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Directors-Kalishwaran Pillai 9870671119 & Jenita Pillai 8600799551

Affiliated to
AKHIL BHARATIYA GANDHARVA MAHAVIDYALAYA MANDAL
NOTES FOR BHARATANATYAM
Madhyama Poorna (LEVEL -5)

Students Name ____________________

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1. History of bharatanatyam

From Dasi Attam to Bharatanatyam

The term Bharatanatyam today identifies a particular style of dance. Historically,

what we know as Bharatanatyam today, springs from dasi attam, also known by
names like Chinna Melam, or simply, Sadir. The term Sadir began with the
Maratha rulers of South India in the 17th century. A more honorable role of the
dance is evoked by the name Dasi Attam, the dance of the devadasis as a part of
temple worship.
A devadasi, whose name means servant (dasi) of divinity (deva), was an artist
dedicated to the services of a temple. The dance of the devadasi was integral to
the ritual worship. Devadasi families specialized in the arts of music and dance,
and with the nattuvanars (dance masters), they maintained these traditions from
generation to generation, supported by royal patronage. Thus the dance tradition
survived in South India, patronized by kings and maintained by
the devadasi system.
An important milestone happened in the late 18th century, at the hands of four
brothers known as the Thanjavur quartet. They were the four sons of
the nattuvanar Subbarayan: Chinnayya, Ponnayya, Vadivelu, and Sivanandam.
They also refined the music of Bharatanatyam. These developments
shaped Sadir into the precursor of what we call Bharatnatyam today.
Under the British rule, propaganda prevailed against Indian art, misrepresenting it
as crude, immoral, and inferior to the concepts of Western civilization. This
influence was pervasive enough to dissuade the patronage of royal courts for
ritual temple dances, and to alienate educated Indians from their traditions.
The devadasi system declined. Most were forced to seek the patronage of
ordinary wealthy people, becoming mere dasis, and in some cases prostitutes.
This in turn diminished the reputation of the devadasis as a community. Even the
terms by which the dance was known – Sadir, Nautch, Dasi Attam, and so on –
took on derogatory connotations.
In the late 19th and early 20th centuries, social reformers under Western influence
took advantage of these circumstances, launching an Anti-Nautch campaign to
eradicate not only the prostitution that had come to be associated with devadasis,
but the art itself, condemning it as a social evil. By the first quarter of the 20th
century, the classical dance of South India was almost wiped out, even in Tamil
Nadu.

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Pioneers, Famous artists and their contribution

Against all odds, a few families preserved the knowledge of this dance tradition.
Its revival involved individuals from different backgrounds: Indian freedom fighters,
Westerners interested in Indian arts, people outside the devadasi class who learnt
Bharatanatyam and devadasis themselves. Everyone working with classical
Indian dance today owes a debt of gratitude to these individuals, without whose
efforts Bharatanatyam may have been lost.
E. Krishna Iyer was a freedom fighter and lawyer who also had learnt
Bharatanatyam. He would perform it in female costume to remove the stigma
associated with the dance, and campaigned to raise public interest in the art. He
also played a role in founding the Music Academy in Madras (now Chennai), and
used its platform to present Bharatanatyam performances by devadasis.
Bharatanatyam now attracted young artists from respectable Brahmin families.
Initially met with shock, their participation ultimately helped to shift public opinion
in favor of reviving the art. Two such women were Kalanidhi Narayanan of
Mylapore and Rukmini Devi of Adyar.
Also during this time, Western luminaries like the ballerina Anna Pavlova were
taking interest in the artistic heritage of India, while the spiritual heritage of India
was being promoted by Westerners in the Theosophical movement.
Balasaraswati promoted the traditional art of the devadasis, maintaining that
reforms were unnecessary and detracted from the art. Staying true to
her devadasi lineage, she achieved great renown for her excellence.
Rukmini Devi’s debut performance in 1935 was a milestone. Her efforts won over
much of the orthodox community of Madras. Her reforms of costume, stage
setting, repertoire, musical accompaniment, and thematic content. She went on to
found the Kalakshetra institute, to which she attracted many great artists and
musicians, with whom she trained generations of dancers.

The renewed awareness of Bharatanatyam in Indian society allowed

many nattuvanars to resume their training activities, and many artists to enter the
field of classical dance. A diversity of styles like Pandanallur, Vazhuvur, and
Thanjavur, named for the villages from which the nattuvanars came, became
recognized.
Bharatanatyam soon became the most widespread and popular of the Indian
classical dance forms. It wasn’t long before it achieved international recognition as
one of India’s treasures.
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The Devadasi Tradition

The history and practice

The definite origin of Devadasi tradition is unknown to history. But the connection
of dancing girls with temples is said to have developed during the 3rd century AD.
The mention of such dancing girls is found in the Meghadūta of Kālidāsa, a
classical poet and Sanskrit writer of the Gupta Empire in ancient India. Other
sources include the works of authors such as Xuanzang, a Chinese traveller,
and Kalhana, a Kashmiri historian. According to rules concerning temple worship,
(Agamas), dance and music are necessary ingredients of daily puja of deities in
temples. From the late medieval period until 1910, the Pottukattu or tali-
tying dedication ceremony, was a widely advertised community event requiring the
full cooperation of the local religious authorities. It initiates a young girl into the
Devadasi profession and is performed in the temple by the priest.
In the sadanku or puberty ceremonies, the Devadasi-initiate begins her marriage
with an emblem of the god borrowed from the temple as a stand-in 'bridegroom'.
From then onward, the Devadasi is considered a nitya sumangali: a woman
eternally free from the adversity of widowhood. She would then perform her ritual
and artistic duties in the temple. The puberty ceremonies were an occasion not
only for temple honor, but also for community feasting and celebration in which
the local elites also participated.
An inscription dated to the 11th century suggests that there were 400 dancers,
along with their gurus and orchestras, were maintained by the Brihadeesvarar
temple, Thanjavur, with munificent grants, including the daily disbursement of oil,
turmeric, betel leaves and nuts. Nattuvanars were the male accompanists of the
Devadasi during her performance. They conducted the music orchestra while the
Devadasi performed her service. Inscriptions reveal that Nattuvanars were used to
teach the Chola princess, Kuntavai, a thousand years ago.
The Chola empire encouraged the Devdasi system; in Tamil they are known as
Devar Adigalar, ("Dev" means "Divine" and "Adigalar" "Servants", i.e. "Servants of
the Divine"). Both male and female Devadasi were dedicated to the service of a
temple and its deity. They developed the system of music and dance employed
during temple festival.

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Similarly, there were 500 Devdasi at Someshwer shrine of Gujarat. Between the
6th and 13th centuries, Devadasi had a high rank and dignity in society and were
exceptionally affluent, who were seen as the protectors of music and dance.
During this period, royal patrons provided them with gifts of land, property and
jewellery.
Unlike in other parts of India, in the eastern state of Odisha there were the
Devadasis, also known colloquially as Mahari(s) of the Jagannath temple
complex. It is said that the daughters of the Maharis of the Jagannath temple took
to other professions such as nursing in the mid-20th. Devadasi is a name given to
a group of women who danced in the temple premises. The word devadasi or
mahari means "those great women who can control natural human impulses, their
five senses and can submit themselves completely to God (Vachaspati)." Mahari
means Mahan Nari that is, the woman belonging to God.
The Orissa Gazette of 1956 mentions some occasions where the Devadasis
danced. They had two daily rituals. The Bahara Gaaunis would dance at
the Sakaala Dhupa. Lord Jagannatha, after breakfast, would give Darshana to
the bhaktas (the devotees). In the main hall, a Devadasi accompanied by
musicians and the Rajaguru, the court guru, would dance, standing near
the Garuda stambha (pillar).This dance could be watched by the audience. They
would perform only pure dance here. The Bhitara Gaunis would sing at
the Badashinghara, the main ceremony for ornamenting and dressing the
God. Lord Jagannatha, at bedtime, would be first served by male Sebayatas- they
would fan Him and decorate Him with flowers. After they would leave, a Bhitara
Gaauni would then enter the room, stand near the door (Jaya Vijaya) and
sing Gita Govinda songs, and perhaps perform a ritualistic dance. After a while,
she would come out and announce that the Lord has gone to sleep and then the
guard would close the main gate.
In the state of Karnataka in the region of South India the devadasi system was
followed for over 10 centuries. Chief among them was the Yellamma cult.
After dedication of a girl to the temple, she has to take bath every day early in the
morning and should present herself at the temple during morning worship
of Yellamma. She is not allowed to enter the sanctum sanctorum. But she will bow
to the deity from outside. Thereafter she sweeps compound of the temple. Every
Tuesday and Friday she goes for yoga along with senior jogatis (yoga teachers).
During this period she learns innumerable songs in praise of Yellamma and her
son Parashurama

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Social status
Traditionally, no stigma was attached to a Devadasi or to her children, and other
members of their caste received them on terms of equality. The children of a
Devadasi were considered legitimate, and Devadasis themselves were outwardly
indistinguishable from married women of their own community.
Furthermore, a Devadasi was believed to be immune from widowhood and was
called akhanda saubhagyavati ("woman never separated from good fortune").
Since she was wedded to a divine deity, she was supposed to be one of the
especially welcome guests at weddings and was regarded as a bearer of good
fortune. At weddings, people would receive a string of the tali (wedding lock)
prepared by her, threaded with a few beads from her own necklace. The presence
of a Devadasi on any religious occasion in the house of an upper caste member
was regarded as sacred and she was treated with due respect, and was
presented with gifts.

