IndexDasavatharasSaptha ThalasHow Rasa is summonedVarious forms of KoothuDasavatharasThe ten avatars of Lord Vishnu are Matsya (the fish), Kurma (the tortoise), Varaha (the boar), Narasimha (the half-beast and half-man), Vamana (the dwarf priest), Parashurama, Sri Rama, Balarama (Krishna's elder brother) or Buddha – due to the different versions, Sri Krishna and Kalki. The details of the incarnations of Lord Vishnu are also known as Bhagavata Purana. The Puranas are the narratives of Hindu beliefs, containing the description of Hindu cosmology and philosophies. Lord Vishnu incarnated on earth in nine different forms from time to time in different yugas (ages), Satya or Krita Yuga, Treta Yuga and Dwapara Yuga, to eradicate evil forces and free his devotees from the cycles of death and birth and give them moksha. The last avatar, the tenth avatar, is yet to arrive to destroy all injustice and evil at the end of Kali Yuga, or the present age. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Matsya is the fish of Satya Yuga. Matsya warns Manu, the progenitor of humanity, of an impending catastrophic flood and orders him to gather all the world's herbs, seeds and plants into a boat along with all living creatures. When the flood destroys the world, Manu survives by boarding the boat. Matsya with the help of the serpent, Adishesha, secures the boat by tying the boat to Matsya's horn, with Adishesha as the rope. Other versions of the story also mention that a demon called Hayagriva stole the Vedas and after being assured that Manu had achieved salvation, Matsya went to retrieve the Vedas and returned them to Brahma. Matsya can be depicted in both animal form and a combined human-animal form, with man as the upper half and fish as the lower half. Matsya is generally represented with four hands: one holding the conch, one holding the disc (chakra), one in the pose of bestowing a boon (varada mudra), and one offering protection (abhaya mudra). To represent Matsya, place your right hand on top of your left with both palms facing down and holding both hands in ardhachandra. Kurma is the tortoise and, like Matsya, comes from Satya Yuga. The narration of Kurma is called Samudra Manthan, which means the churning of the ocean. It begins with Durvasa, a sage, who cursed the gods causing him to lose his immortality, strength and divine powers. To regain these powers, they had to drink the nectar of immortality and regain their glory. To get it, they had to churn the ocean of milk, a body of water so large that they needed Mount Mandara as a churning stick and the serpent Vasuki as a churning rope. The Devas were not strong enough to churn them out on their own, so they asked the help of the Asuras. Mount Mandara moved, but the force of the churning was so great that the mountain began to sink into the ocean. Taking the form of the tortoise, Kurma, Vishnu carried the mountain on his back, supporting its weight as they churned the waters. Fourteen precious things arose from the ocean, the last of the fourteen was the nectar of immortality. The Kurma avatar of Vishnu is usually represented in painting and sculpture in a mixed human-animal form, but can also be represented zoomorphically, as a tortoise itself. To represent Kurma, hold both hands in mrigasheersha. Place your right hand on top (facing down) and your left hand on the bottom (facing up) with both palms facing each other and in line with each other. Wrap the other fingers, except the thumb and little finger. Varaha is the boar and is the third form of Lord Vishnu to be present in Satya Yuga.Varaha is summoned from the earth because, Hiranyaksha the demon, takes the earth, Bhudevi, and hides her in the primordial oceans (records of legend narrate that the universe was initially filled only with cosmic/primordial oceans). In some versions of the tale, the earth lets out a cry of anguish as it is kidnapped by the demon; in others, Bhudevi takes the form of a cow and appeals to Vishnu to save her from the demon. Hiranyaksha does tapas, and is blessed by Brahma with a boon that makes him indestructible by any animal or human, but since Hiranyaksha had not included the boar in the list of animals that would not be able to kill him, Vishnu assumes this form with enormous tusks and descends into the primordial ocean. In the ocean, Varaha meets Hiranyaksha, who blocks his path and challenges him to a duel. In some versions, the demon also mocks Varaha as the beast and warns him not to touch the earth. They both fight with clubs and finally, Varaha kills the demon after a thousand-year duel. Varaha rises from the ocean with earth in his tusks and places it above the waters in its original position. Varaha is represented both in full animal form and with the head of a boar and the body of a man. Being half human and half animal, he is often shown standing with one leg bent to support Bhudevi. To portray Varaha, hold both hands in Simhamukha but with thumbs pointing outwards, to the side. Hold