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Online Bharatanatyam Classes

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Online Bharatanatyam Classes

About The Online Bharatanatyam Classes

Begin your Bharatanatyam journey with confidence through Taal’s online Bharatanatyam classes! Tailored for beginners to advance, our Learning Paths guide you step-by-step into the world of this classical art form. With over 10 years of teaching expertise, our skilled instructors ensure you build a strong foundation in rhythm, expressions, and traditional movements. Whether you’re discovering the basics or advancing your skills, our structured approach helps you learn Bharatanatyam at your own pace. Why wait? Dive into the elegance of Bharatanatyam with Taal – where tradition meets excellence! Join online Bharatanatyam classes Today!

What You'll Learn in Online Bharatnatyam Classes

Online Bharatnatyam Classes

Prarambhik - Bharatnatyam

PRACTICAL
Namaskriya n Explaining Namaskara ith proper meaning
Vyayama n Basic exercises of different body parts like neck, hands, legs, bends & stretches should also be included.
Adavus ñ Basic steps & footwork
Tatta Adavu ñ Tai ya tai
Natta Adavu ñ Tai yum Tat ta Tai yum ta
Metta Adavu ñ Tai Tai Tam
Tatta Kuditta / Kuddichi Metta ñ Tat tai ta Ha
Demonstrating minimum 5 steps of each adavu set in Vilambit, Madhya & Dhrut Laya. Saying all the adavus in Chatushra Jaati.

ORAL
Asamyukta Hasta ñ Abhinaya Darpan
Shiro Bheda - Abhinaya Darpan
Drishti Bheda- Abhinaya Darpan
Griva Bheda - Abhinaya Darpan
Pada Bheda ñ Natya Shastra
Reciting Chatushra Jaati (4 Matras) in 3 speeds
Knowing the meaning of terms used in dance : 1 Adavu 2 Laya 3 Taal 4 Bharatnatyam etc.
Name of the Guru / teacher & gharana (school) the student follows.
Basic Information about the 4 main dance styles Bharatnatyam, Kathak, manipuri & Kathakali. Sister Styles ñ Odissi, Mohiniattam, Kuchipudi.

Praveshika Pratham - Bharatnatyam

PRACTICAL
Adavus ñ
Tirmanam Adavu ñ Gi na Tom
Mandi Adavu ñ Tat Tai Ta
Sarrika Adavu ñ Tai Kat Tai Hi
Vishru Adavu ñ Ta tai tai tat
Kuditta Metta Adavu ñ Tai kat Tai hi
Peri Adavu ñ Tai Kat Tai hi
Shikhar Adavu ñ Tat tai ta ha dhit tai ta
Minimum 4 steps of each adavu set in 3 speeds

ORAL
Asamyukta Hasta Viniyog ñ Pataka to mayura with proper meanings
Samyukta hasta according to Abhinay Darpan
Mandala Bheda ñ Abhinay Darpan
Sthanaka Bheda ñ Abhinay Darpan
Hasta Prachara ñ Natya Shastra
Reciting Tishra jati ( 3 Matras ) in all the 3 speeds with proper hastakriya.
Explaining following terms
1. Matra, 2. Avartana, 3. Jaati, 4. Sam
Saying all the adavus in Chatushra jati.

Praveshika Poorna

PRACTICAL
Adavus ñ
Jaati Adavu ñ Tai ten dhata
Tatti metti adavu ñ All the 5 jatis
Tirmanam adavu ñ Tari kit Tom
Alaripu – Tishra or Chatushra jati :
The student should be able to tell the meaning of the term ëAlaripu ë & should also be able to recite the composition in proper taal.
Pushpanjali – Natai or any other raga :
The student should explain the term ( Pushpanjali ) and should be able to identify the raga and taal of the composition
Presenting a Jaati / Tirmanam in Rupak or Aadi Taal & reciting the Shollu in taal
ORAL
Asamyukta Hasta Viniyog ñ Ardhachandra to padmakosh
Reciting Khanda & mishra jati in 3 speeds

THEORY WRITTEN
Give Definitions
(a) Adavu, (b) Korvai, (c) Jaati
(d) Tirmanam, (e) Bhramari, (f) Utplavana
(g) Chari, (h) Mandala, (i) Sthanaka
(j) Laya, (k) Matra, (l) Taal
(m) Avartan, (n) Anga, (o) Sam
(p) Ushi / offbeat
Basic Information about Bharatnatyam
(a) Place of origin
(b) Language used
(c) Meaning of the term
(d) Important features of the technique.
Explain in short
(a) Natyakrama, (b) Paatraprana
(c) Paatralakshan, (d) Sabha Lakshana
Writing notation of Alaripu

