Mei Adavu and usi adavu

bharat27 · Post by **bharat27** » 10 Jan 2010, 02:44

Hi

Can somebody pls. clearly explain to me with an example what is mei adavu and usi adavu.

thanks.

vasanthakokilam · Post by **vasanthakokilam** » 10 Jan 2010, 04:35

For Mei Adavu, from: http://onlinebharathanatyamacademy.wordpress.com/about/

"..........
Mei adavu - "mei"

ksl · Post by **ksl** » 11 Jan 2010, 06:59

A 'Mei adavu' is an *collection* of steps where the angas and upangas are emphasized to gradual but simpler rhythmic renditions.It usually consists of the same hands to a rendition of simple rhythmic patterns with intervals in first and second speed. The eyes, the shoulders and the torso are moved with the feet.

I am assuming this question is in relevance to the structure of a Tillana.

A tillana consists of distinct parts:
A. pallavi consisting of:
0.attami (movement of eyes)
1. mei adavus
2. korvais
3. The usi adavu

B. Anupallavi
C. Sahitya
6. chittaswara
7. Ends with a Ushi adavu (In kalakshetra style, I do not speak for any other style for lack of knowledge)

So the mei adavus serve to warm up the dancer to the medium and fast pased korvais which are a collection of *adavus* set to different rhythmic patterns.

In the link provided by
The Usi adavu separates the pallavi from anupallavi and charanam. It is usually the kind of nattadavu that includes spanning the stage in alapadma and katakam hands taken in a circle.

In the link provided by vasanthakokilam
http://www.youtube.com/watch?v=lzm2FowX3v8 - part1
attami+ a small mei:0.08-0.19+0.20-1.04
mei adavu 1.04: 0-1.40
mei adavu 2: 1.41-2.25
mei adavu 3:2.26-3.12

korvai 1: collection of adavus done by the male dancer
korvai 2: collection of adavus done by the female dancer

http://www.youtube.com/watch?v=W6DfANgN ... re=related - part2
korvai 3: 0-1.01

usi adavu: 1.20-1.30

anupallavi-2.36-3.31
charanam-3.45-4.27
chittaswara-4.28-5.15
ushi -5.31-until the spin and final pose (not characteristic of traditional kalakshetra choreography)

Note:

Mei adavus are different from korvais as
1. They start with first speed and conclude in second or third speed with a teermanam adavu
2. They usually involve same hands for the gati bheda (change in speeds)
3. They are marked by intervals of silence ( kaarvais)
4. They emphasize movements of eyes , shoulder and torso rather than arms and feet.
5. They involve steps ( I am not calling them adavus hence) that are not taught as part of adavus whereas korvais consists mostly of collection of adavus.

Also although not necessary but a usual observation in kalakshetra choreographies :

The entry into the stage is done with a Ushi adavu

The third mei adavu usually ends with a Ushi and a more elaborate teermanam as compared to other mei adavus. Refer to part 1 of the above video3.01-3.04. The ushi is shorter and vertical. This is a transition into the faster korvais.

vasanthakokilam · Post by **vasanthakokilam** » 11 Jan 2010, 08:36

Thanks ksl . That explains things clearly.

ksl · Post by **ksl** » 11 Jan 2010, 12:06

According to some styles, I just saw Nandini Ramani's explanation of Balasaraswati's jatiswaram, there were poi adavus- false adavus which involved no stamping and mei adavus, -truthful adavus which involved stamping. I guess that is the origin of the word mei adavu.

I also read somewhere that meikattiadaivus where adaivus (adavus is a improvisation of the word adavu) where the anga and upangas where emphasised as part of the mei or body.

I have no authority in the origin of the word. But here are the two links i came across for further reference.

http://www.chennaistream.com/nkc2009/in ... diniramani
- for poi and mei adavus

http://library.thinkquest.org/04oct/012 ... ution.html- for meikattiadavu

I think we loosely use mei adavu as i explained in my earlier post to distinguish mei adavs and korvais in a tillana. I have no idea of the origin or reason.

Rasikaas · Post by **Rasikaas** » 13 Jan 2010, 09:17

Adaivu means "to reach" and refers to movement. Basically the movement vocabulary (Adavus) in Bharathanatyam is classifed and named after the kind of movement the particular adavu(or group of adavus) create(s). Different school use different terminology/nomenclature. So

The term "Usi" in usi adavu refers probably to the usi eduppu, where the seccond beat is emphasized.
This adavu is sometimes refered to as periya(big) adavu in a few classes/styles as it covers (a large)space.
It could be classified under mardhita/tha-tai-tai ta adavu too. Though a few do say the sollukattu thai-yum-tha-ta-tai-yum-ta-ha and hence forth classify it as a kind of Naattadavu. But it should be noted that this usi adavu does not use the naattu(ancitam- perched on the heel) position at all.

