Bharatanatyam - Technique-Adavu
Adavu form the basis of the nritta technique of
Bharatnatyam. Each group is distinctive for its initial starting position and
the manner in which the foot, the calf, the whole leg is used.Different family
traditions and oral traditions grouped adavus into major categories. Most family
traditions considered nine major groups. Each of these is again subdivided into
several units which can be used singly or in combination. The adavus are set in
sequential time and they can be utilised within a metrical cycle; a tala, in a
number of ways, giving rise to new varieties. Most of these major categories of
adavus begin and return to the ardhamandali or the ukkaramandali position. They
begin from a movement of stasis, go through a sequence of movement and return to
another moment of stasis as if it is movement frozen in time. Symmetrical
patterning of movement is essential. The training begins by executing a movement
first by right foot and then by the left foot. This principle is essential
so as to repeatedly remind both the dancer and the spectator of the juxtaposition
of stasis and dynamics. One half of the body is static, the other half of the
body is in movement.
The first of these adavus is known as the ' tatta adavu' suggesting flat foot
contacts in the basic ardhamnadali position.
The second variety of the adavu is known as 'tei yum dat ta, tei yum ta ha'.
This group is known as the 'nattu adavu'. It also begins from the second position
of the ardhamandali. i.e. knee and foot outturned but it explores space through
extension of legs. Thus its chief feature is the alidha sthana where one leg is
bent, the foot of this leg is flat, the knee is outturned, the other leg is
extended out, first to the right and is then brought back to initial position.
This is repeated with the right leg and foot in stasis, and left leg extended.
Later each leg is turn is extended to front and is brought back behind the
static leg.
The dancer begins by first holding the ardhamandali position and
then extends one leg to one side along with an extended arm. The heel touches
the ground and the toes are up. This leg is brought back to position and the
same is repeated to the other side. After directions to the right and left are
explored, directions front and back are explored. Now one leg is extended to the
front and then contracted and brought behind the static foot. In other varieties
of this group, space is explored with the arms, also, varying levels are
explored; in one such variety the hand touches the foot of the extended leg at
the ground level and is taken back to the head level. The nattu adavu gives the
dancer the possibility of exploring space while being in place. Along with the beautiful
clear leg extensions, the torso is used as one unit and the extended and
contracted arms follow the leg movement.
The third group is 'tat tai tam'. The dancer begins from the basic ardhamandali.
A combination of foot contacts is explored. There is initially a flat foot,
then a slight jump on the toes and a return to the flat foot i.e., a combination of
stamping of feet, jump on toes and toe-heel movements are introduced for
the first time. This group is then a combination of both tattu and nattu. Also in
this group, levels are introduced. There is the standing, there is the demi-pile
or adrhamandali and and there is the outturned
kneeling. One of these varieties include jumping on both toes slightly in the
initial ardhamandali position followed by the right foot and then the left foot
stamping the ground. There is also the slight jump on the toes followed by
stamping of both heels on the ground. After exploring different foot contacts in
the ardhamandali position a combination of these foot contacts and leg
extensions is executed. This is further developed in another variety where beginning
with the ardhamandali, there is a leg extension in the alidha, a turning in
place around the fulcrum of the body, followed by a leg extension. Arms move in
diagonal patterns. This group of adavus enables the dancer not only to explore
immediate space in place by the movement of her legs, torso and arms, but also
enables her to explore space through half turns and juxtaposing
symmetrically the lower half and the upper half of the body.
The fourth variety is the 'tei hat tei hi'. Here, the distinctive feature is
the slight jump on both toes followed by stamping of both feet together. There
are a number of ways to execute this and some of the lovely rhythmic sequences
of Bharatnatyam with extended arms and closing arms are done in this
adavu. A sub-division of this group is the sliding or the slipping sideways of
both the feet in an erect position. Here, the dancer does not execute the
movement in the ardhamandali position, but glides in an erect posture sideways
and then uses the heel-toe movement rather than the toe-heel movement. The final
sequences of the 'tillana' done in the third tempo are usually built on this
adavu.
The fifth group is the 'tat tei ta ha'. Here the dancer learns a variety of
permutations and combinations which she can use in all the different types of
the Indian tala system, namely the jatis. The first subdivision is usually
stamping of the right foot and then the left foot, followed by a jump on the
heels, on the third beat, and stamping of only the right foot on the fourth
beat. This is repeated by beginning the sequences with the left foot. The
building of complex rhythmical structures from this basis gives much of the
particular style and flavour of Bharatnayam.
The sixth group has two varieties and is known as the 'tei tei ta' adavu. In
this, the dancer tries to build up movement by the use of only one foot or leg
in groups of three beats.