your right hand on top of your left hand, with your palms directly on top of each other and so that your fingers overlap. Wrap the index and little fingers of your top right hand around your bottom left hand and stick both thumbs out to opposite sides. Narasimha, is the last incarnation of Vishnu to be in Satya Yuga. The demon Hiranyakashipu, twin brother of Hiranyaksha, the demon dethroned by Vishnu in his previous incarnation as Varaha, obtained from the god Brahma the gift of not being able to be killed by humans or animals, from inside or outside, day or night. night, and that no weapon could hurt him. His son, Prahlad, on the other hand, was a devotee of Vishnu, as sage Narada had cultivated love for Lord Vishnu while taking care of Kayadu, Prahlad's mother. Despite Hiranyakashipu's numerous attempts to kill Prahlad, Vishnu protected him, until finally Hiranyakashipu challenged his son and asked him where Vishnu was at that time and angrily kicked a pillar. Narasimha took Hiranyakasipu and dragged him to the threshold of the door (neither inside nor outside the house) and placed him on his lap (neither heaven nor earth) and there killed Hiranyakasipu with his claws (without weapons), at dusk (neither day nor night) . The incident is often depicted in art, with Narasimha appearing out of the pillar with numerous hands. Seated images of Narasimha are also found in which the lion's face has a peaceful expression. To show Narasimha, hold the right hand in tripataka and the left hand in simhamukha. Hold both hands in front of your chest. Vamana is the first avatar to be in Treta Yuga. King Mahabali was a generous man and was also a devotee of Lord Vishnu who engaged in severe austerities and won the praises of the world. This praise led him to think of himself as the greatest person in the world. He believed that he can help anyone and can give whatever he asks for. Although he became benevolent, he became pompous in his activities. He conquered the three worlds and performed yagna to declare himself king of the three worlds. Vamana made his appearance on the last day of the yagnas. King Bali offered him to ask for whatever he wanted as it was the last day of the yagna and he had to give alms to anyone who needed it. Sukracharya, the guru of Bali, with his senses managed to swell the boy as Lord Vishnu and stopped King Bali to offer himwhatever he asked. King Bali, driven by his generosity, continued with his offerings and asked the boy his requirement. Vamana kindly said that he only needs three feet of land. King Bali laughed and told the boy to measure the land himself and take it. Immediately Vamana began to grow and finished measuring the earth and sky in two feet and asked Bali to show where he could measure the third foot of earth. King Bali did not want to break his promise and bowed his head to measure the third foot. Vamana kept his foot on Bali's head and pushed himself deep into the Underworld, or Pataala, with the force of his third step on the head. Vishnu in this form is often identified as Trivikrama, or the "God of the three steps". Just before King Mahabali was driven out of the land, Vamana gave him permission to visit his people once a year. The Onam festival is a celebration of welcoming Mahabali home to his lost kingdom. Images of Vamana usually show him already grown to gigantic size, with one foot firmly planted on the ground and the other raised as if to take a step. If shown small in stature, the sculptures may depict him as a dwarf brahmacharin (monastic student) dressed in the student's deerskin, loincloth, and sacred thread. To represent Vamana, hold both hands in mushti. The right hand is in line with the shoulder and in front of the chest, showing the umbrella that Vamana holds. The left hand should be turned down at the waist, with the back of the hand facing up. After Vamana is Parashurama, and it is also in Treta Yuga. Shri Parashuram left the house to perform pious austerities to please Lord Shiva. Considering his extreme devotion, intense desire and impassive and perpetual meditation, Lord Shiva was pleased with Shri Parashuram. He presented Shri Parashuram with divine weapons. Included was his invincible and indestructible axe-shaped weapon, Parashu. Lord Shiva advised him to go and free Mother Earth from rude people, extremists, demons and blind people of pride. Later, Parashurama, cut off the thousand arms of King Kartavirya Arjuna, a mighty king, one after another, with his Parshu and killed him, because the king had stolen his father's sacred cow. Indra was so happy that on the instructions of Lord Shiva he presented this much loved bow, called Vijaya, to Parashurama. But when Kartavirya Arjuna's sons found out that Parashurama had killed their father, they killed Parashuram's father. For this reason, Parashuram swore to exterminate the Kshatriyas, circling the world 21 times. He attacked the sons of Kartavirya Arjuna, killed them all in battle and then embarked on a mission to exterminate