#Dance Schools for Bharatanatyam

[virsa-india]

Watch this incredible Bharatanatyam dance performance by a talented school student and our artist - it’s truly amazing.

[ucanji20]

Online Dance for Beginners in India: Do’s and Don'ts

Dance! There’s no better way to express yourself. And for passionate dancers, there’s no other way to live life. But every passionate dancer was once a beginner. And being a beginner in anything can work in one of two ways. In that, your zeal and new found passion for the activity or hobby in question alone can take you forward in your quest to master it. But on the other hand, sometimes the fear and anxiety of taking on something new, can get the better of you. And to make sure that you fall in the first category, here’s a list of do’s and don’ts related to dancing, keeping beginners in mind.

Do’s -

3 things that will ensure that you keep coming back to the dance floor.

Focus on One or Two Dance Forms First

The institute of dancing is immeasurable in size. As per Decathlon UK’s website, there are 28 major dance forms in the world. But if we focus on every dance form ever, there would be even more. For example, there are 8 Indian classical dance forms in India alone.

So focus on 1 or 2 to start with, or perhaps just 1.

Consider Online Dance Classes

Nothing beats the comfort of home and dance is no different. While of course, there’s merit in going down to a studio to learn dance, Online dance classes can be cheaper, more easily accessible and require less effort to pursue.

Give Yourself Space

Dancing requires a lot of movement, especially when footwork comes into play. And even if it doesn’t, you need that extra space just to feel free while moving around. So, try and a hall or a large room for your dance practice.

Don'ts -

3 things that will ensure you don’t give up on dancing.

 (Don’t) Stop Dancing

Remember, dance is not something you HAVE to do, but something you want to. It’s not something you have to get better at in a matter of days or weeks. You can take your sweet time. But the important part is to have fun, and the best way to ensure you do that is by dancing everyday.

(Don’t) Hide your Talent

Dancing is all about expressing yourself. Remember, the whole point of incorporating dance into your life and workout routine is that it's a more fun and intuitive way of both, getting a good workout, and keeping your mind and soul happy. So, even if you are in the stage of taking dance classes for beginners, don’t be shy to bust out some of your favorite moves, whenever the opportunity presents itself.  

(Don’t) Go for Difficult Moves and Routines Right from the Start

While, on one hand, you should not hold yourself back from getting on dance floors, on the other, you should not bite more than you can chew. So, when you look for online dance classes, be honest with yourself regarding your level of proficiency. If you take on too much of a challenge, not only is it possible for you to hurt or over-exhaust yourself, but you may also end up feeling discouraged. So, take your time to get to the point where you could take on fast routines, acrobatic move sets, and technically demanding dance routines. Start with something simple like Bollywood dance classes.

 Those were 3 do’s and 3 don'ts that every fresher to the world of dance should keep in mind. Remember, like with everything else, dance too, is a marathon, and not a race. So take it slow, and don’t forget to have fun along the way!

 SOURCEURL: https://www.reddit.com/user/Ucanji/comments/yuwlf4/online_dance_for_beginners_in_india_dos_and_donts/

[keep-calm-and-drink-caf]

“He was a Punk, She did Ballet Bharatanatyam”

A Hobie oneshot

The idea for this oneshot was based almost completely off of @hobiebrownismygod ‘s post here! <3

Pairing: Hobie Brown (Spider-Punk) x Indian!Reader who does Bharatanatyam

Word count: 1.7k

Warnings: Uses of Y/N, reader pushes herself past her limits a little bit?, reader’s just a teensy bit rude to Hobie at first, my ✨interesting✨ attempts at writing Hobie’s accent and slang

A/N: I wrote the reader to be Gayatri’s cousin because I thought it might be interesting to look through the perspective of someone who knows Pavitr from Gayatri’s side! And partly because I used to be in a similar situation - my younger cousin would always randomly call me and spill all the tea of whatever had happened in school :) (she still does haha. mwah i love you my little butterfly xx 🫶)

Originally intended for it to be romantic but it I think it could also be interpreted as platonic!

(he’s so gorgeous akdjsbcjdbcjcnd i love him sm <333)

——————

It was late.

Late enough that you should’ve been packing up and heading home, not inside an empty dance studio practising your steps till your feet ached and your legs felt like they were liquefying slowly.

You were trying to perfect the fast-paced jumps and footwork, pushing yourself ruthlessly despite being on the brink of exhaustion, and now your heels hurt from the force with which you were slamming them into the ground. The ghungroo bells that were strapped around your ankles jingled almost tauntingly as you kept going off-beat.

Letting out a frustrated sigh, you sat down on one of the benches placed on the side, sliding your ghungroo bells off your ankles and stuffing them into the side pocket of your bag. You were about to gather the strength to get up and go home when you heard the door swinging open and your gaze darted toward the sudden creak.

“Oh, hey Y/N. What are you doing here?”

Pavitr stood in the doorway, looking completely soaked to the bone and struggling to open an umbrella.

Gayatri was your slightly younger cousin, so naturally you knew Pavitr quite well since she would call you and gush about every little thing he did that she found absolutely adorable. Initially you had been frosty and skeptical towards him and he found you downright terrifying, but over time he had managed to charm you with his sunshiny personality and deep affection and respect for Gayatri.

“Hi, Pav. I was trying to practise my bharatanatyam but I think I should call it a day,” You responded, stretching your sore legs out and squinting through the glass panels of the door. “Is it raining?”

“Yep, we got caught in it while-” He cut himself off with a yelp as the umbrella opened suddenly in his face and he instinctively moved it behind his shoulder. You heard a soft ‘mmph’ come from someone right behind him who he had accidentally hit with the sharp spikes of the opened umbrella edge.

You tilted your head to look behind Pav as the person who had been hit stepped forward into the light, his hands out to prevent any further attacks from the umbrella. He flashed a charming smile at you, the studio’s warm light glinting off his piercings.

There was something slightly… odd about him that you couldn’t quite put your finger on. It wasn’t his large wicks that were, somehow, completely dry though he had clearly been with Pavitr in the rain, some drops still sliding off of his spiked vest. It wasn’t the small, silver-spiked red fabric sticking out of his pocket either that he tucked out of sight the moment he saw your eyes drift toward it.

His outline - if you could even call it that - appeared to be in constant motion, seemingly shifting and changing colours every few minutes. You blinked a few times, simply chalking it up to your tired brain playing tricks on you.

“Oi, watch where you’re pointin’ that thing, mate. Y’might jus’ take someone’s eye out.”

You raised your eyebrows as you heard the sharp cockney British accent.

“Yeh aadhmi British hai. Vah yahaan Mumbattan mein kya kar raha hai?” (This man is British. What’s he doing here in Mumbattan?) You asked in Hindi. You realised, the moment the words left your mouth in your mother-tongue, that you were being quite rude by talking in a language he probably didn’t know. His eyes darted toward you, studying you intently as if trying to understand what you were saying.

“Vah itna bura nahin hai, mujh par bharosa karte hain. Aur vah sirph… yaatra kar rahe hain.” (He’s not that bad, trust me. And he’s just… visiting.) Pavitr gave a sheepish chuckle, bringing a hand up to run his fingers through his rain-soaked hair. [I know that yaatra technically means travelling, but I can’t remember the Hindi word for ‘visit’ so if anyone could tell me how to say visiting instead I’d be very grateful!]

“‘Ello to you too,” He laughed it off, the smooth, rich sound filling the air. “My name’s ‘Obie. ‘Obie Brown. Nice to meet you.”

You assumed he was saying Hobie and gave him small smile, getting up to go over to them and shake his hand. “I’m Y/N. It’s nice to meet you, Hobie.”

Pavitr leaned forward to whisper quietly to you, his tone lightly teasing. “Hamne aapko kaanch ke darvaaze ke maadhyam se naachte hue dekha. Vah ghoorana bandh nahin kar saka.” (We saw you dancing through the glass door. He couldn’t stop staring.)

You felt your cheeks heat up slightly at his words and you scoffed, suppressing a smile tugging at your mouth. “Aur vah bilkul bhee daraavna nahin hai.” (And that’s not creepy at all.)

“Well, I was just about to head out,” You would’ve liked to properly get to know Hobie, but your vision was starting to swim in front of your eyes and his subtle flickering didn’t help.

“Careful. There’s a ‘ell of a lot o’ pleasure and pain out there.”

You blinked in surprise and glanced at Pavitr for an explanation, trying to understand what Hobie had just said but also not wanting to come off as rude.

“It’s raining cats and dogs out there,” Pavitr translated, snickering slightly at your confusion before your unamused eyebrow-raise shut him up.

