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#Bharata Natyam
buzz-london · 2 years
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Jagado-Odharana - How the one who rules over the entire universe is playing with Yashoda - on her terms! 
https://youtu.be/btXtARhhvO0
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meluhha · 1 year
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what’s the link between nagarvadhus & devadasis?
we know “indian” religious texts looked down on courtesans at least from the vedic age & similarly the british demonized ‘em in modern eras but beyond that?
(Amrapali, Vasantasena, Madhavi, etc were more empowered ~2500 years ago, but not entirely)
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shoutyourporpoise · 1 year
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I fully know that “people accept the idea of someone being naturally thin but not of someone being naturally fat” is like Unlearning Fatphobia 101 but it literally only just clicked for me that my brother and I are living examples of that principle in action. On my dad’s side of the family there are basically two body types which are Lamppost and Snowman and my brother is the former while I’m the latter.
And when we were growing up we both ate the same things! And we were both in taekwondo and bharata natyam. But we still had very different bodies?? And there was a point in time where I was eating healthier than anyone else in the house and doing dance practice 3 hours a day and I was still fat. And there was a point where he literally lived on Coke, burgers, and cigs and he was still thin. And yet he was STUNNED when he was told he had high cholesterol while my blood work consistently comes back normal.
Anyway like. We’ve both found our way into treating our bodies in ways that make us feel good and it REQUIRED leaving our parents’ house because the amount of body policing we both got from opposite ends was like an oppressive fog in the household.
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livesanskrit · 2 months
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Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit .
It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet
Padma Subrahmanyam.
Padma Subrahmanyam (born 4 February 1943, in Madras), is an Indian classical Bharata Natyam dancer. She is also a research scholar, choreographer, music composer, musician, teacher, Indologist and author. She is famous in India as well as abroad; several films and documentaries have been made in her honor by countries such as Japan, Australia and Russia. She is well known as the developer and founder of the dance form Bharata Nrithyam. She is a devotee of the Paramacharya of Kanchi.
#sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #padmasubrahmanyam #celebratingsanskrit #bharatanatyam #bharatanatyamdancer #dancer #classicaldance #indiandancer #classicaldancer #choreographer #composer #musician #teacher #indologist #padmashri #padmabhushan
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globalworship · 1 year
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A Pentecost Satsang (UK)
Friends with WEC Resonance Band and Ian Collinge are joining with Claire Pepperd, Vinay Mekwan, Ruwani Gunawardene, John Ruston and friends to celebrate Pentecost at Christ Church, Roxeth Hill, Harrow UK. That location is about 13 miles northeast of London.
The service will be preceded by an open rehearsal and refreshments. Please sign up https://bit.ly/SatsangWorship
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For a model of a Yeshu Satsang in the UK a few years ago, see my previous blog post at https://globalworship.tumblr.com/post/627468315703541760/satsang-model-from-all-nations-christian-college
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Mosaic Church Harrow, an intercultural worshipping community was launched last Saturday. The service was blessed with liturgical dancing in the Bharata Natyam style by my friend Susanna Harrington with Scripture read in Sinhala and English.
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theswitchstudio · 1 year
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When Walls Dance - Trailer from Switch! on Vimeo.
When Walls Dance is a unique live performance created by Prachi Saathi, a BharataNatyam Dancer, Upasana Nattoji Roy, a Motion and Animation Designer from Switch Studio and her team along with a few Warli artists and musicians. 
This production is an attempt to bring together two age-old art forms - the Indian classical dance form of Bharata Natyam and the tribal art of the indigenous Warli tribe - through scenography including motion design and projection.
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ucanji20 · 1 year
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Learn Interesting facts about Indian Classical Dance Styles
From expressing emotions to narrating a story, dancing is a way to connect with people. Apart from keeping you fit and healthy, dancing is also a way of celebration, especially in India. Dancing is something that Indians value highly. The classical dance forms reflect the beauty of our cultural heritage. These dance forms connect you to your roots, yet enable you to explore the global horizon of dancing. Indian Classical Dances beautifully represent India’s vibrant culture through music, costumes, and jewellery. These dances add the flavour of tradition along with regional beauty.
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The foundation of each classical dance is built upon layers of historic culture, art, politics, and revolution & reforms. We bring you the glimpses of classical history of India. Explore the beauty of Indian Classical Dances with our online dance classes. But first, let’s glance down at some interesting facts about these Classical Dance forms.
