Guru Sloka

Guru Brahma
Guru Vishnu
Guru Devo Maheswaraha
Guru Sakshaad Parambrahma
Tasmay Shri Guruveh Namaha

Lord Brahma, Lord Vishnu, Lord Shiva, (My) Guru

I bow to you, the ultimate Lord/Guru

Dhyana Slokam
Aangikam Bhuvanam Yasya
Vachikam Sarva Vangmayam
Aharyam Chandra-Taradi Tvam Nama
Sattvikam Shivam

You, whose limbs are the Universe,

You, the Originator of all speech,
You, whose adornments are the moon and stars,
You are The Truth.

Natya Krama Sloka

Khantaanyat Lambayat Geetam
Hastana Artha Pradakshayat
Chakshubhyam Darshatyat Bhavom
Padabhyam Tala Acherait

Keep the song in your throat

Let your hands bring out the meaning
Your glance should be full of expression
While your feet maintain the rhythm

Yato Hasta Stato Drushti

Yato Drushti Stato Manaha
Yato Manaha Stato Bhavom
Yato Bhavom Stato Rasaha

Where the hand goes, there the eyes should follow

Where the eyes are, the mind should follow
Where the mind is, there the expression should be brought out
Where the expression is, there the rasa or flavour will be experienced by the audience.
 Bharatanatyam

Bharata Natyam is a classical dance style from the state of Tamil Nadu, Southern India is one
of the most popular dance styles in India. It is a composite dance style that weaves music,
theatre, colour, movement, rhythm and poetry into a seamless whole. It has equal measures of
strength and beauty. Intricate footwork, crisp hand gestures and expressive eye movements
demonstrate its attention to detail A popular interpretation of the name of the style is:

BHAva (expression) + RAga (musical mode) + TAla (rhythm) NATYAM

(dance) = BHARATA NATYAM

Introduction:
Bharatanatyam is one of the oldest among the classical dance forms prevailing in India. This
dance form is said to derive its name from Bharata Muni, the author of Natya shastra (treatise
on dance) written between 2nd century B.C and 2nd century A.D. This dance form was
originally performed in temples by the "Devadasis"(servants of god) and it is to them that we
owe the preservation of this art form. This art form received great patronage during the
golden rule of the Maratha and Chola rulers. The dance was then called "Sadir".

Bharatanatyam in its present form was codified by the four brothers Chinnaiah, Ponniah,
Shivanandam and Vadivelu collectively famous as the Tanjore Quartrette. Their
compositions form the bulk of dancing even today. Training was imparted by male gurus called
"Nattuvannars". This was the time when art received maximum encouragement and dancers
were given land and valuables as gifts and were placed in high esteem.

However with the advent of the Mughals, the temple dance started declining. The Mughal
rulers brought dancers from Persian states. The Devadasis stopped receiving patronage and
many of them them started learning Persian dance and took to court dancing. The British rule
did away with princes and kings. In a desperate move to earn livelihood many dancers who
now stopped receiving any kind of patronage took to acts like prostitution. Thus
Bharatanatyam fell into disrepute. Girls from good families stopped learning dance and
dancing came to be considered as a cheap profession in the latter half of the 19th century and
the first half of the 20th century.

Bharatanatyam was again revived by activists and dancers like Rukmini Devi and E.Krishna
Iyer. Rukmini Devi started the institution Kalakshetra in 1936, and since then there has been
a wave of reform. Today many recognised universities offer degrees in Bharatanatyam,
and artistes are given international recognition and honours. In Bharatnatyam, rhythm and
enactment go hand in hand to create a beautiful whole. Today there are innumerable male and
female dancers all over India and more and more are taking up performing arts as a profession.
 Safe Dance Practice – Gr 1

Mobilisers and Stretches:

1. Feet – Point and flex (Rt & Lt)

2. Ankles – Rotate (Rt & Lt)
3. Heels – Press (Rt & Lt)
4. Knees – Bend and stretch
5. Hips – Rotate (clockwise & anticlockwise)
6. Waist – Stretch sides, forward & backward, twist
7. Shoulders – Rotate
8. Arms – Rotate
9. Head – up and down, side to side
10. Wrists – Up and down, rotate
11. Fingers – Stretch, curl and uncurl

Hand and Eye Coordination Exercises:

Eyes following the hands as they stretch - upwards, sides, forwards, backwards and side
rotations

Turn-out Exercises:

1. Legs stretched to front with pointy toes and leg turned inwards and outwards
2. Legs stretched sideways with pointy toes and legs turned inwards and outwards
3. Standing with feet together, then feet turned out and sitting in half sitting position.

