Mohiniyattam Adavus - Thaganams (8 to 10)

Now that we have mastered the 1st 7 Thaganams, we shall go on to the next set. The next set of Thaganams are slightly more complicated. 

THAGANAM-VIII

Chollu: THOM THITHA THA THAIYUM THI THAIYUM THEYUM THATHTHA

Starting Posture: Aramandalam posture. Both hands in Hamsasya  in front of the chest.


THOM - Place the right leg diagonally in front of the left leg at about a foot's distance(Left leg should be on the toes). Move both  hands up in a semi-circular motion. Eyes should follow the hand. Body should be slanted slightly towards the left side.

THITHA - Stamp the left leg and bring back the hand to the starting posture in a semi-circular motion.

THA THAIYUM - Keep the right leg onto the right side on the heels in Aramandalam. Body should be bend to the right side. Right hand should move a change from Hamsasya to Ardhachandra by moving in a circular motion from the chest placing it in front of the right knee. Eyes should follow the right hand.

THI THAIYUM  - Move to the right side placing the left leg in front of the right leg(Right leg should on the toes). Right hand will be in Hamsasya in front of the chest and the left hand will change from Hamsasya to Ardhachandra moving a slight semi-circular motion from the chest to the left side above the head. Body should be slanted towards the left side and head should be facing the left hand. 

THEYUM THATHTHA - Like the 3rd Thaganam except that the left hand will be above the head in the same position as THI THAIYUM.

The entire Adavu is then repeated on the left side

THAGANAM-IX

Chollu:  THA THAIYUM THI THAIYUM DHIMI THAIYUM THEYUM THATHTHA 

Starting Posture: Aramandalam posture. Both hands in Hamsasya  in front of the chest.


THA THAIYUM - Keep the right leg onto the right side on the heels in Aramandalam. Body should be bend to the right side. Right hand should move a change from Hamsasya to Ardhachandra by moving in a circular motion from the chest placing it in front of the right knee. Eyes should follow the right hand.

THI THAIYUM  - Move to the right side placing the left leg in front of the right leg(Right leg should on the toes). Right hand will be in Hamsasya in front of the chest and the left hand will change from Hamsasya to Ardhachandramoving a slight semi-circular motion from the chest to the left side above the head. Body should be slanted towards the left side and head should be facing the left hand. 

DHIMI THAI - Circle the body on the left leg with the right leg lifted up slightly. Right hand should also move in a circle in changing from Hamsasya to Ardhachandra , left had should remain in the same position as THI THAIYUM. 

YUM - The dancer is facing front with the hands in the same position as DHIMI THAI . The torso and right hand should move in a circular motion keeping the waist as fulcrum. 

THEYUM THATHTHA - The leg is similar to the 3rd Thaganam Adavu. Both right and left hand is above the head in Hamsasya at THEYUM and is brought down to Ardhachandra pointing down  near the navel at THATHTHA. 

The entire Adavu is then repeated on the left side

THAGANAM-X

Chollu:  THA THAIYUM THI THAIYUM DHIMI THAIYUM THEYUM THATHTHA 

Starting Posture: Aramandalam posture. Both hands in Tripathaka in front of the chest.

THA  - Lift the right leg slightly ,moving the body to the right side. Eyes should go to the right side. Both hands are in  Tripathaka;right hand should  face up and left hand should face down in front of the chest.

THAI - Lift the left leg slightly ,moving the body to the left side. Eyes should go to the left side. Both hands are in  Tripathaka; left hand should  face up and right hand should face down in front of the chest.

YUM - Come to Kalmandalam on the toes , with both hands holding  Hamsasya near the chest . Eyes looking in front. 

THI - Come to Aramandalam , with both hands holding  Hamsasya near the chest ; eyes looking in front. 

THAI - Again change to Kalmandalam in the same posture with both hands holding  Hamsasya near the chest ;eyes looking in front. 

YUM - Change to Aramandalam and then Kalmandalam with both hands holding  Hamsasya near the chest ;eyes looking in front. 

DHIMI - Change to Mukalmandalam with both hands changing from  Hamsasya to Ardhachandra  ;eyes looking in front. 

THAIYUM - Hands should move in a circular motion in Ardhachandra from the chest to above the head and then changing to Hamsasya again;remaining in Mukalmandalam

THEYUM THATHTHA  - The leg is similar to the 3rd Thaganam Adavu. Both right and left hand is above the head in Hamsasya at THEYUM and is brought down to Ardhachandra pointing down  near the navel at THATHTHA. 

