Natya Yoga: The Science of Dance

All streams of education that took birth in India have the ultimate goal of spiritual enlightenment of the student. The primary purpose of education is to lead towards the union of our individual self (microcosm) with the universal self (macrocosm). Tagore reiterates this "The highest education is that which does not merely gives us information but makes our life in harmony with all existence." Classical Indian dance is a refined and comprehensive system of education with the same end goal. The practice begins with the training of the physical and mental to culminate in the spiritual.

In my opinion, no other form of education integrates at once the complete development of an individual. Training in dance not only cultivates all the faculties; the body, the senses, the mind but also awakens the sense of beauty, harmony and rhythm lying latent within us and found universally around us. No wonder why the knowledge of classical dance (natyaveda) is considered the ultimate knowledge (panchamaveda)!

na tat jnanam na tat shilpam, na saa vidya, na saa kala
naasau yogo, na tat karma naatye asmin yanna drishyate 
There is no wisdom, no sculpture, no stream of knowledge, no art,
no science and no action that does not find reflection in Dance. - Natyashastra 

Patra Lakshanam: Traits of a Danseuse

Dancers at Kalakshetra, Chennai

 A danseuse is called "Patra" in Sanksrit. This shlokam from the ancient epic "Abinaya Darpanam"  enumerates the qualities of a dancer.

Tanvi roopavati shyama pinnonata payodhara
Pragalbha sarasa kantha kushala gruhamokshayoha
Vishaala lochana geeta vaadhya taalanu varthinee
Paradyo bhusha sampanna prasanna mukha pankala
Evam vidha guna peta nartaki samudhiritha 
(Slim, of great beauty, dark complexioned, full-bosomed, swan like, lovely, intelligent, large-eyed, able to dance according to song, orchestra and rhythm in keeping with the beat. Endowed with precious qualities and a smiling face resembling a lotus flower. All these qualities are possessed by a danseuse )

On my recent visit to Chennai, I had the opportunity to tour the world renowned Kalakshetra Foundation. Every single dancer I met there embodies these qualities to the fullest. This shlokam holds the essence of a beautiful and intelligent woman!

P.S: This description is not complete as I don't know the meaning of the following phrases "pragalbha", "gruhamokshayoha", "paradyo bhusha sampanna" and "samudhiritha".  I plan to refine the meaning when I find out.

Bharatanayam - Grade 1 Exam

Syllabus from Thamil Isai Kalaa Manram of Ontario (Dance Examination 2014)

THEORY (Oral test only)
1) Namaskaram and its importance
2) Dhyaana Shlokam
3) Mudras - Asamyuta Hastas
4) Explanation of Bhava, Raga, Tala 

PRACTICAL
1) Thattadavu (Total:8)
2) Nattadavu (Total:8)
3) Tha Thei Thei Tha (Total:4)
4) Kudhithu (Jump) Mettadavu (Total:4)
5) Theiya Theiyie (Total: 4)
6) Thath Thei Thaha (Total: 4)
7) Thath Thei Tham (Total:6 only 2 of these are included for Grade 1)
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THEORY

1) Namaskaram and its importance:

Namaskaram (Obeisance) is the traditional way to start and end a dance practice or a performance. The dancer pays respect to the Lord, Guru and the audience and asks for forgiveness from Mother Earth for stamping on her during the dance. The dancer also prays for protection to the Ashta Dikpalas, the eight deities that guard the eight quarters of the world.

2) Dhyaana Shlokam

In Sanskrit Dhyaana means “meditation” and Shlokam means “prayer”. It is a tradition to start a dance practice with a recitation of the Dhyaana shlokam.

Angikam Bhuvanam Yasya  ( Whose body is the entire Universe)
Vachikam Sarva Vangmayam ( Whose speech is all the language of the Universe)

 Aaharyam Chandra Taradi (Whose ornaments are the moon and the stars)
Tam Numah Saattvikam Shivam (Him, we bow to, that pure Lord Shiva!)

