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The
head forms the first unit and lateral movements of the head are common.
The torso is seen as another unit and is hardly ever broken up into the
upper or the lower torso. The lower limbs are seen either as straight lines
or two sides of an imaginary triangle in space. The upper limbs either
follow the lower limbs or weave circular patterns along space which is
covered by the lower limbs. It is the latter aspect, along with the use
of the torso as a single unit, that gives Bharatanatyam its distinctness.
The
dancer begins with samapada position which is the first basic position
with the feet facing front. The body of the dancer is neither relaxed nor
unduly taut. This is followed by turning of the feet sideways. Then comes
the ardhamandali position in which the feet are sideways and the knees
also bend sideways. The arms are either extended out or placed firmly on
the waist. In terms of geometrical design, the dancer is trying to achieve
a series of triangles. Foot contact is important.
The
unit which emerges as a co-ordinated pattern of the feet, knees, torso,
arms and hands is known as the adavu. The adavus are the basis of nrtta
technique of Bharatanatyam. They are units which have been divided according
to most oral traditions into nine groups. These adavus can be set in a
composition in any given tala (time cycle) and with a few exceptions, all
adavus are executed in the ardhamandali position. Symmetrical pattern is
achieved by executing a movement first by the right foot and then by the
left foot.
Bharatanatyam’s
symmetry and geometric grace, is enhanced by the dancer’s eloquent and
expressive use of eyes and face.
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