Saachi Dhumal- BharatNatyam Project

My Journey of
“Bharat Natyam”

By- Saachi Dhumal

Saachi Dhumal | 1

Namaskriya

“Aangikam Bhuvanam, Yasya Vaachikam
Sarva Vangmayam, Aaharayam Chandra Taradi

Tam Namah Satvikam Shivam”

“Lord Shiva’s whole body is the whole universe; his
speech is in all the languages. His ornaments are
moon and stars we bow to such a pure and great

lord Shiva”

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Guru’s Prayer

“Guru Brahma, Guru Vishnu
Guru Devo Maheshwara, Guru Sakshat Para Brahma

Tasmaysi Shri Guru Ve Namah”

Guru is Brahma, Guru is Vishnu
Guru is Lord Shiva, Guru gives us spiritual Knowledge

We bow to such a pure Guru

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DR.GURU REKHASHRI DESAI

Dr. Guru Rekhashri Desai, Founder - Kalakruti Dance Academy
(Estd.1985), Vice President National Women and Child Department
and Pranic Healer; our organization working tirelessly over 3 decades
to empower girl child and women through the medium of imparting
the ancient tradition and scriptures of our Indian Culture in the form
of Indian Classical Dance. Following Guru Shishya Parampara, she
strongly believes in Education with Entertainment.

She had the privilege of acquiring knowledge from many great Gurus
like Shri Adayar Laxmanan sir, Shri Dhananjayan sir, Smt Savitri Aka
and many more.

She was also a NCC Cadet and gave a performance in the presence of

the then Prime Minister of India, Mr. Rajiv Gandhi in New Delhi, India.

The very first recognition from the state government encouraged her

to go ahead positively to make every girl child strong. She also served

at Ram Krishna Mission for few years spreading the culture and

performing on the ancient poems written by Adi Shankaracharya,

Kalidasa, Tulsidas, etc. Saachi Dhumal | 4

GURU SIDDHI DESAI

Guru Siddhi Desai, Member of INTERNATIONAL DANCE
COUNCIL UNESCO-Paris, daughter and disciple of Guru Dr.
Rekhashri Desai trained in Bharatnatyam [Kalakshetra style].
She is a Post Graduate in Dance (Bharatnatyam), Post
Graduate in Economics also holding a Bachelors in Education.
Born in a family of artistes, she has been performing
Bharatnatyam since 23 years.

She specializes in choreographing Bharatnatyam with
intensive techniques to break the barriers between Indian
Classical Dance & the society. Currently, she is the Artistic
Director of Kalakruti Dance Company (Estd.1985) by her
mother & Guru Dr. Rekhashri Desai.

She has received the opportunity to perform in the presence of
our Prime Minister Mr. Narendra Modi at Delhi 2016. She has
also performed at Kalaghoda Fest, Mumbai with Jayantimala
Didi(daughter of Sitaradevi) 2015.

A QCI Cetrified Yoga Teacher and Sri Sri Yoga Teacher and
also a renowned Neuro Linguistic Programmer Practitioner.

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Introduction

Dance originally started from lord Shiva. There are
three great God namely Brahma, Vishnu, Mahesh.
Bramah’s work to produce, Vishnu's work is to look
after and Mahesh’s work to destroy. Whenever
there was an increase in the sins of the world, Lord
Shiva used to get angary and perform dance
which came to be know as Tandav. To cool down
anger of Shiva, Goddess Parvathi used to do the
Lasya. This was how dance was introduced to the
world.

Later its was introduced in the royal courts of the
kings as form of entertainment. They kept these
dancers as teachers especially to teach their
queens and other ladies. The Mugal period highly
appreciated the kathak dance.

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History of Bharatnatyam

Historically Bharat Natyam has been the most common national and
classical dance from of india whose principle and technique has
been systematized and coded about 3500 years ago by sage
Bharata in his Natya Shastra and their ancient treaties has been
followed by most of the writers and practitioners in the later centuries
to the present day. There are eight main styles of Indian classical
dance. Bharatnatyam, Oddisi, Manipuri, Kathak, Kuchipudi,
Kathakali, Mohiniattam and Sattriya . Bharatnatyam is the classical
dance style practiced in South India in Tamil Nadu. The present form
of Bharatnatyam as practiced today was set in particular order about
a century ago.

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Shiva’s Pose (Natraj)

 First right hand is for blessing.

 First left hand is pointing to the pointed foot
of the left leg which direct “Moksha”.

 Second right hand is for Damru (First sound
of universe).

 Second left hand is for fire (light of
Knowledge).