���I have an umbrella. I’ll be fine, don’t worry. Besides, it’s just rain.” You took out your umbrella, looking through the glass into the rain. It was pouring quite heavily, but you’d just have to manage.

Pavitr got a gleam in his eye that told you he was plotting something. You narrowed your eyes with suspicion. “What are you thinking?”

“Ah, nothing, but we were headed that way anyway, for that padoka stall a little further on. We can come with you!” Pavitr gave you a grin and held his umbrella out in front of him, pretending to examine it critically. “The only problem is… my umbrella can only cover one person.”

Your eyes widened slightly as you realised what he was playing at. “Pav. Ab matchmake ka samay nahin hai,” (Now is not the time to matchmake) You hissed under your breath, giving him a death glare.

Pavitr simply ducked his head, giving you and Hobie a little wave as he moved to stand outside in the rain, the umbrella spread over his head. “Well, are you two coming or not?”

Hobie chuckled softly, turning to you. “Let’s go? I can walk in the rain if you want, I really don’t mind getting wet.”

“No, no, you can stay with me. Sorry if I was rude earlier.” You opened the umbrella more skilfully than Pavitr had done, angling it so it could shelter both of you as you stepped outside into the rain and followed Pavitr.

“Nah, you’re good. It’s nice ‘earin’ you and Pav talk Hindi, actually. How long ‘ave you been doin’… what’s it called?”

“Bharatanatyam.” You giggled softly at how Hobie’s eyebrows lifted at the word, his piercings sailing up along with them. “Quite a while. It’s almost like an Indian ballet, if ballet was more about fast-paced movement and quicker beats rather than grace and controlled technique.”

“S’different from what I’ve seen. More chaotic, but beautiful. Do y’always wear those jingly things around your ankles?”

“Ghungroo bells? Yeah, they just serve as something to accentuate the rhythm that we tap out with our feet so that the audience - and the dancers themselves - can hear it better.”

Hobie’s eyes - were they always that shiny…? - were on you as you talked, slightly wide as he took in what you were saying with the utmost attention. “Hey, lovebirds! The rain stopped, in case you didn’t notice. Y/N, you’re here.” Pavitr’s teasing voice cut through your thoughts, which were albeit a little foggy the moment you saw how pretty Hobie’s eyes were.

You put the umbrella down and, sure enough, the rain had almost entirely stopped, reduced to tiny droplets that drizzled pinpricks of water on the pavement. Well, that was Mumbattan weather for you. Pouring one second and sunshiny the next.

“I’m never making gajar ka halwa for you ever again if you don’t stop talking,” You warned as you heard Hobie chuckle slightly awkwardly at the nickname Pav had given you both.

“Nononono please— I’m sorry, I’m sorry, I didn’t mean that!”

You rolled your eyes and closed the umbrella, glaring at him.

“Fine, fine, just stop giving me that look. You’ll get your gajar ka halwa.” You softened your expression into a smile as you turned to look at the man you had just met. “Bye, Hobie. It was really lovely meeting you. I’ll see you around?”

Hobie smiled at you, dipping his head in a nod of farewell. “Yep. See y’around.”

You keyed open the door to your house, closing it behind you only to be greeted by Gayatri lying sprawled on the couch. You were used to her visiting unannounced, and your mother absolutely adored her, so you’d often come home to see her waiting for you, with new stories - whether they were scandalous gossip from the modelling agency, a few texts or actions from Pavitr that had made her lose her mind with how adorable he was being, or just random shower-thoughts she’d have (not to be confused with the ‘deep philosophical ponderings’ she had at 3am in the morning that she felt the urgent need to share with you straight away)

You could smell the sharp tang of spices wafting out from under the closed kitchen door as your mother cooked.

“Pav told me everything,” Gayatri giggled before you even had a chance to properly say hi to her. You groaned and flopped down on the couch next to her, moving her legs to rest over your lap so she didn’t take up all the space. “Brilliant. What did he say?”

Gayatri smirked up at you. “You met his friend Hobie? The one who’s visiting?”

You considered reaching for the cushion a few inches away on the floor, wondering if you could take it and throw it at her before she could bat it away. “Yeah, I did.”

Gayatri made her eyebrows jump up and down teasingly. “Do you think he’s cute?”

“Gayatri—”

“Oh, come on! This is totally like a rom-com. He was a punk, she did ballet — but make it Indian!” She mimed clicking a camera, now fully laughing, her eyes scrunched up mischievously. “Wow, and the guy’s British too. Who’d have thought? I think he’s here for a few more days, in case you want me to ask Pav to set up a date—”

You reached for the cushion, snatching it up and holding the fluffy patterned corner as threateningly as you could.

“Chhoti behen?” (Little sister)

“Yeah?”

“You know I love you.”

“Yep.”

“But stop talking.”

“Yes, ma’am.”

——————

Gajar ka halwa is a carrot-based sweet dessert pudding made by placing grated carrots in a pot containing a specific amount of water, milk and sugar, cardamom and then cooking while stirring regularly.

A pakoda/pakora is a fritter originating from the Indian subcontinent. They are sold by street vendors and served in restaurants in South Asia. It consists of items, often vegetables such as potatoes and onions, coated in seasoned gram flour batter and deep fried.

‘Pleasure and pain’ is Cockney rhyming slang for rain. (At least I’m pretty sure it is because I saw another website saying it’s ‘ache and pain’ so I’m not really sure which one it is)

Ghungroo bells are anklets that consist of small metallic bells (going from 50 to more than 200 bells depending on factors like the expertise of the dancer and the desired amplitude of the bells) knotted together. Ghungroo bells are used in many Indian classical dances such as Bharatanatyam, Kuchipudi, Lavani, Odissi, Mohiniyattam, and Kathak.

I don’t do Bharatanatyam, so some of this might be wrong. Please lmk if anything is incorrect! <3

[famousinuniverse]

Dances of India

Dance is an ancient and celebrated cultural tradition in India. Folk dances abound all across the country, and huge crowds of people can be found dancing at festivals and weddings. Dance and song features heavily in Indian cinema (so-called “Bollywood” films), too. But where does Indian dance draw its roots from? Here are six of the most important classical dance forms of India.

Classical Dances of India

Odissi

Dancer performing Indian classical odissi dance.

Odissi is indigenous to Orissa in eastern India. It is predominantly a dance for women, with postures that replicate those found in temple sculptures. Based on archaeological findings, odissi is belived to be the oldest of the surviving Indian classical dances. Odissi is a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) commonly used.

Kuchipudi

Kuchipudi performance.

Unlike the other styles mentioned, kuchipudi requires talent in both dancing and singing. This dance, from the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, sprinkling of holy water, and burning of incense, along with invocations of goddesses. Traditionally the dance was performed by men, even the female roles, although now it is predominantly performed by women.

Manipuri

Manipuri-style performance of Indian classical dance.

Manipuri comes from Manipur in northeastern India. It has its roots in that state’s folk traditions and rituals, and often depicts scenes from the life of the god Krishna. Unlike some of the other, more rhythmic dances, Manipuri is characterized by smooth and graceful movements. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful movements. The dance may be accompanied by narrative chanting and choral singing.

Kathak

Kathak school dancer, in Mughal costume, performing Indian classical dance.

A dance of northern India, Kathak is often a dance of love. It is performed by both men and women. The movements include intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It was originated by Kathakas, professional storytellers who used a mixture of dance, song, and drama. Like other Indian dances it began as a temple dance, but soon moved into the courts of ruling houses.

Kathakali

Kathakali dance

Kathakali comes from southwestern India, around the state of Kerala. Like bharatanatyam, kathakali is a religious dance. It draws inspiration from the Ramayana and stories from Shaiva traditions. Kathakali is traditionally performed by boys and men, even for female roles. The costumes and makeup are especially elaborate, with faces made to look like painted masks and enormous headdresses.

Bharatanatyam

Bharatanatyam performance

Bharatanatyam is a dance of Tamil Nadu in southern India. It traces its origins back to the Natyashastra, an ancient treatise on theatre written by the mythic priest Bharata. Originally a temple dance for women, bharatanatyam often is used to express Hindu religious stories and devotions. It was not commonly seen on the public stage until the 20th century. The dance movements are characterized by bent legs, while feet keep rhythm. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story.

6 Classical Dances of India | Britannica

[rambheem-is-real]

She's Mine Pt 2

pt 1, pay attention to the warnings, nsfw

Aadhya watches as the woman in her lap clumsily tries to get away from her. Rama’s limbs are too uncoordinated to move fast enough, so she only gets as far as tumbling onto the other side of the couch. Aadhya pounces with her, trapping Rama with her arms so that they were lying on top of each other on the sofa, Rama on her back. 

