Hindu Culture (Dance) -3

Hindu  Culture – Dance

Yakshagana

Yakshagana (Kannada: ಯಕ್ಷಗಾನ, yakṣagāna,  is a theater form that combines, dance, music, dialogue, costume, make-up and stage techniques with a unique style and form. This theater style is mainly played in the coastal districts and Malenadu regions of Karnataka, India and traditionally played from dusk to dawn.
Yakshagana is the recent scholastic name (used in the last 200 years) for art forms known as kēḷike, āṭa, bayalāṭa, bayalāṭa, daśāvatāra (Kannada: ದಶಾವತಾರ). It is believed to have evolved from pre-classical music and theatre during the period of the Bhakti movement.  Yakshagana is popular in the districts of Uttara Kannada, Udupi, Dakshina Kannada, Shimoga and Kasaragod district . Yakshagana has become popular in Bangalore over the recent years, particularly in the rainy season, when there are few performances in the coastal districts.  It has drawn comparisons to the Western tradition of opera. Actors wear costumes and enact various roles. Traditionally, Yakshagana would go on all night. It is sometimes simply called as ಆಟ "play" in both Kannada and Tulu.  Yaksha-gana literally means the song (gana) of a yaksha, which was a term for exotic tribes of ancient India.
Yakshagana consists of a himmela "background music group" and a mummela "dance and dialog group", which together perform Yakshagana poetry. Himmela consist of a bhagawata "singer" who is also the director (also called the first actor, modalane vesha), maddale, harmonium for drone (pungi was used earlier) and chande (loud drums). The music is based on Yakshagana ragas characterised by rhythmic patterns called Mattu and Yakshagana Tala. Yakshagana Talas are believed to be based on patterns which later evolved into Carnatic talas.
A Yakshagana performance begins at the twilight hours with the beating of several fixed compositions on drums called abbara or peetike. This lasts for up to an hour before the actors get on the stage. The actors wear resplendent costumes, head-dresses, and face paints.
A performance usually depicts a story from Indian epic poems and the Puranas. It consists of a narrator (Bhagvatha) who either narrates the story by singing or sings prepared character dialogues, backed by musicians playing on traditional musical instruments as the actors dance to the music, with actions that portray the story as it is being narrated. All the components of Yakshagana, music, dance and dialog are improvised. Depending on the ability and scholarship of the actors, variation in dance and amount of dialog may change. It is not uncommon for actors to get into philosophical debates or arguments without going out of the framework of the character being enacted. The acting can be categorised as method acting.

History

Origins

Yakshagana is a recent scholastic name adopted for what were and are known as Kelike, Aata, Bayalaata, Dashavatara in Karnataka. Yakshagana actually refers to a style of writing and to the written material or the Yakshagana poems. There are questions on whether this writing system originated in Telugu literature and used for poems enacted in Bayalaata. Yakshagana in its present form is believed to be influenced by the Vaishnava Bhakthi movement. Yakshagana is a separate system of music independent of Karnataka Sangeetha and the Hindustani music of India, believed to survive as an indigenous phenomenon only in parts of Karnataka and Kerala. First written evidence about present day Yakshagana is available on an inscription dated 1556 CE found at Lakshminarayana Temple, Kurugodu, Somasamudra, Bellary district, a copy of which is available at University of Madras.  This inscription mentions of a land donated to the performers of the art, so as to enable people enjoy tala maddale programmes at temple. Another important evidence is available in the form of a manuscript of Virata Parva on palm-leaf found at Ajapura (present day Brahmavara) and the poet's name was Vishnu.  One more historic Palm-leaf manuscript dated 1621 CE describes Sabhalakshana.
There is some resemblance among the members of the 'Traditional Theater Family' like Ankhia Nata (Assam), Jathra (Bengal), Chau (Bihar, Bengal), Prahlada Nata (Orissa), Veedhinatakam & Chindu (Andhra), Terukoothu Bhagawathamela (Tamil Nadu), Kathakkali (Kerala). Researchers have argued that Yakshagana is markedly different from this group.
Experts have placed the origin of Yakshagana from the 11th century to the 16th century.  Earliest limit is fixed by a finding by Vidwan Bannanje Govindacharya who says a legend goes to show that Sage Narahari Thirtha (c, 1300) started a Dasavathara Ata performance and a troupe in Udupi and later this spread to other places and grew into what we call Yakshagana today ^]
Yakshagana must have been an established form by the time of famous Yakshagana poet Parthi Subba (1600) to whom Ramayana in Yakshagana is attributed. Shivarama Karantha in his research work argues that it is Subba son of Venkata who is its author, rejecting claims by Muliya Thimmappa and Govinda Pai citing procedural lapses in their findings. Because he is said to be a Bhagawatha (singer) himself and is believed to have founded a troupe, and probably he is the formulator of the Tenkuthittu (Southern style) of the art  Troupe centers like Koodlu and Kumbala in Kasaragod District, and Amritheshwari, Kota near Kundapur claim having a troupe three to four centuries ago. So we can safely assume that this art form had taken shape by about 1500. However, what we see today as Yakshagana, must have been the result of a slow evolution, drawing its elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists imaginations – all interwoven over period.
It is related with other forms prevailing in other parts of Karnataka and neighbouring states of Andhra Pradesh, Kerala, Tamil Nadu and Maharastra. Yakshagana, like many other forms, defies neat classification into categories like folk, classical, rural. It can be included into each of these, or all of them together, depending upon our line of approach. Being a theater form, unlike a dance form, it is more plural and dynamic. And hence it exhibits many types and varieties inside itself. However, Yakshagana can be rightly called a traditional form. Primarily it is a name given to the form prevailing in Coastal and Malnad areas of Karnataka, though forms like Doddata are also called by the same name often. The traditional theater form Mudalpaya of Southern Karnataka, the Doddata of Northern Karnataka, the Kelike in the borders of Andhra Pradesh, the Ghattadakore of Kollegal in Chamarajnagar district – are such forms. Among them, the Ghattadakore is a direct branch of Coastal Yakshagana, while Mudalapaya is the most closely connected form.