Cool Down:

1. Surya Namaskaram up to equestrian pose

2. Cat pose (Marjaryasana)
3. Child pose (Balasana)
4. Sitting pose (Vajrasana)
General Warm up:

1. Start walking around the space, varying the direction, weaving in & out.
2. Hopping & skipping and lounging as you continue to walk.
3. Changing to high knee walking (thighs parallel to floor) with arm swing.
4. Walking in rhythm with tapping of heels & toes in different directions.
5. Changing to kicking the lower leg up behind the back hitting the gluteus maximus
muscle as you walk.
6. Mobilising the joints of the shoulder, arms & fingers in circular motion.
7. Followed by Greeva bheda & Dristi bheda
8. Place the hands on the sides of the waist. The turn out from the hip, feet to the sides and
keens bent aligning knees over the 2nd toes in Aramandi position. Gradually start sitting
as heels are being raised. Sit down in the Purna mandala position by fully sitting down
on the heels. Gradually get up and back to the Aramandi position.
9. Sit on the floor with feet touch each other in front. Put both hands on the feet. Lower
your upper body and slowly bent down and touch the toes with the forehead. Come
back slowly and repeat.
10. Surya namaskaram. – Series of 12 yoga poses in motion may also be done to improve
on the stretching of the muscles & concentration on breathing.
____________________________________________________________________

1. Why is a Warm up necessary before dancing?

Warm up exercise is done before class

• To pump the blood around the body there by raising the heart beats, breathing rates &
body temperature
• It mobilises the joints by secreting synovial fluid which “oils” them.
• This way the muscles are soft & pliable making it easy to stretch making it less prone
to injury & tear.
• Warm up movements are done rhythmical sequence with short stretches.

2. Why do we need to cool down after dancing?

• It brings down the body temperature, heart, breathing rate to return gradually to their
pre-exercise level.
• It stretches & relaxes the muscles, allowing them to retaining some of the “muscle
memory” of the dancing.
• It helps to distribute the toxin by-products from the working muscles to prevent
soreness.
• It brings the body back to a natural stillness, composure appropriate for returning to
every-day life.
• The cool down exercise can have some of the warm up exercises done in long stretches.
 Salutation: Namaskaram or Tatti Kumbidal

The dance class and recitals always begin and finish with the Salutation. In this, the dancer is
asking for the blessings of the earth, the Gods, the Guru and the audiences.

1. Feet are together in Sama pada position. Hold the hands at the chest level holding

Katakamugham hasta with a distance to be visible.

2. Strike the right leg and left leg with Katakamugham hasta, then change it to Shikhara

hasta while in front of the chest and now swing the right & left arms simultaneously

around the shoulder to bring it to the front with both arms stretched & hand gesture

turning to Chathura hasta (facing down)

3. Sit down with feet now open & heels up in the PurnaMandala or Muzhummandi (full

sitting) position with hands in Chathura hasta. While in full sitting, bend forward from

hip up with straight back, both hands touching the earth in the Chathura mudra and

then touching the eyes.

4. Slowly stand up with to Sama pada position with arms going up from side of the body

in Alapadma mudra and joined together in Anjali mudra above the head. Then Anjali

hands brought down in front of the forehead. Anjali hands brought down to the front

of the chest.
 Steps: Adavus

Adavus is the building blocks of the pure dance /Nritta in Bharatanatyam.

Adavus are comprised of the sthanakamm, Nritta Hasta and Chari.

• Sthanakam – Posture (Either in the typical araimandi (half sit), standing or full sitting
posture (Muzhumandi)
• Nritta Hasta- Hasta/hand getures and their movement
• Chari- the Foot work

To perform an adavu, araimandi - bending of the knees is very important. Adavus are usually
practiced in 3 speeds/kaalams. These are considered building blocks of Korvais/Jathis in
Nritta.