Bharatanatyam Dance
The name Bharatanatyam is derived from two words, ‘Bharata’ and ‘Natyam’, which denote dance that melodiously, expresses bhaavam, ragam, and talam. This beautiful classical dance is a blend of emotions, rhythm, and expressions. The beauty of Bharatanatyam is that it includes all the traditional aspects that beautify a dance – postures, facial expressions, and narrative dancing. The origin of this dance form can be traced back to the 2000-year-old Devdasi tradition in the temples of South India. Our online Bharatanatyam Dance Classes will take you on a heritage voyage of India’s rich tradition.
Kuchipudi Dance
Another graceful classical dance form of India is Kuchipudi which is a delightful blend of dance and drama. The musical instruments used in Kuchipudi Dance are the ones associated with Carnatic music, which are the Mridangam, Saraswati Veena, the Manjira, Sarpeti, Tanpura, Violin, and Kanjira. Dedicated learning of seven to ten years is required to master this dance drama. The movements in Kuchipudi Dance are faster than any other classical dance.
Kathak Dance
Kathak is the artistic narration of story-telling. The beauty of Kathak Dance is that it’s a graceful blend of facial expressions, rapid footwork, and poised movements. The beauty of learning Kathak Dance is that you get to explore the swift pirouettes, unique rhythmic movement, and poetic lyrical expression. There are dozens of classical instruments that are used for a Kathak performance. For instance, the use of Tabla harmonises with the rhythmic foot movements of the dancer and also creates a beautiful jugalbandi. Manjira, harmonium, and sarangi are some of the musical instruments that are used in Kathak Dancing. This oldest and greatest dance form of India is preserved and cultivated through generations in history. Our online dance class offers three levels of courses – beginners, intermediate and advanced. Kathak is probably the only dance form that can be started at any juncture of life. The more mature you get, the more poised your steps will be.
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Kathakali Dance
The dance drama from the state of Kerala is also a tale narration that is communicated to the audience through intricate footwork and impressive facial gestures and hand movements. The artistic dance performance is complemented by music and vocal performance. The vivid makeup, unique face masks, and heavy costumes are the highlights of Kathakali Dance. This age-old art performance traditionally starts at dusk and is performed through dawn, and sometimes even for several nights. Music plays a significant role in Kathakali Dance in setting the mood for different scenes. Even the voice artists modulate their voices to match the mood and express the temperament of the character.
Sattriya Dance
Sattriya is a classical dance form from Assam, which beautifully symbolises the expression of devotion. What’s unique about this dance form is that it involves dramatic acting (abhinaya) along with dancing. Unlike the other classical dances, the Sattriya Dance has been left untouched and therefore, has been the same since its birth. This classical dance form is usually based primarily on the stories of Krishna-Radha relations, or sometimes on the stories of Ram-Sita. Originally, the Sattriya dance was performed only by Bhokots (male monks) as part of their rituals or to mark special festivals and events. Today, Sattriya is also performed on stage by men and women, based on themes that are not just mythological.
India is a land of cultural beauty and traditional richness. The country's artistic history can be witnessed in these classical and folk dances of India. Dive into the beauty of these beautiful dance forms and learn to embrace the graces of these Classical dance forms. Our online dance classes will let you explore the world of classical dances and their beauty.
SOURCE URL: https://ucanji.wordpress.com/2022/10/11/learn-interesting-facts-about-indian-classical-dance-styles/
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kafqa1234 · 2 years
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Kafqa Academy and other Best Dance Academies in India for Learning Bharatanatyam Through Online Classes
Introduction of Bharatanatyam
Bharatanatyam is a classical Indian dance form that originated in the southern state of Tamil Nadu. It is a popular form of dance in India and is also performed by Indian diaspora communities around the world. The name Bharatanatyam comes from the Sanskrit words "bharata" meaning "India" and "natyam" meaning "dance". And Kafqa Academy is that one stop shop where you can learn Bharatanatyam.
This dance form is characterised by its graceful and rhythmic movements, as well as its use of mudras or hand gestures to convey meaning. Bharatanatyam is traditionally performed to Carnatic music, which is a type of classical Indian music.
Bharatanatyam has been performed for centuries, but it reached its height of popularity in the 1930s and 1940s when it was popularised by artists such as Uday Shankar and Rukmini Devi Arundale. In recent years, there has been a resurgence of interest in this dance form, with many people learning it both in India and abroad.
There are many dance academies in India that offer Bharatanatyam classes, both in person and online. If you're interested in learning this beautiful and elegant dance form, here are some of the best dance academies.
Dance academies for learning Bharatanatyam
There are many dance academies that offer online Bharatanatyam classes. But which one is the best? Here, we've compiled a list of the best dance academies for learning online Bharatanatyam classes, based on our research and experience.