Early poets

Early Yakshagana poets include Ajapura Vishnu, Parthi Subba, Nagire Subba, Purandaradasa etc. King Kanteerava Narasaraja Wodeyar II(1704–1714) has authored 14 Yakshaganas in various languages in Kannada script.  Mummadi Krishnaraja Wodeyar (1794–1868) has also written several Yakshagana prasanga, including Sougandhika Parinaya.  Muddana has composed several Yakshagana prasangasa including much popular Rathnavathi Kalyana.

Yakshaganamu in Andhra Pradesh

There is a form called Yakshaganamu in Andhra Pradesh also, which exhibits some resemblance to the Yakshagana forms of Karnataka plateau region and it is less sophisticated as a visual art.

Growth and changes

With the socio-economic changes of the 19th century, arts like Yakshagana also changed. The 19th century produced a big number of compositions. Around 1800, a troupe from Dharmastala visited the court of the king of Mysore and established a troupe there. In the 1840s, a troupe (Karki Hasyagar Mela) from Uttara Kannada (North Kanara) visited Maharastra, and inspired the first modern age mythological drama by Vishudas Bhave. A number of troupes arose all over the Coastal Karnataka and probably in other parts of Karnataka too. By the early decades of this century the structure of Yakshagana reached a definite shape and form ^]

Yakshagana is a form of theater, rather than a form of dance

1930s saw some changes in compositions, organizations and presentation. Dance and the spoken word was further developed and refined. But in costume, a type of degeneration started setting in due to the use of 'modern' clothing and stone jewellery, in place of hand loom clothing and wooden ornaments.  
The year 1950 saw the birth of 'tent' troupes, giving performances to audience by tickets, with 'tent theaters' and furniture for seating. These troupes brought in commercialization of Yakshagana, with both merits and demerits. Yakshagana saw major changes in form and organisation, electrical lights replaced the 'gas lights' or 'petromax' lamps. Seating arrangements improved. Major changes came in the themes, with the inclusion of folk epics, Sanskrit dramas and created (imaginary) stories forming the thematic base. Popular entertainment became the criterion in place of 'classical' presentation. Tulu, the language of the Southern part of the D.K. district was introduced on the stage, where hitherto only Kannada was used. This gained great popularity. All these trends continued with added vigor after 1970s, with a new element of influence. Noted writer, Kota Shivaram Karanth experimented with the dance form by introducing Western musical instruments. He also reduced the time of a Yakshagana performance from 12 hours to two and half hours, for the convenience of city dwellers. Another trend that has emerged in modern Yakshagana is the incorporation of movie stories.Yakshagana has undergone innovation in dance and theatre, which includes performances of Shakespeare. Nowadays Female artists in Sagara are performing a full fledged yakshagana show, like wise there are numerous Troops.