The adavus covered in Grade 1 are as below.

1. Tattadavu: Tatta in tamil means to strike. The basic stance is in Araimandi where the
knees are bent with the tights facing outward and the feet facing sideways. The knee
opend from rotating from the hip. The knees are aligned above opened feet. There are
8 variations in this group. The sollukattu for this group is Tai ya tai

Tattadav Sollukattu Explanation

u Steps
1 Taiya - tai 1beat in each leg alternatively.
2 Taiya tai - Taiya tai 2 beats in one leg, Rt & Lt.
3 Taiya Taiya tai 3 beats in one leg, Rt & Lt.
4 Taiya Taiya Taiya tai 4 beats in one leg, Rt & Lt.
5 Taiya Taiya- tai tai 5 beats in one leg but split in to 2 slow beats & 3
tham fast beats, Rt & Lt.
6 Taiya Taiya tai, 6 beats in one leg done as 3+3 as in 3rd step
Taiya Taiya tai repeated twice on the same leg with one beat gap.
7 Tai Tai Tat -Tat -Tai 7 beats done as 3+1+3. 3 beats in Rt leg, 1 beat in
Tai Tham. Lt leg then 3 beats in Rt leg.
8 Tai Tai Tat -Tat -Tai 8 beats done as 4 slow in Rt & Lt foot alternating
Tai Tham. and 3 fast beats in alternating legs starting in Rt and
one beat being silent.
 2. Nattuadavu: Natta in Tamil means to stretch.or to firmly root. Here the heel is used
as the pivot. From the basic araimandi position, one leg is streched outward either to
the side or the front striking the floor with the heel and then is brought back to position.
The hand gestures used are tripathaka, katakamugha, & alapadma. The feet is some
time kept in agrithala swasthika position. There are 8 variations in this group.
The sollukattu for this group is Tai yum tat ta tai yum ta ha.

Nattadavu/s Solukattu Explanations

teps
1 Tai yum tat tat, tat As shown in figure above.
yum thaa ha
2 Tai yum tat tat, tat Each 2 count is done twice in one leg, Rt & Lt
yum thaa ha legs. Hands used are tripathaka hasta
3 Tai yum tat tat, tat Same as 1 step, then rt leg goes swastika at the
yum thaa ha back, tap on the left leg then finish it as 1st step.
Hands used are tripathaka hasta
4 Tai yum tat tat, tat Entire 3rd step is done twice for each 2 count. Rt
yum thaa ha & Lt.
5 Tai yum tat tat, tat Bend forward with Alapadmam hasta with rt leg
yum thaa ha stretched forward at right angle to the left leg,
then tap left leg, then tap Rt & lt leg with
upright position in araimandi & hand to chest
level in katakamugam hasta & finish as 2nd step
on rt side.
6 Tai yum tat tat, tat Bend forward wih tripathaka hasta with rt leg
yum thaa ha stretched to front, then tap left leg & rt hand
raising straight above head with fingers pointing
up & palm facing side. The left hand is
stationery at shoulder level. Now finish with 2nd
step of nattadavu doing twice on right.
Repeat the same with left side
7 Tai yum tat tat, tat Rt Leg stretched to side with hands from
yum thaa ha katakamukha to alapadma moving in rainbow
shape but rt hand goes further down by bending
the torso to side & Lf hand stops at higher to
shoulder forming a diagonal line. Now body is
entirely turned to side & hands to katakamukha
maintain the same diagonal line. Followed by
1st part of 5th nattadavu.
Repeat the same in left side.
 8 Tai yum tat tat – tat Mandalas are sthanakam, ekapadam,
tai tham, swasthikam & muzhu mandi.
Tai yum tat tat- Hathas used are pathaka, alapadma,
Dhit tai tham katakamukha, avahita.

3. Kattu adavu: Kattu means to enclose. These steps involve using crossing & stamping
patterns and have expansive hand movements that suggest opening an enclosed movement. The
hastas used are pathaka, tripathaka, alapadma, shikara & katakamugha. There are three
variations. The sollukattu used are

1. Dith thai,
2. Dith dith tai,
3.Tai tai dith dith tai.

4. Mettu adavu: Stamping on the ball of the foot and then striking flat. The basic stance
is araimandi. Hasta uses are tripathaka, alapadma,
The sollukattu is Dith thai- Dith tai

5. Paraval adavu or marthithadavu: Paraval means to spread and the emphasis on the torso
& hands going on a full swing from front side & back or the arms make full swing to the side.
Here the basic stance is mandala sthanam or araimandi, or Sthanakam taking to agrithala
swasthika mandala position. The hand gestures used are pathaka, katakamugha, alapadmam
or dola hastas.