The entire Adavu is then repeated on the left side

Mohiniyattam Adavus - Thaganams (1 to 7)

THAGANAM - I

Chollu: THAI -THAI- THI- THTHI

Starting Posture: Aramandalam posture. Hands in Namaste Position in front of the chest.

THAI - From Aramandalam, move the right leg slightly apart and simultaneously move the left leg next to the right leg and place it there on the toes. Hand should be kept steady in front of the chest.Body should move gracefully in semi-circular movement and bring the Namaste hands in front of the nose. Eyes should follow in semi-circular movement.

THAI - Move the left leg slightly apart and simultaneously move the right leg next to the left leg and place it there on the toes. Hand should be kept steady in front of the chest.Body should move gracefully in semi-circular movement and bring the Namaste hands in front of the nose. Eyes should follow in semi-circular movement.

THI - Same as first THAI except that the body moves from left to right instead of from front to right.

THTHI - Body should be steady continuing the posture of THI, slightly slanted. eyes should be looking straight ahead above the Namaste in front of the face.

The entire Adavu is repeated on the left side.

THAGANAM - II

Chollu: THI-THAA- THI-THTHI

Starting Posture: Aramandalam posture. Both hands - Tripathaka one in front of the chest and other in Dola.

THI - Stretch right leg diagonally in front from Aramandalam position and simultaneously stretch the left leg fully at the back.  Right hand in Tripathaka in  should move in semicircular motion from front of the chest and be placed in front of shoulder stretched with the elbow bend slightly. Eyes & head should follow the movement of the hand.

THAA - Hand, legs and eyes should do the reverse of 1st THI  i.e the body should come back the same way it moved while doing 1st THI and bring right leg to Swasthikam near left leg

THI  - While sitting in the posture with right leg in Swasthikam, and right hand in Tripathaka in front of the chest, only the torso should move up & down .Eyes and head should be looking down on to the left side.

THTHI - Same movement as 2nd THI

Repeat the entire Adavu on the left side.

THAGANAM - III

Chollu: THAI-THAI-THI THTHI THAI

Starting Posture: Aramandalam posture. Both hands in front of the chest - Tripathaka - palms facing down.

THAI - Raise the right leg slightly and keep it down. Body and head should sway slightly to the right side and right palm should turn and should face up. Eyes should move to the right side.

THAI - Raise the left leg slightly and keep it down. Body and head should sway slightly to the left side and left palm should turn face up while the right hand turns to its previous position where the palm faces down. Eyes should move to the left side.

THI - Right leg should move slightly forward with the knee bend. Right hand should again turn with palm facing up and also move it slightly forward along with the right leg . Head and eyes should up straight.

THTHI - While maintaining the same posture as THI  , raise the left leg up slightly and keep it down .

THAI - Right leg will come back up to Aramandalam position and right hand will also come back near the chest and palms will face down.

Repeat the entire Adavu on the left side.

THAGANAM - IV

Chollu: THI-THAA- THI-THTHI THTHAI
Starting Posture: Aramandalam posture. Both hands in front of the chest - Hamsasya

THI - Bend body slightly  from right to left. Keep right leg behind left leg in Swasthikam. Change right hand from Hamsasya to Ardhachandra and left hand still in front of the chest in Hamsasya.

THAA - Come back to Aramandalam posture with right leg still in Swasthikam . Change right hand from Ardhachandra to Hamsasya.

THI - Take  a step back with right leg while keeping both hands in front of the chest in Hamsasya.

THTHI - Take  a step back with left leg while keeping both hands in front of the chest in Hamsasya

THTHAI - Bring both legs together in Aramandalam while keeping both hands in front of the chest in Hamsasya

Repeat the entire Adavu on the left side.

THAGANAM - V

Chollu: THI-THTHI -THTHAI
Starting Posture: Aramandalam posture. Both hands in front of the chest - Hamsasya

THI - Keep right leg in diagonally in front on the heels and change the right hand from Hamsasya to Ardhachandra upright. 

THTHI - Keeping the same posture as THI , raise the left leg and keep it down.

THTHAI - Change the right hand from Ardhachandra to Hamsasya while slightly turning the torso along the right hand. Bring back the right leg to Aramandalam posture.

Repeat the entire Adavu on the left side.

THAGANAM - VI

Chollu: THI-THTHI -THTHAI
Starting Posture: Aramandalam posture. Both hands in front of the chest - Hamsasya

THI - Bend body slightly to from right to left. Keep right leg behind left leg in Swasthikam. Change right hand from Hamsasya to Ardhachandra and left hand still in front of the chest in Hamsasya.

