Bharatanatyam Grade 3 Theory Notes File
End of Grade 3 Theory Notes
The name is an acronym for the four most important elements of the dance: The Kennedy Center Bha (Bhava): Expression and emotion. Ra (Raga): Melody and music. Ta (Tala): Rhythm and timing. The combination of dance and drama. 2. Technical Categories
A performance is divided into three distinct styles of movement:
Pure dance consisting of rhythmic footwork and patterns. It has no specific meaning or story (e.g., Jathiswaram Dance with sentiment and expression (
). It uses hand gestures and facial expressions to convey meaning (e.g.,
The dramatic element of dance, often involving a group to tell a story through acting. 3. Natiya Margam (The Order of Performance)
The traditional sequence of a Bharatanatyam recital is called the (meaning "path"). The standard Grade 3 order includes:
An introductory piece meaning "to bloom." It warms up the dancer's body. Jathiswaram: A technical piece focusing on pure rhythm ( ) and musical notes ( The first piece where expression ( ) is introduced, usually dedicated to a deity or king.
The most complex and longest part of the performance, alternating between rhythm and storytelling. Padam / Keerthanam: Slower pieces focusing deeply on devotion and emotion.
A joyful concluding piece with fast footwork and statuesque poses. 4. Natiya Kiramam (Rules of Performance) Dancers must follow the famous shloka: "Yatho Hasthas Thatho Drishti..." which translates to: must follow. must follow. ) is created. ) is born. Essay: The History and Evolution of Bharatanatyam Introduction
Bharatanatyam is one of the oldest and most revered classical dance forms in India, originating over 2,000 years ago in the state of Tamil Nadu . Its roots are found in the Natya Shastra
, an ancient Sanskrit text on the performing arts written by Sage Bharata Muni. Bharatanatyam: Theory and History Overview | PDF - Scribd
This overview provides a summary of theoretical knowledge suitable for a Grade 3 Bharatanatyam student, covering essential techniques, hand gestures, and performance terminology. 1. Fundamental Concepts
Abhinaya: The art of expression. It is divided into four types: Angika: Expression through the body/limbs. Vachika: Expression through speech/song. Aharya: Expression through costume/make-up. Satvika: Expression of deep emotions (tears, goosebumps). Nritta, Nritya, Natya:
Nritta: Pure technical dance without emotions (e.g., Alarippu).
Nritya: Expressive dance combining rhythm and emotion (e.g., Shabdam). Natya: Dramatic representation/storytelling.
Aramandi: The basic, mandatory half-sitting posture with knees stretched outwards and back straight. 2. Hand Gestures (Mudras) - Part 2
Following the basic Asamyuta and Samyuta Hastas, Grade 3 typically includes:
Mushti (Asamyuta): Fist, representing fighting, holding hair. Shikhara (Asamyuta): Bow, bell, or expressing "no." Kapitha (Asamyuta): Holding cymbals, or holding a veil. Katakamukha (Asamyuta): Holding flowers, applying paste. Shukatunda (Asamyuta): Parrot's beak, sharp, or calling.
Anjali (Samyuta): Joined palms, used for salutation/prayers. 3. Rhythmic Elements (Tala) Adi Tala: The most common tala, consisting of 8 beats. Tala Structure: Defined by Angas (sections):
Laghu (I): A beat followed by finger counts (4 for Chatushra Jati). Drutam (O): A beat followed by a wave. Structure: 1 Laghu + 2 Drutams = bharatanatyam grade 3 theory notes
Jati: The count of the Laghu (e.g., Chatushra Jati = 4 counts). 4. Basic Postures and Movements Sthanakas (Postures): The standing positions. Sama Sthanakam: Standing with feet together. Aramandi: Half-sitting.
Aymandi/Muzhumandi: Full-sitting (rarely fully executed in early grades, but recognized). Charis (Movements): Movements of one leg. Adavus (Step Patterns):
Examples: Tattadavu (flat foot), Nattadavu (stretching), Visharu Adavu, Tattimettadavu. 5. Performance & Technical Terms
Adavu: The fundamental unit of Bharatanatyam dance (combination of footsteps and postures). Jati: A rhythmic phrase performed at the end of an Adavu.
Theermanam: A rhythmic phrase that ends a sequence of Jatis.