Kafqa academy : Kafqa academy is one of the best places to learn Bharatanatyam online. Where they provide 2 online classes every week with experts in their respective fields that can nurture a child's interests in the right direction.
Natya Academy: Natya Academy is one of the most popular online Bharatanatyam class providers. They offer both live and recorded classes, so you can learn at your own pace. They also have a huge library of videos and resources that you can access anytime, anywhere.
Arangetram Academy: Arangetram Academy is another great option for online Bharatanatyam classes. They offer both live and recorded classes, so you can learn at your own pace. They also have a huge library of videos and resources that you can access anytime, anywhere.
Padma Academy: Padma Academy is another great option for online Bharatanatyam classes. They offer both live and recorded classes, so you can learn at your own pace. They also have a huge library of videos and resources that you can access anytime, anywhere.
Conclusion
We hope you enjoyed our article on the best dance academy in India for learning online Bharatanatyam classes. If you're interested in learning this wonderful dance form, we highly recommend checking out any of the academies on our list. They all offer great instruction and will help you become a master of Bharatanatyam in no time!
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molkolsdal · 3 years
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At a school in a South Indian neighbourhood, young women take a break in their study of Bharata Natyam, a classical dance form. 
India, 1981
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voicesfromthelight · 4 years
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My Dance Guru Pays Me A  Visit from Spirit
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In connection with my post on astral party-crashers, I recently gave an example or two of how Spirit can use social media to let us know they are with us, or convey messages through synchronicity. Last night, I was blessed with a very special instance of this, and would like to share it with you to show how portentous these little nudges from Spirit can be, if we keep our feelers out and our eyes open.
To fully convey the emotional impact of this experience, I will need to frame this story with a little bit about my background.
For many years of my early life, starting around the age of five, I developed an inexplicably intense fascination with Indian and Hindu culture. This was accompanied by a feeling of longing so deep, I felt like I belonged there, and had been born in the wrong place - as if I had been there in a past life, and was still somewhat stuck in that previous identity.
One of the outlets I eventually found for this longing was through studying the classical Indian dance form, Bharata Natyam, starting at the age of eight. I was lucky enough to be instructed by a woman named Indrani Rahman - whom I knew simply as Indrani. The reverence I felt for Indrani cannot be overstated. She was my guru. Her mother, known as Ragini Devi, American by birth, had been one of the pioneers of classical Indian dance in the West, and had also helped to revive the art form in India itself during her lifetime. Years later, I was to learn that Indrani, in addition to being a highly respected dancer, had also been crowned Miss India in 1952, but my childhood self could hardly have been more in awe of her had she been the actual Hindu goddess whose name she bore.
The way in which I parted ways with Indrani left a profound mark on me. Throughout the year that I studied with her, in between dancing, Indrani would hint at the cultural stringencies inherent in the teacher-disciple relationship in classical Indian traditions. The comment that always stayed with me was this: “You know, Emily, in India, if you insult your guru, and they throw you out, you can come back crawling on your hands and knees, and they won’t have you back.” Little did I know what it foreshadowed.
After a year of studying with her in New York City, my mother and I were about to move to Finland. I had one last lesson left. Bharata Natyam is a dance form that incorporates pantomime into its storytelling, and I was in the process of learning a dance about a woman who asks a parrot to deliver a love letter to Kartikeya, son of Shiva and Parvati. At the end of the second-to-last lesson I was to have, my mother, Indrani, and I were on our way out of the dance studio we had been working in, in an elevator. I was anxious to learn the end of the dance we had been working on before leaving, and expressed to my mother how urgently I wanted to learn it. My mother responded something to the effect of “Don’t be too impatient,” and I, with my child’s impetuousness, retorted with something silly along the lines of “Why are you always criticizing me?!”. My mother and I laughed it off. Indrani said nothing.
The next evening, the phone rang. My mother was in the other room, and I picked it up. It was Indrani. In a calm, deliberate tone, she expressed to me how horrified she had been with how disrespectfully I had spoken to my mother the previous night, and unceremoniously announced that she was canceling the last lesson. I was blindsided, and utterly mortified. On my subsequent trips back to the US, Indrani refused to teach me, referring me, through my parents, to a younger teacher (whom I would also come to adore.) We didn’t speak again for almost ten years, and I would break down sobbing every time the subject came up, for years to come. We never spoke of her rejection of me. It was one of the most painful experiences of my childhood. 