This adavu may be done accross from point A to point B in a semicircle, or in a self-circle.No matter how it is done, the tapping (feet) emphasizes the second beat, since the odd beats involve the use of the toes (and is therefore subdued). The adavus are used for transition and movement (probably to realign position)

As for mei adavu, there are quite a few kinds.
While some use the tamarachuda and dola, there are a few which may use pathakam and a full amplitude swing of the (outstretched) arms (towards the back or the front).
The posture could alternate between samam, araimandi, muzhumnadi and a reversal.
This adavu involves a graceful movement of the waist and torso. It can rightfully be considered(as KSL points out) a warm up or stretch exercise for the brisk korvais that follow in a thillana.

ksl · Post by **ksl** » 14 Jan 2010, 12:44

@ Rasikaas

Calling it Usi adavu because it emphasises the Ushi beat makes a lot of sense. Thanks!

vasanthakokilam · Post by **vasanthakokilam** » 15 Jan 2010, 21:07

Tell us more about what the "Usi beat" is, as understood in bharathanatyam. There was a discussion about usi thalam before here: http://rasikas.org/forums/viewtopic.php? ... talam.html

rshankar · Post by **rshankar** » 15 Jan 2010, 22:37

As I understand - starting in usi is to start half a beat (before or after) the beat - I use the visual cue of the dancer's foot resting on the tip of the big toe for the usi eDuppu - (I hope that is correct)

ksl · Post by **ksl** » 16 Jan 2010, 06:12

usi is when the tattu is half a beat off the main samam of the talam. So 'usi la edu' means you do not tattify/beat your leg to keep talam in sync with the samam but beat it in between two samams (termed as half a beat after/before)

At the start of say Varnams, when the dancer is jsut standing with hands on waist and beating the foot to the talam, you can recognise the usi beat, if every now and then done out of sync with samam. It is more of a auditory cue to hear the foot beat out of sync with the samam. And thus the movements are out of sync with samam.

In this video:
http://www.youtube.com/watch?v=l74v4qIl5Rk
1.06-1:19:ushi beat
1.19-1:30:samam beat
1:30-1:44: ushi beat (second speed)
1:44-1:55: samam beat (second speed)

The dominant beat is that of the right foot. The left follows as a filler.

In the Usi adavu we are talking about, here is the sequence
http://onlinebharatanatyam.com/2008/01/ ... enth-step/
video:
notice how the dancers feet beat the floor, (rest flat against the ground) only in every second picture. So when this adavu is done in samam, meaning the first jump is in samam, (in third/second speed) the feet hitting the floor fall inbetween two samams of the talam and the bells make a sound every other half beat.

vasanthakokilam · Post by **vasanthakokilam** » 16 Jan 2010, 07:33

Thanks very much Ravi and ksl. Very clear and informative.

Just to check my understanding.

1) This is in 2 kalai, so in first speed, it is usi beat if her right leg is providing the dominant beat on the second beat of the 2 kAlai beat.

2) The off-beat right leg is of course much clearer in second speed.

3) Towards the end, she goes Usi at around 7:38 and back to samam at around 7:47, right?

That is a stunning performance. I was paying very close to attention to check this, and noticed all those subtle movements going on.. This would be considered a good to great dance performance, right?

ksl · Post by **ksl** » 18 Jan 2010, 10:38

1) I am a little confused by what the question is but i think what you are saying is right. Basically the dancer's LEFT feet fall once for each maatra (count on hand) of taala in samam in first speed and twice for each matra in second speed.

2) That is probably because you are counting taalam one speed faster than you should ( Or that this taalam is in 2 kalai, someone can verify). The taala should be kept in line with the first speed such that the pallavi ends in two avartanams of the tala.

3) Yes, you are right!

This is a decent performance. The dancer however has a lot of room for improvement. The adavus are at times unfinished. She doesnt bend as much as required. And her abhinaya is very tutored, lacks spontaneity. You can compare the last teermanam of this with a similar performance of the anupallavi of this same varnam:
http://www.youtube.com/watch?v=uffRrtFYtec

vasanthakokilam · Post by **vasanthakokilam** » 19 Jan 2010, 11:57

Thanks ksl.