In araimandi with feet and arms in synchrony,

In araimandi with arms moving in circle and
In sthanaka with arms moving in synchrony then in opposition.
There are 4 in this group.
The sollukattu for this group is Tha tai tai tha – Dhit tai tai tha

6. Di di tai adavus: This step in sequence can be done in different foot positions for the same
rhythm & variety of floor patterns exploring with various arm movements for one step. This
movement is used to end a group of movements and is often repeated thrice. The hasta used
are tripathaka, alapadma, shikara.
The sollukattu is Di di thai

7. Nadai: The basic stance is sthanakam. Walking with heel to toes with a slight dip at the
beginning while walking forward & toes to heel while walking reverse with a slight dip at the
beginning. The basic Bharatanatyam walk in three different jatis (ie) in tisram (_3_beats),
chatursram (_4_ beats), & misram (_7_ beats) are for grade 1.
Hastas

Hastas are Hand gestures or symbols. They are of 2 kinds.

• Asamyutha Hastas or One handed Gestures
• Samyutha Hastas orTwo Handed Gestures.
Hastas can be used to convey an idea, thought or feeling to the viewers in conjunction with the
lyrics (sahitya) of a song, or they may just add beauty to a movement. The latter are
called Nritta Hasta. These are the ones that we will use in the adavus.Here are the 28
Asamyutha Hastas according to Natya sashtra. The following chart gives a picture and name
of a particular Asamyutha Hasta.

Asamyukta Hastas Sloka – Single Hand Gestures

Pataakas tripatakoo ardhapataka kartareemukhaha /

Mayurakhyoo ardhacandrashca aralah shukatundakaha //
Musthischa shikharakascha kapithah katakamukhaha / (X3)
Suchi chandrakala padmakosha sarpashirastatha //
Mrigashirsha simhamukhaha kangulasha alapadmakaha /
Chaturo bhramarashcaiva hamsasyo hamsapakshakaha //
Sandamsho mukulascheiva thaamrachuda trishulakaha /
Itya samyukta hastanam ashta vishatiriirita //
Hasta Meaning Picture
Pathakam Flag

Tripathakam 3 parts of a flag

Ardhapathakam 2 parts of a flag

Kartarimukham Scissors/ Tongs

Mayuram Peacock

Ardhachandran Half Moon

Aralam Petal/ bent

Shukathundam Parrot’s beak

Mushti Fist

Shikaram The pinnacle/ top

Kapitam Wood apple

Katakamukham bracelet/link

soochi needle

Chandrakala Digit of the moon

Padmakosam Lotus Bud

Sarpasirsham Hood of Cobra

 Hasta Meaning Picture
Mrigaseerisham Deer’s head

Simhamukham Lion’s face

Kangulam small bell/round object

Alapadmam Fully Bloomed Lotus

Chaturam 4 sides, square

Bramharam Bee

Hamsasyam Swan’s bill

Hamsapakshakam Swan’s quill

Sandamsham Pincer

Mukulam bud

Tamarachooda rooster

Trishoolam Trident

It should be noted that each of these hastas can be used to show various thoughts, actions,
ideas and things. Those become the usage or Viniyoga of a Hasta.
Samyukta Hastas Sloka - Double Hand Gestures

Anjalishca kapotashca karkata svastikastatha//

Dolahastah pushputa utsangah shivalingakah/
Katakavardhanashcaiva kartarisvastikastatah//
Shakata shanka cakre ca samputah pashakilakau/
Matsya kurmo varahashca garudo nagabandhakah//
Khatva bherunda kakascha avahis tastataivacha/
ityete sankhyata samyutah karah//
 Double Hand Gestures Work Sheet

