- What went in
- Two dance teachers led the session. We used visual demonstrations, foot stamping, clapping, hand gestures, numbers and visual counting to introduce tālam (rhythm) and basic dance movements. One teacher showed the steps, and the other gave gentle physical guidance to help the child clap along with the rhythm. Repetition, patience, one-to-one attention and encouragement were central, letting the child explore rhythm, timing and co-ordination at her own pace.
- Time
- 1 hour
We began a new batch for Deaf and hard-of-hearing children. This work has been in preparation for a few months, shaped by our years as dancers and teachers of Indian dance. We believe Bharatanatyam and Mohiniyattam can give children useful ways to explore rhythm, movement, co-ordination and expression when taught in accessible ways.
Two teachers led the session. One demonstrated the steps while the other gently guided the child's hand to clap along with the rhythm. We loved seeing her grasp the rhythm, and she recognised the gaps between beats. She also responded to changes in speed. In time, she copied the movements and soon performed the steps on her own. By the end, she had learnt five Nattadavu sequences, the basic movement units of Bharatanatyam.
The session used visual demonstrations, clear movement cues and repetition. We gave patient, one-to-one attention and encouragement. The child learnt at her own pace.
This was our first session with the children. One child attended, and three more have registered for the upcoming sessions. This start has strengthened our belief that, with appropriate support and ways of teaching that children can see and feel, classical dance can become an open and good space for Deaf and hard-of-hearing children to explore movement, rhythm and self-expression.
The first session showed encouraging progress. The child demonstrated a clear understanding of rhythm, recognised the time intervals between beats, and responded well to changes in speed. She gradually began copying the demonstrated movements and, as she became more familiar with the steps, started performing them independently.
By the end of the session, she had learnt five Nattadavu sequences, the basic movement units of Bharatanatyam. Her progress demonstrated how visual cues, physical guidance and individual attention can support the learning of rhythm and movement without depending solely on hearing.
The initiative has also begun to attract interest, with one child attending the first session and three more children registering for the classes.
(We observed it)
The session reinforced our belief that Indian classical dance can be more open through thoughtful ways of teaching. Children can feel rhythm in their bodies, not only hear it. Visual cues and counting help too.
We learnt that combining demonstration with gentle physical guidance helps children understand timing and co-ordination. It also helps them build independence in movement. Children need enough time and patient repetition. They should be recognised as learners with their own pace, and that is what creates an inclusive setting.
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