the rest of the Kshatriyas and kings across the world. He played important roles in the Mahabharata and Ramayana, serving as a mentor to Bhishma, Karna and Drona. To demonstrate Parashurama, hold your right hand in ardhapataka and raise it high diagonally. With your left hand, hold it at the side of your body with dola, or hold it in ardhachandra on your left thigh. Rama, follows Parashurama, and is also from the Treta Yuga. King Dasharatha wanted to pass the kingdom to his eldest son, Rama, but his second wife, Kaikeyi, opposed it. Kaikeyi, through the evil influence of his dishonest servant, Manthara, requested the king to crown his son Bharata as the next king and send Rama into exile for 14 years and so it happened. His wife, Sita, and Lakshmana, his beloved younger brother, also accompanied him. While they were living in the forest, a demon woman, Surpanaka, who was Ravana's sister, visited Rama and asked him to marry her. Lakshmana got angry and cut off her nose. He became very angry and sought revenge through his brother. He provoked Ravana to marry Sita, saying that she would be the most suitable wife andbeautiful for you, thus separating Sita from Rama. According to their evil plan, Surpanaka came to Rama's ashram in the form of a beautiful deer. Sita was enchanted to see it and asked Rama to get that deer for her. Rama ran after the deer and the deer jumped away from him and took him away from the ashram. Sita became angry at the delay in Rama's return and sent her brother Lakshmana to look for him. Lakshmana did not agree and finally, when Sita became angry, he agreed and left, but only after giving her strict instructions not to insert a line, the Lakshmana Rekha, which she would draw with this divine power until his return. During this time Ravana arrived and Sita was taken away to Lanka. During his journey to Lanka, he met the huge vulture bird named Jadayu, a friend of Dasharatha. He fought with Ravana and was seriously injured. Jadayu was left outside handicapped but not dead only to meet Rama and inform him of the kidnapping of Rama's wife Sita. Jadayu died immediately after passing the information to Rama. Finally they reached the sea of ​​which Lanka lay on the other side. There was no way to cross the sea. The army of monkeys that had accompanied Rama, led by the powerful leader Hanuman, built a bridge of huge stones over the sea to reach Lanka. In Lanka, Ravana threatened Sita many times to marry him, but was always refused. Rama and his army reached Lanka through the new bridge and attacked Ravana. Ravana was killed in battle by Rama and Sita was freed. Rama is represented as a standing figure, holding an arrow in his right hand and a bow in his left. His image in a shrine or temple is almost invariably accompanied by figures of his wife, Sita, his favorite half-brother, Lakshmana, and Hanuman. References to Rama as an incarnation of Vishnu appear in the early centuries. However, there was probably no special cult of him before the 11th century, and it was only in the 14th and 15th centuries that distinct sects venerating him as the supreme god appeared. Rama's popularity increased greatly due to the retelling of the Sanskrit epics and he is conceived as a model of reason, right action and desirable virtues. To show Rama, hold the shikara in your left hand and raise it high so that your hand is at head height. With your right hand, hold kapitha at thigh level slightly away from your body. Balarama, in some Vaishnava lists, is the eighth avatar and comes from Dwapara Yuga. Balarama was a son of Vasudeva. The evil king Kamsa, Devaki's brother, was intent on killing his sister's children because of the prediction that he would die at the hands of her eighth son. Balarama's essence was then transferred to Rohini, who also desired a child. He is often depicted with a cup, a jug, an axe, a shield and a sword. Balarama may have originated in Vedic times as a deity of agriculture and fertility. Balarama spent his childhood as a cow herder with his brother Krishna. He killed Dhenuka, an asura sent by Kamsa, as well as the wrestlers sent by the king. After the death of the evil king, Balarama and Krishna went to the ashram of sage Sandipani in Ujayini to study. He later married Revati, the daughter of King Kakudmi, the ruler of Kushasthali. Other legends identify him as the human incarnation of the serpent Shesha. To portray Balarama, hold your right hand in pataka at shoulder height in front of your chest. Keep your left hand in mushti and turn it downwards. Your left hand should be at waist level, with the back of your hand facing up. Gautama Buddha, according to some lists, is seen as an avatar, although the Buddha himself denies being a god or an incarnation of one. The Buddha may be depicted in Hindu scriptures as a preacherwhich deceives and distances demons and heretics from the path of the Vedic scriptures. Another view praises him as a compassionate teacher who preached the path of ahimsa (non-violence). Krishna, is the ninth avatar, and was in Dwapara Yuga. Krishna is often described and depicted as a child eating butter, a boy playing the flute as in the Bhagavata Purana, or as an elder giving direction and guidance as in the Bhagavad Gita. Krishna stories appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a godson, a prankster, a model lover, a divine hero, and the Supreme Being. The major scriptures dealing with the story of Krishna are the Mahabharata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. Many stories are told about Krishna, from his childhood days to when he was the king of Dwaraka. To represent Krishna, bring your left hand to your right cheek. Keep your left hand in mrigasheersha facing inwards and your right hand is also in mrigasheersha but facing outwards. This is to show the flute he carries. Kalki is the final avatar and will be in Kali Yuga. It is said in the scriptures that Lord Vishnu will come to end the current age of darkness and destruction known as Kali Yuga. Some represent it as an amalgam of a horse's head and a man's body. The name Kalki is a metaphor for eternity or time. Its origins may lie in the Sanskrit word kalka meaning dirt or filth. Thus, the name translates to "destroyer of filth", "destroyer of darkness" or "destroyer of ignorance". Kalki Avatara is depicted with right hand in pataka and left hand in tripataka. The right hand is in front of the chest, while the left hand is at waist level. Saptha Thalas Thala, the musical measure of time divided to give rise to a total of 175 thalas The musical compositions, instrumental accompaniments and dance are regulated by Thala is of two types, Margam and Desi each of them again of three types, Shudha, Saalaga and Sankeerna is the product of Kaala (time), Kriya (counts of single units performed by hand) and Mana (measure) in simultaneous action are Dhruva, Mathya, Roopaka, Jampa, Triputa, Atta and Eka. All these seven thalas are composed of 3 basic Angas: Laghu – I Drutham – O Anu-Drutham – U How Rasa is evoked The first developed theory of rasa as an aesthetic concept is found in Natyasastra, attributed to Bharatamuni According to BharataMuni, Rasa came to refer to the ultimate experience of a transcendent and a love. This love engages pure emotions in any of numerous eternal relationships with divinity. The meaning of the word has been associated with a botanical substance, a sensory substance, an ontological meaning, an aesthetic pleasure, a transcendent experience of another world, and, ultimately, an internal theological experience. The text lists nine rasas: 1) srngara: romance or passion 2) hasya: comedy 3) karuna: compassion 4) raudra: fury 5) vira: heroism 6) bhayanka: horror 7) bibhasta: revulsion 8) adbhuta: amazement 9) Shanta: tranquility. Although these rasas are each connected to a particular emotion (bhava), in themselves they were not exactly emotions. Rather, Bharatamuni describes rasa as an aesthetic taste experienced by the audience after witnessing the representation of emotional components on stage. These components of emotions have been classified into 4 different types: sthayibhava (basic emotions). Vyabhicaribhavas (transient emotions). Anubhavas (emotional reactions), vibhavas (catalysts of emotions). Rasa mentioned as a dual experience experienced by the dancer and his expression through his art and the experience of the audience (Sahrdayas) who receives the art. The creator undergoes an emotion and is so overwhelmed by it that he seeks a means toexpress his feelings. The audience receives this emotion through the dancer's dance and thus undergoes the emotion felt by the creator. Thus the word "Rasa" is created once again by the creator and then recreated by the viewer. The extent to which the reader experiences the emotion felt by the creator depends on the creator's intelligence in presenting it. Bharatamuni describes this as the feeling or aesthetic pleasure (Rasa) that arises as a result of the harmonious fusion of the appropriate vibhavas, anubhava and vyabhicaribhava. This means that the realization of Rasa results from the union of Vibhava, Anubhava and Vyabicaribhava and its alignment with the permanent mood known as Sthayibhava. Bharata says that there are eight Sthayins or basic mental states, thirty-three Vyabhicarins or accessories and eight Sattvika bhavas or involuntary physical reflexes. These forty-nine, taken together, constitute Kavya Rasabivyakti. From these arise the rasas, when they are represented in universalized state. He says, “It may be noted that these forty-nine emotions in their generalized form are the source of Rasa.” The union of Vibhava, Anubhava and Vyabhicaribhava results in the awakening of the Sthayibhavas, which in turn brings about the emergence of Rasa. Vibhava are the determiners, anubhava the consequents and Vyabhicaribhava represent the transitory states of mind, which are a necessity for the realization of Sthayibhava or basic disposition. The emotions felt