Origin of Dance theory
The origin of dance (and drama) according to the Natya Shastra—the foundational Sanskrit text attributed to the sage Bharata Muni—is rooted in a divine attempt to bring harmony to a chaotic world.
In this tradition, dance is not seen merely as entertainment, but as a "Fifth Veda" designed to be accessible to everyone, regardless of their social standing.
The Divine Request
According to the text, during the Treta Yuga (the second age of mankind), the world became plagued by greed, anger, and jealousy. People had turned away from the path of righteousness.
The gods, led by Indra, approached the creator god, Brahma, with a request:
"We want something that can be seen and heard, a diversion (kridaniyaka) that is instructional yet provides pleasure to all."
The "script" and the concept, the physical movement evolved through divine intervention:
Tandava: Shiva, the cosmic dancer, contributed the vigorous, masculine, and rhythmic aspect of dance known as Tandava.
It represents the cosmic cycles of creation and destruction. Lasya: Parvati, Shiva's consort, introduced Lasya, the graceful, fluid, and feminine movements that embody beauty and Feminine sentiment (Shringara).
The imagery of the divine family dancing together is one of the most soul-stirring aspects of Hindu mythology. While the Natya Shastra provides the technical grammar, the stories of Ananda Tandava and Ganesha’s education provide the heart and soul of the art form.
1. Ananda Tandava: The Dance of Bliss
While most people associate Tandava with destruction (Rudra Tandava), the Ananda Tandava is the "Dance of Bliss." It is the cosmic dance performed by Shiva as Nataraja in the golden hall of Chidambaram.
In this state, Shiva is not destroying the world out of anger; he is dancing it through the cycles of existence. Each element of the pose has a theoretical meaning:
The Damaru (Drum): Represents Srishti (Creation) through the first sound.
The Abhaya Mudra (Raised Palm): Represents Sthiti (Preservation) and protection.
The Fire: Represents Samhara (Destruction or Transformation).
The Downward Pointing Foot: Points to the demon Apasmara, representing the crushing of Ignorance.
The Raised Foot: Represents Anugraha (Grace) and the liberation of the soul.
The Theory: Ananda Tandava suggests that the highest form of dance is reached when the performer moves beyond technique into a state of pure spiritual ecstasy.
2. Shri Ganesha: The First Disciple
In many Puranic traditions, Ganesha is considered the first student of dance. Because he is the "Remover of Obstacles," no performance begins without an invocation to him.
The Learning Process
The theory of Ganesha learning to dance is rooted in the balance of his parents' styles.
From Shiva: He learned the rhythm (Tala) and the mathematical precision of the Tandava. Despite his heavy form, Ganesha is celebrated for his incredible agility and light-footedness (often called Gajanan Nartaka).
From Parvati: He learned grace (Lasya) and the art of emotional storytelling.
The "Nartana Ganesha" Form
In iconography, Ganesha is often depicted in the Lalita or Ardhamandali pose—one leg bent, trunk swaying in rhythm. This form symbolizes that spirituality is not rigid; it is joyful, rhythmic, and accessible even to those who do not have a "typical" dancer's physique.
3. The Divine Audience: Shiva and Parvati’s Joy
The most endearing part of this theory is the "Reverse Audience." Usually, humans dance for the Gods; however, in the heavens, the Gods dance for each other.
Parental Pride: Legend says that when Ganesha dances, Shiva plays the Mridangam (drum) and Parvati keeps the Tala (clapping/cymbals).
The Theory of Rasa: As Ganesha dances, Shiva and Parvati experience Vatsalya Rasa (parental love). This highlights a key theory in the Natya Shastra: that the purpose of dance is to evoke a specific emotion (Bhava) that matures into a flavored experience (Rasa) for the observer.
The Cosmic Circle: When Ganesha dances, the entire universe is said to vibrate in harmony. Parvati’s enjoyment of his dance represents the "Prakriti" (Nature) being delighted by the movement of "Purusha" (Consciousness).
Comparison of the Three Styles
| Deity | Style | Essence |
| Shiva | Tandava | Power, Rhythm, Cosmic Cycle |
| Parvati | Lasya | Grace, Beauty, Emotion |
| Ganesha | Nartana | Joy, Precision, Devotion |
Shiva taught this sacred art to the sage Bharata Muni, who had 100 sons and daughters.(
Some believe it was his 100 students. Bharata realized that the art required specific qualities—grace, energy, and emotional depth—that his sons couldn't fully embody alone.To complete the art form, Brahma also created the Apsaras (celestial nymphs) to perform the more delicate and expressive parts of the dance to keep deva and Asuras busy so that they do not indulge in fights.
Summary of the Theory
The Natya Shastra posits that dance is a Yagna (a spiritual sacrifice). Its ultimate goal is to produce Rasa—a state of aesthetic bliss in the spectator. It is a bridge between the physical and the spiritual, using the body as an instrument to mirror the cosmic order.
Comments
Post a Comment