I had not visited this blog spot for over three years and somehow I thought I should visit it and update it. I found one draft contribution which I corrected and posted today. Having published something after a gap I thought let me place my random thoughts here and perhaps start publishing regularly in this Bharathanatyam Knowledge section regularly In the interim I did get a chance to visit a number of dancae programs both offline and online and I am much impressed with the grand revival of the art among the youth today which is more than refreshing. The Generation X has taken to art in a big way. I find today far more number of artists today than any of the decades that I saw. And when it comes to Dance and Music there is an amazing variety of dancers of all age groups and nationalities which is overwhelming. The fusion era also seem to be over with the newer disciples showing a propensity to learn and practice Pure Dance forms rather than mix and match without any grammer or structure. Part of the reaons for this, the passing of the previous generation of Dance Gurus who were not open to suggestion or cricism of their way of practicing the ancient art form. Now the kids with exposure to a vast variety of performers thanks to the Net platforms they are questioning the Gurus of the purity of the art which is a good thing Also I find younger Gurus are also ready to work with the youth to teach and also to learn which is also a good thing. The stranglehold of the Sabhas have also ended except for a fancy few. Going forward the Dance studios that are being founded everywhere should focus on collaborative research and experimentation. Already the young artistes and their parents are demanding the learning does not stop at three or four stages of the Margam which comprises of Seven stages or learning. The seven styles of Bharatnatyam are Pushpanjali, Alarippu, Jatiswaram, Shabdam, Varnam, Padam and Tillana. The students would also have to learn Tatta Adavu: Teaches the Bharatanatyam style of leg tapping Kutta: The toes stamp the ground while the heel is raised Tadita: The heel holds the ground while the forefoot stamps it Mardita: The sole rubs the ground Sakhalita: The foot slips on the ground Jaati Adavu: A pattern denoted by a set of syllables, such as Tishra, Chatushra, Khanda, Mishra, and Sankeerna, Beside these, , Natta Adavu, Tatti Meeti adavu, Tirumanam Adavu, Murka Adavu, Jati Adavu and Kuditametta Adavu need to be learnt.

The dancers also have to learn the nuances of bringing forth the 9 emotions or Navarasams, namely love (shringaara), laughter (haasya), kind-heartedness or compassion (karuna), anger (roudra), courage (veera), fear (bhayaanaka), disgust (bheebhatsya), wonder or surprise (adbhutha) and peace or tranquility (shaantha). All the 51 mudras have to be learnt flawlessly We can certainly look forward to a Golden Era of traditional Dance forms going forward.