The sting eventually dulled, and I drifted away from the world of classical Indian art, but never completely forgot my experiences with Indrani. In all the years I spent moving back and forth between Finland and the U.S, I never lost my first set of ankle bells, which she had brought me from a trip to India during the year I had studied with her. They remained with me, a relic of what felt like a past life in an almost literal sense.
Indrani passed away in 1999.
Dance remained an important part of my life, albeit one that felt like a passionate but unrequited love. I continued studying Bharata Natyam for a total of six years, but when my new teacher, Arundhati, moved back to India, I never found anyone to replace her. I loved ballet, but didn’t have the build of a ballet dancer. I fell into an obsession with Argentine tango at 16, and danced it on and off in an amateur capacity for decades, but always felt a bit like an outsider. I always had my finger in many different kinds of artistic pies, and eventually, it was music and film-making that won out as my main forms of professional, artistic expression.
That is, until last spring.
Last April, I took up Argentine tango again in a serious way, dancing for hours on end, nearly daily, within a matter of weeks of returning to it. Around this time, my usual work in the film industry had become somewhat harder to find than before, and my spirit guides went so far as to straight up ask me if I was sure I was in the right career. Wouldn’t a musical setting be better for me? Working through an emotional healing process after losing a fiancé, I found myself unmotivated to do much else than dance tango and give psychic readings. Things started getting tight, financially, and I eventually asked to be sent a new spirit guide to help me find the right job. The guide presented itself the next day, and my spiritual team informed me that they were cooking up something good.
In July, after a year-long wait, I had a chance to get a reading from one of the best psychic mediums I have ever had the pleasure of working with, Medium Fleur, from Los Angeles. As she looked into my energy field, she expressed concern about my finances, but said that she saw me being offered a job, working in an office environment, part-time, receiving a salary from a corporation, through people who had known me for a while. Having been a freelancer all my life, this seemed like a huge departure from anything I had done before. However, knowing the accuracy of her second sight, I trusted her.
Around mid-September, the following popped up in a channeling session with my spirit guides: “Your professional life is predicted to grow very busy. Everyone will benefit better from your work when you have the energy to give back to the things you love. Don’t grow poor! Desire a job. Give a grand reception in which you teach messages of inspiration to your community." A couple of weeks later, a new friend of mine from the tango community - a professional ballroom dancer and Argentine tango champion - asked me to event-manage a pair of big fundraising galas he was putting together for his non-profit organization, which teaches ballroom dancing to underserved school children around the country. Applying my film-producing skills to the events, I managed to pull off the feat with a week to spare, and the evening was deemed a great success. Seeing the children perform at the galas, and the respect with which they treated each other, inspired by the dance, I was moved to tears of happiness.
A couple of days after the galas, I was rummaging through a bag of items my father had passed on to me during a move to his new apartment. There, I found a small bronze statue I hadn’t looked at for years: A figure of Shiva Nataraja - the Hindu god, Shiva, in his creative form, as Lord of The Dance. We had acquired this statue around the time I had been studying with Indrani, and the very first dance I had learned with her had been “Natanam Adinar” - a dance that brought the image engraved in that statue to life. As much as my spiritual proclivities had changed since that time in my childhood, placing the statue of Shiva Nataraja, Lord of The Dance, near a window, next to my houseplants, felt reassuring, like a small piece of my soul had been reclaimed.
Yesterday, the organization for which I had event-managed the fundraising galas officially hired me on an on-going, part-time basis, to work for them in an administrative capacity. I was thrilled to be offered a job working with friends to further a mission that brought healing to so many young people through the joy of dance. I was also thrilled that both Fleur’s and my guides’ predictions were coming true.
My new boss and I celebrated by dancing a few tangos at an event put on by another friend. I arrived home late at night, tired but content. As I was walking up the stairs to my apartment, my phone suddenly flashed. I looked down, and saw that it was exactly 1:11AM.  I’ve found myself intuitively checking the time at repetitive “angel number” times quite a bit, of late, but this particular one felt more significant than usual. I sent a mental “Hello and thank you!” to my guides.
My feet ached badly from dancing, and I decided I needed to put on a pair of silicone toe-spreaders for the night. I had lost them a week earlier, and had to push myself to muster up the energy to look for them.
Rummaging through a desk drawer in my tiny work room, my eyes were suddenly drawn to something familiar. A lone ankle bell. My gift from Indrani. I had never really noticed it there before, but I felt a strange emotional pull to it. In that moment, I had a fleeting thought: “It still hurts a little bit to think about Indrani, but see, she loved me enough to give me those ankle bells, when I was just a little girl, as a symbol of passing on her tradition, and her dance, to me. Their significance is profound.” I closed the drawer.