Word for word meaning: Angikam : body , Bhuvanam : universe, Yasya : whose, Vachikam : speech, Sarva : all, Vangmayam : languages, Aaharyam : ornaments, Chandra : moon, Taradi : stars, Tam : Him, Numah : bow, Saattvikam : pure, Shivam : Lord Shiva 
Hand gestures used in Angikam Bhuvanam : uses a few special hand gestures 
Angikam : ( ? ), Bhuvanam : suchi, Yasya :  ( ? ), Vachikam : ( ? ), Sarva: patakam, Vangmayam: (mukulam to alapadmam), Aaharyam: ( ? ), Chandra : (alapadmam), Taradi: ( ? ), Tam : (suchi), Numah: (anjali), Saattvikam : ( ? ), Shivam: (ardhachandran, shikharam) 

3) Asamyuta Hastas (Single hand gestures - 28 mudras) 
Shlokam: || Patakas tripatako ardhapatakaha kartarimukhaha
Mayurasyo ardhachandrashcha arla shukatundakaha
Mushtishcha shikarakhyashcha kapittha katakamukhaha
Suchi chandrakala padmakoshakaha sarpashirstatha
Mrigashirshaha simhamukhaha kangulashcha alapadmakaha
Chaturobramarashchaiva hamsasyo hamsapakshakaha
Samdamsho mukulashchaiva tamrachuda trishulakaha
Ityasamyutahasta hastaanaam ashtavinshatiririta ||

The literal meaning and usage of the hand gestures. 
pathaka : flag -> natyarambham, night, river, clouds
tripathaka: a triangular flag -> Indra (both hands in tripatakam)
arthapathaka : half flag -> showing a branch
kartharimukha: scissors -> show lightning, separation of man and woman, disagreement
mayura : peacock -> vomiting, forehead, wipe away tears
ardhachandra: half moon ->moon, seizing the neck
arala: bent  -> drinking poison, nectar
shukathunda:  parrot's beak (? or head?) -> shooting an arrow
mushti : fist -> grabbing the hair, wrestling
shikharam: peak -> shiva lingam, manmatha
kapitham: wood apple -> lakshmi, saraswathi, milking the cow
katakhamukham: opening in a bracelet -> plucking flowers, wearing a pearl necklace
2nd katakhamukham: (double headed kapitham) : holding out a mirror, use both hands
3rd katakhamukham: mother
suchi : needle ->threatening, sun, twirl the hair, pointing at a distance, once upon a time
chandrakala: digit of the moon -> moon, face
padmakosha : lotus bud -> bowl of food, fruit, coconut
sarpashirsha : snake hood -> sandal paste, sprinkle
mrigashirsha : deer head -> animal's head
simhamukham : lion face -> used to show deer, drop of water
kangulam : lime (any fruit) -> bells, garland, white water lily
alapadmam: bloomed lotus -> beautiful, full moon, full moon, thinking about beauty
chaturam: four, square-> eye, color
bhramaram : bee
hamsasyam: swan beak-> eye brow, painting
hamsapaksham:swan wing
samdamsha: pincers
mukula: blossom
tamrachuda: cock
trishula: trident

4) Explanation of Bhava, Raga, Tala

The origin of the name Bharatanatyam came from 4 Sanskrit words Bha-ra-ta-natyam

Bha comes from Bhava, which means expression.

Ra comes from Raga, which means melody.

Ta comes from Tala, which means rhythm.

Bhava (Expression): Bhava is the emotional expression of the performer. It is a visual expression by which a dancer can convey her inner feelings. Examples: happy, dad, shy, anger, fear (navarasas)

Raga(Melody): A raga is identified by a particular combination of musical phrases (swaras) that gives it its unique melodic character, and expresses certain moods or emotions.Eg: Vasantha ragam

Tala (Rhythm): The tala is a rhythmic cycle containing a fixed number of beats. Talam provides the rhythemic foundation for the melodic structure.Eg Adi, Rupakam

PRACTICAL 

Thattadavu (Total 8)
	Right leg	Left leg	Talam
1	Theiya	Thei
2	Theiya Thei	Theiya Thei
3	Theiya Theiya Thei	Theiya Theiya Thei
4	Theiya Theiya Theiya Thei	Theiya Theiya Theiya Thei
5	Theiya Theiya Thei Thei Tham	Theiya Theiya Thei Thei Tham
6	Thei Thei Tham ,,	Thei Thei Tham ,,
	Thei Thei Tham ,,	Thei Thei Tham ,,
7	Thei Thei Thath	Thath
	Thei Thei Tham
8	Thei	Thei
	Thei	Thei
	Dhidh	Dhidh
	Thie

Spirituality of Dance

So beautifully expressed by great dancers .. 

After you have danced for many years, dance becomes a religion for you. It becomes something that is a part of you. It becomes a limb of your body and something which takes you to another world which otherwise you wouldn't be able to reach. You reach out ...if you believe in god it reaches out to god. If you believe in beauty it reaches out to beauty ..If you believe in your self, it makes you understand yourself better.
-- Dr Kumudini Lakhia a pioneer in Indian Kathak dance

This Divine art is a boon for it shapes the body into graceful controlled beauty, the mind into alertness and sensitivity and the emotions into controlled and purified receptors for the deepest inner longings of humankind.
    - On Bharatanatyam by Bhavanani's, Yoganjali Natyalayam, Pondicherry. 