THTHI - Keeping the same posture as THI , raise the left leg and keep it down.


THTHAI - Change the right hand Ardhachandra to Hamsasya while slightly turning the torso from right to leg along with the right hand. Bring back the right leg to Aramandalam posture.

Repeat the entire Adavu on the left side.

THAGANAM - VII

Chollu: THAI-THAA-THA-THTHAI-THAI-THAI-THOM
Starting Posture: Samam. Both hands on the left hip.

THAI - Place right leg in front. Turn head and eyes to the right side -diagonally looking straight. 

THAA-THA-THTHAI- Stay in the same position as 1st THAI

THAI- Place left leg alongside the right leg. Move head and eyes in semi-circular motion by slightly raising the head  from right side to straight down . Rotate right shoulder slightly during the movement to make it more graceful.

THAI THOM - Stay in the same position as 2nd THAI

This Adavu is done in 3 speeds though the Chollu is said in one speed constantly i.e. the 1st speed and head  moves only in the 1st speed. It's only the speed of the leg that changes.



These are the 1st set and the more easier  Thaganams. The next set of Thaganams shall be explained in the next post. 

ADAVUS IN MOHINIYATTAM - I

We shall now go on to the basic steps of Mohiniyattam.  Adavus or steps like I mentioned before are the alphabets of classical dance. Amma says "a Mohiniyattam dancer should move her body as gracefully as the  plants in a paddy field moves in the breeze".  The dancer must always have a smile on her face and her expressions must come from within, the only will the "Rasikas' or the spectators will feel involved in the dance.

The Mohiniyattam Adavus have been codified by Smt.Kalyanikutty Amma . Earlier there was no real pattern to the Adavus . It was taken randomly from different sources like Thivuthirakali and  from old manuscripts. Amma was instrumental in setting  pattern to the Adavus and naming each one. Later when the dance form evolved various Mohiniyattam artistes have contributed and innovated the Adavus set by Amma.

The Adavus in Mohiniyattam are divided into 4:-

1. THAGANAMS - 14 
2. JAGANAMS - 6
3. DHAGANAMS - 4
4. SAMISHRAMS or the VAKRAMS  (varies)

The Cholus or the syllables for each are:

• THAGANAMS -  The Adavus begin with the sound or syllable "Th"

1. Thai Thai Thi Ththi
2. Thi Ththa Thi Ththi
3. Thai Thai Thi ThThi Thai
4. Thi Ththa Thi ThThi Thai
5. Thi ThThi Thai
6. Thi ThThi Thai
7. Thai Tha Tha Thai Thai Thom
8. Thom Dhitha Tha Thaiyum Thi Thaiyum Theyum ThaThtha
9. Tha Thaiyum Thi Thaiyum Dhimi Thaiyum  Theyum ThaThtha
10. Tha Thaiyum Thi Thaiyum Dhimi Thaiyum  Theyum ThaThtha
11. Tha Thai Theyum ThaThtha Dhi Thi Thai
12. Tha Thai Thi Thai Theyum Theyum
13. Tha Thai Thi Thai Thom Thai 
14. Thaiyaththa Dhrikuthaka Tha Thi Kinathom

• JAGANAMS - The Adavus begin with the sound or syllable "Ja"

1. Jagam ThaNam ThariNagam ThaNa Thari
2. Jagam ThaNam Thari Kum Thari Tha - Nagam ThaNam Thari Kum Thari Tha
3. Jagam ThaNam Thari Kum Thari Tha - Nagam ThaNam Thari Kum Thari Tha                                                               
4. Jagam ThaNam Thari Kum Thari Tha - Nagam ThaNam Thari Kum Thari Tha
5. Jagam Thakitha Gathi Nagam Thakitha Gathi Jagam Thakitha Gathi Nagam Thakitha Gathi  
6. JagaJagaJamThithA JagaJagaJamThithA 

• DHAGANAMS  - The Adavus begin with the sound or syllable "Dh"

1. Dhikidhinnam Thadhinnam
2. DhaNutha DhajaNutha DhajaNutha  Thadhimitha
3. DhANumThaNumthari ThiththathaNumthari
4. DhANumThaNum thari ThiththathaNum thari

• SAMISHRAM/VAKRAM - These are a combination of the above learnt Adavus and hence a little more complicated.