The decline of devadasi tradition

The first legal initiative to outlaw the Devadasi system dates back to the 1934
which was Bombay Devadasi Protection Act. The Bombay Devadasi Protection
Act made dedication of women illegal, whether consensual or not. In 1947, the
year of independence in India, the Madras Devadasi (Prevention of Dedication)
Act outlawed dedication in the southern Madras Presidency. The Devadasi
system was outlawed in all of India in 1988, yet some Devadasis still practice
illegally.
The government of Odisha stated that the Devadasi system is not prevalent in the
state. In March 2015, a newspaper report said that the last devadasi, Sashimoni,
attached to Jagannath temple had died, bringing the curtain down on the
institution.
Similarly, the government of Tamil Nadu wrote that this system has been
eradicated and there are now no Devadasis in the state. Andhra Pradesh has
identified 16,624 Devadasis within its state and Karnataka has identified 22,941.
Bharatnatyam is commonly propagated as a very ancient dance tradition
associated with the Natyasastra. However, in reality, it is the treasure preserved
by Devadasi dance tradition that has been brought into the sophisticated
performance environment.

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Folk dances of India

• Santhal - Santhal is one of the most abundantly found tribes in India. A major
chunk of this tribe can be found in West Bengal and Jharkhand. Santhal tribe has
a rich cultural lineage and immense solidarity. Its members are basically the
devotees of 'Thakurji', the deity they believe created this world. They move to the
beats of music, to celebrate the glory of nature, raise a message and offer prayers
to the presiding deity of their tribe, through a dance known as Santhal dance.
The Santhal dance is considered to be one of the best tribal folk dances of India,
which offers immense vibrancy and cheerfulness. This dance is supposed to be a
replica of the folk dance of Madhya Pradesh. Santhal dance is generally
performed by both the men and women of the Santhali tribe. It often covers issues
related to gender and land rights.
While performing, the male Santhali dancers are dressed up in dhoti and make
use accessories, like turban, tree leaves, flowers and bushes, during the dance.
The dance is basically performed on special occasions. During the spring festival,
it is performed to the glory of nature. Santhali dance is accompanied with folk
music instruments like flutes, pipes, drums and cymbals.
• Lambadi- Lambadi is the folk dance of Telangana and Andhra Pradesh, which
originated at Anupu village. It is a dance form in which the tribal women dance in
harmony to the tunes of the drums played by the males. It is done to offer respect
to their God and worship for an excellent yield. Lambadis are basically semi-
nomadic tribes and they are now slowly but surely heading towards civilisation.
They are also known as Banjaras or Sengalis. Lambadi dance is restricted to the
tribal females and the participation of males is only on the odd occasion. For
performing Lambadi, tribal women dress in colourful costumes & jewellery. The
dance is motivated by actions connected with everyday tasks like harvesting,
planting and sowing. This dramatic traditional tribal dace is centuries old and
became more dramatic and colourful in the past few years.
• Garba - The word garba comes from the Sanskrit word for womb and so
implies gestation or pregnancy — life. Garba is a Gujarati folk dance celebrated
in Navratri, a celebration lasting nine nights. Traditionally, the dance is performed
around a clay lantern with a light inside, called a Garbha Deep ("womb lamp").
This lantern represents life, and the fetus in the womb in particular. The dancers

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thus honor Durga, the feminine form of divinity. Garba songs typically revolve
around the subjects of the nine goddesses.
Garba is performed in a circle as a symbol of the Hindu view of time. The rings of
dancers revolve in cycles, as time in Hinduism is cyclical. As the cycle of time
revolves, from birth, to life, to death and again to rebirth, the only thing that is
constant is the Goddess, that one unmoving symbol in the midst of all of this
unending and infinite movement. The dance symbolizes that God, represented in
feminine form in this case, is the only thing that remains unchanging in a
constantly changing universe (jagat).
The Garbha Deep has another symbolic interpretation. The vessel itself is a
symbol of the body, within whom Divinity (in the form of the Goddess) resides.
Garba is danced around this symbol to honor the fact that all humans have the
Divine energy of Devi within them. Garba is now appreciated worldwide.
Modern Garba is also heavily influenced by Dandiya Raas, a dance traditionally
performed by men. The merger of these two dances has formed the high-energy
dance that is seen today.
Both men and women usually wear colorful costumes while performing garba
and dandiya. The girls and the women wear Chaniya choli, a three-piece dress
with a choli, which is an embroidered and colorful blouse, teamed with chaniya,
which is the flared, skirt-like bottom, and dupatta, which is usually worn in the
traditional Gujarati manner. Chaniya Cholis are decorated with beads, shells,
mirrors, stars, and embroidery work, mati, etc. Traditionally, women adorn
themselves with jhumkas (large earrings), necklaces, bindi, bajubandh, chudas
and kangans, kamarbandh, payal, and mojiris. Boys and men wear kafni pyjamas
with a Ghagra - a short round kurta - above the knees and pagadi on the head
with bandhini dupatta, kada, and mojiris. There is a huge interest in Garba among
the youth of India and in particular, the Gujarati diaspora.
Bhangra- is a type of traditional dance of the Indian subcontinent, originating in
the Majha area of Punjab. The origins of traditional Bhangra are speculative.
According to Dhillon (1998), Bhangra is related to the Punjabi dance 'bagaa',
which is a martial dance of Punjab. The dance was associated primarily with the
spring harvest festival Baisakhi, and it is from one of the major products of the
harvest—bhang (hemp)—that bhangra drew its name. In a typical performance,
several dancers executed vigorous kicks, leaps, and bends of the body to the
accompaniment of short songs called boliyan and, most significantly, to the beat
of a dhol (double-headed drum). Struck with a heavy beater on one end and with
a lighter stick on the other, the dhol imbued the music with a syncopated (accents

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on the weak beats), swinging rhythmic character that has generally remained the
hallmark of any music that has come to bear the bhangra name.
The traditional form of Bhangra danced in the villages of Sialkot district is
regarded as the standard. Although the main districts where traditional Bhangra is
performed are in Punjab, Pakistan, the community form of traditional Bhangra has
been maintained in Gurdaspur district, India, and has been maintained by people
who have settled in Hoshiarpur, Punjab, India,after leaving what is now Punjab,
Pakistan. Traditional Bhangra is performed in a circle and is performed using
traditional dance steps. Traditional Bhangra is now also performed on occasions
other than during the harvest season and is popular in Pakistan.
According to Ganhar (1975), Bhangra has been imported into Jammu which is
danced on Baisakhi. Other Punjabi folk dances such as Giddha and Luddi have
also been imported into Jammu. Punjabi language influences can be observed
when people dance such dances. Jammu falls within the Punjab region and
shares an affinity with Punjab.
The 1950s saw the development of the free form traditional Bhangra in Punjab,
India, which was patronized by the Maharaja of Patiala, who requested a staged
performance of Bhangra in 1953. Free form traditional Bhangra developed during
stage performances which incorporate traditional Bhangra moves and also include
sequences from other Punjabi dances, namely, Luddi, Jhummar, Dhamaal, and
Gham Luddi. The singing of Punjabi folk songs, boliyan, are incorporated
from Malwai Giddha.