Samyutha Hastha Meaning

Anjali Salutation
Kapotha Pigeon
Kartaka Stretching the limbs
Swastika Cross
Dola Swing
Pushpaputaka Handful of flower
Utsanga Embrace
Shivalinga The Phallic form of Lord Shiva
Kataka Vardhana Two Kataka mukha hands kept crossed at the wrists
Kartari Swastika Two Karthari mukha hands kept crossed at the
wrists
Shakatam Used to denote rakshasa (demon)
Shankha Conch
Chakra Wheel
Samputa Container
Pasha Rope
Kilakav Bond / Friendship
Matsya Fish
Kurma Tortoise
Varaha Boar
Garuda Eagle
Nagabandha Serpents head
Katvaa Bed
Bherunda Pair of birds
Avahitta Playing with ball/breast

These are the double hand gestures

 Deva Hastas - Hand Gestures for Gods

According to the Guru sloka the first 3 deva hastas are required for grade 1.

Name of
No Right Hand Left Hand
God/Goddess
1. Brahma Hamsasya -chest level Chatura -chest level
Tripataka -facing outward Tripataka -facing outward
2. Vishnu
chest level chest level
Tripataka -natyarambham Simhamukha -natyarambham
3. Shiva
level level

Suchi -chest level pointing kapitta -above natyarambham

4. Saraswati
left upward level.
5. Lakshmi Kapitta -near shoulder kapitta -near shoulder
Pataka -waist level facing
Pataka -chest level facing
6. Parvati forward with fingers facing
forward
down.
Kapitta -same level as
7. Ganesha Kapitta same level as Parvati.
Parvati
Shikara -natyarambham
8. Shanmukha Trishoola -natyarambham level
level
9. Manmada Katakamukha -chest level Shikara -chest level
Tripataka -both hands crossed
10. Indra Tripataka
above the head
11. Agni Tripataka -chest level Kangula -chest level
Ardha pataka -side below
12. Vaayu Arala -chest level
natyarambham level
13. Varuna Pataka -chest level Shikara -chest level
14. Kubera Mushti -chest level Alapadma -chest level
15. yama Suchi -chest level Tamrachuda -shoulder level
16. Nirurthi Shakata -near mouth Khatwa -chest level
 BHEDAS

Bharatanatyam is governed by various rules laid down in the Natya Shastra a book written by
Bharata Muni. These rules include the different ways to hold the hands, head, neck, eyes, legs,
and so on. Given below are the slokas pertaining to the various movements of each part of the
body.

Shiro Bheda (Head movements)

Samam udhvaahitham adhomukham aalolitham dhutam I

Kampithamcha paraavrittam utkshiptam parivaahitham II

Navadha katitham sirasam Natyashastra visharadaihi II

Head Movement Meaning

Samam straight
Udhvaahitham head with eyes facing up.
Adhomukham Face is bent down.
Aalolitham rotating - the head.
Dhutam shake - head from side to side
Kampitham shaking- head up and down
Paraavritham. looking- to one side
Utkshiptham semi-circle- from one side to the other
Parivaahitham shaking- the head swiftly from one side to the other.

Greeva Bheda (Neck movements)

Sundareecha thirashcheena thathaiva parivarthitha I

Prakampithaa cha bhaavagnair jneyagreeva chaturvidha. II

Neck Movement Meaning

Sundareecha: Atami moving neck from side to side with head
facing front.
Thirashcheenaa: Neck movement with atami moving in V shape side
to side
Thathaiva parivarthitha: Move head in a semi-circle with chin extended

Prakampitam: Moving neck in and out like a duck

 Dhrishti Bhedas (Eye movements)

Samam aalokitham sakchi praalokitha nimeelithe I

Ullokithaanuvriththe cha thathaa chaivaavalokitham. II
Ityashto drishti bhedahasyuh keerthitha purvasurabhi II

Eye Movement Meaning

Samam : straight
Aalokitham : round
Sakchi : look oblique
Praalokitha : both sides
Nimeelithe : eyes half closed
Ullokitha : look up
Anuvriththecha : up and down
Avalokitham : down

Mandala Bhedas (Position of the feet)

Sthaanakam cha aayatha aaliddham prenkhanam prerithaani cha I

Prathyaalidham swasthikam cha motitham samasoochika II
Paarshvasoochithi cha dasha mandalaneerithaaneeha II

Sthaanakam : Ardachandra hasta on the hips & standing with feet together.

