10 Minutes with Shantha : Chapter 14 Summary - Adavus

Chapter 14 : Adavus - Shall We Dance

In this Chapter Shantha explores and explains about Adavus, the fundamental steps in Bharatanatyam, combining rhythmic footwork, hand gestures, and body movements.

She explains that Adavus are the building blocks for choreography, enabling dancers to master balance, precision, and grace.

Practicing Adavus develops coordination, posture, and stamina, forming the foundation for advanced sequences like jathis and varnams.

Each Adavu is performed in specific rhythmic cycles, deepening the dancer’s understanding of tala (rhythm). They also improve focus and discipline, essential for expressing emotions (abhinaya) effectively.

Adavus connect technique with artistry, allowing seamless storytelling. Without Adavus, Bharatanatyam’s elegance and complexity would be incomplete.

They are crucial for transforming students into skilled performers.

Episode Transcript

(00:00):
Chapter 14 is about adabhus. This chapter focuses on the fundamental building blocks of

(00:07):
Bhartanathim known as adabhus. These are the basic units of movement that form the foundation
of the dance, integrating rhythm, footwork, hand gestures and body postures.
Abhinaya Dharpana, the author Nandikeshwara, contain detailed descriptions of foot movements,

(00:28):
standing postures and dance reputwa. The format is composed in poetry padya form using meters
like anushtupachand, shraddhara, shardhula vikritth, facilitating memorization and recitation.
The key principle is wherever the hand goes, there the eyes should follow.

(00:53):
Definition of adabhu. An adabhu is the basic rhythmic unit within a specific tempo and
time structure involving composite movements pertaining to nrita which is a pure dance.
Adabhus serve as the alphabets of Bhartanathim, creating the framework for complex sequences

(01:15):
and expressions. The components of adabhus include,
Sannakas which are leg and feet postures, Mandalas which are standing postures, Charis,
body movements and Hastamudras which are hand gestures.
Sannakas which are the standing postures has about six. One, the first one being samapadam

(01:42):
where the feet together standing straight using, used in offering Pushpangali and depicting
Devarupa. Ekapadam which are standing on one leg, the other foot across the knee used
to show motionless positions and penises. Nagabandha, the twisted leg and hand posture

(02:05):
depicting snakes requiring fluidity and grace. Aindram, where bent leg with the other foot
onto the knee representing Lord Indra or kings. Garuda, why it stands with hands forming
a circle mimicking Garuda the king of birds. Bhamma, Padmasana which are cross leg sitting

(02:32):
posture used for meditation and chanting. Coming to Mandala Vedas which are the variations
of standing postures. There are about nine which starts with Ayatana, Alida, Pringhana
and so on. Charis are the lower limb movements. There are four types of Charis. There are

(02:58):
dynamic movements, Bhumi Charis, Akasha Charis and biomechanics. Bhumi Charis, there are
about sixteen of them which goes like Sampada, Siddhavrata, Shattasya and so on. Akasha Charis

(03:20):
are about sixteen which goes like Atikranta, Apakranta and so on. Hastamudras which are
the hand gestures. There are fifty two mudras divided into twenty eight single handed Asamuta
and twenty four double handed which are Samyuta gestures. The usage is essential for storytelling

(03:45):
adding aesthetic dimension in both Dhrita and Dhritya segments. The body maintenance,
strength and stamina which are essential for executing intricate movements. Flexibility
allows for a wide range of motion. Balance and posture, core strength and crucial for

(04:09):
balance. Injury prevention, proper conditioning reduces the risk of injuries. Endurance necessary
for rigorous practices and performances. Mental well-being is the physical fitness contributes
to mental resilience. The fundamental concepts include Anga Shuddha which is the purity of

(04:35):
body parts, technical excellence in movements, ensures elegance, symmetry and alignment.
Tal Shuddha which is purity of rhythm, maintaining rhythmic integrity ensures movements sync
perfectly with musical beats. History and pedagogy, Adavu system track back to Ganga

(05:01):
Muttu Natuvanar with various styles like Valhur, Kalakshetra, Tanjavur, Pandanalur
and Mysore. Three column practice show slow, medium and fast. So in conclusion the chapter
provides a comprehensive overview of Adavu's highlighting their critical role in Bharatnatyam.

(05:28):
The detailed expression of movements, postures and their significance underscores the intricate
and disciplined nature of this classical dance form. Proper understanding and practice of
Adavu's lay the foundation of mastering Bharatnatyam, ensuring technical proficiency

(05:48):
and exclusive depth.