Rama squints up at her. “What do you want?” Aadhya can’t help but obsess over the way that even in such a perilous situation, Rama’s face shows no fear. She feels the body underneath herself relax, projecting a sense of confidence that would have fooled anyone else. 

Aadhya leans down, steals a quick kiss, and Rama doesn’t reciprocate. She smiles down at her. “I already told you. I’m here for you, of course.”

“You already had me,” Rama frowns. “If you wanted sex, that’s what would have happened anyway. You saw to that, being a terrible stalker on purpose. Why drug me?” Her words are clearer, which worries Aadhya a little.

“I had plans for you, baby.” She thumbs at Rama’s bottom lip as she speaks. “They involved sex, of course, but the motivation… that was something else.” Aadhya looks into Rama’s eyes, still only shining with anger and not fear. They look the same as they had years ago, the fateful night that Rama left the Academy. 

What her father did was wrong, yes. Gangadhar, a member of an elite dance committee, had been touring the country to find the best dancers at the best schools. He had chosen Rama as one of the Bharatanatyam dancers to perform on the national stage, impressed by her grace, expressions, and body control. 

Krishnakanth had seethed over the decision for the entire week leading up to the performance. In contrast, the ever-serious Rama had been almost glowing as she diligently practiced day and night in front of the choreographer Gangadhar had sent. Little Aadhya had been spellbound as she watched Rama leap around the room, bending in perfect postures. It hadn’t been just her and her friends that had been obsessed, even Reena, her senior, was intently watching. She hadn’t understood why until the night before the final performance. 

“You told them I couldn’t make it??” 

Aadhya cowered with the other juniors in the corner of the hall. She had always hated it when Rama and her father fought, from a combination of Krishnakanth’s inexplicable dislike of Rama and Rama’s stubbornness. Now, for the first time, she was hearing true rage in Rama’s voice. 

Krishnakanth’s face was blank as he responded. “I don’t know what Gangadhar saw in you, but you’re not ready for such a big performance.”

“Not ready? Not READY? I’ve been practicing the entirety of the last week, and Gangadhar himself was impressed with my practice! Who are you to say I’m not ready?”

“You may have forgotten, Rama, as you often do, but I am your teacher. I have the final say in whether you are ready or not. And besides,” he paused, and Aadhya saw a trace of nervousness in her father’s face. She knew Rama wouldn’t like whatever he said next. “I’ve already trained your replacement.”

There was a moment of silence, Aadhya and all the other juniors unlucky enough to be caught in the fight holding their breath. 

“Who?” Rama asked, lowly. Krishnakanth tilted his head behind him, and Reena stepped out. She couldn’t manage to hide her smirk fast enough, and Rama’s face darkened with rage. “You sent her all these days to watch me then? So she could learn the moves as well?” 

“She is ready, and she has already sent a video of her performance to Gangadhar. He has accepted. That is final.”

Rama glared at Krishnakanth, shaking. “You can’t do this,” she had said, voice cracking. “I know you’ve always hated me for no reason. You’ve always tried to make it difficult for me to succeed here, and yet I persevered because I loved the Academy, I loved dance.” A tear tried to slip out, but Aadhya could tell it was from anger and not sadness. Rama furiously wiped it off her face, bangles cutting a streak into her cheek from the force. “So now I have to ask. Because I’m not staying here anymore. Not after this.” 

Aadhya had looked over at her friend Narmada, who was already looking back at her. She could see the same shock in Narmada’s face. Leaving? The Academy’s star pupil would leave? Because of her father? Aadhya felt horrible. The girl she had admired from a distance almost all her life, who had inspired her to try as hard as she could, who made her heart pound into a frenzy at the slightest glance, would be leaving. Aadhya might never see her again. The thought was unbearable. 

She still remembered how good Rama was as an assistant teacher, helping Swathi Madam teach the endurance class to the juniors. She never joked around with the juniors, seemed cold and unapproachable to most, but Aadhya knew she did care about all of them. Rama had always taken the time to fully explain what they were doing before any activities, took great care in correcting student mistakes without seeming condescending, and there was a gleam of pride in her eyes anytime the class performed exceptionally well. Of course Aadhya had tried so hard to have that pride directed towards herself, practicing on her own outside of class to impress Rama. Not too hard, though. She lived for the moments she would intentionally slip up, and Rama would come over to steady her with those beautifully manicured hands. A gentle grip on her shoulders, light brushes on the underside of her thighs. 

“Leaving?” Krishnakanth also sounded shocked. 

“What’s your problem with me? You’ve never liked it when I excel. So I have to ask. Why do you hate me?”

Krishnakanth frowned down at her, reaching up to steady his glasses. “Why do I hate you? A better question is, why do I hate your family.” Rama reared back, some realization forming in her eyes. Aadhya was also confused. Her father had never mentioned the Mannars during their family’s nightly dinner time, although he had talked about many topics. The less said about Rudra and his violent tendencies the better, but Baachi and Varadha were both fun to be around. “I hate your father. I hate what he’s done to this area, how he thinks he can control everyone here. I hate the farce that is your family’s ‘real estate’ business.”

“Then what did I do? I’m here to dance, and that’s what I’ve been doing. It’s not like he forced you to take me in, to make me perform. I came in as a child, and auditioned for the Academy just like everyone else.”

“Just like everyone else, yes,” Krishnakanth mocked. “And the years of private lessons before you joined here? What happened to those? Besides, that’s not the issue. I’ve allowed Raja Mannar’s darling little daughter to dance in my Academy for years. However, what I won’t do is increase that man’s ego any more. Do you even know how many deaths your father is responsible for? Do you know what happened last weekend?”

Rama stayed silent, but there was no guilt in her eyes. 

“Of course you do,” Krishnakanth chuckled. “The eldest daughter. You’re probably the next in line to take over the business, to do his dirty work.”

Rama finally smiled, but it was bitter. “I am. And it’s what I’m going to do once I graduate.” She looked around the room, like she was taking it in for the last time. “Since I no longer have a place here.” She paused. “I never did.” She turned to look at Aadhya’s father. “And one day I will come for you. Not like this. Not as a member of your precious Academy. But as Radha Rama Mannar. I can’t wait to strip all of your rights to this place.”

Rama had packed her bags that very night, leaving in a state of cold fury. Her departure had been the talk of the month, all the juniors eagerly discussing the details, exaggerated by that point. Aadhya had been miserable in her classes afterwards, wishing that the gentle hands on her were Rama’s and not Reena’s, who had replaced Rama in all of her duties. That ended a few months later, though. 

Reena had suddenly stopped coming to class, and all of her bags had disappeared. Suraj, one of the beginners, reported that he had seen Reena’s face torn open and bleeding with multiple gashes, and Helen, a junior who was close to the night guard, said that Rama had been there. Krishnakanth vehemently denied the obvious conclusion at home, refusing to let Aadhya talk to him or her mother about it, but she could see how tense he was. There were a few officers around the Academy for a few days, but eventually they all left without conducting an investigation.

Aadhya looks down at Rama beneath her. “Did you really slice Reena’s face open?” Rama blinks, then rolls her eyes. 

“Did you drug me just to ask me this?” 

Aadhya shrugs. “I was thinking about what happened after you left. Figured I could ask what the real story was.”

“Fine. I did.” Rama stares up at Aadhya, daring her to say anything. 

“How? And why? Surely it wasn’t just the performance.”

“Switchblade. And she reached out to me after that performance. Tried to mock me, make fun of me. That was unacceptable.” 

Aadhya digests this, and a slow smile spreads across her face. “Hot.” 

Rama can’t hide her own smile. “You’re a freak,” she breathes. “That actually turned you on. And I know,” she pauses, smug, “Because I can feel it.” 

Aadhya blushes as she realizes Rama’s knee is pressed right up against her pussy. I’m in control here, Aadhya thinks to herself. She leans back, lifting herself off of Rama’s legs, before spreading them. Rama makes a noise, but otherwise doesn’t struggle too much. Aadhya can’t tell if it’s the result of the drugs, or Rama simply deciding not to bother. 

She cups Rama’s pussy through the fabric of her leggings, ghosting her thumb over where Rama’s clit would be. A hand darts out, stilling Aadhya’s movements. Rama’s grip is strong, much stronger than hers. The drugs are wearing off. Shit. 

“Fine,” Rama says. “Don’t tell me yet.” She lifts Aadhya’s wrist, pressing hard enough to bruise, not breaking eye contact. “What do you want right now?”

It takes Aadhya a second to answer, brain shorting out from the blissful pain. “I want to lick you open and fuck you until you’re screaming my name,” she breathes. 