Whosoever knoweth the power of the dance, dwelleth in God. - Rumi

Bharatanatyam Shlokas

I copied these shlokams from my Guru Susitha Nalliah's carefully preserved, decade old, tattered notebook. With due respect, I am reproducing the text here for the convenience of all her students. 

Beginning Shlokas

1) Om

2) Gajananam Bhuta Ganathi Sevitam, Kapittha Jambu Palasara Bhaksitam

Uma Sutam Shoka Vinasha Karanam, Namami Vignesvara Pada Pankajam

(The one who is served by all. The one who holds kapitha and jumbo fruits. The one who is Parvathi's son and remover of all sorrows. To that Vigneshwara, lotus like feet I bow)

3) Sarasvati Namastubhyam Varade Kaama-Ruupinni

Vidyaarambham Karissyaami Siddhir-Bhavatu Me Sadaa

( O goddess Saraswati, my humble prostrations to you. You are the full filler of all my wishes.I start my learning with the request that you please bestow your blessings.)

4) Samudra vasane devi, parvatha sthana mandale

Naatyam karishye bhoodevi Paadaghatha kshamasvame.

( Whose clothing is the ocean. Whose body is the mountains and plains. We dance on you, Oh mother Earth! Please forgive us for striking on you )

5) Gurur brahmaa gurur vishnuh, gurur devo maheshvarah

gurur saakshaat parabrahma, tasmai shree gurave namah.

( We see Brahma and Vishnu in our teachers. We see Shiva in our teachers. You are all united under one. I bow to your feet my teacher.)

 

6) Angikam bhuvanam yasya,  vachchikam sarva vangmayam

Aaharyam Chandra taradi, tavam namah Satvikam shivam

(We bow to the Satvika Shiva, Whose body is the world, Whose speech is the entire language, And whose ornaments are, The sun, the stars and the moon.) 

7) Bharatha Kula bhagya kalike, Bhava rasananda parinathakare

Jagatheka mohanakale, Jeya Jeya rangadhi devathe devi

(Thou, the good fortune of Bharatha’s descendants. Thou, from whom emanates bhave, rasa and ananda. Thou, the fascinating enchantress of the whole world. Glory to Thee. Divine Goddess. Glory to Thee.)

8) Vigna Namnashanam Karthum, Bhoothanam Raksha Nayacha

Devanam Thushtayea chapi, Preksha Kanam Vibhuthaye

Shreyasenaya Kasyatra, Patra Sumrakshanayacha

Archarya Shiksha Sidhyarthum, Pushpanjalim Adhara Bhed

( To destroy the obstacles, To protect the living being. To please the gods, To bring prosperity to the spectators. For the safety of the dance hall, For the protection of the dancers For the success of training given by the guru I now begin the offering of flowers (Pushpanjali) ) 

  

9) Om Saha Nau-Avatu, Saha Nau Bhunaktu, Saha Viiryam Karavaavahai

Tejasvi Nau-Adhiitam-Astu Maa Vidvissaavahai, Om Shaantih Shaantih Shaantih

( Om, May God Protect us Both (the teacher and student). May God nourish us both. May we work together with energy and vigour. May our study be enlightening and not give rise to hostility. Om, Peace, Peace, Peace)

Ending Shloka

Vishnu Shakthi samuthpanne  chitravarne maheetale

aneka ratna sampanne Bhoomidevi namosthuthe.

Om Shaantih Shaantih Shaantih 

( The one who is born our of Vishnu’s power, The custodian of all colors on Earth. The one who is adorned with precious jewels, I bow to you Oh Mother Earth.  Om, Peace, Peace, Peace)

Perfection is a state of being

My 5yr old daughter started learning Bharatanatyam. As she begins learning, I too discover the joys of learning. This shlokam holds the key for any dancer to excel in this art.

Yato   Hasta   Stato   Drushti
Yato   Drushti   Stato   Manaha
Yato   Manaha   Stato   Bhavom
Yato   Bhavom   Stato   Rasaha
(Where the hand goes, there the eyes should follow
Where the eyes are, the mind should follow
Where the mind is, there the expression should be brought out
Where the expression is, there the flavor will be experienced)

Arun Shankar, my second cousin who graduated and taught at the renowned Kalakshetra, Chennai

Perfection and grace in any activity requires the complete coordination of body, mind and all the senses.