Lavani - According to a tradition, the word Lavani is derived from the

word lavanya which means beauty. Traditionally, this genre of folk dance deals
with different and varied subject matters such as society, religion and politics.
Originally, it was used as a form of entertainment and morale booster to the tired
soldiers. Lavani Songs, which are sung along with dance, are usually naughty and
erotic in nature. It is believed their origin is in the Prakrit Gathas collected by Hala.
The Nirguni Lavani (philosophical) and the Shringari Lavani (sensual) are the two
types. The devotional music of the Nirguni cult is popular all over Malwa. Lavani
developed into two distinct performances, namely Pahadachi Lavani and
Baithakichi Lavani. The Lavani sung and enacted in a public performance before a
large audience in a theatrical atmosphere is called Pahadachi Lavani. And, when
the Lavani is sung in a closed chamber for a private and select audience by a girl
sitting before the audience, it came to be known as Baithakichi Lavani

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The ladies who perform lavani wear a long sari length around 9 metres known as
the Nauvari. They form a bun (juda) with their hair. They wear heavy jewellery that
includes necklace, earrings, payal, kamarpatta (a belt at the waist), bangles etc.
They usually put a large bindi of dark red color on their forehead. The sari is
wrapped and is more comfortable as compared to other sari types.
There are also men that dance in lavni along with the ladies. They are the called
nat (male dancer). These men dance in support with the lead dancer.
Although the beginnings of Lavani can be traced back to 1560's, it came into
prominence during the later days of the Peshwa rule. Honaji Bala
introduced tabla in place of the traditional dholki. He also developed
the baithakichi Lavani, a subgenre, which is presented by the singer in the seated
position.
Shringar Lavani is mostly sung and danced on the stage by a female and written
by male. Marathi films played an important role in making the Lavani genre
accessible to masses. Movies such as Pinjara and Natarang not only attempted to
blend traditional music with social messages but also helped portray Lavani world
in positive light
Kummi – The southern state of Tamil Nadu is home to many tribal communities
like the Todas, the Kotas, the Badagas, the Irulas and the Kurumbas who resides
mainly in the district of Nilgiris. These tribal people used to engage in various form
of folk dances as part of their religious ceremonies or at times to take a leisure
hour from work. Kummi dance is one such engaging folk dance performed by the
villagers and tribal community of Tamil Nadu. The dance revolves around the daily
lives of villagers. The origin of Kummi dance is dated back to the prehistoric times
when no traces of any musical instrument were found. The word ‘Kummi’ has
derived from Telugu word ‘Kommai’ which literally means dancing with clapping of
hands to time and singing poems. Since the dance has originated without
accompaniment of any musical beats, the dancers clap their hands to keep time.
Kummi is one of the most primeval folk dance forms practiced by the native
villagers of Tamil Nadu. These native dwellers are essentially agriculture centric
and thrive on occupations like farming, harvest etc. which is reflected in their
dance performances.

Performed usually by the womenfolk, Kummi dance is enacted in circular

movement. Their movements and steps perfectly synchronize along with a song

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sung by the leading singers of the group as the rest takes up the dance. During
the performance, each dancer sings a new line and they halt the dance when the
dancers get tired. The facial expressions along with the gestures enacted by the
performers are the special features of Kummi dance. One of the variations of this
folk dance includes participation of male dancers who hold sticks in their hands
forming a circle inside which the women performers gather in a smaller circle. The
main characteristic of this type of Kummi dance is the harmony and balance
between male performers striking the sticks and the females clapping their hands
in unison to match the rhythm of the entire performance.

Different styles of Kummi are practiced among the Tamil Nadu tribal community
such as Deepa Kummi, Mulaipari Kummi, Kadir Kummi, Kulavai Kummi,
Poonthatti Kummi etc. Colorful and attractive costumes are part of Kummi folk
dance though the dance does not have any specific dress code to follow.

The dance is carried out in temple festivals, during harvest season and is often a
joyous addition to various ceremonies. Apart from Tamil Nadu, Kummi is also a
popular ceremonial dance performed in the state of Kerala. Tamils residing in Sri
Lanka also practice this enchanting dance form of south India.

Bihu - The Bihu dance is an indigenous folk dance from the Indian state
of Assam related to the Bihu festival and an important part of Assamese culture.
Performed in a group, the Bihu dancers are usually young men and women, and
the dancing style is characterized by brisk steps, and rapid hand movements. The
traditional costume of dancers is colorful and centred round the red colour theme,
signifying joy and vigour.
The origins of the dance form is unclear, however, the folk dance tradition had
always been very significant in the cultures of Assam's many ethnic groups, such
as Deoris, Sonowal Kacharis, Chutias, Moran and Borahis, among others.
According to scholars, Bihu dances have their origins in ancient fertility cults.
Traditionally, local farming communities performed the dance outdoors, in fields,
groves, forests or on the banks of rivers.
The dance begins with the performers, young men and women, slowly walking
into the performance space.The men then start playing musical instruments, like
drums (particularly the double-headed dhol), horn-pipes and flutes, while the
women place their hands above their hips with the palms facing outwards, forming
an inverted triangular shape. The women then start to slowly move in tuner with
the music by swaying, while bending slightly forward from the waist. Gradually,
they open up the shoulders and place their legs slightly apart, adopting the main

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posture used in the Bihu dance. Meanwhile, the music played by the men picks up
in temp and intensity, leading women to thrust forward their breasts and pelvis,
alternatively, to the tune.
Some variations include men and women forming lines that face one other by
holding each other's neck or waist, with more advanced sequences of the dance
including men and women pairing up at the centre of the performance area and
dancing in a manner that imitates copulation.

Bihu is performed by groups of young men and women and in earlier times it
served principally as a courtship dance. The Bihu dance's association with fertility
refers to both human fertility, through the erotic nature of the dance, as well as to
the fertility of nature, meaning the celebration of spring and the welcoming of the
life-giving spring rain. The use of instruments such as drums and horn-pipes is
believed to replicate the sound of rain and thunder, as a way of invoking actual
precipitation. Presently, the Bihu dance continues to play an important role and is
a cultural emblem in the modern–day Assamese society, becoming a symbol of
the Assamese cultural identity.

• Kuratti –Kurathi attam essays the story of Kuravan and Kurathi (Lord
Siva and Parvathi in disguise). Love, quarrel and reconciliation between Kuravan
and Kurathi are the main theme of Kurathiyattom. In this dance, two Kurathis first
enter in the dancing scenario, representing the wives of Lord Vishnu and Lord
Shiva and then the performance begins. Here Kurathi refers to the set of people
who go about from place to place telling fortunes. The dance proceeds with the
controversy through songs over the exploitations of their respective husbands.
The favourable point in case of one’s favour becomes the point of ridicule at the
other’s hands and while one praises profusely the other condemns sarcastically.
After this episode, the male character (kuravan) and the female character (kurathi)
portray a mock quarrel. This is the general tone of the song. Maddalam, melam,
harmonium, jalra etc., are some of the musical instruments that accompany this
dance.
This ancient dance was almost on the verge of extinction in the nineties. However
with the help and encouragement from temple festivals, the art form now gets
platform and exposure.

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Indian folk and tribal dances

Folk dances and plays in India retain significance in rural areas as the expression
of the daily work and rituals of village communities. Sanskrit literature of medieval
times describes several forms of group dances such as Hallisaka, Rasaka, Dand
Rasaka and Charchari. The Natya Shastra includes group dances of women as a
preliminary dance performed in prelude to a drama. India has numerous folk
dances. Every state has its own folk dance forms
like Bihu and Bagurumba in Assam, Garba, Gagari(dance), Ghodakhund & Dandi
ya in Gujarat, Nati in Himachal Pradesh, Neyopa, Bacha Nagma in Jammu and
Kashmir, Jhumair, Domkach in Jharkhand, Bedara Vesha, Dollu
Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Dalkhai in Western
Odisha, Bhangra & Giddha in Punjab, Kalbelia, Ghoomar, Rasiya in Rajasthan, P
erini Dance in Telangana, Chholiya dance in Uttarakhand and likewise for each
state and smaller regions in it. Lavani, and Lezim, and Koli dance is most popular
dance in Maharashtra.
Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its
own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk
songs, folk dance, and folk music.
The dancers do not necessarily fall rigidly into the category of “tribal”. However,
these forms of dance closely depict their life, social relationships, work and
religious affiliations. They represent the rich culture and customs of their native
lands through intricate movements of their bodies. A wide variation can be
observed in the intensity of these dances. Some involve very slight movement
with a more groovy edge to it, while others involve elevated and vigorous
involvement of limbs.
These dances are composed mostly on locally made instruments. Percussion
instruments feature in most of these dances. Music is produced through
indigenous instruments. Music too has its own diversity in these tribal dances with
the aesthetics ranging from mild and soothing to strong and weighted rhythms. A
few of them also have songs, either sung by themselves or by onlookers. The
costumes vary from traditional saris of a particular pattern to skirts and blouses
with mirror work for women and corresponding dhotis and upper-wear for men.
They celebrate contemporary events, victories and are often performed as a mode
of appeasing the tribal deities.
A lot of the dance styles depend upon the regional positioning of the ethnic group.
Factors as small as east or west of a river result in a change of dance form even
though the over-reaching look of it may seem the same. The religious affiliation
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affects the content of the songs and hence the actions in a dance sequence.
Another major factor affecting their content are the festivals, mostly harvest.
For example, the ethnic groups from the plain land rabhas from the hilly forested
areas of Assam make use of baroyat (plate-like instrument), handa (a type of
sword), boushi (adze-like instrument), boumshi (bamboo flute), sum (heavy
wooden instrument), dhansi. kalbansi, kalhurang, chingbakak. Traditionally, their
dances are called basili. Through their dance, they express their labours,
rejoicings and sorrows.