Shloka/Pushpanjali: The prayer or offering of flowers to God/Guru/Audience. 6. Important Definitions
Bharatanatyam: Derived from Bhava (emotion), Raga (melody), Tala (rhythm), and Natyam (dance).
Nattuvanar: The conductor of the performance, usually playing the cymbals.
Margam: The traditional sequence of a Bharatanatyam recital, starting with Alarippu/Pushpanjali and ending with a Tillana. A list of Samuyuta Hastas (double-hand gestures)? Sample examination questions for Grade 3 theory?
For students preparing for their Grade 3 Bharatanatyam exams, the theory curriculum shifts from basic movements to more nuanced terminology, historical context, and the classification of gestures.
While specific syllabi vary slightly by board (such as Annamalai University, Bridge Academy, or AALAP), the following topics represent the standard requirements for a Grade 3 level. 1. The Core Components: Nritta, Nritya, and Natya
The foundation of Bharatanatyam is divided into three distinct categories:
Nritta: Pure rhythmic dance without any specific meaning or theme. It focuses on footwork and abstract hand movements (e.g., Adavus).
Nritya: Interpretive dance where the dancer conveys meanings or emotions through Abhinaya (expressions) and Hasta Mudras (hand gestures).
Natya: The dramatic element of dance, involving storytelling and characterization, often performed as a dance drama. 2. Hasta Mudras (Hand Gestures)
Grade 3 typically requires memorizing the Sanskrit shlokas from the Abhinaya Darpana.
Asamyuta Hastas: Single-hand gestures (e.g., Pataka, Tripataka).
Samyuta Hastas: Double-hand gestures (e.g., Anjali, Kapota).
Viniyogas: Students must know at least 3–5 practical uses for major mudras. For example, Pataka can represent a forest, a cloud, or the act of opening a door. 3. Classification of Movements
Shiro Bhedas: Movements of the head (e.g., Samam, Udvahitam). End of Grade 3 Theory Notes The name
Griva Bhedas: Movements of the neck (e.g., Sundari, Tiraschina).
Drishti Bhedas: Movements of the eyes (e.g., Alokita, Sachi). 4. Historical Context & Terminology
The Trinity of Bharatanatyam: Often refers to the Tanjore Quartet (Ponnayya, Chinnayya, Sivanandam, and Vadivelu), who codified the modern Margam.
Etymology: The word "Bharatanatyam" is derived from Bha (Bhava/Emotion), Ra (Raga/Melody), Ta (Tala/Rhythm), and Natyam (Dance).
Sadir Attam: Understanding that the dance was historically known as Sadir or Dasi Attam when performed by Devadasis in temples. 5. Tala (Rhythm) Basics Students should be able to define and demonstrate:
Laya: The tempo (Speed), classified into Vilambita (Slow), Madhya (Medium), and Druta (Fast).
Tala Components: Understanding the Angas like Anudhrutam, Dhrutam, and Laghu. Adi Tala: The most common rhythmic cycle of 8 beats. 6. The Margam (Performance Sequence)
Grade 3 students should know the first few items of a traditional Margam sequence: Pushpanjali/Alarippu: The invocatory piece. Jatiswaram: A technical piece showcasing pure Nritta. Shabdam: The first introduction of Abhinaya (Nritya).
Are you preparing for a specific examination board, or would you like the Sanskrit shlokas for the head and neck movements?
This comprehensive guide covers the core theoretical requirements for a Bharatanatyam Grade 3 level of study. Grade 3 typically bridges the gap between basic steps (Adavus) and more complex performance items like Alarippu and Jathiswaram. 1. Fundamental Classification of Dance
According to the ancient text Natya Shastra, dance is divided into three primary components:
Nritta: Pure dance consisting of rhythmic movements and footwork without any specific meaning or storytelling. Examples include basic Adavus.
Nritya: Interpretive dance that combines rhythmic movement with facial expressions (Abhinaya) and hand gestures (Mudras) to convey a meaning or theme.