A few minutes later, having mercifully located my toe-spreaders on  a night-stand, I climbed into bed, and out of habit, checked Facebook one last time.
And all at once, there it was: Indrani’s beautiful face, smiling at me.
About 40 minutes earlier, Indrani’s son, Ram, whom I have never met in my life, and am not linked up with on social media, had posted a photo of his mother as a young woman, clothed in a white sari, standing next to the illustrious sitar player, Ravi Shankar.  For reasons that were not readily apparent, he had tagged Arundhati, my other teacher, in the photo, which was why I could see it.
I truly feel that Indrani was looking down on me at that moment, letting me know that for all the pain I associated with our parting, she was proud of me for contributing to the world through dance in a positive way. I wouldn’t be surprised if she had lent my guides a hand in putting me on my current path! I also feel that in the afterlife, perhaps in her life review, she may have realized how deep an effect the harshness of her disposition had had on me, and this was her way of showing up for me one more time, as my dance guru again, in a kind of reconciliation. I feel an immense sense of healing from this moment.
Have your departed loved ones ever shown up for you at important moments, communicating through synchronicities? How did it happen? How did you feel? Let me know!
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indiaporama · 6 years
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Il faut de nombreuses années d’étude et de pratique pour apprendre et maîtriser l'art du Bharata Natyam : ses mouvements des mains, des yeux, des pieds, ses expressions du visage, ses enchaînements de figures stylisées, ses différents rythmes, ses histoires, ses symboles ... mais je pense qu'il faut aussi beaucoup d'entraînement pour savoir s'habiller avant une représentation, et danser avec tout ces bijoux.
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It takes many years of study and practice to learn and master the art of Bharata Natyam: the movements of the hands, eyes, feet, facial expressions, sequences of stylized figures, different rhythms, stories , symbols ... but I think it also takes a lot of training to know how to dress and dance with all those jewells
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buzz-london · 1 year
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Shiva Padam | Adithya PV
https://youtu.be/8AQ9SnHPQMo
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However, the recalling of this image of female power without any direct reference to the goddess figures is significant: the strong traditions of goddess worship in contemporary India coexist with patriarchal systems that attempt to restrict, in particular, their sexual and sensual powers, besides other aspects. In the naravahana image onstage, on the other hand, conceptions of the goddess resonate but are not directly represented. In Chandralekha' s choreography this goddess-like woman, as she sits atop her human carrier, uses hand gestures to symbolize the weapons she wields  tigernails that rip apart, a spear, a bow and arrow, a sword. She also wields objects more related to cultivation than sophisticated warfare, a scythe and a chopper. All of this links her to agricultural traditions and fertility cults as well as to martial traditions, in which she reclaims her active participation and her central role. [Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar and Chandralekha, Ananya Chatterjea]
Chandralekha* in the Naravahana** sequence from her path-breaking production Angika Madara, 1985. Photo credit: Sadanand Menon
*along with Nandakumar. **naravahana: nara=man, vahana=a deity’s carrier/mount
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indianarab-culture · 7 years
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DANCE
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livesanskrit · 1 year
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Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit . It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet Padma Subrahmanyam. Padma Subrahmanyam (born 4 February 1943, in Madras), is an Indian classical Bharata Natyam dancer. She is also a research scholar, choreographer, music composer, musician, teacher, Indologist and author. She is famous in India as well as abroad; several films and documentaries have been made in her honor by countries such as Japan, Australia and Russia. She is well known as the developer and founder of the dance form Bharata Nrithyam. She is a devotee of the Paramacharya of Kanchi. #sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #padmasubrahmanyam #celebratingsanskrit #bharatanatyam #bharatanatyamdancer #dancer #classicaldance #indiandancer #classicaldancer #choreographer #composer #musician #teacher #indologist #padmashri #padmabhushan https://www.instagram.com/p/CoO7Qh2rvCr/?igshid=NGJjMDIxMWI=
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nyc-looks · 2 years
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Malvika, 22
“I'm wearing Cmeo collective printed dress, Nanushka purple wrap dress, Jeffrey Campbell boots, JW Pei Handbag, and Urban Outfitters sunglasses. I created the look knowing that I wanted to share and embody a piece of my culture. The flowers in my hair are from my traditional Indian Classical Dance (Bharata Natyam) ensemble. When it comes to the color combo, purple and orange is the color of one of my most special Bharata Natyam costumes.”
Sep 8, 2021 ∙ Lower East Side
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