List of some of the tribal and folk dances accross India

• Andhra Pradesh- Siddi, Tappeta Gundlu, Urumulu (thunder dance), Butta
Bommalata, Goravayyalu, Garaga (Vessel Dance), Vira Ntyam (Heroic Dance),
Kolatam, Chiratala Bhajana, Dappu, Puli V esham (Tiger Dance), Gobbi, Karuva,
and Veedhi Bhagavatam.
• Arunachal Pradesh- Ponung, Sadinuktso, Khampti, Ka Fifai, Idu Mishmi
(ritual) and Wancho.
• Assam- Dhuliya and Bhawariya, Deodhani, Zikirs, Apsara-Sabah.
• Goa- Mussoll, Dulpod or Durpod, Kunnbi-Geet, Amon, Shigmo, Fugdi, and
Dhalo.
• Haryana- Rasleela, Phag Dance, Phalgun, Daph Dance, Dhamaal, Loor,
Guga, Jhomar, Ghomar, Khoria, Holi, Sapela.
• Himachal Pradesh- Chamba, Dalshone and Cholamba, Jataru Kayang,
Nuala, Jhoori, Ji, Swang Tegi, Rasa.
• Jharkhand- Mundari dance, Santali dance
• Karnataka- veeragase, Nandi Dhwaja, Beesu Kamshaley, Pata Kunitha, Bana
Debara Kunitha, Pooja kunitha, Karaga, Gorawa Mela, Bhuta Nrutya, Naga
Nrutya, Batte Kola, Chennu Kunitha, Maaragalu Kunitha, Kolata, Simha
Nrutya, Yakshagana
• Kerala- Thirayattam, Padayani, Ayyappanvilakku, Vattakkali, Theyyam,
• Madhya Pradesh- Gaur, Muriya, Saila, Kaksar, Sugga, Banjaara (Lehangi),
Matki Dance, Phul Patti Dance, Grida Dance.
• Manipur-Lie Haraoba Dance, Chanlam, Toonaga Lomna Dance
• Meghalaya-Wiking, Pombalang Nongkrem
• Mizoram-Cheraw, Khuallam, Chheihlam, Chailam, Tlanglam,
Sarlamkai,Chawnglaizawn
• Maharashtra - Lavani, Koli, Tamasha, Bala Dindi & Dhangari Gaja

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• Odisha-Naga, Ghumri, Danda Nacha, Chhau, Goti Pua, Dal khai, Baagha
Nacha, Keisabadi
• Punjab- Kikri, Sammi, Karthi, Jhumar
• Rajasthan- Banjaara, Fire dance, Tera tali, Kachhi Ghori, Geedar
• Sikkim- Pang Toed Chaam (Chaam means dance) performed during the Pang
Lhabsol festival in honour of the Guardian deity Khang-Chen-Dzonga, Maruni
(Nepali Dance) and Tamak.
• Tamil Nadu- Karakam, Puravai Attam, Ariyar Natanam, Podikazhi Attam,
Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil
Kummi, Pavakkuthu
• West Bengal- Santali dance, Jatra, Gazan
While there are numerous ancient folk and tribal dances, many are constantly
being improved. The skill and the imagination of the dances influence the
performance. India is a land of varied cultures and traditions. Diversities in all
spheres make the Indian culture quite unique. Indian folk and tribal dances are
product of different socio-economic set up and traditions evolved over ages. In
India, we have festivals and celebrations virtually every day, and dances are
performed to express joy and festivity. This has added to the richness of Indian
culture. Since every festival is accompanied by celebration, folk dances have
become an integral part of our social milieu. There are numerous folk and tribal
dances, and almost all of them have continuously evolved and improvised.

Folk, Classical and Bollywood dances

Folk dances are performed for every possible occasion - to celebrate the arrival of
seasons, birth of a child, a wedding and festivals, which are a plenty. The folk
dances are extremely simple with minimum of steps or movement. Indian folk
dances are full of energy and vitality. Some dances are performed separately by
men and women while in some performances men and women dance together.
On most occasions, the dancers sing themselves, accompanied by artists with
instruments. Each form of folk dance has a specific costume and rhythm. Most of
the costumes, worn for folk dances, are colourful with extensive jewels and
designs.
Classical Dance- Classical dances are stylised and codified dance forms. All
major classical Indian dance forms include in repertoire, three categories of
performance in the Natya Shastra. These are Nritta, Nritya and Natya.

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• Classical dance of India has developed a type of dance-drama that is a form of

a total theater. The dancer acts out a story almost exclusively through gestures.
Most of the classical dances of India enact stories from Hindu mythology. Each
form represents the culture and ethos of a particular region or a group of people.
• The criteria for being considered as classical is the style's adherence to the
guidelines laid down in Natyashastra, which explains the Indian art of acting.
The Sangeet Natak Akademi currently confers classical status on eight Indian
classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North, West and
Central India), Kathakali (Kerala), Kuchipudi (Andhra
Pradesh), Odissi (Odisha), Manipuri (Manipur), Mohiniyattam (Kerala), and
sattriya(Assam).All classical dances of India have roots in Hindu arts and religious
practices.
• The tradition of dance has been codified in the Natyashastra and a
performance is considered accomplished if it manages to evoke a rasa (emotion)
among the audience by invoking a particular bhava(gesture or facial expression).
Classical dance is distinguished from folk dance because it has been regulated by
the rules of the Natyashastra and all classical dances are performed only in
accordance with them.
A performance art, asserts Natyashastra, connects the artists and the audience
through abhinaya (literally, "carrying to the spectators"), that is applying body-
speech-mind and scene, wherein the actors communicate to the audience,
through song and music. Drama in this ancient Sanskrit text, this is an art to
engage every aspect of life, to glorify and gift a state of joyful consciousness.
The communication through symbols is in the form of expressive gestures
(mudras or hastas) and pantomime set to music. The gestures and facial
expressions convey the rasa (sentiment, emotional taste) and bhava (mood) of
the underlying story. In Hindu classical dances, the artist successfully expresses
the spiritual ideas by paying attention to four aspects of a performance:

• Angika (gestures and body language),

• Vachika (song, recitation, music and rhythm),
• Aharya (stage setting, costume, make up, jewelry),
• Sattvika (artist's mental disposition and emotional connection with the story
and audience, wherein the artist's inner and outer state resonates)

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Bollywood

• Dance and song sequences have been an integral component of films across
the country. With the introduction of sound to cinema in the film Alam Ara in 1931,
choreographed dance sequences became ubiquitous in Hindi and other Indian
films.
• Dance in early Hindi films was primarily modelled on classical Indian dance
styles such as Kathak, or folk dancers. Modern films often blend this earlier style
with Western dance styles (MTV or in Broadway musicals), though it is not
unusual to see western choreography and adapted classical dance numbers side
by side in the same film. Typically, the hero or heroine performs with a troupe of
supporting dancers. Many song-and-dance routines in Indian films feature
dramatic shifts of location and/or changes of costume between verses of a song. It
is popular for a hero and heroine to dance and sing a pas de
deux (a French ballet term, meaning "dance of two") in beautiful natural
surroundings or architecturally grand settings, referred to as a "picturisation".
Indian films have often used what are now called "item numbers" where a
glamorous female figure performs a cameo. The choreography for such item
numbers varies depending on the film's genre and situation. The film actress and
dancer Helenwas famous for her cabaret numbers.
• Often in movies, the actors don't sing the songs themselves that they dance
too, but have another artist sing in the background. For an actor to sing in the
song is unlikely but not rare. The dances in Bollywood can range from slow
dancing, to a more upbeat hip hop style dance. The dancing itself is a fusion of all
dance forms. It could be Indian classical, Indian folk dance, belly dancing, jazz,
hip hop and everything else you can imagine.