1. Thamtharitha Dhinam Dheem Tharitha Dhinam
2. Thamtharitha Dhinam Dheem Tharitha Dhinam
3. Thankita Thaththi Tharikitadhimithaka ThlonkuThlanku ThathimkiNa
4. Thankita Thaththi Tharikitadhimithaka ThlonkuThlanku ThathimkiN
5. Thaththitha kaNa Thakathithakanaka Thikuthathari Tharikitadhina Thlanku Dhinathom
6. Thaththi ThakaNaka Thakumthari Kitathaka

The above Adavus have been codified and choreographed by Amma. There are more Adavus called the Thirumanams or the finishing Adavus which shall be explained later.

A few more Adavus have been added to Samishram by my Guru, Smt.Shyamala Surendran.

The Cholu for all of them are " Thamtharitha Dhinam Dheem Tharitha Dhinam".

The method for each Adavu are explained in next posts.

Exercises in Mohiniyattam

We began this blog with the history of classical dance (a little bit of fantasy and reality depending on the imagination of the reader). Then we went on to the various aspects of dance mainly theoretical. Now I am coming to the visual aspect of Mohiniyattam the Adavus i.e. the basic steps of Mohiniyattam along with exercises.

The very first lessons we learn in school are the alphabets before we form words which in turn form sentences. Similarly Adavus are the first lessons we learn in a dance class. It has been said in Mohiniyattam , there were only 8 to 9 Adavus. Mohiniyattam maestro,Late Smt.Kalamandalam Kalyanikutty Amma was instrumental in adding various Adavus and categorised them under different names leading up to nearly 30 Adavus .These Adavus are divided into 5 according to the Chollu.  

Before one starts a class, a dancer(whether a student, teacher or performer) always begin with the Namaskaram:-

Artiste doing a Namaskaram

There are various guidelines to be followed by a Mohiniyattam dancer before she starts to learn.

• There should be ONLY be a 2 finger gap between the heels and hence should form a V-shape and the front part should raised slightly. (Please note that from here I shall be referring to Smt,Kalaynikutty Amma as Amma). Amma has composed a small verse on the posture in Malayalam:-

Randamgulamidam Vittu

Kuthikaal Vachukondaho

Mukonakrithiyil Paada-

Yugmam Nilavinullatham

• She must be familiar with the 5 basic postures  or Mandalams in Mohiniyattam  . 
• SAMAM-Head is steady. Eyes are steady . Body is straight and legs are placed together. 
• KALMANDALAM -  Feet are kept 2 fingers apart in v-shape. Knees should be bent slightly.(Kal means a quarter)
• ARAMANDALAM - The body should go a little more lower from Kalmandalam where the knees and thighs come in the line, making the thighs parallel to the floor. (Ara means half)
• MUKALMANDALAM - When the body goes little more lower than Mukalmandalam.(Mukal means three-quarters)
• MUZHUMANDALAM - When the dancer sits down fully on her raised toes.(Muzhu means full)

Artiste showing the 5 Mandalams or Postures

EXERCISES

BODY EXERCISES

Mohiniyattam is a dance form which is very fluid and graceful. Lasya is the main component . Aramandala is the main posture. A dancer need strength in her legs esecially the knees and thighs to be able to sustain the posture. Hence for the body to become more graceful and strong we have exercises which gives strength to the thighs and knees .

1. Body moving like the letter U

Here the dancer stands with her legs slightly comfortably apart. Starts from one end with her legs stretched and then sits down on both her legs halfway and again gets up to stretch to the other side. Hence the dancer draws the letter U with her body . This is repeated on both sides. This makes the body flexible s well gives strength to the thighs.

  
2.   Body circling diagonally

Here the dancer is turned her body by around 45 degrees with her legs apart. She begins by sitting on both legs and them moving sideways to one side and coming back to sitting position. This is done front and back as well right and left. This exercises helps for various Adavus where the body moves diagonally as well giving strength to the legs.


3.  Body moving like number 8 - horizontally

Here the dancer is facing front with her legs apart slightly. She moving her body from the centre in sitting position and stretches herself to one side and comes back to sitting position and continues the same action on the other side. Hence making it like drawing the number 8 with her body. This exercises helps the body more flexible and gives strength to the thighs and waist.

4. Moving body from heel to toe and toe to heel

Here the dancer has kept one leg in front . She sits on the back leg which is flat with the front foot on the toes and then moves to the front leg with her back leg on the heels. Please note ; Never put your body weight on the leg which is not the ground fully flat i.e either when the back foot is on the heels or front foot is on the toes. The body weight should always be on the leg which is on the ground completely flat. This exercise helps in giving strength to the thighs. 