 He stands on demon named ‘Mayuka’ that
indicate that he is the destroyer of evil.

 There is snake around his neck named as
‘Vasuki’ which indicate purity and alertness.

 He dance in a circle of fire which indicates
life-death cycle.

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GURU PURNIMA

 Guru Purnima (Poornima) is a tradition dedicated to all the spiritual and
academic Gurus, who are evolved or enlightened humans, ready to share
their wisdom with very little or no monetary expectation, based on Karma
Yoga.

 It is celebrated as a festival in India, Nepal and Bhutan by the Hindus, Jains
and Buddhists, to revere their chosen spiritual teachers / leaders and express
their gratitude.

 The festival is celebrated on the full moon day (Purnima) in the Hindu month
of Ashadha (June–July) as it is known in the Hindu calendar.

 It is also known as Vyasa Purnima marks the birthday of Ved Vyasa.
 In Kalakruti Dance Academy, every year we perform Guru Purnima, and seek

blessings of the Gurus, do havan and meditation.

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Forms of Dances

NRITYA : Pure Classical dance is called Nritya e.g.
Kathak, Bharatnatyam, Manipuri, Kathakali,
Oddisi, Kuchipuri and Mohiniattam.

NATYA : Dance based on story or Drama is called
Natya e.g. Dance Balley.

NRITTA : This simply refers to movements of lips
along facial expressions.

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Types of Dances

TANDAV : The Tandav is the vigorous and forceful dance.
LASYA : Lasya is the softer and graceful dance.

Types of Speeds

There are mainly three speeds:
Vilambit (Slow)
Madhya (Medium)
Drut (Fast)

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Types of Body Parts

ANG : All major part of the body are known as Ang.
e.g. Head, Legs, Hands, Chest etc

PRATYANG : All minor parts of the body are known as
Pratyang. e.g. Neck, Elbow, Wrist, Nose etc

UPANG : All smallest parts of the body are known as
Upang. e.g. Fingers, Eyes, Lips, Eyebrows etc.

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HAND GESTURES

Each of the HASTAS/MUDRAS can be used to denote various thoughts,
ideas and objects.

There are mainly 2 types of Hastas:
• ASAMYUTA HASTA: These are One Hand Gestures.
• SAMYUTA HASTA: These are Two Hand Gestures.

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Asamyuta Hasta (One Hand Gestures)

PATAAKA TRIPATAAKA ARDHAPATAAKA KARTARI MUKHA

MAYURA ARDHA CHANDRA ARAALA SHUKA TUNDSaAachi Dhumal | 14

Asamyuta Hasta (One Hand Gestures)

MUSHTI SHIKHARA KAPITHA KATAKAA MUKHA

MUSHTI SHIKHARA KAPITHA KATAKAA MUKHA

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Asamyuta Hasta (One Hand Gestures)

MUSHTI SHIKHARA KAPITHA KATAKAA MUKHA

SUCHI CHANDRAKALA PADMAKOSHA SARPASHSaEaEchRi SDHhuAmal | 16

Asamyuta Hasta (One Hand Gestures)

MRUGASHEERSHA SIMHAMUKHA KANGU LAKSHA ALAPADMA

CHATURA BHRAMARA HAMSASYA HAMSAPAKSHA

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Asamyuta Hasta (One Hand Gestures)

SAMDAMSHA MUKULA TAMRACHOODA TRISHOOLA

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SAMYUTA HASTA(Two Hand Gestures)

ANJALI KAPOTHA KARKATA SWASTIK HASTA

DOLA HASTA PUSHPAPUTA UTSANGA

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SAMYUTA HASTA(Two Hand Gestures)

SHIVALINGA KATAKAVARDHANA KARTAREE SWASTIKAHASTA SHAKATAM

SHANKHA CHAKRECHA SAMPUTA PASHASaachi Dhumal | 20

SAMYUTA HASTA(Two Hand Gestures)

KEELAKA MATSYA KURMA VARAHA

GARUDA NAGABANDA KHATAVA Saachi Dhumal | 21

SAMYUTA HASTA(Two Hand Gestures)

BHERUNDHA AVAITASTA TAIVACHA

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NATYA-KRAM

Yatho Hasta thatho Drishti,
Yatho Drishti thatho Manah.
Yatho Manah thatho Bhaava,
Yatho Bhaava thatho Rasa.

-Where the hand goes, eyes goes,
Where the eyes goes, mind goes.
Where the mind goes, expression comes,
When the expression comes, dance becomes graceful.

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NAVRAS

Theme are depicted by the dancer by Abhinayas and facial expressions. These facial
expression which evolve due to various feeling of human being can be termed as “RAS”.