4. Ability to write talas (Aadi, Rupaka, Eka) with Anga-s

(Laghu, Druta and Anudruta)

Talam-s are made up of different combinations of the angas (vibhaga)

Angas
Anga Symbol Execution value Bol
Tap followed by counting from (Variable ) 3, As per the jaati
1. Laghu little finger to thumb and loop 4, 5, 7 or 9 (ta ka di mi, ta ki Ta, etc)
2. Dhrutam O Tap and reverse tap 2 Ta ka
3. Anudhrutam U Tap 1 Ta

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sapta tala-s with angas, values and chollu-s

Talam Anga value Chollu
Dhruva Talam I+0+I+I laghu+dhrutam+laghu+laghu
1. Chatushra jaati Dhruva Talam 4+2+4+4=14 takadimi taka takadimi takadimi
2. Tishra jaati Dhruva Talam 3+2+3+3=11 takiTa taka takiTa takiTa
3. Mishra jaati Dhruva Talam 7+2+7+7=23 takiTatakadimi taka takiTatakadimi
takiTatakadimi
4. Khanda jaati Dhruva Talam 5+2+5+5=17 takatakiTa taka takatakiTa takatakiTa
5. sankirna jaati Dhruva Talam 9+2+9+9=29 takadimitakatakiTa taka takadimitakatakiTa
takadimitakatakiTa
Matiya Talam I+0+I laghu+dhrutam+laghu
6. Chatushra jaati matya Talam 4+2+4=10 takadimi taka takadimi
7. Tishra jaati matya Talam 3+2+3=08 takiTa taka takiTa
8. Mishra jaati matya Talam 7+2+7=16 takiTatakadimi taka takiTatakadimi
9. Khanda jaati matya Talam 5+2+5=12 takatakiTa taka takatakiTa
10. sankirna jaati matya Talam 9+2+9=20 takadimitakatakiTa taka takadimitakatakiTa
Rupaga Talam 0+I dhrutam+laghu
11. Chatushra jaati rupaga Talam 2+4=06 taka takadimi
12. Tishra jaati rupaga Talam 2+3=05 taka takiTa
13. Mishra jaati rupaga Talam 2+7=09 taka takiTatakadimi
14. Khanda rupaga Talam 2+5=07 takatakiTa taka takatakiTa
15. Sankirna jaati rupaga Talam 2+9=09 taka takadimitakatakiTa
Jhampa Talam I+U+0 laghu+anudhrutam+dhrutam
16. Chatushra jaati jhampa Talam 4+1+2=07 takadimi ta taka
17. Tishra jaati jhampa Talam 3+1+2=06 takiTa ta taka
18. Mishra jaati jhampa Talam 7+1+2=10 takiTatakadimi ta taka
19. Khanda jaati jhampa Talam 5+1+2=08 takatakiTa ta taka
20. sankirna jaati jhampa Talam 9+1+2=12 takadimitakatakiTa ta taka
Triputa Talam I+0+0 laghu+dhrutam+dhrutam
21. Chatushra jaati triputa Talam 4+2+2=08 takadimi taka taka
22. Tishra jaati triputa Talam 3+2+2=07 takiTa taka taka
23. Mishra jaati triputa Talam 7+2+2=11 takiTatakadimi taka taka
24. Khanda jaati triputa Talam 5+2+2=09 takatakiTa taka taka
25. Sankirna jaati jhampa Talam 9+2+2=13 takadimitakatakiTa taka taka
Ata Talam I+I+0+0 laghu+laghu+dhrutam+dhrutam
26. Chatushra jaati triputa Talam 4+4+2+2=12 takadimi takadimi taka taka
27. Tishra jaati triputa Talam 3+3+2+2= 10 takiTa takiTa taka taka
28. Mishra jaati triputa Talam 7+7+2+2= 18 takiTatakadimi takiTatakadimi taka taka
29. Khanda jaati triputa Talam 5+5+2+2= 14 takatakiTa takatakiTa taka taka
30. Sankirna jaati jhampa Talam 9+9+2+2= 22 takadimitakatakiTa takadimitakatakiTa taka
taka
Eka Talam I Laghu
31. Chatushra jaati ekaTalam 4 Takadimi
32. Tishra jaati eka Talam 3 takiTa
33. Mishra jaati eka Talam 7 takiTatakadimi
34. Khanda jaati eka Talam 5 takatakiTa
35. Sankirna jaati eka Talam 9 takadimitakatakiTa

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35 Talams in 3 speeds

1. CHATUSHRA JAATI DHRUVA TAALAM – l0ll- 4+2+4+4= 14 aksharams

1st speed - ta , , , |ka , , , |di , , , | mi , , , | ta , , , | ka , , , | ta , , , | ka , , , | di , , , |
mi , , , | ta , , , | ka , , , | di , , , | mi , , , |
2nd speed - ta , ka , | di , mi , | ta , ka , | ta , ka , | di , mi , | ta , ka , | di , mi , |
ta , ka , | di , mi , | ta , ka , |ta , ka , | di , mi , | ta , ka , | di , mi , |
3rd speed - ta ka di mi | ta ka ta ka | di mi ta ka | di mi ta ka | di mi ta ka | ta ka di
mi | ta ka di mi |ta ka di mi | ta ka ta ka | di mi ta ka | di mi ta ka | di mi ta ka | ta
ka di mi |ta ka di mi |
2. TISHRA JAATI DHRUVA TAALAM– l0ll- 3+2+3+3= 11 aksharams
1st speed - ta , , , | ki , , , |Ta , , , |ta , , , |ka , , , |ta , , , | ki , , , |Ta , , , |ta , , , | ki ,
, , | Ta , , , |
2nd speed - ta , ki ,| Ta , ta ,| ka , ta , | ki , Ta , | ta , ki , | Ta , ta , | ki , Ta , | ta ,
ka , |ta , ki , | Ta , ta , | ki , Ta , |
3rd speed- ta ki Ta ta | ka ta ki Ta | ta ki Ta ta | ki Ta ta ka |ta ki Ta ta | ki Ta ta
ki | Ta ta ka ta | ki Ta ta ki |Ta ta ki Ta | ta ka ta ki| Ta ta ki Ta |
3. MISHRA JATI DHRUVA TAALAM– l0ll- 7+2+7+7= 23 aksharams
1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , |
ta , , , |
ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka ,
, , | di , , , | mi , , , |

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 20

2nd speed - ta , ki , | Ta , ta , | ka , di , | mi , ta ,| ka , ta , | ki , Ta ,| ta , ka , | di , mi
, | ta , ki , | Ta , ta , | ka , di ,| mi , ta , | ki , Ta , | ta , ka , | di , mi , | ta , ka , | ta , ki
, | Ta , ta , | ka , di , | mi , ta , | ki , Ta , | ta , ka , | di , mi , |
3rd speed
ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka di mi | ta ki Ta ta | ka di mi ta | ki Ta ta
ka |di mi ta ka | ta ki Ta ta | ka di mi ta | ki Ta ta ka | di mi ta ki | Ta ta ka di |mi ta
ka ta | ki Ta ta ka | di mi ta ki |Ta ta ka di | mi ta ki Ta | ta ka di mi | ta ka ta ki | Ta
ta ka di | mi ta ki Ta | ta ka di mi |
4. KHANDA JAATI DHRUVA TAALAM– l0ll- 5+2+5+5= 17 aksharams
1st speed - ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ka , , , |
ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |
2nd speed - ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ki
, | Ta , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ki ,
Ta , |
3rd speed - ta ka ta ki | Ta ta ka ta | ka ta ki Ta | ta ka ta ki | Ta ta ka ta | ki Ta ta
ka | ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ki Ta ta | ka ta ka ta | ki Ta ta ka | ta ki
Ta ta | ka ta ki Ta | ta ka ta ka | ta ki Ta ta | ka ta ki Ta |

5. SANKIRNA JAATI DHRUVA TAALAM– l0ll- 9+2+9+9= 29 aksharams

6.
1st speed - ta , , ,| ka , , ,| di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , ,| Ta , , ,| ta , , ,|
ka , , ,| ta , , ,| ka , , ,|di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , , | Ta , , , | ta , , , |
ka , , , | di , , , | mi , , , | ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |

20
 21

2nd speed - ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , di , | mi ,
ta , | ka , ta , | ki , Ta , | ta , ka , | di , mi ,| ta , ka , | ta , ki , | Ta , ta , | ka , di , | mi ,
ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka
, di , | mi , ta , | ka , ta , | ki , Ta , |
3rd speed - ta ka di mi | ta ka ta ki | Ta ta ka ta | ka di mi ta | ka ta ki Ta | ta ka di
mi | ta ka ta ki | Ta ta ka di | mi ta ka ta| ki Ta ta ka | ta ka di mi | ta ka ta ki | Ta
ta ka di | mi ta ka ta | ki Ta ta ka | di mi ta ka | ta ki Ta ta | ka ta ka di | mi ta ka ta
| ki Ta ta ka | di mi ta ka | ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka ta ka | di mi ta
ka | ta ki Ta ta| ka di mi ta | ka ta ki Ta |

7. CHATUSHRA JAATI MATIYA TAALAM– l0l- 4+2+4= 10 aksharams

1st speed- ta , , , |ka , , , |di , , , |mi , , , |ta , , , |ka , , , |ta , , , |ka , , , |di , , ,|mi , , , |
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ka , | di , mi , | ta , ka , | di , mi , | ta ,
ka , | ta , ka , | di , mi , |
3rd speed- ta ka di mi | ta ka ta ka | di mi ta ka | di mi ta ka |ta ka di mi | ta ka di mi
| ta ka ta ka | di mi ta ka | di mi ta ka |ta ka di mi|

8. TISHRA JAATI MATIYA TAALAM– l0l- 3+2+3= 8 aksharams

1st speed - ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |
2nd speed - ta , ki ,|Ta , ta ,|ka , ta , |ki , Ta , |ta , ki ,|Ta , ta ,| ka , ta , | ki , Ta ,|
3rd speed- ta ki Ta ta | ka ta ki Ta | ta ki Ta ta | ka ta ki Ta | ta ki Ta ta | ka ta ki
Ta | ta ki Ta ta | ka ta ki Ta |

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 22

9. MISHRA JATI MATIYA TAALAM– l0l- 7+2+7= 16 aksharams

1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , |
ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , |
2nd speed - ta , ki , | Ta , ta , | ka , di , | mi , ta ,| ka , ta , | ki , Ta ,| ta , ka , | di , mi
, | ta , ki , | Ta , ta , | ka , di , | mi , ta ,| ka , ta , | ki , Ta ,| ta , ka , | di , mi , |
3rd speed- ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka di mi | ta ki Ta ta | ka di mi
ta | ka ta ki Ta | ta ka di mi | ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka di mi | ta ki
Ta ta | ka di mi ta | ka ta ki Ta | ta ka di mi |

10. KHANDA JAATI MATIYA TAALAM– l0l- 5+2+5= 12 aksharams

1st speed - ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ka , , , |
ta , , , | ki , , , | Ta , , , |
2nd speed- ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ki
, | Ta , ta , | ka , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka ta ki | Ta ta ka ta | ka ta ki Ta | ta ka ta ki | Ta ta ka ta | ka ta ki
Ta | ta ka ta ki | Ta ta ka ta | ka ta ki Ta | ta ka ta ki | Ta ta ka ta | ka ta ki Ta |

11. SANKIRNA JAATI MATIYA TAALAM– l0l- 9+2+9= 20 aksharams

1st speed- ta , , ,| ka , , ,| di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , ,| Ta , , ,| ta , , ,|
ka , , ,| ta , , ,| ka , , ,|di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , , | Ta , , , |

22
 23

2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , di , | mi , ta
, | ka , ta , | ki , Ta , | ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka ,
di , | mi , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka di mi | ta ka ta ki | Ta ta ka ta | ka di mi ta | ka ta ki Ta | ta ka di
mi | ta ka ta ki | Ta ta ka ta | ka di mi ta | ka ta ki Ta | ta ka di mi | ta ka ta ki | Ta
ta ka ta | ka di mi ta | ka ta ki Ta | ta ka di mi | ta ka ta ki | Ta ta ka ta | ka di mi ta |
ka ta ki Ta |
12. CHATUSHRA JAATI RUPAGA TAALAM – 0l - 2+4= 6 aksharams
1st speed- ta , , , | ka , , , | ta , , , | ka , , , | di , , , | mi , , , |
2nd speed- ta , ka , | ta , ka , | di , mi , | ta , ka , | ta , ka , | di , mi , |
3rd speed- ta ka ta ka| di mi ta ka| ta ka di mi| ta ka ta ka| di mi ta ka| ta ka di mi |
13. TISHRA JAATI RUPAGA TAALAM– 0l- 2+3= 5 aksharams
1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |
2nd speed- ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ki Ta ta | ka ta ki Ta |
14. MISHRA JATI RUPAGA TAALAM– 0l- 2+7= 9 aksharams
1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , |
2nd speed ta , ka , | ta , ki , | Ta , ta , | ka , di , | mi , ta , | ka , ta ,| ki , Ta , | ta , ka ,
| di , mi , |
3rd speed- ta ka ta ki | Ta ta ka di | mi ta ka ta | ki Ta ta ka | di mi ta ka |
ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka di mi |

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 24

15. KHANDA JAATI RUPAGA TAALAM– 0l- 2+5= 7 aksharams

1st speed- ta , , , | ka , , , | ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |
2nd speed- ta , ka , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka ta ka | ta ki Ta ta | ka ta ka ta | ki Ta ta ka | ta ka ta ki |
Ta ta ka ta | ka ta ki Ta |
16. SANKIRNA JAATI RUPAGA TAALAM– 0l- 2+9= 11 aksharams
1st speed- ta , , ,|ka , , ,|ta , , ,|ka , , ,|di , , ,|mi , , ,|ta , , ,|ka , , ,|ta , , ,|ki ,,, |Ta ,,, |
2nd speed - ta , ka , | ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka ,
di , | mi , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka ta ka| di mi ta ka |ta ki Ta ta |ka ta ka di | mi ta ka ta | ki Ta ta ka |
ta ka di mi | ta ka ta ki | Ta ta ka ta | ka di mi ta | ka ta ki Ta |
17. CHATUSHRA JAATI JHAMPA TAALAM– lU0- 4+1+2= aksharams
1st speed- ta , , ,| ka , , ,| di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ka , , ,| di , , ,|mi , , , |
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ka , | di , mi , | ta , ka , | di , mi , |
ta , ka , | ta , ka , | di , mi , |
3rd speed- ta ka di mi | ta ka ta ka | di mi ta ka | di mi ta ka |ta ka di mi | ta ka di mi
| ta ka ta ka | di mi ta ka | di mi ta ka | ta ka di mi|
18. TISHRA JAATI JHAMPA TAALAM– lU0- 3+1+2= 6 aksharams
1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ta , , , | ka , , , |
2nd speed - ta , ki ,| Ta , ta ,| ta , ka , | ta , ki ,| Ta , ta ,| ta , ka , |
3rd speed- ta ki Ta ta| ta ka ta ki |Ta ta ta ka |ta ki Ta ta |ta ka ta ki |Ta ta ta ka |

24
 25

19. MISHRA JATI JHAMPA TAALAM– lU0- 7+1+2= 10 aksharams

1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ta , , , |
ka , , , |
2nd speed- ta , ki , | Ta , ta , | ka , di ,| mi , ta ,| ta , ka , |ta , ki , |Ta , ta , | ka , di , |
mi , ta ,| ta , ka , |
3rd speed- ta ki Ta ta | ka di mi ta | ta ka ta ki | Ta ta ka di | mi ta ta ka | ta ki Ta ta
| ka di mi ta | ta ka ta ki | Ta ta ka di | mi ta ta ka |
20. KHANDA JAATI JHAMPA TAALAM– lU0- 5+1+2= 8 aksharams
1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ta , , , | ka , , , |
2nd speed- ta , ka ,| ta , ki ,| Ta , ta ,| ta , ka ,| ta , ka ,| ta , ki ,| Ta , ta ,| ta , ka , |
3rd speed- ta ka ta ki | Ta ta ta ka | ta ka ta ki | Ta ta ta ka | ta ka ta ki | Ta ta ta ka
| ta ka ta ki | Ta ta ta ka |
21. SANKIRNA JAATI JHAMPA TAALAM– lU0- 9+1+2= 12 aksharams
1st speed - ta , , ,| ka , , ,| di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , ,| Ta , , ,| ta , , ,|
ta , , ,| ka , , ,|
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ta , ka , | ta , ka , | di , mi
, | ta , ka , | ta , ki , | Ta , ta , | ta , ka , |
3rd speed- ta ka di mi | ta ka ta ki | Ta ta ta ka | ta ka di mi | ta ka ta ki | Ta ta ta ka
| ta ka di mi | ta ka ta ki | Ta ta ta ka | ta ka di mi | ta ka ta ki | Ta ta ta ka |

