This paper is published in Volume-7, Issue-4, 2021
Area
Fine Arts
Author
S. Sophia, Dr. S. Subbulakshmi
Org/Univ
Vels Institute of Science, Technology and Advanced Studies (VISTAS), Chennai, Tamil Nadu, India
Pub. Date
16 August, 2021
Paper ID
V7I4-1783
Publisher
Keywords
Bharathanatyam, sculptures, Badami, Aihole, Vijayanagar, Halebid, Belur, Chinayya, Ponnayya, Shivanandan, Vadivelu, Tanjore quartet, Marga (format) to the Bharatanatyam, Jetti Taayamma, Kōlar Tradition, Mysūru tradition, Mūgur tradition, Nañjangud tradition, Thodayamangalam / Pushpanjali / Mallari / Kautuvam / Allaripu Jatiswaram, Shabdam, Varnam / Swarajati, Padam / Javali, Astapadi, Kirtanam, Tillana, Slokam, Mangalam

Citationsacebook

IEEE
S. Sophia, Dr. S. Subbulakshmi. The phenomenal growth and mastering the tradition of Bharatanatyam, International Journal of Advance Research, Ideas and Innovations in Technology, www.IJARIIT.com.

APA
S. Sophia, Dr. S. Subbulakshmi (2021). The phenomenal growth and mastering the tradition of Bharatanatyam. International Journal of Advance Research, Ideas and Innovations in Technology, 7(4) www.IJARIIT.com.

MLA
S. Sophia, Dr. S. Subbulakshmi. "The phenomenal growth and mastering the tradition of Bharatanatyam." International Journal of Advance Research, Ideas and Innovations in Technology 7.4 (2021). www.IJARIIT.com.

Abstract

A concept of framing work to approach the Bharatanatyam recital which incorporates a variety of dance compositions set in Bharatanatyam is Margam. Through the element of Margam, the theme of the evolution of the self/ spirit on the spiritual path is put forth. “The traditional order of the Bharatanatyam from alarippu to thillana is the sequence for revealing the spiritual through the corporeal. Typically a sequence of Bharatanatyam recitals consists of an invocatory piece, a central piece, an abhinaya piece, and a culminating piece. Today this art evolving and changing the scenarios from a pure ritual art of the temple to the performance sequences on the stage.