Madhyama Pratham

PRACTICAL
Jatiswaram ñ The student should present the composition and should also be able to say the korvaiís in proper taal
Shabdam ñ Knowing the concept of Sanchari and explaining the meaning of the words in the composition
Alaripu ñ Mishra Jaati
ORAL
Saying Sankeerna Jati in Taal
Asamyukta Hasta ñ from Sarpashirsha till trishula
Natuvangam of a teermanam on tattakali

THEORY WRITTEN
Definition
(a) Anga, Pratyanga and Upanga
(b) Tandava and Lasya
(c) Lokadharmi and Natyadharmi
Detailed knowledge about Bharatnatyam
(a) History
(b) Development
(c) Prominent individuals and institutions that contribute
(to the development of the style
(d). Different Gharanas
Abhinaya
(a) Definition of the term
(b) Explaining in detail the 4 aspects of abhinaya ñ Angika, Vachika, Satvika, Aharya.
Life histories of the following prominent personalities
(a) Tanjore Quarlet
(b) Rukminidevi Arundale
(c) Kamalaa Laxman
(d) Baalasaraswati

Madhyama Poorna

PRACTICAL
The student should be able to present all the compositions in the portion fully along with identifying raga and taal of the composition and saying the song and the Korvais in taal.
Tillana
Keertanam or stuti based on deities ñ Shiva, Krishna, Devi , Murugan etc.
ORAL
Saying samyukta hasta viniyogas from abhinay darpan
Showing the hastakriya of saptataals and reciting each jati in it

THEORY WRITTEN
Detailed information about Devadasi tradition
Knowledge about the folk dances of India
Detailed Knowledge about Bharatnatyam with respect to
(a) Music
(b) Musical Instruments
(c) Costume
(d) Repertoire
Difference Between Folk, Classical, Bollywood / Cinema Dance
Notation of Jatiswaram (Korvais) Learnt in previous year
Complete knowledge of 7 taalas of Karnatak System with reference on Matra, Anga, Jaati Etc.

Visharad Pratham

PRACTICAL
Todiya Mangalam / Pushpanjali
Varnam - Aadi taal
Padam (Vatsalya)
ORAL
Dashavatar Hasta and Devata Hasta from Abhinay Darpan
Reciting teermanam of Alaripu and playing it on tattakali

THEORY WRITTEN
Concept of Nayika with reference to
(a) Age
(b) Social Status
(c) Character
(d) Emotional State
Nayak Bheda according to
(a) Four Bhedas of Shringar Rasa ñ Anukula, Dakshina, Dhrishta and Shanstha
(b) Character Types
Explaining the Dashprana ñ ten prana of taal
Story of origin of Natya according to Bharata in Natyashastra and its significance.
Explain in short
(a) Natyadharmi - Lokadharmi (Margi ñ Desi)
(b) Four Vrittis - Bharati, Satvati, Arabhati, Kaishiki
(c) Tandav and Lasya
Notation of Tillana ( Korvais ) learnt in previous year
Major difference between Taal system ñ Karnatak & Hindustani
Complete Knowledge about Abhinay darpan written by Nandikeshwara
Comparative study of major 7 dance classical styles practiced in India.

Visharad Poorna

PRACTICAL
Jatiswaram - Composed in any taal other than Rupak
Javali / Shringar Padam
Bhakti Padam
ORAL
Viniyogas of Shira, Dristi, Griva
Natuvangam of korvais in Tillana and teermanams of Varnam on Tattakali
Choreography of a teermanam and a pallavi of a song for abhinaya ( Both will be given on the spot and a time of 1 hour will be allotted for the choreography )

THEORY WRITTEN
Knowledge of Dance Drama style prevalent in India
(a) Kudiyattam, (b) Bhagvatmela, (c) Yakshagana
Comparative study of 7 major classical dance styles
Study of works of the following poets.
(a) Purandaradasa
(b) Papanasan Shivam
(c) Ottukadu Venkata Subbier
(d) Dharmapuri Subramanyam Iyer
(e) Arunachala Kavirayar
(f) Gopal Krishna Bharati
(g) Tanjore Quartet
(h) Tanjavur Sarfoji Maharaj
(i) Swati Tirunal
(j) Jayadeva, (k) Meerabai, (l) Kshetraya
Study of mythological Characters
Shiva, Nataraja, Krishna, Rama, Vishnu, Devi, Etc., in Various forms and stories related to them portrayed in Classical dance such as, Dashavatara, Draupadi Vastraharan, Leelas of Krishna, Sapta Tandav Etc.
Notation of teermanams of Varnam with shollu and adavus