The 9 feeling of human beings are called “NAVRAS”

 Adbhut Ras
 Vebhista Ras
 Veer Ras
 Hasya Ras
 Shringar Ras
 Rudra Ras
 Bhayanak Ras
 Shant Ras
 Karunya Ras

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Adhbut Ras NAVRAS Veera Ras

Vibhitsa Ras

Adbhut means “Surprised” Vibhitsa means “ Feeling of Veera Means “Act of Bravery”
Unpleasant”
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Haasya Ras NAVRAS Rudra Ras

Shringar Ras

Haasya means “Feeling of Shringar means “ Beautifying Rudra Means “Feeling of Anger”
Joyness” Oneself”
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Bhayankar Ras NAVRAS Karuna Ras

Shant Ras

Bhayankar means Shant means “ Silence” Karuna Means “Pity or Sympathy”
“Frightened”
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Forms of Classical Dances

BHARATNATYAM
KATHAK
KATHAKALI
KUCHIPUDI
SATTRIYA
MANIPURI
MOHINIYATTAM
ODDISI

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Bharatnatyam

 Bharatanatyam is a classical
Indian dance form originating in Tamil
Nadu India. One of the oldest of the
classical dance forms in India.
Bharatanatyam is usually accompanied
by the classical music. It has its
inspirations from the sculptures of the
ancient temple of Chidambaram.

 Bharatanatyam, as the name depicts is
the combination of: BHA- Bhava
(Expression), RA- Raga (Music) and TA-
Tala (Rhythm), NATYAM (DANCE).
Bharatanatyam is a traditional dance-
form known for its grace, purity,
tenderness, and sculpturesque poses.

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Kathak

▪ Kathak is one of the eight major forms of Indian
classical dance. The origin of Kathak is traditionally
attributed to the Kathakars or storytellers. The term
Kathak is derived from the
Vedic Sanskrit word Katha which means "story",
and Kathakar which means "the one who tells a
story“.

▪ Kathak dancers tell various stories through their hand

movements and extensive footwork, their body

movements and flexibility but most importantly

through their facial expressions. Kathak evolved

during the Bhakti movement, particularly by

incorporating the childhood and stories of the Hindu

god Krishna, as well as independently in the courts of

north Indian kingdoms. Kathak is unique in having

both Hindu and Muslim gharanas and cultural

elements. Saachi Dhumal | 30

KATHAKALI

 The fully developed style of Kathakalī originated
around the 17th century, but its roots are in the
temple and folk arts.

 A Kathakali performance, like all classical
dance arts of India, synthesizes music, vocal
performers, choreography and hand and facial
gestures together to express ideas. However,
Kathakali differs in that it also incorporates
movements from ancient Indian martial arts and
athletic traditions of South India.

 Kathakalī also differs in that the structure and
details of its art form developed in the courts
and theatres of Hindu principalities.

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KUCHIPUDI

 Kuchipudi is one of the eight major Indian
classical dances . It originated in a village
named Kuchipudi in the Indian
state of Andhra Pradesh.

 Kuchipudi is a dance-drama performance,

with its roots in the ancient Hindu Sanskrit

text of Natya Shastra.

 Kuchipudi largely developed as a Hindu

god Krishna

oriented Vaishnavism tradition, and it is

most closely related to Bhagavata Mela.

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SATTRIYA

 Sattriya is a dance-drama performance art with
origins in the Krishna
centered Vaishnavism monasteries of Assam, and
attributed to the 15th century Bhakti
movement scholar and saint Mahapurush
Srimanta Sankardev.

 The themes played are related to Lord Krishna,
sometimes other Vishnu avatars such as Rama
and Sita and stories from epics like Mahabharata
and Ramayana are also referred to.

 It is to be mentioned that the philosophic religion
of Mahapurush Srimanta Sankaradeva was on the
basis of the Vedanta, Bhagavad Gita and the
Bhagavad Puran, so there is no presence of
Radha in Sattriya dance presentations.

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MANIPURI

 Manipuri dance , also known as Jagoi, is one of the
major Indian classical dance forms, named after
the region of its origin – Manipur, a state in
northeastern India.

 It is particularly known for its
Hindu Vaishnavism themes, and exquisite
performances of love-inspired dance drama of
Radha-Krishna called Raslila. Manipuri dance is a
religious art and its aim is the expression of spiritual
values.

 Aspects of this performance art is celebrated
during Hindu festivals and major rites of passage
such as weddings among the Manipuri people,
particularly in the ethnic majority of Meitei people.

