Dance forms around the world are characterized by distinctively, due to traditions and cultural contexts in which they have developed. While efforts have been made to preserve the specific character of each, but little attention has been paid to identifying the universal elements that connect them. It is often said that all forms of music, despite their diversity, can be understood through seven notes. Then, is it the same in dance? This original question, Jayachandran Surendran, senior dance research scholar and lecturer at IIIT Hyderabad’s Center for Accurate Humanities, inspired him to detect form-neutral and style-neutral universal fundamental for dance.
Jayachandran’s decades research developed an educational equipment, named Atam (meaning that in Tamil, ‘motion’ or ‘movement’) at a fundamental level, the first of its kind to get a design patent in India. He explains, “I noticed that three parameters are universally present in all dance forms – asana, infection between currencies, and rhythms in those transitions. Since my approach is based on the strength and degree of freedom of each joint in the body, to focus a special focus on the lower half of the body, which is a normal thread for all types of movement.”
In Bhartanatyam, the basic unit of movement is called ‘Advu’. Does Jaichandran try to go beyond this basic element? Interestingly, he states that the word ‘Advu’ is not exclusive to Bharatanatyam; It is also used in traditional Indian martial arts such as Kuthuvaris and Silumbum. He argues that a unique is not internal artistic; Rather, it is a way to break up movement in small, functional units for educational purposes. This is the intention of movement that imports artistry to Advu.
“Asanas are common in various movement subjects. The basic principles of classical dance forms are also assimilated by the movement Knowledge Bank of Martial Arts and Yogasana traditions. However, what is different in many movement systems is Infection – What happens between Posture. While asana training makes the basis of learning dance, infections are often absorbed through observation. ,
According to Jayachandran, the atom tool distinguishes these infections, and teaches them separately, providing students a more conscious understanding of movement flow.
Jayachandran Surendran, researcher and classical dancer
So, how is the ATAM tool designed? To make it a child friendly, Jayachandran mapped six currencies on six faces of a dice. Three colors are dice: black for standing postures, red to sit half, and blue for full-sitting. White holders for pass-beat movements and dice are kept in black holders for off-beat. Two dials are used-one foot position (right, left, both) and indicate infections (such as stamping, placeing, turning, sliding, or jumping, each is shown by one color), while the other 45-degree specifies a torso angle in increment. These dials are also placed in white or black holders based on beet alignment.
This device is mainly for children and beginners in dance to develop dance literacy. Jayachandran clarifies, “When we talk about dance literacy, the goal is not to make anyone a professional dancer, but to help the people unfamiliar with dance to be comfortable with dance movements. The athletic training does not make the body for movement, even if no one is an athlete, about the performance, but about internal movement as a language.”
In classical dance training, the body is often air conditioned to repeat only a few combinations of movements. However, with the ATAM tool, all possible combinations within six basic currencies are detected, which promotes openness and flexibility in asana practice. “For children, any movement sequence is not naturally considered correct or wrong. If a particular combination is already present in a known dance form, we simply accept it and move forward. For those who do not have the current name, we try to name them or try to inform them whether a name already exists. As is already present. As already exists. As already exist. As already exists. As already exist. As already exist. As already exist. As already exist. As already exist. As already exist. As already exist. As already exist. As already exist. As already exist. As already exists. As already exist. As already exist. As already exist. As already exists. As already exist. As already exist. As already exist. As already exists, the practice progresses for a two-day-to-two-time-bite-bite-two-to-beat-bite-two-to-two. The bar simultaneously to reach together, ”he says.
An interesting aspect of this approach is the reverse of traditional orbit dynamics. In traditional dance teaching, the teacher is highly active in the scheme, while the student’s role is more inactive. Here, when using the equipment, it is opposite – the teacher is mostly inactive, curiosity observation, intervene only when necessary. Children are deeply engaged, often in pin-drop silence, focusing on tools with their attention. They become difficult to disintegrate, as the process stimulates continuous thinking. The tool allows for the creation of several variations in the currency and angle, making it possible to catch the essence of all forms of the dance within its structure.
Atom tool developed by Jayachandran Surendran
In traditional knowledge system of Nā ṭāstraThe way we study ethology It is often affected how we understand it. For example, when Nā ṭāstra Talks about five Stanakaka Asana, we see them as different, fixed reference points. However, as a researcher, Jayachandran saw many possible subtle who are in between ethology-Karas may not have clearly mentioned, but left the businessman positive. He believes that it is the responsibility of doctors to detect and identify these transitional forms. A parallel can be drawn from music – while we are taught that there are only seven notes, we know that there is a rich place for fine modulation between the two notes, as seen in Veena playing, where pulling from one note to another opens the expressive possibilities. Similarly, dance includes not only a certain position, but also reference points, functional changes and continuous curves. Jayachandran’s approach involves identifying the “Pivatal Index Value” to map these infections – such as naming a movement Valithoruham As part of a large curve. Instead of personally remembering each movement, it proposes to understand the frequency range and pattern of movement such as a graph or curve, which depends on the process more spontaneous and less on rotten memory.
When posting, infection, and rhythms are all common in dance forms, next question arises – can do acting Should be brought in this structure too? Jayachandran says, “Training usually involves involved Anga, UpangaAnd TransitWith focus on both freeze points and transition points. Many modules can be developed to train various aspects – net movement, actingand music. In the current system, pure movement training is divided into upper and lower body segments. Research mainly focuses on the lower half, as this movement builds the foundation of the terminology. Even the region is highly complex alone, with a large number of possible combinations. Upper body, especially in terms of DanceThere is a region to be discovered. To move forward Mukhja actya And other expressive elements open the possibility of creating a completely new movement vocabulary. What is currently being developed can be seen as a prototype that performs ground functions for future expansion. ,
Physically, the tool takes the form of a dice with asana stickers and a board with rotating dial placed on pivot points, resembles the same Pallaunjihi Whole This tangible setup is specifically designed for children, provides screen-free options for digital apps and helps reduce screen time. A web-based app version is currently subject to development for further expansion. Ultimately, ATAM aims to provide a non-donor, discovery learning environment, especially for children, where movement is game, inquiry and self-realization. A live performance, Jaichandran notes, is the best way to understand its ability.