The grip goes slack, Rama dropping Aadhya’s wrist until she’s pressing into her jaw, pulling her down so they’re face to face. “You think you’re capable of that, sweetheart? Hmm?”

“I’ll do whatever you want,” Aadhya says, not being able to tear her eyes away from Rama’s lips, already missing the taste of them from earlier. She’s so wet right now, would get on her knees and suck Rama off through the leggings themselves. She can’t think straight from how much she wants. 

“Fine. That’s what I want, then.” Aadhya looks up into Rama’s eyes, and is giddy over how much anticipation and lust she can see in them. Rama wants her. She gently tugs Aadhya’s hair. “Get to work, baby. We’ll see if you’re good enough.” 

Aadhya leans back, immediately pushing up the corners of Rama’s hoodie, and Rama sits up to take it off. Oh. Aadhya nearly stops breathing at the sight of Rama’s naked chest. She reaches up to finger a plump nipple on instinct, both gasping at the sensation, and then doesn’t waste time before she clamps her mouth over the breast. 

She’s never done this before, Aadhya wasn’t lying about that. She’s mostly going off of what she wants to do to Rama, and what seems to keep Rama interested. She takes her time sucking, swirling her tongue around the areola, and pressing little kisses to the underside of Rama’s breast. Soon, Rama grips her hair again. “Switch,” she commands, and Aadhya obeys, moving to her other breast. She wants to take her time, but she did challenge Rama with something, so eventually she moves on, licking a stripe down Rama’s stomach. She stops to dip her tongue into Rama’s belly button, sucking for a bit before resuming her journey down, pressing a kiss to Rama’s clothed pussy. 

“Wait,” Rama says, and Aadhya stills. “I want to see you too. Strip for me, baby.” 

Aadhya eagerly takes off her top, then remembers that she’s supposed to be seductive about it, slowing the movements of her slipping her skirt down. She swallows at the sight of Rama’s hungry eyes roaming over all the newly revealed skin, before she reaches behind her to unclip her bra. She’s slow and deliberate with this one as well, and Rama starts rubbing herself. A few seconds later, Rama smirks at the visible wetness revealed when Aadhya pushes her panties down, and Aadhya winces. She doesn’t think she’s ever been this wet in her life, but that was to be expected, she supposes. 

She doesn’t waste time before she throws her legs over Rama’s lap again, pressing kisses to and licking around Rama’s neck. She dares to bite, leaving a mark at the junction between Rama’s neck and shoulder, and Rama moans at that. Aadhya leans down to suck and pinch Rama’s breasts again, before Rama pulls her off.

“I remember you saying you had other plans? Specific ones, I might add. Yet I don’t see you anywhere near those.. plans.” Aadhya flushes. Rama’s body was too intoxicating for her to focus on what she originally wanted to do, but now that she has a reminder, Aadhya moves off Rama’s lap. She drops off the couch, kneeling on the floor, pulling Rama’s legs until Rama’s pussy is right in her face. It’s still covered, Rama hadn’t taken her underwear off, but just the thought of dipping her tongue into that wet hole nearly makes Aadhya dizzy. She puts her hands on the edges of the panties, pulling them down slowly. 

Rama digs her fingers into Aadhya’s hair. “Get to it, girl,” she says, and Aadhya realizes with a jolt that Rama’s impatient because of her, because she wanted it just as badly. 

Aadhya leans forward and dips her tongue into Rama’s pussy, moaning at the taste. Rama cries out from the vibrations, tightening her thighs around Aadhya’s face, and Aadhya takes her opportunity to dig in. She still doesn’t know what she’s doing, but she manages to swirl her tongue around, occasionally alternating between sucking on Rama’s clit and darting her tongue in and out of Rama’s hole, imitating penetration. She hopes it feels good, but as she feels Rama’s grip tighten and loosen, hears the sounds Rama’s making above, she thinks that she might be on the right track, and increases the intensity of her movements. It’s not long before she feels Rama’s thighs quiver and her pussy clench around Aadhya’s tongue, before Rama goes slack on top of her, bent over. She breathes hard for a few moments, and then straightens up, looking down at her. 

“You didn’t come.” 

Aadhya flushes. She doesn’t know if that’s a good or bad thing, but Rama seems to have decided. 

In a flash, Rama’s on top of her, switching their positions easily. She holds Aadhya’s wrists together above her head as she kisses Aadhya passionately, roughly fucking Aadhya’s pussy with her right hand. Aadhya can’t even respond to the kiss, she’s so far gone. There’s no gentleness, no finesse, but Aadhya knows it’s on purpose, that Rama’s somehow realized even before Aadhya did that she liked it like this, rough and fast. Not slowing down, giving her a chance to piece together any thoughts. Rama’s tongue licks around Aadhya’s mouth with the same intensity, mouth and fingers moving in tandem to bring Aadhya to the edge. 

She gives up on the kiss, just panting into Rama’s mouth as she feels herself getting closer to orgasm, and Rama doesn’t falter in her brutal pace. Finally, Aadhya screams as she comes, vision whiting out for a second. She barely registers that Rama’s taken her fingers out of her, that she’s not squeezing her wrists hard anymore, that her legs are shaking. Rama’s kisses turn gentle, seemingly realizing that Aadhya needs to be brought back. Slowly, Aadhya puts her brain back together, getting the energy to put her arms around Rama’s back and pull her in for cuddles. 

They lie together for a few minutes until their breathing slows down, and their hearts beat in tune to one another. Aadhya’s just beginning to relax, thinking of what it might be to wake up to Rama in her arms, when Rama pulls back. She almost whines at the loss, but then reminds herself she’s here for a specific purpose. Not just to be Rama’s sex doll. Rama seems to be thinking along the same lines, unfortunately.

“So,” she starts. “The elephant in the room. Once again, why did you drug me, if I would’ve gone with you willingly?”

Aadhya doesn’t answer. 

Rama slowly smiles, but there’s no comfort for Aadhya. “I have a theory. Do you want to hear it?”

Aadhya just mentally sighs. She’s probably figured it out already, the clever woman. 

“It’s simple, really. I hate your dad. Your dad hates me. I’ve been trying to ruin his life, but you already knew that since the day I left the Academy. I’m willing to bet anything, though, that in the last few days you just happened to find out an important piece of information…”

Fuck. There was no way she was staying silent.

“Was I supposed to just sit there while you put a HIT out on my father?” Goddamn it, Rama had riled her up successfully, but she can’t stop now. “Ruining the Academy is one thing, but murder? Trying to kill my dad?? I tried to defend you to Dad as best as I could after that incident, tried everything to bring you back, but he was right. You’re just like the rest of your family, you’re just like your father.”

Rama just laughs. “Stubborn girl. I was never going to touch you, you should’ve stayed out of this. It was between me and him.” She smirks at Aadhya again. “So is that the reason for all this seduction? The whole innocent little girl act? You were hoping to get me in bed and drugged so I could tell you my whole plan?”

Aadhya yells and pushes Rama backwards, both landing on opposite ends of the sofa. She tries not to think of where she was putting her hands. “Of course I did. Your family’s good, I’ll give you that. We don’t know who the assassin is, when it’s going to happen, or any other information. We would’ve been fucked if I didn’t do anything. My dad just fucking sat there and accepted it, and do you know why?” Aadhya feels tears spring to her eyes. “Because he was scared! For ME! He was scared you would just kill me instead, to hurt him further!”

Rama tuts. “I already told you, I would not have touched you.” She pauses, glancing at Aadhya’s still-glistening pussy. “Not to kill you, at least. But, princess, since we’ve gotten this far, and since you’re hot, I’ll give you a deal.”

“For what? Letting my dad go?”

“Yes. I’ll let him go, if you stay with me.”

Aadhya swallows. “What, as like your girlfriend?” Rama nods, inspecting her nails. “What the fuck do you get out of that? I thought you’d kill me after we were done, just for drugging you.” 

“The drugging let me know you were compatible with me, sweetheart,” Rama winks. “Relationships are supposed to be interesting. And besides, not only do I get that body, I also get the satisfaction of watching your dad die inside from the worry and humiliation. He’d get unlimited visits, and you can talk to him whenever you want, free of charge.” She bows her head mockingly.

Aadhya scoffs. “He’d hate that.”

“Of course, that’s the plan. But would you rather him live miserably or die miserably? Your choice, baby.”

Aadhya chews her lip, thinking. Krishnakanth aside, she was willing to do anything for Rama, of course. The fire that Rama had unknowingly kindled inside of her had never blown out, even after finding out Rama was trying to kill her dad. She hated the fact that she still had feelings for Rama, but that didn’t stop her from continuing to daydream about her all these years. Nevermind that after sex, the thing she had wanted most was to wake up with the older woman next to her. Living with her would be amazing. And of course, she did want to save her dad’s life. 

