Kuditta Metta Adavu No.1 in Bharatanatyam

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Kuditta Metta Adavu refers to Jumping on the toes and then striking the heels. The initial jump though not very obvious. Both jumping and striking the heels are executed in the Araimandi position. It is also known as Guditta Metta. May be because the movement of jumping on the heels is called as Kuttanam in the Chari bhedas (Types of walks). Thus the name Kutta Adavu. Your thoughts and opinion in this regards are welcome. The Bols (sylables or sollukettu) are Tai Gha, Tai Ghi. Following are the links to different variations of this Adavu.

“Kuditta Metta Adavu No. 1” is a specific variation or sequence of movements within the Kuditta Metta Adavu category in Bharatanatyam. It is a foundational element of this classical Indian dance form, contributing to the dancer’s repertoire and forming the basis for more complex choreographies. Here’s a description of Kuditta Metta Adavu No. 1:

  1. Start Position: Begin in the Samapada position, with feet together and arms in a graceful posture.
  2. Teermanam: Shift your weight to the right leg while lifting the left leg slightly off the ground.
  3. Kudittu Mettu: Swing the left leg out to the side in a circular motion, crossing it in front of the body, and then bring it back to the starting position.
  4. Tattu: Lower the left foot back to Samapada, completing the first step.
  5. Teermanam: Shift your weight to the left leg while lifting the right leg slightly off the ground.
  6. Kudittu Mettu: Swing the right leg out to the side in a circular motion, crossing it in front of the body, and then bring it back to the starting position.
  7. Tattu: Lower the right foot back to Samapada, completing the second step.
  8. End Position: Return to the initial standing position gracefully.

Kuditta Metta Adavu No. 1 focuses on the fluidity and grace of the swinging leg movements, while also emphasizing balance, rhythm, and precision. It is an essential component of Bharatanatyam training, helping dancers develop control, coordination, and expressiveness in their performances.

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