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22. CHATUSHRA JAATI TRIPUTA TAALAM – l00 - 4+2+2= 8 aksharams

1st speed- ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , | ta , , , | ka , , , |
2nd speed- ta , ka ,| di , mi ,| ta , ka ,| ta , ka ,| ta , ka ,| di , mi ,| ta , ka ,| ta , ka ,|
3rd speed- ta ka di mi | ta ka ta ka | ta ka di mi | ta ka ta ka | ta ka di mi |
ta ka ta ka | ta ka di mi | ta ka ta ka |
22. TISHRA JAATI TRIPUTA TAALAM– l00- 3+2+2=7 aksharams
1st speed- ta , , , | ki , , , | Ta , , , |ta , , , | ka , , , | ta , , , | ka , , , |
2nd speed- ta , ki , | Ta , ta , | ka , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , |
3rd speed- ta ki Ta ta | ka ta ka ta | ki Ta ta ka | ta ka ta ki | Ta ta ka ta |
ka ta ki Ta | ta ka ta ka |

23. MISHRA JATI TRIPUTA TAALAM– I00- 7+2+2= 11 aksharams

1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , |
ta , , , | ka , , , |
2nd speed- ta , ki , | Ta , ta , | ka , di , | mi , ta , | ka , ta , | ka , ta , | ki , Ta , |
ta , ka , | di , mi , | ta , ka , | ta , ka , |
3rd speed- ta ki Ta ta | ka di mi ta | ka ta ka ta | ki Ta ta ka | di mi ta ka | ta ka ta
ki | Ta ta ka di | mi ta ka ta | ka ta ki Ta | ta ka di mi | ta ka ta ka |

24. KHANDA JAATI TRIPUTA TAALAM– l00- 5+2+2 = 9 aksharams

1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ka , , , |

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2nd speed- ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , ta , | ka , ta , | ki , Ta , | ta ,
ka , | ta , ka , |
3rd speed- ta ka ta ki | Ta ta ka ta | ka ta ka ta | ki Ta ta ka | ta ka ta ka | ta ki Ta
ta | ka ta ka ta | ka ta ki Ta | ta ka ta ka |

25.SANKIRNA JAATI TRIPURTA TAALAM– I00-9+2+2= 13 aksharams

1st speed- ta , , ,| ka , , ,|di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , , | Ta , , , | ta , , ,|
ka , , ,| ta , , ,| ka , , ,|
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ka , ta , |
ka , di , | mi , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , |
3rd speed- ta ka di mi | ta ka ta ki | Ta ta ka ta | ka ta ka di | mi ta ka ta | ki Ta ta
ka | ta ka ta ka | di mi ta ka | ta ki Ta ta | ka ta ka ta | ka di mi ta | ka ta ki Ta | ta
ka ta ka |
26.CHATUSHRA JAATI TRIPUTA TAALAM – Il00 – 4+4+2+2= 12 aksharams
1st speed - ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , |
ka , , , | ta , , , | ka , , , |
2nd speed- ta , ka , | di , mi , | ta , ka , | di , mi , | ta , ka , | ta , ka , | ta , ka , |
di , mi , | ta , ka , | di , mi , | ta , ka , | ta , ka , |
3rd speed- ta ka di mi | ta ka di mi | ta ka ta ka | ta ka di mi | ta ka di mi | ta ka ta
ka | ta ka di mi | ta ka di mi | ta ka ta ka | ta ka di mi | ta ka di mi | ta ka ta ka |

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27. TISHRA JAATI ATA TAALAM– lI00- 3+3+2+2=10 aksharams

1st speed- ta , , , | ki , , , | Ta , , , |ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , |
ka , , , |
2nd speed- ta , ki , | Ta , ta , | ki , Ta , | ta , ka , | ta , ka , | ta , ki , | Ta , ta , | ki ,
Ta , | ta , ka , | ta , ka , |
3rd speed- ta ki Ta ta | ki Ta ta ka | ta ka ta ki | Ta ta ki Ta | ta ka ta ka | ta ki Ta ta
| ki Ta ta ka | ta ka ta ki | Ta ta ki Ta | ta ka ta ka |

28. MISHRA JATI ATA TAALAM– II00- 7+7+2+2= 18 aksharams

1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ki , , , |
Ta , , , | ta , , , | ka , , , | di , , , | mi , , , | ta , , , | ka , , , | ta , , , | ka , , , |
2nd speed- ta , ki ,| Ta , ta ,| ka , di ,| mi , ta ,| ki , Ta ,| ta , ka ,| di , mi ,| ta , ka ,|
ta , ka ,|ta , ki ,|Ta , ta ,|ka , di ,|mi , ta ,|ki , Ta ,|ta , ka ,|di , mi ,|ta , ka ,|ta , ka , |
3rd speed- ta ki Ta ta | ka di mi ta | ki Ta ta ka | di mi ta ka | ta ka ta ki |
Ta ta ka di | mi ta ki Ta | ta ka di mi | ta ka ta ka |
29. KHANDA JAATI ATA TAALAM– lI00- 5+5+2+2 = 14 aksharams
1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | ta , , , | ki , , , |
Ta , , , | ta , , , | ka , , , | ta , , , | ka , , , |
2nd speed- ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , | ta ,
ka , | ta , ki , | Ta , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , |
3rd speed- ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ka ta ka | ta ki Ta ta | ka ta ki
Ta | ta ka ta ka | ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ka ta ka | ta ki Ta ta |
ka ta ki Ta | ta ka ta ka |

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30. SANKIRNA JAATI ATA TAALAM– II00-9+9+2+2= 22 aksharams

1st speed- ta , , ,|ka , , ,|di , , ,|mi , , ,|ta , , ,| ka , , ,| ta , , ,| ki , , , | Ta , , , | ta , , ,|
ka , , ,|di , , ,| mi , , ,|ta , , ,|ka , , ,|ta , , ,|ki , , , |Ta , , , |ta , , ,|ka , , ,|ta , , ,| ka , , ,|
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , di , | mi , ta , |
ka , ta , | ki , Ta , | ta , ka , | ta , ka , | ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta
, | ka , di , | mi , ta , | ka , ta , | ki , Ta , | ta , ka , | ta , ka , |
3rd speed- ta ka di mi | ta ka ta ki | Ta ta ka di | mi ta ka ta | ki Ta ta ka | ta ka ta
ka | di mi ta ka | ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka ta ka | ta ka di mi | ta
ka ta ki | Ta ta ka di | mi ta ka ta | ki Ta ta ka | ta ka ta ka | di mi ta ka |
ta ki Ta ta | ka di mi ta | ka ta ki Ta | ta ka ta ka |
31. CHATUSHRA JAATI EKA TAALAM -l- 4 aksharams
1st speed- ta , , , | ka , , , | di , , , | mi , , , |
2nd speed- ta , ka , | di , mi , | ta , ka , | di , mi , |
3rd speed- ta ka di mi | ta ka di mi | ta ka di mi | ta ka di mi |
32. TISHRA JAATI EKA TAALAM -I- 3 aksharams
1st speed- ta , , , | ki , , , | Ta , , , |
2nd speed- ta , ki , | Ta , ta , | ki , Ta , |
3rd speed- ta ki Ta ta | ki Ta ta ki | Ta ta ki Ta |
33. MISHRA JATI EKA TAALAM -I- 7 aksharams
1st speed- ta , , , | ki , , , | Ta , , , | ta , , , | ka , , , | di , , , | mi , , , |
2nd speed- ta , ki , | Ta , ta , | ka , di , | mi , ta , | ki , Ta , | ta , ka , | di , mi , |
3rd speed- ta ki Ta ta | ka di mi ta |ki Ta ta ka |di mi ta ki |Ta ta ka di |mi ta ki Ta |
ta ka di mi |
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34. KHANDA JAATI EKA TAALAM-I- 5 aksharams

1st speed- ta , , , | ka , , , | ta , , , | ki , , , | Ta , , , |
2nd speed- ta , ka , | ta , ki , | Ta , ta , | ka , ta , | ki , Ta , |
3rd speed- ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ki Ta ta | ka ta ki Ta |

35. SANKIRNA JAATI EKA TAALAM-I- 9 aksharams

1st speed- ta , , ,| ka , , ,|di , , ,| mi , , ,| ta , , ,| ka , , ,| ta , , ,| ki , , , | Ta , , , |
2nd speed- ta , ka , | di , mi , | ta , ka , | ta , ki , | Ta , ta , | ka , di , | mi , ta , |
ka , ta , | ki , Ta , |
3rd speed- ta ka di mi | ta ka ta ki | Ta ta ka di | mi ta ka ta | ki Ta ta ka | di mi ta
ka | ta ki Ta ta | ka di mi ta | ka ta ki Ta |

5. Knowledge of the stories and myths relating to Ganesh, Krishna, Shiva, Devi and
Rama.
Answer – Prepare 2 stories from the Hindu Mythology on all the above mentioned
Gods and Devi. Practice writing the stories.

