ITEMS OF A MARGAM - ALLARIPU 
1. ALLARIPU: IT IS THE BEGINNING OF A BHARTANATYAM PERFORMANCE AND IT IS THE SHORTEST DANCE. THIS IS THE BEGINNING OF BASIC MOVEMENTS OF HEAD, EYES, NECK AND SHOULDERS. THROUGH THIS DANCE ITEM ONE CAN KNOW HOW MUCH CONTROL THE DCANCER HAS ON THESE UPANAGAS. ALLARIPU LITERALLY MEANS FLOWERING: AS WE OFFER FLOERS DURING THE PUJAS, THE SAME WAY THE DANCER IS OFFERING HER DANCE TO THE LORD OF DANCE, NATARAJA. THE DANCER WITH FOLDED HANDS IS INVOKING THE ASHTADIKHPALAS AND THE RANGAADHIDEVATA. WITH ANJALAI HASTA ABOVE HER/HIS HEAD SHE/HE IS INVOKING THE GODS, NEAR THE FACE SHE IS INVOKING THE GURUS AND NEAR THE CHEST SHE IS INVOKING THE LEARNED SABHA THAT IS THE AUDIENCE. THIS IS AN EXAMPLE OF SHUDDHA NRITTA. ALLARIPU CAN BE DANCED IN ALL THE FIVE JATIS. THE SIMPLEST IS TISHRA JATI. IN ALLARIPU, SHOLKATTU IS IMPORTANT.
1. ALLARIPU: IT IS THE BEGINNING OF A BHARTANATYAM PERFORMANCE AND IT IS THE SHORTEST DANCE. THIS IS THE BEGINNING OF BASIC MOVEMENTS OF HEAD, EYES, NECK AND SHOULDERS. THROUGH THIS DANCE ITEM ONE CAN KNOW HOW MUCH CONTROL THE DCANCER HAS ON THESE UPANAGAS. ALLARIPU LITERALLY MEANS FLOWERING: AS WE OFFER FLOERS DURING THE PUJAS, THE SAME WAY THE DANCER IS OFFERING HER DANCE TO THE LORD OF DANCE, NATARAJA. THE DANCER WITH FOLDED HANDS IS INVOKING THE ASHTADIKHPALAS AND THE RANGAADHIDEVATA. WITH ANJALAI HASTA ABOVE HER/HIS HEAD SHE/HE IS INVOKING THE GODS, NEAR THE FACE SHE IS INVOKING THE GURUS AND NEAR THE CHEST SHE IS INVOKING THE LEARNED SABHA THAT IS THE AUDIENCE. THIS IS AN EXAMPLE OF SHUDDHA NRITTA. ALLARIPU CAN BE DANCED IN ALL THE FIVE JATIS. THE SIMPLEST IS TISHRA JATI. IN ALLARIPU, SHOLKATTU IS IMPORTANT.
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