5. Meyyadavu - Circling the body from the waist

Here the dancer is sitting down half way with her hand in front of her with palms facing down. The torso moves in a circle from front to back to front. This is done from right to left and left to right. This is a very important exercise as it gives flexibility to the torso to move gracefully and also keep the body in control. It also gives strength to the legs. Meyyadavu is also known an Chuzhippu.

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HEAD & NECK EXERCISES

Now we gone on to do the head exercises. Head and neck exercises are done to make the neck more flexible and reduce stiffness. There are plenty of circumstances in Mohiniyattam which involves the movement  of  the neck.  These exercises:-

• Head moving in circular motion - from right to left and vice versa
• Head moves from one side to another
• Head moves up and down
• Head moves in semi circular movement
• Head drops from one side to another
• Head and neck moves back and forth like a pigeon

EYE EXERCISES

The movements of the eyes have an integral part in expressing the Rasas . Skilled movements of eyeballs are developed by practicing eye exercises.It should be noted that neck should be kept straight and ONLY the eyes should move.  These eye exercises can done different speeds :-

• Eyes moving in circular motion - from right to left and vice versa.
• Eyes moving up and down
• Eyes moving side to side
• Eyes moving like X 

The dancer should palm her eyes after these exercises for a few minutes.

HAND EXERCISES

Hand movements in dance are important for Anga Abhinaya. Hand exercises are practiced to give strength to the hand muscles as well the wrists and also make them more graceful like the flow of water.

These are the exercises a Mohiniyattam dancer follows during her practice sessions. They can vary according one's individuality and body.

THE CONCEPT OF THALAM

Thalam or Taal literally means a clap. It is the term used in Indian classical music and dance to define the rhythmic pattern followed by any composition. It is a known fact that to be a dancer or to even dance,one needs determination as well as energy. The foremost forms of dance are known to be Tandav and Lasya. Some say the word Thalam is a portmanteau of Tandav & Lasya. Thalam is the foundation for music and dance. Shruthi ( pitch of music) is believed to be the mother and Thalam ,the father as Thalam controls music.  Hence if, both the pitch and rhythm is not synchronized properly, one will not obtain any pleasure visually or euphoniously. Dancing, Singing and Instruments together form Music. Sarangadeva quotes in his wellknown book “ Sangeetha Ratnakara”:-

Geetham Vaadhyam Thathaa Nritham

Thrayam Sangeetha Muchyathe

Thalam is divided into ten parts. These are synonymised to Dasaprana (vital constituents)in the human body. The 5 main components or  Mahapranas ; Prana, Apana, Samana,Udana and Vyana is equalised to Kala,Marga, Kriya, Anga and Graha in Thalam. The 5 minor components or the Upapranas; Nagan, Koorman, Krikaran, Devadattan and Dhananjayan are equalised to Jathi, Kala, Laya, Yati and Prasthara.

Below I am giving a small description of the Dasapranas of the human body.

•  Prana - vital energy; inherent vital force pervading every dimension of matter
•  Apana - sub-prana, which is located in the lower abdominal region, responsible for elimination and reproduction
• Samana - one of the five sub-pranas; situated between the navel and diaphragm
• Udana - one of the five sub-pranas; energy located in the extremities of the body arms,legs and head
•  Vyana - one of the sub-pranas; reserve of pranic energy pervading the whole body

The five Upa-Pranas regulate important functions in the human body

• NAGA - Burping
• KURMA - Blinking
• DEVADATTA - Yawning
• KRIKALA - Sneezing
•  DHANANJAYA - Opening and Closing of Heart Valves

Now I shall give the Components of Thalam i.e. the time measure of a composition. Before that there are certain terminologies which will be seen often in the post below.They are:

• Avartana (cycle) of a Thalam
• An Anga ( the part/section of a Thalam)
• Matra (the external unit of an Anga)
• Aksharakalas (the internal unit of a Matra)

(Shall illustrate this concept when explaining the various types of Thalam)

Components of Thalams:-

1)  Kaalam - The duration of each Matra, Anga and Avartana of a composition is called Kala. A composition is executed in different speeds. 

• First speed is Vilamba Kaalam
• Second Speed is Madhaya Kaalam 
• Third speed is Dhuritha Kaalam.

2)  Margam – Margam means path. It determines the number of Aksharakaalas or  units in each Matra.  A Matra usually consists of four Aksharakaslas, unless specified.