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MOHINIYATTAM

 Mohiniyattam, is one of the famous classical
dances of India that developed in Kerala.
Mohiniyattam dance gets its name from the
word Mohini – a historical enchantress avatar of
the Hindu god Vishnu, who helps the good prevail
over evil by developing her feminine powers.

 Mohiniyattam's roots, like all classical Indian
dances, are in the Natya Shastra – the ancient
Hindu Sanskrit text on performance arts. However,
it follows the Lasya style described in Natya
Shastra, that is a dance which is delicate, eros-
filled and feminine.

 It is traditionally a solo dance performed by
women after extensive training. The dance
includes music in the Carnatic style, singing and
acting a play through the dance.

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ODISSI

 Odissi, is a major ancient Indian classical dance that
originated in the Hindu temples of Odisha – an eastern coastal
state of India. Odissi, in its history, was performed
predominantly by women, and expressed religious stories and
spiritual ideas, particularly of Vaishnavism (Vishnu
as Jagannath), to Hindu gods Shiva and Surya, as well as
Hindu goddesses.

 Odissi is traditionally a dance-drama genre of performance

art, where the artist(s) and musicians play out a mythical story,

a spiritual message or devotional poem from the Hindu texts,

using symbolic costumes, body

movement, abhinaya(expressions) and mudras set out in

ancient Sanskrit literature.

 An Odissi performance repertoire includes
invocation, nritta (pure dance), nritya (expressive
dance), natya (dance drama) and moksha (dance climax
connoting freedom of the soul and spiritual release).

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Dashavatara

The Dashavatara refers to the ten primary incarnations (avatars)
of ”Vishnu” the Hindu god.
The ten incarnations are as follows.
o Matsya
o Kurma
o Varaha
o Narasimha
o Vamana
o Parshurama
o Rama
o Balarama
o Buddha
o Kalki

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MATSYA

“Matsya” is the fish avatar of the Hindu god Vishnu.
Often described as the first avatar of Vishnu's ten
primary avatars. In this appearance Vishnu saved the
world from a great flood.

Manu, the first man, caught a little fish that grew to giant
size. When the flood approached, Manu saved himself
by tying his boat to the horn on the fish’s head.

Matsya may be depicted either in animal form or in a
combined human-animal form, with the man as the
upper half and the fish as the lower half. Matsya is
generally represented with four hands—one holding
the conch shell, one holding the discus (chakra), one in
the pose of conferring a boon (varada mudra), and one
in the protection-affording pose (abhaya mudra).

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KURMA

“Kurma” is the tortoise avatar of the Hindu god
Vishnu. In this incarnation Vishnu is associated with
the myth of the churning of the ocean of milk.
The gods and the asuras (demons) cooperated in
the churning to obtain ”amrita”, the elixir of
immortality. The great snake Vasuki offered himself
as a rope, and Mount Mandara was torn out for use
as a churning stick.
A firm foundation was required to steady the
mountain, so Vishnu took the form of a tortoise and
supported the churning stick on his back.

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VARAHA

“Varaha”, is the boar avatar of the Hindu god
Vishnu third of the 10 incarnations (avatars) of
the Hindu god Vishnu.
When a demon named Hiranyaksh dragged the
earth to the bottom of the sea, Vishnu took the
form of a boar in order to rescue it. They fought for
a thousand years. Then Varaha slew the demon
and raised the earth out of the water with his tusks.

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NARASIMHA

“Narasimha”, is one who incarnates in the form of part lion and
part man to destroy evil and end religious persecution and
calamity on Earth.

The demon is powerful brother of evil Hiranyaksha who had been
previously killed by Vishnu, who hated Vishnu for killing his
brother. Hiranyakashipu gains special powers by which he could
not be killed during the day or night, inside or outside the house
,any place in the world i.e. neither in sky nor on land nor in heaven
nor in pataal lok, by any weapon, and by man ,god ,asura or
animal.[Endowed with new powers, Hiranyakashipu creates chaos,
and threatened all devotees of Vishnu including his own son
“Prahlada”.

Vishnu understands the demon's power, then creatively adapts
into a mixed avatar that is neither man nor animal and kills the
demon at the junction of day and night, inside and outside.
Narasimha is known primarily as the 'Great Protector' who
specifically defends and protects his devotees from evil.

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VAMANA

“Vamana”, is the dwarf avatar of the Hindu god Vishnu. The dwarf
Vamana made his appearance when the demon king Bali ruled the
entire universe and the gods had lost their power.