Aayatham : Half sitting in the aramandi position.

Aalidham : Extending the left foot front of the right foot showing shikara with left hand &
katakamukha in right hand.

Prenkhanam : left leg in aayatham and right stretched to the side on heel showing korma hasta
with hands.

Preritham : both legs a little far apart in aayatham.

Prathyaalidham : opposite to aaliddham with respect to the hands & feet.

Swasthikam : one foot flat & the other toe across each other with avahita hasta.

Motitham : sitting in muzhumandi with raised heel, feet flexed & with each knee touching
ground alternatively and hands in natyarambam with tripataka hasta.

Samasoochi : placing toes & both knees down simultaneously with hamsasya mudra.

Paarshvasoochi: sitting in muzhumandi with one knee touching the ground.

 The Mathematics in dance

Thalam: Time measure/ Rhythm. The function of rhythm in a musical composition is to

maintain the balance of its music. There are 7 types of thalas but only 2 thalas are learnt in Gr
1.

• Rupaka Talam: ( O | ): Drutam and Laghu (6 count)

• Triputa Talam:( | O O ): Laghu, Drutam & Drutam

Each Avarthanam is a cycle of 8 beats in Adi talam & cycle of 6 beats in Rupaka talam.

Time measure or rhythm : They also have 3 Angas

• Laghu ( | ): Clapping the right hand on the right thigh once and then counting the
fingers (3-9 counts depending on the jaathi).
• Drutam (O): Clapping once or beating on the thigh once and turning over the palm or
waving the palm once (2 counts)
• (Anudrutam (~): A clap or a single beat on the right thigh (1 count)).

Jaathi: It is the time measure consisting of different counts. There are five jaathis but only 3
are learnt in Gr 1.

• Tisram (3 counts).
• Chaturasram (4 counts).
• Misram (7 counts).

Mathematics in Dance

Jaatis
Tisram Chatusram Misram
Talas 3 4 7
5 6 9
Rupakam
(O I) (__2__+__3__) (__2__+__4__) (__2__+__7__)

7 8 11
Triputa (I O O)
(__3_+__2_+_2_) (__4_+__2_+__2_) (__7_+__2_+__2_)
 Korvai

A korvai is a sequence of dance movements (adavus) put together.

Each avarthanam is a cycle of 8 beats in adi talam & cycle of 6 beats in rupaka
talam.

This korvai is from the dance presentation set to adi talam or cycle of 8 beats

The following solukkattu or spoken syllables for the korvai are required to be
learnt at least 4 avarthanams for Grade 1.

Exam piece:
Tattadavu : 5th and 7th (each in 1st and 2nd Speed)
Nattadavu: 5th (1st speed) and 7th (2nd speed)
Mettadavu: 4 varieties followed by 3rd Kattadavu each right and left.
Nadai in Tisram 1st & 2nd Speed and in Misram 1st & 2nd speed.

Korvai

L1 L2 L3 L4 X O X O

Ta Tai Tai Ta Dit Tai Tai ta

1st Speed
Ta Tai Tai Ta Dit Tai Tai ta

Ta tai Tai ta Dit tai Tai ta Ta ki ta, Ta ki ta Ta ka

Ta tai Tai ta Dit tai Tai ta Ta ki ta, Ta ki ta Ta ka

2nd Speed
Ta tai Tai ta Dit ta Dit ta Dit tai Tai ta Dit ta Dit ta

Di di tai Di di tai Ta ka Di di tai Di di tai Ta ka Di di tai Di di tai

 Sarali Varisai

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Sarali Varishais: These fundamental sequences enable the student to get a feel of melody with
rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent and descent of the
notes of the raga. The 2nd varishai focuses on the second note from S, namely R (in the ascent)
and N (in the descent). The 3rd varishai centers on the third note (G and D) in the ascent and
descent respectively. The fourth varishai concentrates on the fourth note M and P. This goes
on upto the 7th varishai. The last 3 are general exercises. Some books have split the last sarali
varishai into 5 parts, but singing it as a single varishai is more instructive.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the number
of notes per beat of the tala, rather than the number of notes per second or minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double of
this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes per unit.
For instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Sarali Varishai in four speeds:

First speed - one note per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
s r g m p d n S
Second speed - two notes per unit
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
sr gm pd nS Sn dp mg rs

Third speed - four notes per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
srgm pdnS Sndp mgrs srgm pdnS Sndp mgrs
Sarali Varisai
Notation hints: s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave.