3) Kriya – The method how a Thalam is demonstrated. Eg Beating the hand or using fingers while putting a Thalam. The literal meaning of Kriya is gesture or action.
     They are of 2 types :-

• Nishabda - meaning no sound. Eg. The wave of the Drutham and Fingers of Laghu
• Sashabda - One which produces sound. Eg. The beat of the Drutam or Anu Drutham

4)  Anga – A part or section of Thalam is called a Anga.  They are of 6 types hence are called Shadangas. Shad in Sanskrit means 6. They are:-

Table No:1

	Name of Anga	Symbol	Duration	Matra	Kriya
1	Anudrutha	U	1	¼	One beat
2	Drutha	0	2	½	One beat and a wave
3	Laghu	I	4	1	One beat followed by 3 finger count
4	Guru	8	8	2	One beat followed ,the 3 finger count and bring hand down
5	Plutham	)	12	3	Beat, 3 finger count, wave hand towards left & then right
6	Kakapadam	+	16	4	Wave had to left, then right , lift hand up and take it down

(Henceforth to represent the respective Angas , I shall be using the symbols in the table above)

5)      Graha – The starting of the song in a Thalam is called Graha. It is not always necessary the song starts at the beginning of a Thalam. It can start in between the Thalam . Graha is divided into 2:-

      a)      Sama – When the song and Thalam begins together

      b)     Vishama– When song and Thalam does not start together.This itself is divided into two:-

           i)        Atheetha – When song begins before the Thalam starts

           ii)       Anagatha – When song begins after the Thalam starts

According to the modern system in Carnatic music, the terms Kalidam, Arayidam, Mukalidam comes under Anagatha. Let us assume that we have the Aksharakalas in a Matra as 4. It shall be denoted as Tha ka di mi.

Table No:2

Kalidam	Leaving one beat and starting from 2nd beat.	Kal means ¼. Tha will be silent Starts from ka
Arayidam	Leaving 2 beats and starting from 3rd beat.	Ara means ½. Tha ka will be silent.Starts from dhi
Mukalidam	Leaving 3 beats and starting from the 4th beat.	Mukal means ¾. Tha ka dhi wil be silent. Starts from mi

Songs with Atheetha is rather rare.  On the contrary, songs with Anagatha is found in plenty.

Till now, we dealt with the Mahapranas of Thalam. Next we shall talk about the Upapranas of Thalam.

6)   Jathi – Division of Laghu (read above) is called Jathi. These are divided into 5. These are very commonly seen in South Indian classical dance forms. In fact, the Adavus are set to music according to these Jathis. They are called Panchajathis. Pancha means 5 in Sanskrit.

Table No:3

Name	Aksharakaala	Cholu/Mnemonic Syllable	Kriya /Representation
Thisram	3	Tha Ki Ta	One beat and 2 fingers counts
Chathurasram	4	Tha Ka Dhi Mi	One and 3 finger counts
Khandam	5	Tha Ka Tha Ki Ta	One beat and 4 fingers counts
Mishram	7	Tha Ki Ta Tha Ka Dhi Mi	One beat and 6 fingers counts
Sankeernam	9	Tha Ka dhi Mi Tha Ka Tha Ki Ta	One beat and 8 fingers counts

When these Jathis are set in the various Thalams(will be explained later in this post), the number of units in a Laghu changes accordingly.

7)      Kala – The duration of each “Anga” is known as Kala. These are also known as Gathi. These Gathis are also divided into 5 like the jathis mentioned above; Thisram, Chaturasram, Khandam, Mishram and Sankeernam. 
The difference between Jathi and Gathi is that the former deals with only the Laghu part of Anga whereas Gathi influences every part of Anga.

I  shall explain this with an example. The shortest Thalam which has Dhrutham & Laghu is Roopaka Thalam (Division of Thalams shall be explained in due course).

Roopakam is represented as 0 I
Table No:4

Jathi	Representation	Aksharakala/Number
Thisram	0 I3	2+3=5
Chaturasram	0 I4	2+4=6
Khandam	0 I5	2+5=7
Mishram	0 I7	2+7=9
Sankeernam	0 I9	2+9=11

Now I shall explain Gathi. Taking Thisra Jathi Roopaka Thalam. In the above table we saw that Aksharakala of Thisra Jathi Roopaka Thalam is 5. Here each beat, wave and finger count will be having a duration.

                                                  Table No:5

THISRA JATHI ROOPAKA THALAM – 0 I3  .Aksharakala -5
Gathi	Representation	Kala
Thisram	03 I(3)3	2x3 + 3x3 = 15
Chaturasram	04 I(3)4	2x4 + 3x4 = 20
Khandam	05 I(3)5	2x5 + 3x5 = 25
Mishram	07 I(3)7	2x7 + 3x7 = 35
Sankeernam	09 I(3)9	2x9 + 3x9 = 45

 Similarily, for every Thalam, Jathi and Gathi are set accordingly.