Alankar Pratham

PRACTICAL
Varnam in any other taal except Aadi
Ashtapadi ñ Explaining the meaning and performing
Tillana in different raga and taal that learnt earlier
Choreography of 2 korvaiís of Jatiswaram or Tillana and a Pallavi and anupallavi of a given abhinay padam (Time allotted 1½ hour )
Natuvangam of any one item learnt earlier
Teaching a student 3 steps of adavu set of your choice and a line of abhinay (Pallavi) (Time allotted 8 days)

THEORY WRITTEN
PAPER - 1
Comparative study of concept of Art in Indian , Western and South Asian Countries.
Detailed study of ë Hinduismí related to its philosophy and spirituality
A brief study of the sculptures in Indian temples and the form of architecture of Chola, Nayaka, Maratha Dynasties and their contribution towards Art
Relation of shastra and Parampara
Abhinay Darpan and its importance in context of Bharatnatyam
A brief note on ancient Tamil and Sanskrit plays like Shilapudikaram, Tirutavai, Shakuntal, etc.
PAPER - 2
Detailed study of the author of N.S and its period , its content (chapters) etc.
Detailed study of chapters related to dance in N.S
Rangmanch / Playhouse, 4. Angika Abhinay
Bharatas Rasa Theory, 6.Natyashastra and its relevance in present day, 7.Study of other texts with relevance to Bharatnatyam ñ Sangeetratnakar & Nrittaratravali.
Choreography ñ understanding the concept with the help of N.S. i.e. the concept of Bandha.

Alankar Poorna

PRACTICAL
1) Mangalam (ending of a programme)
A new nritta composition related to the present day social life consisting of nritta and nritya. (20 min)
Shloka / Viruttam ñ A composition of abhinay without taal
ORAL
Choreography of a given padam
Choreography on a group of a dances any one item of choice
Teaching a given student 2 Korvaiís of your choice and teaching a anupallavi and pallavi of a padam

THEORY WRITTEN
PAPER - 1
Contribution of Uday Shankar, Rukhmini Devi and Rabindranath Tagore
Concept of choreography ñ its special features. Explaining the choreographic concept in a Margam
Modern day choreographers with their choreographies.
(a) Dr. Padma Subramanyam (Bharatnrityam)
(b) Prof. Chandrashekhar (Navanritya)
(c) Dr. Sucheta Chaphekar (Nrityaganga)
Detailed study of a dance drama (Uprupaka) with their history and various traditions followed in different parts of India.
PAPER - 2
Explaining the terms Guru and his importance in the learn ing process
Guru Shishya Parampara in ancient times and its relevance in present day educational systems
Dance training for different levels and their aim.
(a) In the schools, (b) Hobby class, (c) Training for potential performers, (d) University courses
Advantage of Dance training other than performing e.g. personality development, acting as a critic etc.
Principles of Dance training ñ whole ñ part - whole, from known to unknown
PRACTICAL
Mancha pradarshan ñ Giving a full fledge performance of 1 hour 30 mins to 2 hours.

₹1500/ Month

This Online Bharatanatyam Classes Include

For Indian Students Only
Duration: 40 minutes
Frequency: Once a week
Video Practise Lessons
Access on desktop, tablet and mobile
Full lifetime access
Certificate of Completion

₹2500/ Month

This Online Bharatanatyam Classes Include

₹9000 per quarter (International Students)
Duration: 40 minutes
Frequency: Once a week
Video Practise Lessons
Access on desktop, tablet and mobile
Full lifetime access
Certificate of Completion

₹4000/ Month

This Online Bharatanatyam Classes Include

₹15000 per quarter (International Students)
Duration: 40 minutes
Frequency: Twice a week
Video Practise Lessons
Access on desktop, tablet and mobile
Full lifetime access
Certificate of Completion

Have Any Question? regarding Online Bharatanatyam Classes

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Take the first step toward mastering Bharatanatyam with our expertly designed online Bharatanatyam classes. Whether you are a beginner or looking to refine your skills, our personalized approach ensures a fulfilling learning experience. Learn this beautiful classical dance form from the comfort of your home with our flexible and engaging online Bharatanatyam classes. Join today and let the rhythm, grace, and tradition of Bharatanatyam inspire you. Enroll now in our online Bharatanatyam classes and embark on your dance journey!

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