1.

Thattumettu adavu in bharatnatyam

Thattumettu adavu is a basic footwork pattern in Bharatanatyam, which
is a classical dance form originating from the Indian state of Tamil Nadu.
In this adavu, "thattu" means to stamp or hit the ground, while "mettu"
means to place the foot in a specific way.

The Thattumettu adavu involves eight different steps, which are

performed in a rhythmic sequence. The dancer starts in the samapada
(feet together) position and then steps out with the right foot to form
the araimandi (half-sitting) position. The eight steps are as follows:

1. Thattadavu: In this step, the right foot is lifted and stamped on the
ground.
2. Metchadavu: The left foot is then lifted and placed slightly behind
the right foot.
3. Thattadavu: The right foot is lifted and stamped on the ground
again.
4. Metchadavu: The left foot is again lifted and placed slightly behind
the right foot.
5. Thattadavu: The right foot is lifted and stamped on the ground for
the third time.
6. Metchadavu: The left foot is lifted and placed slightly behind the
right foot once more.
7. Thattadavu: The right foot is lifted and stamped on the ground for
the fourth time.
8. Aramandi: The dancer then returns to the starting position of
araimandi.

These steps are repeated with the left foot, and the entire sequence is
usually performed to a specific rhythmic pattern called a tala. The
Thattumettu adavu is one of the fundamental adavus in Bharatanatyam,
and it is usually taught to beginners before moving on to more complex
footwork patterns.
2. Meetadavu in bhartnatyam
"Meettadavu" is a basic adavu (footwork) in Bharatanatyam, which is a
classical dance form originating from the Indian state of Tamil Nadu. In
this adavu, "meetu" means to close or bring together, and "adavu"
means footwork.

The Meetadavu adavu involves eight different steps, which are

performed in a rhythmic sequence. The dancer starts in the samapada
(feet together) position and then steps out with the right foot to form
the araimandi (half-sitting) position. The eight steps are as follows:

1. Tap the right foot on the floor.

2. Slide the left foot to the right and bring it next to the right foot.
3. Tap the right foot on the floor.
4. Slide the left foot to the right and bring it next to the right foot.
5. Tap the right foot on the floor.
6. Slide the left foot to the right and bring it next to the right foot.
7. Tap the right foot on the floor.
8. Bring the left foot next to the right foot and return to samapada
position.

These steps are repeated with the left foot, and the entire sequence is
usually performed to a specific rhythmic pattern called a tala. The
Meetadavu adavu is usually taught to beginners as it is one of the
fundamental adavus in Bharatanatyam, and it helps in developing a
strong foundation in footwork.

3. Understand the pedagogical structure of Bharatanatyam

Bharatanatyam is a classical dance form that originated in the Indian
state of Tamil Nadu. It is a highly stylized dance form that involves
intricate footwork, hand gestures, facial expressions, and body
movements. The pedagogical structure of Bharatanatyam involves a
systematic approach to learning the various aspects of the dance form.

Here is a brief overview of the pedagogical structure of Bharatanatyam:

 1. Basic Movements: The training usually starts with learning the basic
movements, called adavus, which include various footwork
patterns, hand gestures, and body movements.
2. Theory: Along with learning the adavus, students are taught the
theory of Bharatanatyam, which includes the history and evolution
of the dance form, the significance of the various hand gestures
and facial expressions, and the cultural context in which the dance
is performed.
3. Abhinaya: The next stage involves learning abhinaya, which is the
art of expression through facial expressions, hand gestures, and
body language. Students learn to convey different emotions and
moods through their expressions and movements.
4. Choreography: Once the students have mastered the basic
movements and abhinaya, they start learning the choreography of
different dance pieces, which include various compositions set to
different ragas and talas.
5. Performance: Finally, the students are trained to perform on stage,
and they get opportunities to showcase their skills and talent in
front of an audience.

The pedagogical structure of Bharatanatyam is usually divided into

different levels, with each level building upon the skills and knowledge
acquired in the previous level. The training is usually rigorous and
requires a lot of practice and dedication, but it is also rewarding and
enriching, helping students develop a deep understanding of the dance
form and its cultural significance.

4. Interpret the usage of the body in executing : Thattumettu

adavu, Meetadavu
In Bharatanatyam, the body is used as an instrument of expression, and
each movement is carefully crafted to convey a specific emotion or idea.
Both Thattumettu adavu and Meetadavu involve intricate footwork
patterns that require the dancer to use the entire body to execute the
movements with grace and precision.
In Thattumettu adavu, the body is used to create a sense of rhythm and
balance. The dancer starts with the samapada position, where the feet
are placed together, and then steps out with the right foot to form the
araimandi position, which is a half-sitting posture. The stamping of the
foot on the ground creates a rhythmic pattern that is synchronized with
the music. The body weight is shifted from one foot to the other, and the
knees are bent to maintain balance and stability in the araimandi
position. The upper body remains straight, with the arms held in a
specific position that complements the footwork.

In Meetadavu, the body is used to create a sense of fluidity and grace.

