Basic Terminology

 Basic Terminology

- Aramandi: refers to a basic Kuchipudi stance where the knees are bent in half diamond shape in soushtavam.

- Soushtavam: posture for executing dance. Upper body is straight with the shoulders back

- PadaBheda: refers to the different stances with the feet (Udghatitha, Sama, Agrathala Sanchara, Anchita, Kunchita, Suchi)

- Asamyutha and Samyutha Hastas: The Single and Double Hand gestures that demonstrate different meanings and stories visually.

- Adugu (Adugulu) : basic unit in Kuchipudi dance.; Footwork

- Vaishnava Sthanaka: The typical turn out position in classical dance

- Tala and Laya: timely beats to a rhythm while incorporating grace

1.      Aramandi:-
"Aramandi" is a term used in the Indian classical dance form of Bharatanatyam. It refers to a fundamental stance or posture that is foundational to the execution of movements in Bharatanatyam and other classical Indian dance forms.

In Aramandi, the dancer maintains a squatting position with the knees bent outward and the feet turned outward as well, forming a diamond shape with the legs. This posture requires strength, flexibility, and balance, and it serves as the starting point for various movements, steps, and gestures in Bharatanatyam. Mastering Aramandi is crucial for dancers as it allows them to maintain stability, grace, and control throughout their performances.

Websites:

https://kalarasa921503087.wordpress.com/2020/07/31/aramandi/

Youtube Videos:

https://www.youtube.com/watch?v=SerNBEMvh4M

https://www.youtube.com/watch?v=sbQl1NHQclQ

1.      Soushtavam:-

 "Soushtavam" is a term that originates from Indian classical music, specifically Carnatic music. In Carnatic music, "Soushtavam" refers to a composition or musical piece that is set to a particular raga (melodic framework) and tala (rhythmic cycle).
A Soushtavam typically consists of lyrics or syllables set to a specific melody within a raga and rhythmic pattern within a tala. These compositions are often devotional in nature, praising Hindu deities or expressing spiritual sentiments.
In summary, Soushtavam is a genre of Carnatic music composition that follows specific rules of melody, rhythm, and structure, often used in worship or performance contexts.

Websites:

https://www.nrithyamani.com/post/the-5-s-s-to-make-your-dance-practice-better

1.      PadaBheda:-
PadaBheda is a concept in Indian classical music (particularly in Carnatic music) that refers to the technique of singing or playing the same musical composition in different scales or modes. This practice allows musicians to explore various melodic possibilities within a single composition. PadaBheda involves altering the pitch of the composition while maintaining its original structure and rhythm, thereby creating different emotional flavors or moods. It requires a deep understanding of musical theory and proficiency in the execution of melodies in different scales. This technique is often used to demonstrate the versatility and creativity of musicians in Indian classical music.

 Paadha Bhedhas (leg positions)They are mainly categorized into Mandala Bhedha (standing positions with hand gestures), Shtaanaka Bhedha (simple standing positions), Utplavanas (leaps), Bhramari (circling movements / turns), Caari (movements) & Gatibhedha (gaits).

Youtube Videos:

https://www.youtube.com/watch?v=uP8RlzkN8cI
https://www.youtube.com/watch?v=4Syn8DJNEV8
https://www.youtube.com/watch?v=LeKc2Vz2tzU

Asamyutha and Samyutha Hastas:-

In Kuchipudi dance, hastas (hand gestures) play a crucial role in conveying emotions, storytelling, and expressing various aspects of the performance. There are two main categories of hastas: Asamyutha Hastas and Samyutha Hastas.

1. Asamyutha Hastas: Asamyutha hastas refer to single-handed gestures. In this category, each hand independently represents a particular symbol or idea. Asamyutha hastas are used to depict simple concepts, objects, or emotions. Examples of Asamyutha hastas include:

   • Pataka (flag)
   • Tripataka (thrice-flag)
   • Ardhapataka (half-flag)
   • Kartarimukha (scissors)
   • Mukula (bud)
   • Shikhara (peak)
   • Kapittha (wood apple)
   • Katakamukha (crab)

2. Samyutha Hastas: Samyutha hastas refer to gestures performed with both hands together. In this category, both hands combine to create a specific symbol or convey a more complex idea. Samyutha hastas are often used to depict intricate concepts, relationships, or actions. Examples of Samyutha hastas include:

   • Anjali (offering)
   • Kapota (pigeon)
   • Dola (swing)
   • Pushpaputa (flower basket)
   • Alapadma (lotus)
   • Chatura (clever)
   • Bhramara (bee)
   • Suchi (needle)

In Kuchipudi dance, both Asamyutha and Samyutha hastas are extensively utilized by dancers to enhance the storytelling and aesthetic elements of their performances. Mastery of hastas is an essential aspect of a dancer's training, as it allows them to effectively communicate with the audience and evoke the intended emotions and imagery through their hand movements.