“I accept.”

Rama blinks, and Aadhya can see surprise on her face at how quickly Aadhya answered. It’s replaced with a smirk only a second later. She scrounges around on the floor, whipping her phone out from the pocket of her leggings, dialing a number. “Rinda?” She asks. “Aadhya Krishnakanth, yes. She’ll be staying with us from now on.” She turns to Aadhya. “Rinda’s picking us up. Pack whatever you need.”

Aadhya swallows. “My dad?”

“I’ll recall the assassin when we reach the Mannar mansion. After that, I won’t touch him. You have my word.”

“...”

Rama sighs, then chuckles. “You’re a smart one, aren’t you? Fine. I won’t go near him, and I won’t let my dad go near him either. Now go pack.”

She lets out a relieved breath, getting off the sofa and putting her clothes back on before she leaves to find a bag big enough for everything she’ll be bringing. Aadhya’s not scared, knows if Rama wanted her dead she would’ve been six feet under already, especially with the whole drugs ordeal. The part of her that desperately wished to see Rama again, to make all of her Academy-era fantasies come true, is ecstatic. 

Sorry Dad, she thinks to herself. But it wasn’t a bad deal at all.

-

@r41nb0wm00n @ifitsagirlphebeifitsaboyphoebo and anyone else who wanted pt 2

[sarayu-sunrays]

“Love is like wildflowers... it can be found in the most unexpected of places.”

hi, and welcome to my little corner of Tumblr! I'm Sarayu (but you can call me Ray/Sunny), and it's awesome to see you here <3 I speak Kannada, English and Hindi.

Moodboards on my aesthetic: by the amazing @onfindinghome - here! and by the lovely @alhad-si-simran - here! <3

I'm here to:

read

write

interact with people

have fun!

I'm a minor, so this blog is safe for minors and basically everyone else!

I love reading books, Spiderman (ITSV, ATSV) and especially Spiderman India! I read a lot of manga and watch anime, and I also love listening to music and making friends, so do reach out to me (via DMs, or just drop an ask into my inbox :)) I also like drawing, playing the piano, and singing <3

My moodboards (**CURRENTLY TAKING REQUESTS**):

Indian Classical Music

Bharatanatyam/Indian Dance

Indian Monsoon

Cottagecore/Light academia

Hating School/Loving School - Before and After

Orange

Blue (Light/Slightly Grey)

Red (Dangerous Love)

Yellow (Summer Daze)

Dark Blue and Beige (Stars are watching)

Psychology

Necromancy

Little Women (Louisa May Alcott)

Please tag me in anything you think I'd like to see! Honestly, I'm super friendly and it always makes my day when I get notifications (we all need that dopamine :D)

If you're still reading, then here's some flowers for you, 'cause you rock!

divider credits to @saradika - thanks for making them <3

[brokoala-soup]

South Indian cinema: Part 1

I think we (I) don't talk enough about my obsession with the South Indian film industry. I'm less of a star or fame powered fangirl and most of my obsessions start from very niche observations and qualities. Both me and my mom are good cinema enthusiasts, that being said, we love not just watching movies but also analyze them and talk about them in great lengths and detail; and it isn't always just about the actors but also the scenes, the cinematography, the dialogues and so on. We enjoy a good story based cinema that's more about carrying the characters in place and action than about how much hype a movie gets. I enjoy old movies, including monochrome movies of the yesteryears and the faded coloured classics of the 70's and 80's.

Let me go from one obsession to other. First, comes my unexplainable obsession with actors who are also trained dancers. That's a sexy characteristic because it adds an edge to the actor's identity over being just a movie star and IMHO, it also refines the depth of character and acting skills (many talented actors who aren't dancers do exist, this is just my view). I have this captivation with dancers because something in them, be it the unseeable depth of efforts and practice and hurdles they cross before they set foot on the stage or be it the inordinate amount of beauty they express and portray in both costumes and jewelry or be it the grace with which they carry themselves or be it the way the fluidity, fragility and fierceness of dance entwines with their soul and body making it indistinguishable, obvious and redefines their identity and adds meaning to their character for the better. Irrespective of gender, classical dance forms in my opinion, have a profound effect on the individual and somehow makes them all the more charming to me because it's art that flows in their body and art has that unique fragrance to which you can never turn a blind eye to. It also anchors you down to your inner zen because gender conforms and norms are all broken (atleast in Indian classical dances) as both male and female dancers play either roles in dances and it's all the more about expression and emotion than the role per se. And that I think is a very liberating thing and I love Indian classical dances for it.

So here goes the list: Kamal Haasan is a trained Bharatanatyam and Kathak dancer; the best of which is seen in his performance in the movie Sagara Sangamam which is a majorly dance based movie. My most favorite scene is when he humbles Sailaja when she opposes his critique. Padmini, one of the famous Travancore sisters, was a trained Bharatanatyam dancer and in her retired days also opened a dance school and taught abroad. Shobana, one of my favorite actresses, who is also the niece of the Travancore sisters is a trained Bharatanatyam dancer; she also received a national award for her performance in the Malayalam movie Manichitrathazhu which was the original for the famous Chandramukhi, Bhool Bhulaiya, Nagavalli, Aatmamitra etc. I rate her acting top notch because her expressions and her eyes often speak way more than the dialogues. Revathi, is again a trained Bharatanatyam dancer and has delivered multiple box office hits and is also one of my favorite actresses. Bhanupriya, who's pretty famous in tamil and telugu cinema, is a trained Kuchipudi dancer and appeared in the film Sitaara which went on to win the National award for that year. Jayalalitha, apart from her successful political career was a leading film actress in the tamil industry. She was trained dancer of multiple forms like Bharatanatyam, Kuchipudi, Mohiniyattam, Kathak etc. Sukanya, who famously starred against Kamal Haasan in Indian, is a trained Bharatanatyam dancer. Prabhu Deva, who we all know as the Michael Jackson of India, is a trained Bharatanatyam and Udupi dancer. Amala Akkineni, is a trained Bharatanatyam dancer and also has a degree bachelor degree for the same from Kalakshetra. Vineeth, who works mostly in tamil, telugu and malayalam films is a trained Bharatanatyam dancer; lesser known but he's Shobana's cousin and Padmini's nephew from her husband's side. Asin, who is well known for her role in Ghajini, is also a trained Bharatanatyam dancer. Jayam Ravi, now well known as the Ponniyin Selvan after the famous novel adaptation, is also a trained Bharatanatyam dancer.

This is in my list (can't think more, brain fried) do feel free to add more. Tagging @sister-of-satan @voidsteffy and @bipdf because I think y'all will enjoy reading this

Do reblog and tag people who'd enjoy reading this

[genzsherlockholmes]

🌞mollybop follow

also once i was in target and me and my friend were shopping and xe picked up a bracelet that said "made in austin" but xe misread it and xe was like "this was made in AUTISM???" and i laughed so hard i almost pissed myself

🚂cluelock follow

Hmm. Are you drunk

18.7k notes

🚂cluelock follow

Dance is so fucking tiring let me take a fucking break oh my fucking god

🏉jhwatson follow

u dance m8??

🚂cluelock follow

Yes I thought this was common knowledge

🏉jhwatson follow

its bloody well not!! what kind of dance???

🚂cluelock follow

Erm I do bharatanatyam

🏉jhwatson follow

well whens ur nxt perf?? im gonna come!!

🚂cluelock follow

Oh I suppose I can text you the information if you’re sure

47 notes

🥀its-mari-bitch follow

hate them faggots. i’m tryna do my math bruh shut up

🚂cluelock follow

Just because you can’t pull anyone doesn’t mean you need to lash out Mari 💙

🏉jhwatson follow

yeh mari!! its ok this is a safe space!! 🥰

🥀its-mari-bitch follow

shut up john if you knew what this was about you’d go into cardiac arrest and fucking die

69 notes

🍆phatass follow

whyve they got all those mentally ill flags up its not even their month

🚂cluelock follow

If you paid any fucking attention in school (which it's obvious you don't considering the state of your grades, how do you get an F in English you daft wanker) you'd know that since 2020 this school has set aside a week in May to celebrate LGBTQ+ people who are specifically in school and targeted by arseholes like yourself. So grow up and stop being so interested in whether or not your classmates like to suck dick. Cunt.