1. Simple ascent/descent
Laya pattern: 1234 5678

s r g m | p d | n S ||
S n d p | m g | r s ||

2. Focus on R and N
Laya pattern: 12-12-1234 and 1234 5678

s r-s r-| s r | g m ||
s r g m | p d | n S ||
S n-S n -| S n | d p ||
S n d p | m g | r s ||

3. Focus on G and D.
Laya pattern: 123-123-12 and 1234 5678

s r g-s | r g-| s r ||
s r g m | p d | n S ||
S n d-s | n d -| s n ||
S n d p | m g | r s ||
4. Focus on M and P
Laya pattern: 1234-1234 and 1234 5678

s r g m-| s r | g m - ||
s r g m | p d | n s ||
S n d p-| S n | d p - ||
S n d p | m g | r s ||
5. Focus on P and M (dheergam); and R, N
Laya pattern: 1234 5 -12 and 1234 5678

s r g m | p ,- | s r ||
s r g m | p d | n S ||
S n d p | m ,-| S n ||
S n d p | m g | r s ||
6. Focus on G and D
Laya pattern: 1234 56-12 and 1234 5678

s r g m | p d-| s r ||
s r g m | p d | n S ||
S n d p | m g-| S n ||
S n d p | m g | r s ||
7. Focus on N and R (dheergam)
Laya pattern: 1234 567-, and 1234 5678

s r g m | p d | n , ||
s r g m | p d | n S ||
S n d p | m g | r , ||
S n d p | m g | r s ||
8. Zig Zag with Focus on "pmgr" and "mpdn"
Laya pattern: 1234 - 5432 and 1234 5678

s r g m | p m | g r ||
s r g m | p d | n S ||
S n d p | m p | d n ||
S n d p | m g | r s ||
9. Zig Zag with Focus on "pmdp" and "mpgm"
Laya pattern: 1234 -5465 and 1234 5678

s r g m | p m | d p ||
s r g m | p d | n S ||
S n d p | m p | g m ||
S n d p | m g | r s ||
10. Focus on P (dheergam) and the region between G and N; and practicing resting on G
(nyaasa swaram) Laya pattern: 1234 5-12 and 5 , , , 5 , , , and 3456 - 7654 and 3456 – 4321.

s r g m | p , | g m ||
p , , , | p , | , , ||
g m p d | n d | p m ||
g m p-g | m g | r s ||
11. Focus on dheergams at S, N, D, P. Simple patterns: "Snd", "Ndp", "Dpm" and the region
between G and N (finishing phrases) Janta at p, p,

S , n d | n , | d p ||
d , p m | p , | p , ||
g m p d | n d | p m ||
g m p-g | m g | r s ||
12. Preview of Janta (sphuritam) concept: "SS", "nn", "dd", "pp".
Simple patterns: "SSnd", "nndp", "ddpm"
Dheergam at "paa" and the region between G and N (finishing phrases)

S S n d | n n | d p ||
d d p m | p , | p , ||
g m p d | n d | p m ||
g m p-g | m g | r s ||
13. ZigZag Patterns: "srgr G", "gmpmP",
Dheergam Focus: G, P, D
and the region between M and N (with a lot of emphasis on zigzag and D-notes)

s r g r | g , | g m ||
p m p ,-| d p | d , ||
m p d p | d n | d p ||
m p d p | m g | r s ||

14. Dheergam at P and S, Jantas at D and M

s r g m| p , | p , ||
d d p , | m m| p , ||
d n S , | S n | d p ||
S n d p | m g | r s ||
14th is in half octave higher as I did not get the relevant link working.
Source:

===========================================================
 http://www.shivkumar.org/music/basics/deepa/SaraliVarise-01-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-02-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-03-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-04-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-05-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-06-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-07-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-08-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-09-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-10-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-11-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-12-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-13-G-5.mp3
• http://www.shivkumar.org/music/basics/deepa/SaraliVarise-14-Gsharp-5.5.mp3
• http://www.shivkumar.org/music/varnams/index.html
 GEETHAM - SREE GANANATHA (LAMBODARA)