Adugu (Adugulu) : 

In Kuchipudi dance, "Adugu" refers to the basic stance or posture assumed by the dancer. It is a foundational position that provides stability and grace to the dancer's movements. Adugu is the starting position from which various steps, gestures, and movements originate and return to.

The Adugu stance typically involves the following key elements:

1. Feet Placement: The feet are placed firmly on the ground, usually shoulder-width apart or slightly wider. The weight of the body is evenly distributed between both feet, ensuring balance and stability.

2. Knee Bend: The knees are slightly bent, which helps in maintaining a lower center of gravity and facilitates smooth transitions between movements.

3. Upright Posture: The upper body remains erect, with the spine straight and the shoulders relaxed. This posture allows for proper alignment of the body and enhances the aesthetic appeal of the dancer's movements.

4. Arms: The arms are positioned gracefully, either by the sides or slightly raised, with the elbows slightly bent. The hands may be in various mudras (hand gestures) depending on the choreography or expression required.

Adugu serves as the foundation for executing more complex steps, gestures, and sequences in Kuchipudi dance. Dancers spend considerable time perfecting this basic posture to ensure precision, balance, and poise throughout their performances.

Youtube Videos:

https://www.youtube.com/watch?v=h7TNtO-WitU

https://www.youtube.com/watch?v=6NWbica3TMM

Vaishnava Sthanaka:-

In Kuchipudi, the Vaishnava Stahnaka is a fundamental posture or stance, also known as the "standing posture of Lord Vishnu." This stance is characterized by a slightly flexed knee with one foot forward and the other foot placed behind, while the upper body is kept erect. The arms typically assume graceful and expressive gestures, often depicting aspects of Lord Vishnu or stories from Hindu mythology associated with him.

In Kuchipudi dance, each stance or posture has its own significance and symbolism, contributing to the storytelling aspect of the performance. The Vaishnava Sthanaka is one of the many stances used by dancers to portray various characters and narratives within the traditional repertoire of Kuchipudi dance.

Youtube Videos:

https://www.youtube.com/watch?v=9QzVs4D3Epo

https://www.youtube.com/watch?v=xBx45m_v0ME

https://www.youtube.com/watch?v=xAdfQYds7EI

Websites:

https://sreenivasaraos.com/tag/sthanaka/

Tala and Laya:-

In Kuchipudi, as in many other classical Indian dance forms, Tala and Laya are foundational concepts related to rhythm and tempo.

1. Tala: Tala refers to the rhythmic framework or time cycle in Indian classical music and dance. It is essentially a recurring rhythmic pattern that provides the structure for the performance. In Kuchipudi, different Talas are used to accompany various compositions and choreographies. The Tala is often indicated by hand gestures, known as mudras, or by the use of percussion instruments such as the mridangam or tabla.

2. Laya: Laya refers to the tempo or speed at which the rhythmic patterns of the Tala are performed. It encompasses the control and manipulation of rhythm, including variations in speed, acceleration, and deceleration. Achieving mastery over Laya is essential for dancers as it allows them to convey intricate rhythmic patterns with precision and grace.

In Kuchipudi dance, dancers undergo rigorous training to develop a strong sense of Tala and Laya, enabling them to synchronize their movements with the music and maintain coherence and fluidity in their performances. Mastery of Tala and Laya is crucial for a Kuchipudi dancer to deliver a captivating and technically proficient performance.

Youtube Videos:

https://www.youtube.com/watch?v=JQLtmKt5uUE

https://www.youtube.com/watch?v=2vLwzN2BVIY

https://www.youtube.com/watch?v=ouKyxvGvgGY&list=PLJvZxopBjn27a1PSycl_gzXufqFRHAmoy

https://www.youtube.com/watch?v=Bf7_xhCfCZE

Websites:

https://www.sunadam.com/2016/03/14/introduction-to-laya-and-tala/

https://natyanjali.blogspot.com/2011/02/taal-jaati-laya-tempo-of-carnatic-music.html

https://www.facebook.com/Avijitdaskuchipudi/videos/kuchipudi-known-for-its-complicated-tala-patterns-in-kuchipudi-jathis-are-set-to/480015819196751/

http://www.kuchipudinatyam.com/video-tutorials.html

https://www.krityafoundation.org/practice

https://facts.net/culture-and-the-arts/performing-arts/11-facts-you-must-know-about-kuchipudi/

https://www.natyasutraonline.com/kuchipudi/sreelakshmy-govardhanan/beginners-online-lessons

https://yehaindia.com/kuchipudi-the-classical-dance-form-from-andhra-pradesh/