About the Course
In addition to the concepts and techniques covered in Grades 1 and 2, students at Grade 3 will explore advanced Adavus, theoretical understanding of classical compositions, and a deeper engagement with the traditional performance structure of Bharatanatyam.
Practical Component
Students should be able to perform the following Adavus with clarity, rhythmic precision, and in three speeds (kalams), along with their corresponding Solkattu and Thalam:
Adavu Name | No. of Variations |
Uthsanga Adavu | 1 |
The Thei Thiththith Thei | 2 |
Thahatha Jumtharitha | 1 |
Thathinginathom / Taka Thathinginathom / Takathiku Thathinginathom | 1 |
Kita Taka Tarikita Thom / Takathiku Kita Taka Tarikita Thom | 1 |
Meiyadavu | 1 |
Thattu Mettu Adavu (Pancha Nadai) | 5 |
Kathari Adavu | 1 |
Alarippu (Tisra Thalam – performed with oral recitation) | 1 |
Theory Component
Students will undertake a 1-hour written examination. In addition to knowledge from Grades 1–2, the following topics will be covered:
1. Natyamargam (Order of Presentation in Bharatanatyam Recital)
Natyamargam refers to the sequence or structure of a classical Bharatanatyam performance. The traditional order is:
Alarippu
Jathiswaram
Sabdam
Varnam
Padam
Keerthanam
Javali or Ashtapathi
Thillana
Students should know the purpose, features, and order of these items.
2. Definitions and Concepts
Nritta: Pure dance, focusing on technique, rhythm, and aesthetics (e.g., Alarippu, Jathiswaram).
Nritya: Expressive dance with meaning and emotion (e.g., Sabdam, Varnam, Padam).
Natya: The dramatic representation of stories and emotions through dance (e.g., Dance Dramas).
Korvai: A combination of Adavus composed in rhythmic patterns, used in performance pieces.
3. Explanation of Alarippu
Alarippu is traditionally the first item in a Bharatanatyam recital, symbolising an offering to the Divine, the Guru, and the audience. It is a pure dance (nritta) piece performed with Solkattu (rhythmic syllables) and without melodic accompaniment. It gradually builds from slow movements to fast-paced rhythms and is foundational in invoking focus and blessings.
4. Pancha Nadai (5 Rhythmic Gaits)
This refers to the rhythmic patterns used in Thattu Mettu Adavu, each with distinct beat counts:
Nadai | Syllables | Count |
Tisra Nadai | Tha Ki Ta | 3 |
Chaturasra Nadai | Tha Ka Thi Me | 4 |
Khanda Nadai | Tha Ka Tha Ki Ta | 5 |
Misra Nadai | Tha Ki Ta Tha Ka Thi Me | 7 |
Sankirna Nadai | Tha Ka Thi Me Tha Ka Tha Ki Ta | 9 |
5. Natya Kramam – The Flow of Expression in Dance
This ancient principle from the Natya Shastra explains the inward-to-outward process of expression:
Yatho hastas thatho drishti – Where the hands go, the eyes follow.
Yatho drishti thatho manah – Where the eyes go, the mind follows.
Yatho manah thatho bhava – Where the mind goes, the emotion arises.
Yatho bhava thatho rasa – Where the emotion is expressed, the aesthetic experience (rasa) emerges.
These principles guide expressive performance and connect physical movement to emotional storytelling.
Grade 3 marks the transition from foundational training to performance-oriented understanding, blending technical expertise with expressive depth. Students will emerge with the ability to compose and perform structured pieces with a sense of discipline, devotion, and artistry.