Ragam: Malahari Talam: Rupakam (Chathurasra Jathi)

Composer: Purandaradasa Meaning: Dr. Aruna Turaga, California

ARO: S R1 M1 P D1 S|| AVA: S D1 P M1 G3 R1 S ||

Pallavi:

Sri Gananatha Sindhoora Varna Karuna Saagara Kari Vadana

Lambodhara Lakumi-karaa Ambaa Sutha Amara Vinutha

Charanam 1:

Siddha Chaarana Gana Sevitha Siddhi Vinayaka The Namo Namo

Charanam 2:

Sakala Vidyaadi Poojitha Sarvothama The Namo Namo

Pallavi:

O leader of the pramada ganas, (“sri gana natha”), you are the clor of vermillion
(“sindhura varna”), and the ocean of compassion (“karuna sagara”). You have
the visage (“vadana”) of the mighty elephant (“kari”) and a protruding belly
(“lambodara”). You hold goddess lakshmi (“lakumi”) in your hand (“kara”). O
son of Parvathi (“amba sutha”) you are worshipped by (“vinutha”) the gods
(“amara”).

Charanam 1:

You have all the holy men at your feet (“siddha charana”) and you are
worshipped by the pramadha ganas who are the followers of lord Siva (“gana
sevitha”). You grant your devotees all their wishes (“siddhi vinayaka”) and I
bow to you (“the namo ”).

Charanam 2:

You are the first (“aadi”) one to receive obeisance (“poojitha”) when setting
upon acquiring any kind of knowledge (“sakala vidhya”). You are the greatest
one of all (“sarvothama”) and I pray to you.
GEETHAM: SREE GANANATHA (LAMBODARA) Arohanam :
S R1 M1 PD1 S Avarohanam: S D1 PM1 G2 R1 S
Pallavi: Ragam Malahari Talam: Rupaka Talam

M P | D S S R || R S | D P M P ||
Sree - | Ga na na tha || sin dhu | - ra var na ||

O leader of the pramada ganas, (“sri gana natha”), you are the colour of vermillion (“sindhura varna”),

R M | P D M P || D P | M G R S ||
Ka ru | na Sa ga ra || ka ri | va dha - na ||
... and the ocean of compassion (“karuna sagara”). You have the visage (“vadana”) of the mighty elephant
(“kari”) ...

S R | M - G R || S R | G R S , ||
Lam - | bo - dha ra || la ku | mi ka ra - ||
... and a protruding belly (“lambodara”). You hold goddess lakshmi (“lakumi”) in your hand (“kara”).

R M | P D M P || D P | M G R S ||
Am - | ba - su tha || a ma | ra vi nu tha ||

O son of Parvathi (“amba sutha”) you are worshipped by (“vinutha”) the gods (“amara”).

S R | M - G R || S R | G R S , ||
Lam - | bo - dha ra || la ku | mi ka ra - ||

Charanam 1:

M P | D S S R || R S | D P M P ||
Sid dha | cha - ra na || ga na | se - vi tha ||

You have all the holy men at your feet (“siddha charana”) and you are worshipped by the pramadha ganas
who are the followers of lord Siva (“gana sevitha”).

R M | P D M P || D P | M G R S ||
Sid dhi | vi na ya ka || the - | na mo na mo ||
(Lam)
You grant your devotees all their wishes (“siddhi vinayaka”) and I bow to you (“the namo ”).

Charanam 2:

M P | D S S R || R S | D P M P ||
Sa ka | la vi dya - || - dhi | pu - ji tha ||
You are the first (“aadi”) one to receive obeisance (“poojitha”) when setting upon acquiring any kind of
knowledge (“sakala vidhya”).

R M | P D M P || D P | M G R S ||
Sa - | rvo - tha ma || the - | na mo na mo ||
(Lam)
You are the greatest one of all (“sarvothama”) and I pray to you.
 Write-up: Research

Ø Brief notes on origin of Bharatanayam.(4-5 independent points, about 200-300

words)
Ø Names of Hindu God & Goddess.
Ø Review of any dance show you have seen in 100 words.