127 notes

🚂cluelock reblogged

💙mlmblues

cuddling my djungelskog to sleep tonight

#i need one of these so bad #where's MY djungelskog #and he's literally just as big anfd fluffy too fuck my actual life #mlm #mlm blues #crushposting

243 notes

[keoshaarts]

Call : +91 7997101777 | Whatsapp : https://wa.me/917997101777 | Youtube : https://www.youtube.com/@KeoshaArts

Vinayaka Chavithi 2024 Pushpanjali Baratanatyam Performance at Harivillu Apartments | Keosha | Bharatanatyam Dance Music Arts

Check out this mesmerizing Bharatanatyam group performance of "Pushpanjali" for Vinayaka Chavithi 2024, performed by talented artists at Harivillu Apartments in Manikonda, Hyderabad. Witness the grace, rhythm, and devotion as they offer their tribute to Lord Ganesha through this classical dance form. Don't miss this special celebration filled with cultural beauty and artistic expression!

Keosha | Bharatanatyam Dance Music Arts

#VinayakaChavithi2024 #NrittamPerformance #KidsDance #FestivalCelebration #ManikondaEvents

#Keosha #KeoshaArts #Bharatanatyam #Arts #Dance #Music

#Baratanathyam #ClassicalDance #IndianDance #IndianMusic #IndianClassic

Arts School

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art is life

Culture | Creativity | Celebration

[undermine-the-instinct]

i absolutely love your bard reader series! it is practically perfect, just so well written.

my only complaint would be how much detail is put into the self insert? i wish they'd be a little more,,, vague, i guess? for premium self insert fun. but i get it, their backstory does add to the story so, and it's not a big deal to me !

anywho, here are some fun ideas for bard!reader, just cause. brainrot.

-liyue: a peking operatic, maybe with a pipa or a guzheng

-inazuma: a musical rakugo(storyteller) with a shamisen

-fonatine: a steampunk rocker with their nations newest musical invention: an electric(mechanical?) guitar

-sumeru: a ghungroo dancer (the ones with the bells!), or maybe a bharatanatyam/another classical indian dance one

-snezhnaya: a ballet dancer or even a conductor that uses their elemental powers to simulate a mini orchestra

-natlan: a griot(poet, sort of) themed after anansi, an african storyteller spider god OR a native american dancer with a flute

Bard!reader does feel more like an oc, huh? They've always felt more like their own character to me, with their own story that just needs to be told. I've had their starting story in my head, from back in Monstadt, and I felt with the situation in Sumeru they'd need to lean more a certain way, personality wise, to survive. Sumeru is not welcoming, there's heavy crowd mentality, and with their backstory I'd feel they'd act and feel a certain way bc of that. So maybe it's better to read them as an oc that you're tagging along besides.

And these ideas!!!! Put under the cut bc this gets long...

But, even though I know their story from Monstadt, and Sumeru to some extent, it was hard for me to brainstorm the other nations! A peking opera singer in Liyue? That's amazing, maybe they're working under Yun Jin, like how now they're working with Nilou at the theater! Mister Zhongli is a frequent visitor, and is an amazing source of history, telling you all about the origins of the peking opera.

They probs had to stay low in Inazuma bc of the Vision hunt decree, but maybe is secretly helping the resistance by being a rakugo, with either a shamisen or guquin (chinese instrument they learned from yun jin!!) and listening in on meetings and the like. After all in 'Second Male Lead, Enter!' Our bards says,

"I had a wanderlust. Spent a lot of time in Liyue, Inazuma was pretty interesting. I spent most of my time with a felon running from the Shogunate, whom I met on a pirate ship."

What felon do we know from Inazuma, huh?

They would play and hang out Xinyan, so they recognize the rock and roll style in Fontaine and sends her and Yun Jin (and Barbara back in monstadt) post cards and photos and lots of letters promising to go on tour with them there one day. (They all formed a performers club and promised to go on world tour together one day.)

I did a little research though, and ghungroo dancers and griots both seemed tied to religious and cultural traditions. For instance griots were typically born into the role and assisted their kings, while ghungroo/ bharatanatyam dancing was restricted to temples before it became more mainstream in response to the British and Christians trying to bash and ban the arts. And I'm still doing research for the native american dancers and flute players, but that also looks cultural and particular to certain tribes and the like?? Maybe Bard!reader meets these sorts of people, helps them out and learns things from them, like meeting other characters in a quest!

Ballet is also something that takes years to learn, but our bard has some experience, so maybe they join a school in Sneznaya, and there they meet a girl named Tonia. You two become friends and she insists you come for dinner, her brother has come home to visit so mom is making a feast, there's plenty to eat!! Only she failed to mention her brother is the famed Harbinger Tartalglia, whom you met in Liyue and wouldn't. Stop. Flirting with you. He steals the food from your plate and tries to feed you off his own, and their mother jokingly asks when's the wedding. she's not joking.

There's so many cultures and so many traditions and each have their own acclaimed spot for the arts and I think that's amazing. It's so interesting to think of exploring these cultures and arts, and our bard definitely wants to explore them all. Imaging them as part of these cultures is neat too, I'm just not sure how to write them and I dont want to disrespect or demean these cultures with mediocre writing.

Thank you for all the ideas love, and thank you for enjoying my story! You've definitely given me a lot to think about, and I hope you stick along for the rest of our bards story!

[b-sai-des]

A New Frontier: South Asian Fusion

In terms of any actual formal music knowledge, I come from the side of Carnatic music, the Indian classical music style, having been learning the mridangam for around ten years under my guru, Sri T.S Nandakumar. I am always eternally grateful for all that he has done for all of us students, and one of the many things I admire about sir is his willingness to explore unconventional avenues with the mridangam. The mridangam is a two-sided barrel drum usually played as an accompanying instrument in a Carnatic piece that may feature vocals or violin, and veena as well. Nandakumar sir is a renowned accompanying artist, but he’s also given his students many opportunities to perform like chamber concerts and arangetrams. One really unique thing he’s done is a large orchestra of mridangams and other Carnatic percussion instruments at the Cleveland Thyagaraja Festival, which he’s done for multiple years and encouraged even younger students to practice and perform there. It’s unusual for the mridangam to take such a center stage like that, where you have around 100 players playing together in an epic display alongside veena and violin. It was also cool to see Nandakumar sir bringing in western drums into those performances as well, along with drum pads there and in other performances. Having that exposure from a young age really opened my eyes to the potential of Carnatic music elements in contexts that you don’t normally see, and I got curious about what else is capable. Carnatic music for example utilizes many, many different talams (time signatures) apart from just 4:4 (Adi in Carnatic music), and it would be really interesting to see how that could be utilized more generally.

South Asian fusion is a huge, diverse space that’s hard to really pigeon-hole because of how many types of South Asian music there are (Carnatic is just one, there’s also Hindustani, Sufi music, folk music, Bhangra, etc.), along with different genres that they are mixed with like jazz, rock, pop, etc. You had mingling in the past, like Ravi Shankar and The Beatles. Later on it grew, definitely a more recent phenomenon and likely accelerated due to immigration and assimilation in the west. Younger generations are really at the forefront on it  – you see a ton of high school and college clubs doing Indian music or dance fusion. Rutgers has many, including RU Dhol for example. Some of these student clubs lean more on the side of Bollywood-oriented stuff, and there are times that can overshadow other ways to explore the genres – my sister sometimes talks about how the South Asian fusion club she’s part of really neglects classical dance forms like Bharatanatyam or Kathak. In that club it’s seen as the less hip thing, and people will say “it’s cool that you’re so confident to perform that” rather than actually having an interest in it and the people who want to share it. Then again, I'm talking about high-school pettiness here – it's not like this everywhere. RU Dhol combines South Asian instruments and styles of playing with western equivalents. This performance places electric guitars next to the Indian classical violin style in a really fun way.

One of my biggest experiences with South Asian fusion is with Brooklyn Raga Massive. My aunt is a Bharatanatyam teacher, and in 2018 or so she had collaborated with a theater director for a production of Jungle Book, where her students performed Bharatanatyam in a song. After the show, we had met some of the other musicians involved in the show, since my cousin learns Carnatic singing, my sister Bharatanatyam, and I mridangam, and we talked to a percussionist who was part of Brooklyn Raga Massive. He had told us about them – they do daily events at a Prospect Heights venue along with bigger events and performances, and he encouraged us to come on a Thursday where they hold an open mic jam session. We definitely got excited about this, and we went one evening.

The venue was a real hole in the wall type bar with a small stage and seating area in the back, and there was a decent and rather diverse crowd of people. Dim lights and creaky wooden floors, very aesthetic. It’s interesting because now they’ve grown immensely as an organization, and I don’t believe they still have events at this place. It was really cool to see the really different talents displayed there – one woman performed a really interesting singing performance which now I can’t pinpoint what style it was. You also had more traditional classical instruments like tabla and sitar. What’s really cool is that even though I was only in eight grade and my cousin was only in ninth grade, they gave both of us the opportunity to play with them, and they were super friendly and inviting, even despite any mistakes or hesitation I had. There were no judgments, just the spirit of experimenting and playing. I still look at that night with a lot of fondness. 