One day Vamana visited the court of Bali and begged of him as
much land as he could step over in three paces. The king laughingly
granted the request. Assuming a gigantic form, Vamana with one
step covered the whole earth, and with the second step the mid-
world between earth and heaven. As there was nowhere left to go,
the demon king lowered his head and suggested Vamana place
his foot on it for the promised third step. Vamana was pleased, and
with the pressure of his foot sent Bali down below to rule the
netherworld.
Vishnu took three strides, with which he measured out the three
worlds: earth, heaven, and the space between them, so he is also
known as Trivikrama (“God of the Three Strides”).

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PARASHURAMA

“Parashurama”is the sixth avatar of Vishnu and he is one of the
chiranjeev’s who will appear at the end of the Kali yuga to be the
guru of Vishnu’s tenth and last avatar Kalki.
Like other incarnations of Vishnu, he was foretold to appear at a
time when overwhelming evil prevailed on the earth. The Kshatriya
class, with weapons and power, had begun to abuse their power,
take what belonged to others by force and bully people.
Parashurama corrects the cosmic equilibrium by destroying
these Kshatriya warriors.

Parashurama is also the Guru of Bhishma, Dronacharya,
and Karna.

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RAMA

Rama also known as Ramachandra is a major deity of Hinduism. He is
the seventh avatar of the god Vishnu.

Rama was born to Kaushalya and Dasharatha in Ayodhya, the ruler of
the Kingdom of Kosala. His siblings included Lakshmana, Bharata,
and Shatrughna. He married Sita. Though born in a royal family, their life
was challenged by unexpected changes such as an exile into
impoverished and difficult circumstances, with 14 years of exile.

Of all their travails, the most notable is the kidnapping of Sita by demon-
king Ravana, followed by the determined and epic efforts of Rama and
Lakshmana to gain her freedom and destroy the evil Ravana against
great odds. The entire life story of Rama, Sita and their companions
discusses duties, rights and social responsibilities of an individual.
It illustrates dharma and dharmic living through model characters.

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BALARAMA

“Balarama” is the eighth avatar of Lord Narayana. This avatar
took place between Ram avatar and Krishna avatar as elder
brother of Sri Krishna. He is regarded as incarnation of
Seshanag.
He is considered God of farmers and even today farmers in
India worship Balarama with his plough before undertaking
important tasks related to farming.
If Krishna is the creator, Balarama is considered as creative
energy.

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BUDDHA

“Gautama” is the ninth incarnation of Lord Vishnu.
He name was “Siddhartha” and was born into a wealthy family as
a prince in present-day Nepal. Although he had an easy life,
Gautama was moved by suffering in the world.
He decided to give up his lavish lifestyle and endure poverty. When
this didn’t fulfill him, he promoted the idea of the “Middle Way,”
which means existing between two extremes. Thus, he sought a life
without social indulgences but also without deprivation.
After six years of searching, Buddhists believe Gautama found
enlightenment while meditating under a Bodhi tree. He spent the
rest of his life teaching others about how to achieve this spiritual
state.
Siddhartha Gautama, the founder of Buddhism who later became
known as
“The Buddha”

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KALKI

“Kalki” is the tenth avatar of the Hindu God Vishnu.
His birth was the end of the Kali Yuga, the final of the four eras
(Satya Yuga, Treta Yuga, Dvapara Yuga, and Kali Yuga), in the
endless cycle of existence within Hinduism. This was
subsequently a start of new cycle with Satya Yuga.
He is described in the Puranas as the avatar who rejuvenates
existence by ending the darkest and destructive period to
remove adharma and ushering in the Satya Yuga, while riding a
white horse with a fiery sword.

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INSTRUMENTS USED IN BHARATNAYTAM

MRIDANGAM
NADASAWARAM
VOILIN
VEENA
FLUTE
NATTUVNAGAM
GHATAM

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INSTRUMENTS USED IN BHARATNAYTAM

MRIDANGAM NADASWARAM VOILIN VEENA

NATTUVANGAM GHATAM FLUTE

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ARANGETRAM

Arangetram is the debut on-stage performance of a former student of Indian
classical dance and music. This first performance follows years of training and many
Indian classical dance forms perform an Arangetram once the time has come for a
disciple. In Tamil and Malayalam, “Arangu” means stage and “Ettam” means rising
or climbing.
The word Arangetram is from the Tamil language and means ascending the stage
by a dancer on the completion of formal training. The dancer can now move
forward and pass on the art form to other aspiring learners of the art.
Arangetram is an old tradition, which marks the pathway for a dancer to then
perform alone or be able to give training to other dancers. Once a dancer has
completed training they should have an understanding of classical music and the
many aspects of dancing.

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