by the creator are dancers for the viewer only through Vibhava and Anubhava. The Vibhavas are essentially of two types: the Alambhana Vibhava and the Uddipana Vibhava. Alambhana Vibhava refers to the person or object with respect to which the emotion is experienced and whose appearance, ideal or perceptual, is directly responsible for evoking the emotion: Uddipana Vibhava refers to the situation or environment in which that person or object is positioned and which is useful for intensifying the emotional experience. The Alambana Vibhava is otherwise called the basic stimulus and the Uddipana Vibhava, the external stimulus. The external manifestations brought out as a result of the emotions evoked by the Vibahvas are called Anubhava. These, according to Baratha, are divisible into Vacika or expressed with words and Angika or bodily expressions. Again, the emotion felt by the spectator as a result of the external expression of the characters on the scene, such as gestures, words and so on, is called Anubhava. Rasas evoke an emotional climax in the audience accompanied by a sense of joy. This is the aesthetic pleasure of Rasa. Vyabhicharbhavas are temporary or transitory states of mind which tend only to develop the sthayibhava or dominant state of mind. The dominant mood could be love, anger or pathos. Since the freedom to know the full scale of possible answers (the known), situates the experience of pure awareness or self (the knower), rasa (the process of knowing) produces the experience of the threefold unity of the knower, the known and the process of knowing. The emotional response to a particular situation on stage or to a particular difficult situation of the protagonist relieves the audience from the banality of life and gives aesthetic happiness. Rasa, the aesthetic theory, can lead the audience to a state of boundless bliss. Dance in Silappathikaram Silappathikaram (The Story of Anklet) is one of the five great epics of Tamil literature. This work is attributed to a Jain poet referred to by the pseudonym Ilango Adigal. The nature of this book is not religious and has a moralistic undertone. The epic revolves around the female protagonist Kannagi. This epic was probably dated to the beginning of the Common Era (CE). The story involves the three kingdoms of the ancient era, the Chola, Pandya and Chera dynasties. The author took 2 principles, chastity and virtue and incorporated them into a styletheatrical. Silappadhikaaram is not just poetry. It is a combination of “iyal-isai-natakam”, dance-music-drama. This is a supreme example of theatre. Kovalan, son of a rich merchant of Kavirippattinam, married Kannagi. Kovalan met the dancer Madavi and fell in love with her and spent all his wealth on the dancer. Their only fortune was a precious pair of Kannagi anklets, which he willingly gave to Kovalan. Kovalan went to sell one of Kannagi's anklets and, at the same time, the Pandava queen had just been robbed of a similar anklet by an evil court jeweler. The jeweler saw Kovalan with Kannagi's anklet, immediately grabbed it and informed the king. The guards arrested Kovalan, who was later killed on the king's orders. The widow Kannagi arrives in Madurai, proves Kovalan's innocence, then tears off her breast and throws it at the kingdom of Madurai, which goes up in flames. When the author introduces Madhavi and her dance debut in the Chola capital, he shows an incredible understanding of the technical aspects of Tamil music and dance. Madhavi, daughter of Chitrapathy, learned dance from the age of 5 and mastered the art of classical Bharatanatyam at the age of 12. Madhavi performed eleven different types of dances according to the epic. Silappathikaram's Kadalatu kathai refers to these 11 dance varieties collectively known as deivavirutti (associated with deities). Like Natya Sastra, Silappadhikaaram also gives a description of the dance stage and the place where the stage is located. The first six of the eleven dances are performed in a standing position while the other five are performed in a lying position. They are: Kodukatti: the triumphal dance of Siva after the destruction of Tirpura by fire. This is the dance that Lord Shiva performed after burning the three cities of 3 Asuras. Pandarangam: Brahma was entertained by Siva with this dance after Shiva's victory over the Triple Cities of demons. Alliyam Koothu: This is a dance on the victory of Lord Krishna over the elephant of Kamsa. Malladal: Describes the wrestling contest between Kamsa's emissaries (Bana) and Lord Krishna at Kamsa's palace. Thudi Attam: This is the dance of Muruga after defeating the demon Surapadman. Kudaikuttu: It is about the victory of Lord Muruga over the demons. Kurakuttu: Krishna's loving dance (with the earthen pot above his head) in front of Vanasura to ensure the release of Anirudh (today's Karagattam). Pedadal: Krishna's son Manmathan dances dressed as a eunuch (Peda) to divert Vanasura's attention and ensure the release of his son Anirudh. Marakkal