10 Minutes With Shantha

Chapter Summary 15 - Hasta Mudras

Hasta Mudras are the soul of Bharatanatyam, where every gesture tells a story, holds meaning, and evokes emotion. These gestures form a unique language, allowing dancers to communicate the unspoken.

They are categorized as Asamyuta Hastas (single-hand) and Samyuta Hastas (double-hand), symbolizing everything from gods and nature to human emotions. Shantha often says that using mudras feels like painting vivid pictures in the air, immersing the audience in the narrative.

Each mudra harmonizes with the eyes, breath, and expressions to create rasa, the emotional essence of the performance. Without them, Bharatanatyam would lose its voice, for mudras truly make the art divine.

Chapter 14 : Adavus - Shall We Dance

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

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

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

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

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

They are crucial for transforming students into skilled performers.

This chapter delves into the significance of dance imagery in Bharatanatyam, focusing on the 108 Karanas, the foundational dance movements described in the Natya Shastra. These Karanas, created by Lord Shiva in his cosmic dance form, are believed to lead practitioners toward spiritual liberation.

The chapter explores the sacred origins of the Karanas, their role in purifying the soul, and their physical components, including specific arm, leg, and body movements. The chapter emphasizes the deeper spiritual and ritual meanings of dance sculptures in South Indian temples, particularly those with 108 Karana depictions, such as in Thanjavur and Chidambaram.

These sculptures are shown to symbolize ritual, transformation, and meditation, integral to Hindu worship.