8) Laya – Speed of steps while dancing is known as Laya. They are:-

       a) Choukam- 1^st speed i.e when 1 step is placed for one Thalam.

       b) Madhyam- Double speed of Choukam i.e when 2 steps are placed for one Thalam

       c)  Dhrutham- Double speed of Madhyam i.e when 4 steps are placed for one Thalam

9) Yathi – These are the rhythmic patterns used for music and dance. Angas are used in different patterns in a Thalam. These are of 6 types:-

      i) Samayathi – Just as the name suggests which means straight, where the Anga is consistent and hence has same Matras for the entire Thalam.For eg:-

I₄ I₄ I₄  or U₃ U₃ U₃

      ii)Vishamayathi – Here there is no specific pattern for the Thalam. It can be inconsistent.

I U O I O

Mridangam

     iii) Mridangayathi – Here the Angas are set in an ascending order and then descending order. The name is such because the Yathi comes like the shape of the Indian Percusion instrument Mridangam.

Damaru

U I 8 I U

 iv)     Vedamadhayam Or Damaruyathi – This is opposite to the Mridangayathi. The Angas are set in decending order and then ascending ordering. It is named such as the Yathi is formed like a Damaru( the instrument in Lord Shiva’s Hand)

8 I U I 8                     

                                                                                      

                                                                         

        v)  Gopuchchayathi – Here the Angas are set in descending order. Gopuchcha means cow’s tail. Hence like a cow’s tail, the rhythmic pattern tapers down.

8 I O U

       vi)  Srothovahayathi – This is the opposite of Gopuchchayathi. Here the Angas are sent in ascending order. Srothovaham means river. So just like  the mouth of the river is small and gradually widens, the rhythmic pattern widens.

U O I 8

10)  Prastharam - The word Prastharam means permutation. Hence the method the different Angas are assorted and then set is known as Prastharam.

SAPTHA THALAMS- The Seven Thalams

Puranadaradasa,known as the Father of Carnatic Music was instrumental in setting the Sapta-Thalams(also known as Suladhi Saptha Thalams) of Carnatic Music which we still follow to date. 

They are:-

Dhruvam, Matyam, Roopakam, Jhampa, Triputa, Ata & Eka

Table No:6

Thalam	Symbol(See Table No:1)
Dhruvam	I 0 I I
Matyam	I 0 I
Roopakam	0 I
Jhampa	I U 0
Triputa	I 0 0
Ata	I I 0 0
Eka	I

As I have explained earlier, there are 5 Jathis. When these 5 Jathis (Panchajathi)influence the Saptha Thalams ; 5x7 become 35 Thalams. Each of these 35 Thalams have a specific name. These shall be illustrated in detail.

                                I.            Dhruva Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Dhruva	Thisram	Mani	I3 0 I3 I3	3+2+3+3=11
2		Chaturasram	Sreekara	I4 0 I4 I4	4+2+4+4=14
3		Khandam	Pramaana	I5 0 I5 I5	5+2+5+5=17
4		Mishram	Poorna	I7 0 I7 I7	7+2+7+7=23
5		Sankeernam	Bhuvana	I9 0 I9 I9	9+2+9+9=29

                              II.            Matya Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Matya	Thisram	Saara	I3 0 I3	3+2+3=8
2		Chaturasram	Sama	I4 0 I4	4+2+4=10
3		Khandam	Udaya	I5 0 I5	5+2+5=12
4		Mishram	Udeerna	I7 0 I7	7+2+7=16
5		Sankeernam	Raava	I9 0 I9	9+2+9=20

                            III.            Roopaka Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Roopakam	Thisram	Chakra	0 I3	2+3=5
2		Chaturasram	Paththi	0 I4	2+4=6
3		Khandam	Raaja	0 I5	2+5=7
4		Mishram	Kala	0 I7	2+7=9
5		Sankeernam	Bindu	0 I9	2+9=11

                            IV.            Jhampa Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Jhampa	Thisram	Kadamba	I3  U 0	3+1+2=6
2		Chaturasram	Madhura	I4 U 0	4+1+2=7
3		Khandam	Chana	I5 U 0	5+1+2=8
4		Mishram	Sura	I7  U 0	7+1+2=10
5		Sankeernam	Kara	I9 U 0	9+1+2=12