Addal: When demons sent poisonous creatures like snakes and scorpions against Kotravai (goddess Durga), she danced with sticks (stick dance). This is known as Marakkal literally “wooden legs” (today's Poikkal Kudirai). Pavai Koothu: Goddess Lakshmi's dance to enchant Vanasura and enter his fort. Kadayam Koothu: This is the dance performed by Indrani (dance like a farmer) at the north gate of Vanasura's palace. In three other places of the epic it narrates the dance of the hunters during the worship of Durga, the dance of the shepherds praising Lord Krishna and the tribal dance. . There is an interesting thread running through all these mythological episodes. It is about a struggle between good and evil and the final victory of good over evil. The author talks about the Kuravai dance, associated with the war operations of those days. A victorious king is joined by soldiers and they dance on the deck of the king's chariot. These are spontaneous expressions of joy at victory. A Kuravai dance depicted in the epic gives the image of seven girls standing in a circle and dancing to the tune of 'Mullaippann'. The seven girls represent the seven musical notes of the Tamil scale: Kural, Tuttam, Kaikkilai, Ulai, Ili, Vilari and Taram. Silappathikaram iscomposed of 30 Kadhais and out of 30, 8 Kadais talk about Dance. The following 8 Kadhais discuss different information about dance. 1) 3rd Arangetru Kadai, 2) 6th Kadal Aadu Kadai, 3) 8th Veni Kadai, 4) 12th Vetuva Vari Kadai, 5) 17th Ayichiyyar Kuravai, 6) 24th Kundra Kuravai, 7) 29th Vaazhthu Kadhai . Vaazhthu Kadai talks about 4 dances and gives a lot of details about these dances: Ammanai, Usal, Kandukam, Vallai Pattu. The author talks about many details about Bharatanatyam and Arangetram. According to the author, the ballerina should start dancing at the age of 5 and must learn dance for 7 years. He should perform (arangetram) at the age of 12 before a king and the audience on a stage (Arangam). The dancer should be accompanied by a singer, nattuvanar, flute and harp musicians. The stage should be at least 40 feet long and 35 feet wide. The stage should be at least 5 feet above the ground and 20 feet above the stage. The light should be such that the shadow of a dancer and the shadow of the pillars should not fall on the stage. Various forms of KoothuKoothu means dance or performance in Tamil, is a folk art originating from early Tamil culture. That is why the dancing deity, Lord Nataraja, is often called by numerous names such as Koothapiran, Koothuandavan and Kootharasan. The deity of the Thillai Nataraja temple, Chidambaram, is known from the Sangam period as "Thillai Koothan", the cosmic dancer of Thillai. Koothu is mentioned in Sangam literatures regarding the development of iyal (literature), isai (music) and natagam (drama). Koothu is of two types: Aga Koothu (internal) and Pura Koothu (external). Aga Koothu means the kind of dance that is born in our heart and enjoys our soul. Pura Koothu means the type of dance performed by bodily expressions accompanied by orchestral music. Most of the Koothu forms fall under Pura Koothu. Koothu is an informal dance structure, performances generally depict scenes from ancient epics, such as the Ramayana, Mahabharatha and classical Tamil epics. There will be no dialogues but only songs. Artists are trained to sing in their own voice and high pitch to reach the entire audience, as the technology was not available at that time. The performers dress in complex, heavy costumes and have very bright elaborate makeup. They wore tall, imposing headdresses, glittering shoulder pads, and full, colorful skirts. Usually the entire group will be played by men, even the female characters will be played by men. Theru Koothu is classified as a type of Nattu Koothu. Theru means street, koothu means folk dance. So, Theru Koothu means street dance. Theru Koothu is often considered one of the oldest open-air dance dramas in the Tamil cultural tradition. In the early days, this particular dance was practiced by the popular masses to relax mentally or simply to pass the time. This dance drama originated in the 10th century AD. In ancient times, every temple was connected to at least one theater, where performances were held during special temple festivals. Even now, the folk dance dramas of the Tamils ​​are generally referred to as Therukoothu. The working class were usually the actors and audiences of Theru Koothu. Originally this particular dance form originated in the peasant community and was subsequently transmitted to the working community and the popular masses. Like all other traditional art forms, this ancient art form also began with religious representations. The instruments mainly used for Theru Koothu were harmonium, mridangam, cymbals, mukhaveena and flute. These plays were based on aesthetic essence, value, and religious affiliations. Some of the most popular Therukoothu dance dramas were Madurai Veeran, Kathavarayan, Ramayanam, Harischandra,