The dancer starts with the samapada position and then taps the right
foot on the floor, followed by sliding the left foot to the right and
bringing it next to the right foot. This sequence is repeated with different
footwork patterns, and the entire movement requires the dancer to use
the body to create a seamless flow of movements. The weight is shifted
from one foot to the other, and the upper body is kept straight and
poised, with the arms moving in tandem with the footwork.

Overall, both Thattumettu adavu and Meetadavu require the dancer to

use the body as a whole to execute the movements with precision and
finesse. The movements are synchronized with the music, and the body
language and expressions convey the essence of the dance form, making
it a rich and expressive art form.

5. Understand the pedagogical structure of Bharatanatyam :

Thattumettu adavu, Meetadavu
Thattumettu adavu and Meetadavu are two fundamental adavus
(footwork patterns) in the pedagogical structure of Bharatanatyam, a
classical dance form originating from the Indian state of Tamil Nadu.
Both of these adavus are taught to beginners as they form the
foundation of the dance form and are an essential part of the training.

In the pedagogical structure of Bharatanatyam, the training usually starts

with learning the basic movements, which include various adavus, hastas
(hand gestures), and charis (leg movements). The training is typically
divided into different levels, with each level building upon the skills and
knowledge acquired in the previous level.

The pedagogical structure of Thattumettu adavu involves a systematic

approach to learning the eight different steps involved in the adavu. The
dancer starts in the samapada position and then steps out with the right
foot to form the araimandi (half-sitting) position. The steps involve
tapping the foot on the floor and sliding the other foot to form a
rhythmic pattern. The focus is on creating a sense of rhythm and balance
by shifting the body weight from one foot to the other and maintaining
stability in the araimandi position.

Similarly, the pedagogical structure of Meetadavu involves learning the

eight different steps involved in the adavu. The dancer starts in the
samapada position and then taps the foot on the floor, followed by
sliding the other foot to form a seamless flow of movements. The focus
is on creating a sense of fluidity and grace by using the body to create a
seamless flow of movements and maintaining a straight and poised
upper body.

Both Thattumettu adavu and Meetadavu are usually taught in the early
stages of training and form the foundation for learning more complex
movements, abhinaya (expression), and choreography. The pedagogical
structure of Bharatanatyam emphasizes a systematic and disciplined
approach to learning the various aspects of the dance form and requires
a lot of practice and dedication to master the movements and
expressions.

6. Understand the pedagogical structure of Bharatanatyam :

Karthari adavu
Karthari adavu is one of the fundamental adavus (footwork patterns) in
Bharatanatyam, a classical dance form from the Indian state of Tamil
Nadu. The pedagogical structure of Bharatanatyam involves a systematic
approach to learning the various aspects of the dance form, including
adavus, hastas (hand gestures), and abhinaya (expression).
The training in Bharatanatyam usually starts with learning the basic
movements, which include various adavus that form the foundation of
the dance form. Karthari adavu is typically taught to beginners and is
one of the first adavus to be learned.

The pedagogical structure of Karthari adavu involves a step-by-step

approach to learning the movements. The dancer starts in the samapada
position (feet together), and then steps forward with the right foot,
bending the knee and placing the foot on the floor. The left foot is lifted
off the floor, and the toes are pointed downward, creating a sharp angle
with the leg. This movement is repeated with the left foot, and the entire
sequence is performed with a steady rhythm.

The focus in Karthari adavu is on creating sharp and precise movements

while maintaining balance and stability. The dancer must shift the body
weight from one foot to the other and maintain the araimandi (half-
sitting) position throughout the movement. The arm movements are also
an essential part of Karthari adavu, with the arms held in specific
positions that complement the footwork.

The pedagogical structure of Bharatanatyam emphasizes a systematic

and disciplined approach to learning the various aspects of the dance
form. The training is typically divided into different levels, with each level
building upon the skills and knowledge acquired in the previous level.
Karthari adavu is usually taught in the early stages of training and forms
the foundation for learning more complex movements and
choreography. Practice and dedication are essential to master the
movements and expressions in Bharatanatyam.

7. Understand the pedagogical structure of

Bharatanatyam :Utplavana adavu
Utplavana adavu is one of the fundamental adavus (footwork patterns) in
Bharatanatyam, a classical dance form from the Indian state of Tamil
Nadu. The pedagogical structure of Bharatanatyam involves a systematic
approach to learning the various aspects of the dance form, including
adavus, hastas (hand gestures), and abhinaya (expression).
The training in Bharatanatyam usually starts with learning the basic
movements, which include various adavus that form the foundation of
the dance form. Utplavana adavu is typically taught to beginners and is
one of the first adavus to be learned.

The pedagogical structure of Utplavana adavu involves a step-by-step

approach to learning the movements. The dancer starts in the samapada
position (feet together), and then steps forward with the right foot,
placing it on the floor while keeping the left foot behind. The left foot is
lifted off the floor, and the toes are pointed upward, creating a sharp
angle with the leg. This movement is repeated with the left foot, and the
entire sequence is performed with a steady rhythm.

