Introduction Introduction
Indian culture today has a distinct identity enlivened through Temple traditions. Indian dance forms associated with the evolution and development of Temple arts speak volumes of the great cultural endeavour. Indian dance forms as practiced today have captured global attention sensitising the Indianness in all the cultural vistas of the world.
The poet sings:
With
each step He took
He scattered stars in space
With each movement of his outstretched arms
He enveloped space and time
With his long hair flying in the wind
He dances in ecstasy to the delight of his devotees
These words are
reflected almost like a mirror image in painstakingly crafted images in stone and bronze.
Shiva in a dancing pose is known the world over as
The dance of Shiva symbolises the cosmic cycles of creation and destruction, birth and death. His dance is therefore the dance of the Universe. The parallel is seen in modern physics, which has shown that the cycle of creation and destruction is not only reflected in the turn of seasons and in the birth and death of living creatures but is also the very essence of inorganic matter.
For centuries, our culture has accepted that the dance of Shiva is the dance of life, myths, symbolism, mystic responses and philosophical explanations all merely add to the strength of such belief in a power that transcends the merely mortal. and when the human dancer enacts this act encompassing concept, he or she only makes a humble offering of acknowledgement
Dance forms were nurtured with a purpose in the sacred premises of temples. Temple dancing had a mission : to take art to the people and conveying a message to the masses. The monotony of the life of commonness as well as the elite was equally shared in the premises of a Temple. True religion sanctified every element with a touch of beauty.
Art was an effective means to suggest the cosmic truth touching the hearts of the devotees through dance, music, sculpture, architecture or a piece of jewellery, when compared to the effect created by rigid ritualistic practices.
The origins of Indian Dance: The Natya Shastra
The Natya Shastra was created in the beginning of Treta Yug by Brahma on the request of Indra and other devas as an object of diversion (Kridaniyaka). As the lower castes (Shudras) were not entitled to listen to the four Vedas (Sama, Yajur, Rig and Atharav), Brahma created the Natya Shastra as the fifth Veda which was open to all, irrespective of caste and creed.
Prior to the creation of the Natya Veda, Brahma entered a yogic trance in which he recalled the four Vedas. He drew the recitative (Paathya) from the Rig, songs (Geeta) from the Sama, histronic representation (Abhinaya) from the Yajur and sentiments (Rasa) from the Atharv.
These aspects are the four main constituents of the Natya Veda, When the Natya Veda was ready, the Gods expressed their inability to practise it, and Brahma passed it to Bharata Muni and his one hundred sons who were asked to practise it.
The dance was first seen at the Flag Festival of Indra to celebrate the victory of the Devas against the Daahavas.
Shiva learnt the Tandava (masculine) form of the dance, whereas Parvati, his consort learnt the Lasya (feminine) form.
Elements of Indian Dance
Abhinaya:
Abhinaya is common to all
Classical Indian dances. Abhinaya is the expressional aspect of dance, or nritya .
In contrast to this, Nritta is composed of only pure dance and will feature
striking and aesthetic poses, but will have no expressional meaning and symbolism.
Abhinaya has been analysed in the Natya Shastra and has been categorised into four types:
Angika - or physical, using movements of every part of the body to convey meaning,
with hastamudras (hand gestures), mandis (postures) and even the walk of the dancer.
Vachikabhinaya - or
vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing
cast.
Aharyabhinaya - or external, expression, mood and background as conveyed by
costume, make-up, accessories and sets.
Satvikabhinaya - or psychological, shown by the eyes in particular and as a whole
by the entire being of the performer, who feels the mood, the character and the emotion as
emanating from the self, not as an act or practical presentation.
The Navrasas:
In addition, the
navarasas, or nine emotions, give all dance a completeness that allows the dancer and the
rasikas (audience) to experience the full beauty and meaning of the lyrics and the
movements they are portrayed by.
These emotions are expressed in the eyes, the face, subtle muscle shifts and the body as a
whole. They are:
hasya
(happiness),
krodha (anger),
bhibasta (disgust),
bhayanaka (fear),
shoka (sorrow),
veera (courage),
karuna (compassion),
adbhuta (wonder) and
shanta (serenity
