: janaka ragas (i.e. melakarta or parent ragas) and janya ragas (descendant
ragas of a particular janaka raga). Janya ragas are themselves subclassified into various
categories.

Talam - Carnatic music singers usually keep the beat by moving their hands up and down in
specified patterns, and using their fingers simultaneously to keep time. Tala is formed with
three basic parts (called angas) which are laghu, dhrtam, and anudhrtam.

There are seven basic tala groups which can be formed from the laghu, dhrtam,

and anudhrtam:
 Ata tala
 Dhruva tala
 Eka tala
 Jhampa tala
 Matya tala[
 Rupaka tala
 Triputa tala
A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven
tala groups gives thirty-five basic talas, although use of other angas results in a total of
108 talas.

MADHYA STHAI – The octave that you have chosen to sing in is called Madhya sthaai . females
usually choose G, G#. Males go for lower pitch C, C sharp.
MANTHRA STHAI – The octave below the Madhya sthai

TAARA STHAI – The octave above the manthra sthaai

The 7 swaras are further divided into 12 swaras and these are called the swarasthanas. These
swarasthanas have 16 names.

SHADJAM

R1 – SHUDDHA RISHABHAM

R2 – CHATHUSHRUTHI RISHABHAM

R3 – SHATSHRUTHI RISHABHAM

G1 – SHUDDHA GAANDHARAM

G2 – SADHARANA GANDHARAM

G3 – ANTARA GANDHARAM

M1 – SHUDDHA MADHYAMAM

M2 – PRATHI MADHYAMAM

PANCHAMAM

D1 – SHUDDHA DHAIVATHAM

D2 – CHATHUSHRUTHI DHAIVATHAM

D3 – SHATSHRUTHI DHAIVATHAM

N1 – SHUDDHA NISHADAM

N2 – KAISIKI NISHADAM

N3 – KAKALI NISHADAM

MELAKARTHA RAGAS / JANAKA RAGAS / PARENT RAGAS

They are called parent ragas because they have all the 7 swaras in order in the aarohana and
the avarohana. Eg CHALANATA Ragam. There are 72 melakartha ragas. 72 ragas have been
divided into 36 ragas – Shuddha madhyama ragas and Prathi Madhyama ragas. This 36 ragas in
each have been further divided into 6 groups in the Shuddha madhyama ragas and 6 groups in
the Prathi madhyama ragas.