                              V.            Triputa Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Triputa	Thisram	Shankha	I3  0 0	3+2+2=7
2		Chaturasram	Aadi	I4 0 0	4+2+2=8
3		Khandam	Dushkara	I5 0 0	5+2+2=9
4		Mishram	Leela	I7 0 0	7+2+2=11
5		Sankeernam	Bhoga	I9 0 0	9+2+2=13

                            VI.            Ata Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Ata	Thisram	Guptha	I3 I3  0 0	3+3+2+2=10
2		Chaturasram	Leka	I4 I4 0 0	4+4+2+2=12
3		Khandam	Vidala	I5 I5 0 0	5+5+2+2=14
4		Mishram	Loya	I7 I7 0 0	7+7+2+2=18
5		Sankeernam	Dheera	I9I9 0 0	9+9+2+2=22

                          VII.            Eka Thalam + Panchajathi

	THALAM	JATHI	NOMENCLATURE	ANGAS	AKSHARAKALA
1	Eka	Thisram	Sootham	I3	3
2		Chaturasram	Maana	I4	4
3		Khandam	Ratha	I5	5
4		Mishram	Raaga	I7	7
5		Sankeernam	Vasu	I9	9

Now we shall see the division of the 35 Thalams according to Gathis (explained above) and hence there are 175 Thalams (35x5). It should be noted that Gathi influences Laghu, Dhrutham & Anudhrutham.

THALAM NOMENCLATURE	AKSHARAKALA	Gathi & Kala
		THISRAM	CHATURASRAM	KHANDAM	MISHRAM	SANKEERNAM
Mani	11	33	44	55	77	99
Sreekara	14	42	56	70	98	126
Pramaana	17	51	68	85	119	153
Poorna	23	69	92	115	161	207
Bhuvana	29	87	116	145	203	261
Saara	8	24	32	40	56	72
Sama	10	30	40	50	70	90
Udaya	12	36	48	60	84	108
Udeerna	16	48	64	80	112	144
Raava	20	60	80	100	140	180
Chakra	5	15	20	25	35	45
Paththi	6	18	24	30	42	54
Raaja	7	21	28	35	49	63
Kala	9	27	36	45	63	81
Bindu	11	33	44	55	77	99
Kadamba	6	18	24	30	42	54
Madhura	7	21	28	35	49	63
Chana	8	24	32	40	56	72
Sura	10	30	40	50	70	90
Kara	12	36	48	60	84	108
Shankha	7	21	28	35	49	63
Aadi	8	24	32	40	56	72
Dushkara	9	27	36	45	63	81
Leela	11	33	44	55	77	99
Bhoga	13	39	52	65	91	117
Guptha	10	30	40	50	70	90
Leka	12	36	48	60	84	108
Vidala	14	42	56	70	98	126
Loya	18	54	72	90	126	162
Dheera	22	66	88	110	154	198
Sootha	3	9	12	15	21	27
Maana	4	12	16	20	28	36
Ratha	5	15	20	25	35	45
Raaga	7	21	28	35	49	63
Vasu	9	27	36	45	63	81

The Aadi Thalam highlighted in yellow is the most common Thalam. A music student’s first lesson i.e the Sapthaswaras are set to Aadi Thalam. Most of the music compositions one learns like the Geetham, Varnam, Keerthanams & Thillanas are all set to Aadi Thalam. Hence Chathurasra Jathi Triputa Thalam is more commonly known as Aadi Thalam.

CHAPPU THALAM

Chappu Thalam is executed by only putting the beat and Angas like Laghu & Dhrutham are absent. These are of 3 types:-

1.       Misrachappu – This as the name suggests has 7 Aksharakala i.e 3+4. It should be noted the beats are similar to Thisra Jathi Triputa Thalam which 3+2+2. Hence the latter can be substituted by Misrachapu as it is easier .

2.       Khandachappu -  This has 5 Aksharakalas i.e 2+3

3.       Thisrachappu -  This has 3 Aksharakalas i.e 1+2.This can also called Roopaka Chappu as Roopaka Thalam can be represented with 2 beats and one wave and the wave can be substituted by a beat itself.

It should be that when one just mentions Chappu Thalam, then it Misrachappu Thalam as it is the most common Chappu Thalam.

THALAVATTAM  &  AVARTHANAM

Thalavattam and Avarthanam are two very oft-repeated terms by musicians and dancers. The terms can often be confused with one another.

 The length between the first Anga and last Anga of a Thalam is called Thalavattam. The number of time a Thalam is executed in a music composition is known as Avarthanam. The word “Vattam” means circle and Avarthanam means repetition.

Most of the items in Mohiniyattam are choreographed in Aadi ,Roopaka and Misra Chappu Thalam.