Natya: The dramatic element of dance, involving a combination of dance and acting to portray a specific story or character (e.g., a dance drama). 2. The Golden Rule: Natya Kiramam
A key concept for Grade 3 is the Natya Kiramam, the essential discipline of a dancer. It is often summarized by the following Sanskrit shloka:
"Yatho Hasthas Thatho Drishti; Yatho Drishtis Thatho Manaha;Yatho Manas Thatho Bhavo; Yatho Bhavas Thatho Rasaha." Meaning: Where the hands go, the eyes should follow. Where the eyes go, the mind should follow. Where the mind goes, the expression (Bhava) is created. Where the Bhava is created, the sentiment (Rasa) is born. 3. Hand Gestures (Hastas)
At this level, students must master both Asamyuta (single hand) and Samyuta (double hand) gestures. Common Grade 3 viniyogas (usages) include: Pataka: Used to denote clouds, forest, or cutting. Tripataka: Used for a crown, tree, or thunderbolt.
Kaputha (Pigeon): A Samyuta Hasta used to show a respectful greeting or a pigeon. 4. Technical Terminology
Adavu: The basic rhythmic unit of Bharatanatyam, involving a specific posture and movement of the legs, hands, and torso.
Korvai: A combination of multiple Adavus performed to a specific rhythm (Thalam), usually ending with a finale (Theermanam). By Grade 3, you know all 28 single
Araimandi: The foundational "half-sitting" posture where the knees are bent sideways and heels are kept together.
Angashuddha: The purity of body movements and correctness of posture. 5. Rhythmic Foundations (Thalam)
Grade 3 students learn the basic components of Thalam (rhythm): Laya: The speed or tempo (Slow, Medium, Fast).
Jaati: The number of beats in a rhythm (e.g., Tisra = 3, Chaturasra = 4).
Angas: The parts of a Tala, such as Laghu (clap and finger counting), Dhrutham (clap and wave), and Anudhrutham (single clap). 6. Performance Items (Margam)
Students are introduced to the first items of a traditional recital:
Pushpanjali: Offering flowers to the deity, guru, and audience.
Alarippu: A "blossoming" piece that warms up the dancer's body through rhythmic neck, eye, and limb movements.
Jathiswaram: A pure Nritta piece focusing on complex footwork and patterns set to musical notes (Swaras). Bharatanatyam Theory and Notes | PDF - Scribd
By Grade 3, you know all 28 single hands (Asamyuta) and 23 double hands (Samyuta). Now you need to know Viniyogas (specific uses). You don't need all 1000 uses, but you must remember 5 specific examples for key mudras.
For Grade 3, you need to understand why the posture exists, not just how to do it.
Short Answer (2–3 marks):
Long Answer (5–8 marks):
Congratulations on reaching Grade 3! By this stage, you have moved beyond the absolute basics (Adavus and beginner theory) and are now entering the intermediate phase of Bharatanatyam. Grade 3 is crucial because it bridges the gap between physical imitation and intellectual understanding. Examiners expect you to know not just how to move, but why certain rules exist.
This article compiles all the essential topics for Grade 3 theory, structured for easy memorization and practical application.
Asamyuta Hasta (Single hand – 28): Top 10 for Grade 3
Samyuta Hasta (Double hand – 23): Top 5
So, you’ve mastered the basic Adavus (steps). Your knees can handle the Araimandi (half-sit) for more than thirty seconds without screaming. And you know the difference between a Tatta Adavu (strike) and a Natta Adavu (stretch). Congratulations! You've crossed the threshold from "beginner" to "apprentice."
Welcome to Grade 3. This is where the dance stops being just exercise and starts becoming a language.
In Grade 3, we stop asking “Which foot?” and start asking “What story are you telling?” Let’s break down the juicy theory you need to know to pass your exam—and impress your teacher.
For a student of Bharatanatyam, crossing into Grade 3 is a significant milestone. You have moved beyond the foundational vocabulary of adavus (basic steps) and are now entering the realm of abhinaya (expression), complex rhythmic structures, and deeper theoretical knowledge. Examinations at this level (conducted by boards like ISTD, ABRSM, or local Indian universities) require a sharp memory for terminology and a clear understanding of the building blocks of this ancient art form.
This article compiles exhaustive Bharatanatyam Grade 3 Theory Notes, covering the syllabus broken down into six core modules: Basic Terminology, Nritta vs. Natya, Aramandi, Taalams, Hastas, and Padarthas.