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Practicals:
Tillana Song
Ragam – hindolam
Talam- Aadi
Composer – Shri Ponaiyya Pillai
Language- Tamil

pallavi-
dheem , , , tham , , , thom ta ti ra na , , , |
ta da ra taa , ni uda | na dheem , dheem , ta na na ||

anupallavi-
naa dir ta dheem , ta na na kiTatakatarikiTa takatarikiTataka | dit talangutaka thom , talangu |
takathom , ta thom kiTatakatarikiTathom ||

sahityam-
ma mayil(peacock) yeriye(riding) vandiDuvaan(He will come) velan(Kartikeya)
matiyum(knowledge) nitiyum(prosperity) miga(more) tandiDuvaan (he will give)
sheelan (Kartikeya) valliyai (Valli-wife) anaittu (embracing)
ennai kaatiDuvaan- protect me lolan (Kartikeya) magilndu (happily) enadu (my song)
pugazhndiDuvaan (he will praise) dinam (everyday)

charanam-
ta , ha ta jham tari kiTataka takadimi takanaka takajonu takundari kiTataka | dit talangutaka
thom , talangu | takathom , ta thom kiTatakatarikiTathom ||

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Tillana Korvais :
Chatushra korvai
tat , tai , | tham , , , | dit , tai , | tham , , , | tat , tai , | tham , , , | tai yum tat tat | tai yi ya ha |
tat , tai , | tham , , , | dit , tai , | tham , , , | tat , tai , | tham , , , | tai yum tat tat | tai yi ya ha |
tai , ha , | tai , hi , | tai ha tai hi | tai h a tai hi | tai , ha , | tai , hi , | tai ha tai hi | tai ha tai hi
dit-dit tai dit-dit tai | tai tai dit-dit tai | tai , tai , | dit-dit tai dit-dit tai | tai tai dit-dit tai | tai , tai , |
dit-dit tai dit-dit tai | tai tai dit-dit tai |
taTTimettu – ta ka di mi | ta ka di mi | ta ka di mi | ta ka di mi | ta ka di mi | ta ka di mi |
ta ka di mi |tai tai dit-dit tai
arudi- tai , dit-dit tai | dit tai dit-dit tai | dit tai dit-dit tai | , ,dit tai dit | tai
Tishra korvai

tai , tai , | , tai , , | tai , , tai | , , tai , | , tai , , | tai , , tai | , , tai yum | , tat tat , | tai tai tai tai |

dit-dit tai tai yum | , tat tat , | tai tai tai tai | dit-dit tai tai , | taim dat ta , | dit , taim dat | ta , tai ,|

taim dat ta , | dit , taim dat | ta , tai tai | tham tai tai tai | tai tai tham tai | tai tai tai tai |

tham tai tai tai | tai , , tai | , , tai ,dit | tai tai dit-dit tai | tai , , tai | , , tai ,dit | tai tai dit-dit tai |

tai , , tai | , , tai ,dit | tai tai dit-dit tai |

taTTimettu – ta ki Ta ta | ki Ta ta ki | Ta ta ki Ta | ta ki Ta ta | ki Ta ta ki | Ta ta ki Ta | ta ki Ta ta |

ki Ta dit-dit tai

arudi- tai , dit-dit tai | dit tai dit-dit tai | dit tai dit-dit tai | , ,dit tai dit | tai

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Mishra korvai

tai , tai yum| , tat , tat| , tai tai ,| tham , , ,| ta tai , tai |, tat , dit |tai , tai , |tat , tai yum | , tat , tat | , tai tai ,|

tham , , ,| ta tai , tai| , tat , dit | tai , tai , | tat , tai yum | , tat , tat | , tai tai , | tai tai dit-dit tai |

tai yum , tat | , tat , tai | tai , tai tai | dit-dit tai tai tai | tham , dit tai |, tai , tai | tai tai dit-dit tai | tai tai tham , |

dit tai , tai | , tai tai tai | dit-dit tai tai tai | tham , dit tai | , tai , tai | tai tai dit-dit tai |
taiTTimettu – ta ki Ta ta | ka di mi ta | ki Ta ta ka | di mi ta ki | Ta ta ka di | mi ta ki Ta | ta ka di mi | tai tai
dit-dit tai |
arudi- tai , dit-dit tai | dit tai dit-dit tai | dit tai dit-dit tai | , ,dit tai dit | tai
Khanda korvai

tai , , , | tai , , , | tat tai tham , | , dit tai tham | , , tat tai | tham , , dit | dit tai , , | tat tai ta ha | , dit tai ta |

ha , tai dit | tai , tai tai | tai tai dit-dit tai | tat tai tham , | , dit tai tham | , , tat tai | tham , , dit | dit tai , , |

tat tai ta ha | , dit tai ta | ha , tai dit | tai , tai tai | tai tai dit-dit tai | tai ha tai hi |, tai ha tai | hi , tai tai |

dit dit tai tai | tai tai dit-dit tai | tai tai dit dit | tai tai tai tai | dit-dit tai tai tai | dit dit tai tai | tai tai dit-dit tai |

taTTimettu – ta ka ta ki | Ta ta ka ta | ki Ta ta ka | ta ki Ta ta | ka ta ki Ta | ta ka ta ki | Ta ta ka ta |
ki Ta dit-dit tai |
arudi- tai , dit-dit tai | dit tai dit-dit tai | dit tai dit-dit tai | , ,dit tai dit | tai
Sankirna korvai

ta ka tai yum | tat tat tai yi | ya ha , tat | tai tham , dit | tai tham , , | tai yum tat tat |

tai yi ya ha | , tat tai tham | , dit tai tham | , , tai hat | tai hi tai hat | tai hi , tai | yum tat tat tai | yi ya ha , |

tai hat tai hi | tai hat tai hi | , tai yum tat | tat tai yi ya | ha , tai ha | tai ha tai hi | tai hi , tai | ha tai ha tai |

hi tai hi , | dit-dit tai dit-dit tai | dit-dit tai dit-dit tai | , tai tai dit-dit | tai tai tai tai | dit-dit tai tai tai |

dit-dit tai tai tai | tai dit-dit tai tai | tai dit-dit tai tai | tai tai dit-dit tai |
taTTimettu – ta ka di mi | ta ka ta ki | Ta ta ka di | mi ta ka ta | ki Ta ta ka | di mi ta ka | ta ki Ta tai | tai tai
dit-dit tai |
arudi- tai , dit-dit tai | dit tai dit-dit tai | dit tai dit-dit tai | , ,dit tai dit | tai

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2. Keertanam Mahalakshmi Jaganmatha –

Ragam – Sankarabharanam
Talam- Mishra chapu
Composer-Papanasam Sivan

Pallavi:
MahAlakSmi (Goddess Lakshmi) jaganmAtA(Mother of the Universe)
manamirangi (with great kindness) varamaruL (grant me boon)

Anupallavi:
MahA vishNuvin (Lord Mahavishnu-s) mArbenum(Chest)
maNi peeThamadanil (jewelled throne) amarndaruL (be seated and bless)
manmadanai (Lord Kamadeva) eenraruLum (who gave birth)
thAyE (mother) dayAnidhiyE (merciful) mahA mAyE (great mother)

Charanam:
pArkkaDal (milky ocean) tarum(originated) krupAkari (compassionate)
parindu vandenai (fly and come) Adari (protect me)
pankaja malar (lotus flower) vaLar (seated) annaiyE (mother)
kaDaikkaN (one glance) pAr (see) rAmadAsan (poet) paNiyum (bows down)

3. Theory (Oral - with demonstration wherever required):

1. Demonstration of the shloka and viniyoga-s of the Samyuta Hasta-s from
A. D. (20 Hasta-s)
Answer- Refer to Abhinayadarpanam for Samyuta hasta-s viniyoga.
Prepare all of them.

>>>>>>>>>Best Wishes from NKA<<<<<<<<

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