Adavus: The Building Blocks of Bharatanatyam

An adavu is the basic unit of movement in Bharatanatyam: a short, set combination of stance, footwork, hand position and eye movement, performed to rhythmic syllables called sollukattu. Adavus are grouped into families such as tatta, natta and mettu adavus, practised in three speeds, and later strung together to make the dance's rhythmic passages.

What exactly is an adavu?

The word adavu is Tamil and refers to a step or unit of dance. Teachers often describe each adavu as several elements working together:

• Sthanaka, the stance, most often araimandi.
• Chari, the movement of the feet and legs.
• Nritta hasta, the decorative hand positions used in pure dance.
• Drishti, the direction of the eyes, which usually follow the hands.

Adavus belong to nritta, pure dance, which has no story or meaning of its own. Their purpose is line, rhythm and geometry. Once they are secure, the same body that performs them can carry the storytelling of nritya.

Sollukattu: the syllables behind every step

Sollukattu are spoken rhythmic syllables such as "tai ya tai hi", the sollu many teachers use for the first tatta adavu. Each adavu is learned with its own sollu, and the teacher recites it while beating time with a stick (thattukazhi) on a wooden block, or with the nattuvangam cymbals. The syllables tell the dancer where each foot strike falls. Students are encouraged to say the sollu aloud while dancing, because a step you can speak is a step you understand. Our article on music and rhythm in Bharatanatyam explains how these syllables fit into the tala.

The three speeds (kalams)

Every adavu is practised in three speeds, called kalams:

1. First kalam: one movement to each count. Slow enough to check every line.
2. Second kalam: two movements to each count, twice as fast.
3. Third kalam: four movements to each count, twice as fast again.

The beat itself does not change; only the density of steps inside it does. Moving between speeds without rushing or dragging is one of the first real tests of rhythmic control.

Araimandi: the foundation stance

Most adavus are danced in araimandi, the half-seated stance. The heels are together, the toes turned out, and the knees bent outwards so the legs form a diamond shape. The spine stays upright and the weight is centred. Other stances include samapadam (standing straight with feet together) and muzhumandi (the full-seated position, knees deeply bent). The Pandanallur style, which Mayura Natyalaya teaches, is known for a particularly deep araimandi and clean, geometric lines. For alignment and safe home practice, see Araimandi and Safe Practice.

The main adavu families

Adavus are grouped into families by the kind of footwork they use. The names, the number of variations and even the sollukattu differ from one bani (style or school) to another, so the table below is a broad guide rather than a fixed syllabus.

Within each family there are several numbered variations, often called first, second, third adavu and so on, which add arm movements, direction changes or extra beats.

The usual teaching order for beginners

Teachers differ, but a common progression runs like this:

1. Namaskaram (the salutation before and after dancing), samapadam and araimandi.
2. Tatta adavus, to build the stance and stamina.
3. Natta adavus, introducing arm and leg extensions.
4. Visharu or pakka adavus.
5. Tatti mettu and kuditta mettu adavus.
6. Mettu and sarukkal adavus.
7. Tirmanam adavus, which teach how phrases end.
8. Mandi and sutral adavus, once strength and balance allow.

Hastas are taught alongside, so that the hands in each adavu are clean from the start. Our guide to mudras in Bharatanatyam covers this side of training. At Mayura Natyalaya, beginners from the age of five start with these foundations before learning their first item.

From adavus to jathis and items

A jathi is a rhythmic passage made by joining several adavus to a longer sollukattu, often ending in a tirmanam or korvai, a pattern that closes exactly on the beat. Jathis form the pure-dance sections of the repertoire. The alarippu is built largely from simple adavu movements; the jathiswaram links jathis with musical passages; and the varnam alternates elaborate jathis with long sections of abhinaya. You can follow this progression in The Bharatanatyam Margam: From Alarippu to Thillana.

This is why teachers insist on adavus for so long. A weak tatta adavu shows up later as an unsteady jathi, and a sloppy natta adavu as a blurred line in a thillana.

Practice tips

• Say the sollu aloud. It keeps you in time and shows you where you are losing it.
• Stay in first kalam longer than you want to. Speed hides mistakes. Clean first-kalam adavus make the faster speeds easier.
• Keep the araimandi throughout. Rising out of the stance as you tire is the most common fault.
• Watch your hands and eyes. Hands should hold their shape; eyes should follow the hands.
• Practise little and often. Fifteen to twenty focused minutes most days does more than one long session a week.
• Protect your knees. Knees should point over the toes. If anything hurts, stop and tell your teacher.

How quickly adavus come together depends on age, regularity and practice; How Long Does It Take to Learn Bharatanatyam? gives realistic expectations. If your child is ready to begin, our Bharatanatyam classes for kids start with exactly these building blocks.