What I played that day, it was really incredible to get that opportunity and for it to be so low-key and welcoming. My cousin is also there on the stage (dressed in white), he’s an incredibly skilled Carnatic vocalist.

Recently I was inspired by all this and for my midterm assignment for the class I’m writing this for, I made a music track with mridangam and electronic effects in Ableton (free trial came clutch). I initially spent a lot of time worrying about doing it right and perfectly planning everything, but it only came together when I just let go of that and just messed around, re-arranging recordings of me playing and layering effects. Just doing it was fun, and I learned a lot from it.

shameless plug to my video

There’s a free-ness with something like this that’s a really different experience from traditional Carnatic music. At the same time, there’s a level of playfulness with Carnatic music too, as when you’re playing on stage you don’t practice with the other artist beforehand, and what happens there is often unexpected and exciting, and I’m reminded of that when I see jazz music too. To me says a lot about the inherent commonalities in what makes music so rewarding to make and experience.

[ramayayi]

Date: 12.10.23

Had odissi. Sir took combined class with an aunty who has learnt the same pieces as me

Then we were practicing taal and I ended up noting notation, counting etc because I would forget them

I also need to prepare notes for my dance exam 💀

Sir was telling that aunty about me and it was all good words. Well yeah I do mistakes but I am someone who will hang on and keep redoing it until I get it right which is why I never get scolded for doing mistakes

Back in school with my bharatanatyam teacher, others often told her why she wouldn't scold and just smile at me for doing a mistake while others would surely get angry outbursts.

They would be attending practice late, hover about and be lazy and then keep complaining about why I don't angry ma'am at me.... I would actually come to practice every day five minutes early, leaving my friends and all and would keep revising pieces.

And when that effort shows, the teachers/mentors notice it so even when you wrong they don't scold you or get angry at you.

Also some thought there was some favouritism at hand because I was trained in bharatanatyam unlike the others

BUT many of them were far better than me. They literally won prizes every time so yeah even if you may not be at par with the skills. It takes time to get perfect, if you put in the right effort, it shows and you get opportunities

Lol that's enough gyan for today

[impacttalentcentre]

Extracurricular Activities for Kids in Dubai

With a methodical yet innovative approach, Impact Talent Center has established a reputation for offering high-quality coaching in the extracurricular field. The quick-paced environment of today has made education and schooling competitive. In order to keep their kids ahead, parents want the best for them. In this example, Extracurricular Activities for Kids in Dubai make perfect sense. Because we have a team of knowledgeable mentors working to develop your child's potential in the field of their choice, we provide activities like Bharatanatyam, Bollywood Dancing, Classical Music, Musical Instruments, Yoga, Art and Craft, Public Speaking, Abacus, and more.

For more information visit: https://www.mediafire.com/file/107d5tuo1os4z7c/Extracurricular+Activities+for+Kids.png/file

[tansensangeet1]

The Importance of Discipline and Practice in Dance

Introduction:

At Tansen Sangeet Mahavidyalaya, the Best Dance Academy in Delhi NCR where dance, an art form that embodies expression, emotion, and movement, is much more than just the beauty seen on stage. Behind every graceful leap and precise turn is the rigorous discipline and countless hours of practice that shape a dancer’s journey. These two pillars—discipline and practice—are essential for any aspiring dancer to achieve mastery and unlock their full potential. In this article, we explore why discipline and consistent practice are fundamental to success in dance, with insights drawn from dance academies.

Understanding the Role of Discipline in Dance

Discipline is at the core of any successful dance career. Whether one is learning classical ballet, contemporary, hip-hop, or any other style, the process requires structure, dedication, and focus. Discipline in dance means adhering to a routine, showing up for classes on time, and consistently striving to improve one’s technique. It involves being mindful of one’s body, controlling movements, and paying attention to even the smallest details, such as posture and balance.

For many dancers, discipline begins with the basics. This can involve adhering to dress codes, maintaining proper hygiene, and following the instructions of a dance instructor. Beyond the surface-level aspects, discipline in dance pushes dancers to focus on continuous improvement, handle constructive criticism, and overcome challenges.

In addition, the best dance academies emphasize not just physical discipline, but also mental focus. Dancers are taught to concentrate on every movement, master difficult choreography, and stay mentally resilient even when faced with complex techniques or strenuous rehearsals. The ability to remain focused and disciplined sets the foundation for achieving excellence in dance.

Practice: The Path to Perfection

As the saying goes, "Practice makes perfect." In dance, practice is essential for refining technique, enhancing flexibility, and mastering choreography. It’s through repetition that dancers build muscle memory, allowing their movements to become fluid and instinctive. Whether it’s perfecting a pirouette in ballet or mastering a tricky footwork sequence in salsa, practice helps dancers internalize each movement and make it their own.

Regular practice also builds endurance, strength, and flexibility. Dancers need to be physically prepared to execute demanding routines, and practice sessions provide the opportunity to improve physical fitness. Over time, dancers who practice diligently develop stronger muscles, better stamina, and increased flexibility, all of which contribute to a more polished and powerful performance.

Moreover, practice plays a vital role in injury prevention. By consistently working on their technique and ensuring their bodies are conditioned for dance, dancers reduce the risk of strain or injury. This is particularly important for those practicing high-energy styles such as breakdancing, hip-hop, or even classical forms like Bharatanatyam, where precise movements and balance are key.

The Intersection of Discipline and Practice

While both discipline and practice are essential on their own, it’s the combination of the two that leads to true mastery in dance. Discipline ensures that dancers remain committed to their practice routine, while regular practice sharpens their skills. Together, these two elements create the perfect environment for growth and success in the world of dance.

Discipline also teaches dancers how to manage their time effectively. Balancing school or work with dance practice requires organization and commitment. Those who are disciplined enough to prioritize their practice sessions often see faster improvements and are better prepared for performances and auditions.

For young dancers, in particular, discipline fosters a sense of responsibility. They learn the importance of sticking to a schedule, listening to their instructors, and maintaining focus during class. These qualities carry over into other aspects of their lives, helping them develop strong work ethics and a sense of accountability.

How Dance Instructors Cultivate Discipline and Encourage Practice

At the heart of every great dancer is a dedicated instructor who fosters discipline and encourages consistent practice. Dance instructors play a pivotal role in guiding students, setting expectations, and creating an environment where discipline is valued.

The best dance academies implement structured lesson plans that challenge students while encouraging them to push their boundaries. Instructors emphasize the importance of attending class regularly, arriving prepared, and engaging fully in every practice session. They also provide valuable feedback, helping dancers refine their technique and correct any mistakes.

Instructors often serve as role models, demonstrating the level of discipline required to achieve success in dance. Many teachers share their personal experiences, showing how their own dedication and practice helped them overcome challenges and reach their goals. This mentorship inspires young dancers to remain disciplined and committed to their craft.

In addition, instructors encourage students to practice outside of class. While studio time is essential, dancers are often expected to review choreography, stretch, and work on specific skills at home. This independent practice helps dancers internalize what they’ve learned in class and reinforces the discipline needed to continually improve.

The Benefits of Consistent Discipline and Practice in Dance

For dancers of all levels, maintaining discipline and practicing regularly comes with a variety of benefits. These advantages go beyond the dance studio, influencing a dancer’s personal growth, physical health, and overall well-being.

Enhanced Performance Quality : Discipline and practice are the keys to delivering a standout performance. Dancers who are disciplined in their training and practice regularly demonstrate better control, precision, and fluidity in their movements. Their performances are polished and captivating, as they are able to execute choreography with confidence and grace.

Building Confidence : Confidence in dance doesn’t come overnight—it’s built through consistent effort and dedication. Dancers who practice regularly and follow a disciplined routine gain confidence in their abilities. With each successful rehearsal or performance, their self-esteem grows, and they become more comfortable expressing themselves through movement.

Developing Muscle Memory : Muscle memory is a dancer’s best friend. Through disciplined practice, dancers repeat movements until they become second nature. This allows them to perform complex sequences with ease and precision, even under the pressure of a live performance. Muscle memory also frees dancers to focus on other aspects of their performance, such as expression and musicality.

Physical Fitness and Flexibility : Regular practice improves a dancer’s overall physical fitness. Dance is a full-body workout that enhances cardiovascular health, builds strength, and increases flexibility. Over time, disciplined practice sessions contribute to improved posture, balance, and coordination, all of which are essential for a successful dance career.

