 |
| dancer-Kumari Suhitha |
|
|
Rangapravesam is a Sanskrit word meaning "debut." Ranga- means
"stage" and –pravesam means "entry." This is the blossoming of a student
into a full-fledged artist when he or she enters the stage for the
first time. It normally takes several years of dedicated and practice to
perform solo on the stage. Rangapravesam is not necessarily the
pinnacle of the dancer's life, but rather a step towards further
endeavors and future challenges in the dance world.
STYLE
Bharata Muni who wrote the Natya Shastra had explained various aspects of this dance form. Later sometime in the
13th century, the impetus to kuchipudi was given by Siddhendra Yogi.
Well-versed in the Natyashasra, he composed a dance-drama
Parijatapaharana.
Kuchipudi dancers are quicksilver and scintillating, rounded and
fleet-footed, they perform with grace and fluid movements. Performed to
classical Carnatic music, it shares many common elements with Bharata Natyam.
In its solo exposition Kuchipudi numbers include 'jatiswaram' and
'tillana' whereas in nrityam it has several lyrical compositions
reflecting the desire of a devotee to merge with God. In an era of the
degeneration of dance due to exploitation of female dancers, an ascetic,
Beyond the stylistic differences of Kuchipudi and Bharata Natyam steps,there are certain types of dances that are unique to Kuchipudi:
Specifically there is the Tarangam which is unique in that the dancer
holds a plate with two diyas (small oil-burning candles) in her hands
while balancing a "kindi" (small vessel) containing water.
The dance styles in the state are based on the standard treatises,
Abhinaya Darpana and Bharatarnava of Nandikeshwara, which is sub-divided
into Nattuva Mala and Natya Mala. Nattuva Mala is of two types — the
Puja dance performed on the Balipitha in the temple and the Kalika dance
performed in a Kalyana Mandapam. Natya Mala is of three kinds — ritual
dance for gods, Kalika dance for intellectuals and Bhagavatam for common
place. The Natya Mala is a dance-drama performed by a troupe,
consisting only of men, who play feminine roles.
Article source: https://en.wikipedia.org/wiki/Kuchipudi
Photo: Ashay v photography
JEWELLARY
The jewelry in this catagory are the inexpensive version of Temple
Jewelry and known as imitation Temple Jewelry. Most of this jewelry are
made of Copper or base metal and Gold plated. This is little heavier
than real temple jewelry due to the weight of Copper or base metal. If
maintained properly, the imitation temple jewelry lasts and stay as new
for many years. Imitation temple jewelry must be stored in a dry /
mosture free place wraped in cotton cloth or tissue paper. Even
though Copper is not brittle, the base metal jewelry is highly brittle
and may break if dropped.
 |
| happy |
EXPRESSION (Bhava):
Bhavas
are the meaning of a poem, a meaning that includes words, physical
gestures and emotions.To be precise, that which conveys the meaning
intented by the poet through words , physical gestures, and facial
gestures is called as bhavas.
 |
| raudra |
A meaning conveyed by a stimulus is
called as Vhibhavas and when the same is made intelligible by words ,
physical gestures and emotions it is called as Anubhavas.
Vibhava
is that which leads to a perception.So vibhava is a cause.It is the
cause of words, gestures, and facial expressions.So , in ordinary
parlance, vibhaavita means “understood”.
Anubhavas
are accompanied(anu) by words, gestures and facial expressions.
According to a traditional verse , an an anubhava is conveyed with the
help of words, gestures etc.
There are 3 categories of bhavas –
Sthaayi bhavas, Vyabhikari bhavas, and Saattvika bhavas. There are 8
Sthaayi bhavas, 33 Vyabhikari bhavas and 8 Saattvcika bhavas. Thus 49
bhavas are the source of expression of the rasas of poetry.The rasas are
produced when these come into contact with the qualities common.
The
8 Sthaayi bhavas ar the 8 rasas.Their expressions – both
involuntary(anubhavas) and voluntary(vyabhikari bhavas) .The 8 rasas or
the sthayi bhavas are –Srngara,Hasya,Karuna, Raudra, Vira, Bhayanaka,
Bibhatsa and Adbhuta.These have already been explained under the Rasas.
The other vibhavas are-
1)Rati-(love is a feeling of pleasure)-It is performed sweetly and gracefully.
2)Haasa-(laughter)-It is expressed by smile , gentle laughter and a guffaw.
3)Soka-(grief)-It is expressed by
collapsing on the ground and repeated lamentations, uneasy body
movement,, sighs and shaking of the head, knitted eyebrowsetc.
4)Anger- It is expressed by bitting the lips, looking down and wiping the perpiration, looking like an angry man,etc.
5)Energy or Vigour-This is a characteristic of a uttama(high) character.It is used to express clarity , cleverness etc.
6)Fear-It is expressed by drooping limbs, hands& legs shaking, fearful eyes etc.
7)Disgust-Only in the case of females and
low characters .It is expressed by holding the nose , by covering, by
looking doubtfully etc.
8)Wonder-A job excellently done pleases
one; and the pleasure produces amazement at the fulfillment.This is
expressed by extreme joy.
 |
| navarasa |
Learning Navarasa is an important session for a student of dance. Here
the teacher explains about different facial expressions, how and when
it is used. It is the most exciting session for the students to make
funny faces. Imagine a mother busy in the kitchen and her child spills a
bottle of oil on the floor. Guess what will be the feeling like. In my
case it is surely going to be Raudra. And then followed by a Tandava.
Article Source:http://onlinebharatanatyam.com
Photo: Ashay v photography
