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the undercut of a wave that compels is to eth. The horizontal line, therefore, is not so much a formation as the cem in a Bux of movements, a breathing space, and also paradoxically, the moment of maximum energy.
As the dancers break the horizontal line, ether to form pairs ar to stand in a vertical line or dart across the stage in a crim cruss of diagonals, the space is once again activated through new configurations.
Some of these are shaped through the contrary energies of dance, dancing to and against each other.
In this formation, for example, two dancers hold each other backstage within a sight orbit of energies, facing each other and almost blending into one dynamic unit,
while the Individual dancers on the sides throw out their energies from the back while dancing in opposite directions.
It is through such contrary pulls of energy that the entire space is dynamized.
Yet another recurring pattern of energy in Chandra’s choreography creates the sense of the entire space being pulled vertically in contrary directions.
6 Lotus, Sankh, Chakra, and cow feet with rice powder. Rangoli to install the gods at home for special worships
Or more stardingly, in her now-classic way of ‘cleaning the space through horizontal slashes of energy across the stage:
All these particular movements “return to the sun with the four dancers neatly punctuating the horizontal line down-stage.
Then, in a sudden shift of energy, the horizontal line could be replaced by a vertical line made up of three dancers with one dancer ‘out of orbit as it were, creating her own sense of time and space. For example:
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