The focus in Utplavana adavu is on creating a sense of elevation and

lightness in the movements. The dancer must use the body weight to
create a smooth lift-off of the foot and maintain the araimandi (half-
sitting) position throughout the movement. The arm movements are also
an essential part of Utplavana adavu, with the arms held in specific
positions that complement the footwork.

The pedagogical structure of Bharatanatyam emphasizes a systematic

and disciplined approach to learning the various aspects of the dance
form. The training is typically divided into different levels, with each level
building upon the skills and knowledge acquired in the previous level.
Utplavana adavu is usually taught in the early stages of training and
forms the foundation for learning more complex movements and
choreography. Practice and dedication are essential to master the
movements and expressions in Bharatanatyam.

8. Understand the pedagogical structure of

Bharatanatyam :Brahmari adavu
Brahmari adavu is one of the fundamental adavus (footwork patterns) in
Bharatanatyam, a classical dance form from the Indian state of Tamil
Nadu. The pedagogical structure of Bharatanatyam involves a systematic
approach to learning the various aspects of the dance form, including
adavus, hastas (hand gestures), and abhinaya (expression).
The training in Bharatanatyam usually starts with learning the basic
movements, which include various adavus that form the foundation of
the dance form. Brahmari adavu is typically taught to beginners and is
one of the first adavus to be learned.

The pedagogical structure of Brahmari adavu involves a step-by-step

approach to learning the movements. The dancer starts in the samapada
position (feet together), and then steps forward with the right foot,
bending the knee and placing the foot on the floor. The left foot is lifted
off the floor, and the toes are pointed downward, creating a sharp angle
with the leg. The right foot is then lifted off the floor, and the toes are
pointed upward, creating a sharp angle with the leg. This movement is
repeated with the left foot, and the entire sequence is performed with a
steady rhythm.

The focus in Brahmari adavu is on creating a sense of fluidity and grace

in the movements. The dancer must shift the body weight from one foot
to the other and maintain the araimandi (half-sitting) position
throughout the movement. The arm movements are also an essential
part of Brahmari adavu, with the arms held in specific positions that
complement the footwork.

The pedagogical structure of Bharatanatyam emphasizes a systematic

and disciplined approach to learning the various aspects of the dance
form. The training is typically divided into different levels, with each level
building upon the skills and knowledge acquired in the previous level.
Brahmari adavu is usually taught in the early stages of training and forms
the foundation for learning more complex movements and
choreography. Practice and dedication are essential to master the
movements and expressions in Bharatanatyam.

9. Interpret the usage of the body in executing different

movements: Karthari adavu, Utplavana adavu, Brahmari adavu
Bharatanatyam, a classical dance form from the Indian state of Tamil
Nadu, involves a precise and structured approach to the execution of
various movements, including adavus (footwork patterns). Karthari
adavu, Utplavana adavu, and Brahmari adavu are three of the
fundamental adavus in Bharatanatyam, and each adavu involves a
unique usage of the body to execute the movements.

Karthari adavu involves a sharp and angular movement of the legs, which
creates a sense of precision and power in the dance. The dancer starts in
the samapada position (feet together) and then steps forward with the
right foot, bending the knee and placing the foot on the floor. The left
foot is then lifted off the floor and pointed straight ahead, creating a
sharp angle with the leg. This movement is repeated with the left foot,
and the entire sequence is performed with a steady rhythm. The focus in
Karthari adavu is on creating a sharp contrast between the straight and
angular movement of the legs and the fluid movement of the upper
body and arms.

Utplavana adavu involves a light and graceful movement of the legs,

which creates a sense of elevation and lightness in the dance. The dancer
starts in the samapada position and then steps forward with the right
foot, placing it on the floor while keeping the left foot behind. The left
foot is then lifted off the floor, and the toes are pointed upward, creating
a sharp angle with the leg. This movement is repeated with the left foot,
and the entire sequence is performed with a steady rhythm. The focus in
Utplavana adavu is on creating a sense of elevation and lightness in the
movements, using the body weight to create a smooth lift-off of the foot
and maintaining the araimandi (half-sitting) position throughout the
movement.

Brahmari adavu involves a fluid and graceful movement of the legs,

which creates a sense of flow and continuity in the dance. The dancer
starts in the samapada position and then steps forward with the right
foot, bending the knee and placing the foot on the floor. The left foot is
lifted off the floor, and the toes are pointed downward, creating a sharp
angle with the leg. The right foot is then lifted off the floor, and the toes
are pointed upward, creating a sharp angle with the leg. This movement
is repeated with the left foot, and the entire sequence is performed with
a steady rhythm. The focus in Brahmari adavu is on creating a sense of
fluidity and grace in the movements, shifting the body weight from one
foot to the other and maintaining the araimandi position throughout the
movement.

Overall, the usage of the body in executing Karthari adavu, Utplavana

adavu, and Brahmari adavu involves a precise and structured approach,
with each adavu emphasizing different aspects of the dance form, such
as precision, lightness, and fluidity. The dancer must use the body
weight, maintain the araimandi position, and coordinate the movement
of the legs with the upper body and arms to create a cohesive and
expressive performance.