The tricky part is when you do the 'Hastaks' and coordinate it with the 'Tatkaar'
The easy way out is practice the 'Tatkaar' as far as possible in isolation
with just the footwork
Focus on the foot work and then freeze it
Freeze it meaning, put it at the back of your mind
and focus on torso and above to get the 'Hastaks' right
Let me just do the 'Hastaks' without using the footwork so that
there is more clarity in the way I am trying to transmit information to you
Stand in 'Utpatti' position
According to the breadth of your face levy the tracks
Two tracks on the sides
and two forward
diagonally back and in position
The first movement is with the fingertips facing upwards
Take it up from here
Let the chin coordinate with your wrist
Let there be an invisible thread between the two
'Yatho Hastha' where the hands go that's where the eyes and the chin go
Chin up, turn it over, bring it back on the same line
On your left, turn it over, bring it back
This is the first movement. It is called the 'Urdhva' meaning up, high
'Hastha' meaning hand
'Chakra' meaning the spin
'Urdhva Hastha Chakra'
Up, twist and turn, circular movement, bring it back
Up circular movement and back
Now when you are using the left hand
the right should not be floppy and sloppy
Because nobody is watching you like this
they are watching the whole of you
which is why when you use your one hand and you focus on one hand
make sure the other is balancing and supporting your movement
only then the 'Aakar' or the form of what you're presenting
will be more beautiful
Let's do the first one
Up, circular movement and down
Up, circular movement and down
Up, a frisbee circular movement and down
The left up there and down
depending on the breadth of your face
Number two. From this position, hold the body erect
Straight, balanced, aligned
with the neck, take it forward
Open
Turn it over
Bring it back
The other side
Open, turn it over, bring it back
Right, turn and back
Left, turn and back
Number three. Take it forward, diagonal and then bring it back
Forward, diagonal and bring it back
Once again take it forward in a diagonal and bring it back
Forward, diagonal bring it back
The fourth one is you twist and turn the body
and take it down behind you
Stand straight
This is the angle
Connect all the joints in a straight single line
Now that's very important
So when you are actually seeing from there
Once again the lines will be here
and you will be bending your knee
both the knees will be bent
at a point behind you
The other side
twist and turn, bend and back
Again twist and turn, bend
Bring it back
Similarly on the other side
So this is 'Hasthak' number four
The fifth one is 'Vyapti'
where you start with 'Utpattii
Both the palms facing out
go in a circular pattern
bring it back to position and center
On the other side
Now when you are doing 'Vyapthi' see how the angle of the body is ?
the body goes opposite the level of the hand
bring it back and position
The other side
We are stretching it a bit more so that you understand
that this is what is required
Do not push your body with the hand
Take it the other way around
So that the space between you and your 'Hastha' gets to increase
Many a times I've been asked why is in my 'Anga Shudhi'
the distance between you and the hand is being increased
There was a time when we were dancing in the temple for the gods and goddesses
there was a time when we were dancing for the Mughal courts
then into auditoriums, so on and so forth
The venues kept changing
Now we often dance for the lenses or the cameras
The bigger the movement , the elaborate, the reach
So when you want to reach someone
you need to extend your journey, no matter how far they are
You will touch and connect with more people
In order to do that as a magician would create an image
which is an illusion and not a reality
That's exactly how a dancer is supposed to create that illusion
'Anga Shudhi' believes in creating an illusion
that brings in the essence with more effect
That is why if we are doing this instead of pushing your head towards your hand
We take it the other way around
The movement becomes broader more open
and more inviting
Your audience is more engaged with you
Engaging the audience is the most important aspect
If the person loses the connect with you
the magic is lost
Let's go ahead with the 'Tatkaar'
The second one
Open, turn it over, bring it back
The third
Forward, diagonal, below the ear lobe, back
Forward, diagonal, below the ear lobe, back
Don't keep it up
Don't bring it back from there
It has to come below the ear lobe
The fourth
Back
'Vyapthi', in a diagonal
These are the movements that are basic
and they need to go with the music
I hope you enjoyed this lesson
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Happy Dancing
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