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The solo artist (ekaharya) in Bharatanatyam is dressed in a colorful sari, adorned with jewelry and presents a dance and it is synchronized with Indian classical music. [69] The hand and facial gestures are a coded sign language able to recite legends and spiritual ideas from the Mahabharata , the Ramayana , the Puranas and historic drama texts.
The dance movements are supposed to be performed with a larger amplitude on a wide scale of tempos, making it physically the most demanding style of Bharatanatyam. The application of loka dharmi and natya dharmi is different from other Bharatanatyam styles. The Melattur style dancers wear a special protective cotton belt around their waist.
A traditional Bharatanatyam dance performance follows a seven to eight-part order of presentation called margams. [37] The dancers are usually dressed in colorful silk saris with golden or silver zari embroidery on the borders, draped in a specific way and adorned with various jewelry. [32]
This dance is primarily performed by men from the Kuruba Gowda caste. The Dollu Kunitha is characterized by vigorous drum beats, quick movements and synchronized group formations. Bharatnatyam / Bharata Natya. Bharatanatyam is classical dance of Karnataka too. It is referred to as Bharata Natya in Kannada.
Mithun Shyam is an Indian Bharatanatyam dancer, choreographer and teacher based in Bengaluru. [1] He has contributed to social and gender-based themes through classical dance. [ 2 ] [ 3 ]
Meenakshi Srinivasan (born 11 June 1971) is an Indian classical dancer and choreographer, and an exponent of the Pandanallur style of Bharatnatyam. [1] She trained under Alarmel Valli and is considered among the most promising soloists of the younger generation of dancers in this traditional style.
Vazhuvoor (or Vizhuvur) is one of the original styles of Bharatanatyam, a major form of Indian classical dance. The main distinctive features include: rich sringar [definition needed] elements; wide range of dancing pace; softer facial abhinaya; extremely elaborate movements; deep sitting positions; variety of positions on the floor
Krishna Iyer vehemently protested against Muthulakshmi Reddy's attitude towards sadir in a series of letters published in the Madras Mail and sought to give the dance form a measure of respect by proposing a resolution at a 1932 meeting of the Madras Music Academy to rename it as "Bharatanatyam" or Indian dance. [2]
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