10 Minutes With Shantha : Chapter 11 Summary - Namaskar

Shall We Dance - Chapter 11 - Namaskar

Narrated by Shantha Lakshmi.

This chapter explores the foundational elements of Bharatanatyam, focusing on Namaskar and Adavus as vital components.

Namaskar, a salutation rooted in tradition, signifies reverence to the divine, the guru, and the audience through symbolic gestures and spiritual consciousness. Adavus, the basic dance units, integrate posture, rhythm, and hand gestures, fostering technical skill and artistic coordination.

Various types of Adavus, such as Tatta, Natta, and Mettu, are described with their unique rhythmic patterns and movements. The importance of Anga Shuddha (body alignment) and Tala Shuddha (rhythmic precision) is emphasized.

Postures like Samapadam, Araimandi, and Muzhumandi provide balance and visual appeal. Stylized walking movements (Charis) and expressive hand gestures (Hasta Mudras) enrich the dance vocabulary. Overall, the chapter establishes a strong foundation for understanding Bharatanatyam's technical and expressive nuances.

Episode Transcript

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Chapter 11 dwells deeper into the foundational elements of Bhartanatyam, a classical Indian

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dance form. It builds on previous chapters that explode the origins, history, essence
and theoretical aspects of Bhartanatyam. The focus here is on understanding the nuances
of the dance form starting with Namaskar and Adavu. Bhartanatyam concepts Bhava Bh is an expression,

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R Raga is a music, Ta Ta La is the beats and Natya is the dance. Bhartanatyam harmoniously
combines expression, music, beats and dance to create a complete artistic experience.

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Each dance lesson begins and ends with a salutation called Namaskar.
What is Namaskar? Namaskar in the traditional roots, Namaskar
derived from Namaha to Bo or Pei Homej is a profound act of respect towards the divine,

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the guru, the teacher and the audience. Symbolic meaning, it involves specific gestures starting
with Anjali Mudra where the palms together at heart center and extending to forehead,
chest and thighs symbolizing reverence and divine presence.

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Emotional expression, it conveys various emotions through hand gestures, body postures
and facial expression establishing a connection with the audience and fellow dancers. Spiritual
significance acknowledges the divine presence within oneself, the guru and the audience

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enhancing the dancer's performance and spiritual consciousness.
What are different posture and adavus? Posture, a frozen position of the body providing balance
and alignment forming the foundation of Bhartanatyam. Adavus, basic dance units or steps combining

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sthanakas, leg and feet postures, mandalam, standing posture, chari's which are the body
movements and hastamudra which are the hand gestures. Adavus are practiced to develop
technical skills, coordination and overall mastery.
There are different types of adavus, the first one, tattha-davus, eight steps with the syllabus

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tayyatay and taytay tam. Nattaravu, eight steps with syllabus like tayyum tattha and
tayyum. Metadavus, steps involving crossing and tapping feet with precise movements. Natay
adavu, delicate gentle foot movements creating a flowing quality. Kuditta metadavu, jumping

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and striking heels on the floor performed in aramandi position. Tattay tayy, tam adavus,
combination of steps creating rhythmic patterns. Tattha metadavu, involves tapping and connecting
heels used in jatisvarams and tilanas. Mandi adavus performed with bent knees in three

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speeds. Tirmana adavus, two step movements with specific
rhythmic syllabus. Kutt adavu, forceful footwork with stamping, striking and kicking. Naday
adavus are the variations in rhythmic patterns like chathurasram, thisram, kandam and mishram.

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Importance of Angashuddhi and Talashuddhi. What is Angashuddhi? It emphasizes correct
body alignment, precise hand gestures, refined facial expressions, clean footwork, fluid
body movements and abdominal control. Talashuddha focuses on maintaining rhythmic structure,

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clarity in beats, proficiency in rhythmic patterns, internal pulse and coordination
with music. Now what are Sthanakas? These are the standing postures. Samapadam, which
is a basic posture with feet together and aligned body. Aramandi is half sitting posture

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with heels together and toes pointed outward forming a diamond shape.
Mudamandi, complete sitting position with feet in Aramandi alignment, thigh stretched
in opposite direction. Mandalam refers to spatial arrangement and
formation created by the dancer's movements on stage, enhancing visual appeal and composition

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through group and solo formations, proper alignment of body parts and effective use
of space. Charis are the stylized walking movements. Sampadacharis, balanced walking
with equal weight on both feet. Mandalacharis are the circular walking patterns. Mayuracharis

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imitates peacock giant symbolizing beauty and elegance.
Ali-dacharis, elegant flowing walking the one foot in front of the other.
The different hastamudras are the hand gestures. Asamyutamudras or Asamyutahastas is a single

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hand gestures with 28 variations each conveying specific meanings and emotions. Samyutahastas
combined hand gestures with 24 variations providing a broader range of expressive possibilities.
So in conclusion, this chapter lays the groundwork for understanding the basic elements of Bhartanatyam,

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focusing on Namaskar and Adavu's. These fundamental components are essential for developing technical
proficiency, artistic expression and a deep connection with the dance form. This chapter
sets the stage for further exploration of Bhartanatyam's intricate aspects in subsequent

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chapters.