Mental Resilience : Dance can be physically and mentally demanding. However, the discipline required to persevere through challenging routines or long practice sessions builds mental resilience. Dancers learn to push through discomfort, stay focused, and maintain a positive mindset even when things get tough. This mental toughness translates into other areas of life, helping dancers overcome challenges with grace and determination.

Time Management and Responsibility : Juggling dance practice with other responsibilities requires excellent time management. Disciplined dancers learn how to organize their schedules, prioritize tasks, and manage their time effectively. This skill not only benefits their dance career but also helps them succeed academically and professionally.

Overcoming Challenges with Discipline and Practice

While the rewards of discipline and practice in dance are numerous, the journey is not without its challenges. Dancers often face physical exhaustion, mental fatigue, and frustration when they encounter difficult techniques or fail to master a routine. However, it’s during these moments that discipline becomes most important.

Dancers who remain committed to their practice, even when progress seems slow, are the ones who ultimately succeed. Discipline teaches dancers to embrace challenges as opportunities for growth. It encourages them to push past their limits and develop resilience in the face of adversity.

Additionally, practicing regularly allows dancers to break down complex movements into manageable steps. With each practice session, they refine their skills and make incremental improvements. This process of gradual progression builds confidence and ensures long-term success.

Creating a Sustainable Practice Routine

To make the most of practice sessions, dancers need to establish a routine that is both effective and sustainable. Here are some tips for maintaining a consistent and productive practice schedule:

Set Clear Goals: Establish specific, achievable goals for each practice session. Whether it’s mastering a new technique or refining an existing one, having clear objectives will keep you focused and motivated.

Create a Schedule: Dedicate specific times for practice and stick to the schedule. Consistency is key to making progress in dance.

Balance Rest and Practice: While it’s important to practice regularly, dancers also need to listen to their bodies and incorporate rest days. Overworking the body can lead to injury, so maintaining a balance between practice and recovery is crucial.

Review and Reflect: After each practice session, take time to reflect on what went well and what could be improved. This self-evaluation helps dancers identify areas for growth and stay motivated.

Incorporate Cross-Training: To improve overall fitness and prevent injury, dancers can incorporate cross-training activities like yoga, Pilates, or strength training into their routine. This helps build the stamina and flexibility needed for demanding dance routines.

Conclusion

At Tansen Sangeet Mahavidyalaya, the Top 10 Dance Academy in Delhi NCR where the importance of discipline and practice in dance cannot be overstated. These two elements form the foundation of a successful dance journey, allowing dancers to master techniques, improve performance quality, and build confidence. With a disciplined mindset and a commitment to consistent practice, dancers can overcome challenges, refine their skills, and ultimately achieve their goals.

Whether you're a beginner or an experienced dancer, the combination of discipline and practice will unlock new levels of artistic expression and help you grow both as a dancer and an individual.

[artcultureretailers]

Exploring the Rich Tapestry of Art from India

by Team ACF 0 comment

Introduction:

India, a land steeped in history and cultural diversity, has been a cradle of artistic expression for centuries.

The country’s art scene is a vibrant tapestry that weaves together traditions, mythologies, and contemporary influences.

From ancient cave paintings to modern avant-garde installations, the art of India reflects a fascinating journey of creativity, spirituality, and identity.

Ancient Art: A Glimpse into India’s Artistic Heritage

India’s artistic heritage dates back to prehistoric times, evident in the exquisite cave paintings found in places like Bhimbetka and Ajanta.

These ancient artworks depict scenes from daily life, religious narratives, and intricate detailing, showcasing the early mastery of Indian artists.

Classical Arts: The Symphony of Dance, Music, and Drama

Classical Indian arts, such as Bharatanatyam, Kathak, Carnatic music, and classical painting traditions like Tanjore and Mysore schools.

These art forms are deeply rooted in mythology, spirituality, and connection with nature, embodying the essence of India’s cultural ethos.

Mughal and Rajput Art: Fusion of Cultures

The Mughal and Rajput eras brought a synthesis of Persian and Indian artistic elements.

The intricate miniature paintings of the Mughals and showcasing courtly life and historical events, andstand in contrast to the vibrant and bold Rajput paintings and often depicting mythological tales and royal courts.

This period marked a golden age for Indian art, creating a harmonious blend of diverse influences.

Colonial and Modern Influences: Shaping Contemporary Indian Art

The colonial era marked a shift in Indian art, with the advent of European techniques and styles.

The Bengal School of Art emerged during this time, led by artists like Abanindranath Tagore, rejecting Western naturalism in favor of a return to traditional Indian art.

Post-independence, modern Indian artists like M.F. Husain, Tyeb Mehta, and F.N. Souza gained international acclaim and contributing to the global recognition of Indian contemporary art.

Contemporary Indian Art: A Global Presence

Today, Indian art has evolved into a dynamic and diverse landscape, embracing various mediums such as painting, sculpture, photography, and new media.

The artists like Subodh Gupta and Bharti Kher explore themes ranging from globalization and urbanization to social issues and identity.

Street Art and Graffiti: Voices of the Streets

In recent years, India has witnessed a burgeoning street art scene.

Cities like Mumbai and Delhi are adorned with colorful murals and graffiti, providing a platform for artists to express social and political commentary, bridging the gap between traditional and contemporary forms of art.

Conclusion:

The art of India is a kaleidoscope that continues to evolve, drawing from its ancient roots while embracing the influences of the modern world.

From classical traditions to cutting-edge contemporary expressions, Indian art remains a testament to the country’s cultural richness.

As India ahead into future, its art will undoubtedly continue to captivate audiences, telling stories that resonate across time and borders

[sangvidancecentre]

Best Dance Classes in Kolkata

Sangvi Dance Centre: The Ultimate Destination for Dance and Fitness in Kolkata

Located in the heart of Kolkata, Sangvi Dance Centre has established itself as a premier institution for dance and fitness enthusiasts. Known for offering some of the Best Dance Classes in Kolkata, this centre caters to a wide range of interests, from classical dance forms to modern fitness routines.

A Hub for Dance Excellence

Sangvi Dance Centre is synonymous with dance excellence in Kolkata. The centre offers an array of dance classes that are tailored to meet the needs of both beginners and advanced dancers. The curriculum is comprehensive, covering traditional Indian dance forms like Bharatanatyam and Kathak, alongside contemporary styles such as jazz, hip-hop, and salsa.

Zumba Classes in Kolkata

In addition to dance, Sangvi Dance Centre is also a popular destination for fitness enthusiasts, offering some of the best Zumba classes in Kolkata. Zumba, a high-energy workout that combines dance and aerobic movements, has become a favorite for those looking to stay fit while having fun. The Zumba classes at Sangvi are designed to accommodate all fitness levels, making it accessible to everyone—from fitness newbies to seasoned gym-goers. With vibrant music and engaging routines, Zumba at Sangvi is more than just a workout; it’s a celebration of movement and energy.

Fitness Classes in Kolkata

Beyond Zumba, Sangvi Dance Centre offers a variety of fitness classes in Kolkata that cater to different goals and preferences. Whether you’re looking to build strength, increase flexibility, or enhance your cardiovascular health, the centre’s fitness programs are designed to deliver results. Classes include yoga, pilates, aerobics, and strength training, each led by qualified instructors who ensure that every session is effective and enjoyable. The fitness classes at Sangvi Dance Centre are not just about physical health; they also focus on mental well-being, promoting a holistic approach to fitness.

Kid Dance Classes in Kolkata

Recognizing the importance of nurturing talent from a young age, Sangvi Dance Centre offers specialized kid dance classes in Kolkata. These classes are designed to introduce children to the world of dance in a fun and engaging way. From classical dance forms to contemporary styles, the centre’s kid dance classes cover a wide range of genres, allowing children to explore their interests and discover their potential. The instructors are not only skilled dancers but also experienced in working with children, ensuring that each class is both educational and enjoyable.

A Community of Passionate Dancers

Sangvi Dance Centre is more than just a dance school; it’s a community of passionate dancers and fitness enthusiasts. The centre regularly hosts workshops, performances, and events that bring together students, instructors, and dance lovers from across the city. These events provide students with the opportunity to showcase their skills, gain stage experience, and connect with others who share their love for dance and fitness.

Conclusion

For those in Kolkata looking to explore the world of dance, stay fit, or nurture their child’s passion for dance, Sangvi Dance Centre is the ultimate destination. With its diverse range of offerings—from the Best Dance Classes in Kolkata to specialized Zumba classes, fitness programs, and kid dance classes—Sangvi Dance Centre has something for everyone. Join the Sangvi community and experience the joy of dance and fitness in an environment that celebrates creativity, movement, and well-being.