Yakshagana ballet

Second half of 20th Century saw experiments and adoptions for this art into other forms, notable such effort being that of Shivarama Karantha, who produced yakshagana ballet using local yakshagana artists and exhibited all over India.^{[14] [15]} The changes brought about by Sri Karanth to the form and content of Yakshagana attracted criticism. ^[16] One court deciscion banned public performance of his experiments as Yakshagana.^{[citation needed]}

Outside India

"Bhasmasura Mohini" played at California in 2011

Yakshagana is finding new grounds outside India. Amateur troupes have emerged on the coasts of California, USA and Ontario, Canada. "Yakshagana Kalavrinda" and Yaksharanga in the USA and Yakshamitra in Canada are a few examples. Yakshamitra performs in Toronto, Canada and is first to use local live music (Himmela) for their performance. "Yakshagana Kalavrinda" performs on the east coast of USA. Yakshagana in the USA started after the visit of Yakshagana artist Sri Chittani Ramachandra Hegde. His performance at the age of 74 was so inspiring that art lovers decided to continue this great art thousands of miles away from its home. Sri Kidayuru Ganesh who accompanied Sri Chittani stayed back for couple of months to train new generation of Yakshagana artists. The result was a performance of Yakshagana “Sudanvarjuna Kalaga” with participation from local enthusiasts. Since then Yaksharanga has performed many shows around California. These troupes usually use a recorded background Yakshagana music(Himmela) for their performances. Other amateur troop outside of India is "Yakshamitra" in Toronto, "Canada".
Another Yakshagana Troupe "Shri Idagunji Mahaganapati Yakshagana Mandali, Keremane headed by Shri Keremane Shambhu Hegde and Shri Keremane Shivanand Hegde toured USA and performed about 22 programs all over North America. The troupe visited about 12 countries and celebrated 75 years in history of Yakshagana.

Variations

Scholars have classified Yakshgaana broadly into two types.

• Moodalopaya Yakshagana includes eastern maidan areas of Karnataka such as Channarayapattna and Arsikere Taluks of Hassan District, Nagamangala Taluk of Mandya District, Turuvekere Taluk of Tumkur District, Hiriyuru, Challakere of Chitradurga District and North Karnataka.
• Paduvlopaya Yakshagana comprises the Western parts of extended Karnataka, including Kasaragod dakshina Kannada, Udupi and Uttara Kannada.

Paduvalopaya Yakshagaana is divided into three variations

1.  Tenkutittu ( includes areas Kasaragod (Kerala), Manalore District, Udupi, Sampaaje, Sulliya, Puttur, Bantwala, Belthangady, Karkala etc.)

2.  Badagutittu (Udupi to Kundapura area, Uttara Kannada district)

3.  Badabadagutittu/Uttara Kannadatittu (extreme north parts of Uttara Kannada)

Badagutittu

The Badagutittū style of Yakshagana Costume

The Badagutittu style, as its name indicates, is prevalent in Northern parts of South Canara, that is, from Padubidri to Byndoor and North Kanara District. The Badagutittu school of yakshagana gives emphasis on facial expression, matugarike (dailogues) and dance appropriate for the character depicted in the episode. It makes use of a typical Karnataka chande.  The Badagutittu style was popularized by Shivram Karanth's Yakshagana Mandira at Saligrama village in Dakshina Kannada as a shorter, more modern form of Yakshagana. Keremane Shivarama Hegde, the founder of the Yakshagana troupe, Idagunji Mahaganapathi Yakshagana Mandali is an exponent of this style of Yakshagana. He is also the first Yakshagana artist to receive the Rashtrapati Award. Sri Chittani Ramachandra Hegde won Padmashri award for his life time contribution to the art.

Tenkutittu

One of the traditional variation, the Tenkutittu style, is prevalent in Dakshina Kannada, Kasaragod district, Western parts of Coorg (Sampaje) and few areas of Udupi district. The influence of Karnatic Music is apparent in tenkutittu buttressed by the type of Maddale used and in Bhaagavathike. This does not mean that Yakshagana is completely classic. At best, we can say that Yakshagana is a folk art influenced by classical aspects. Tenkutittu amply exhibits that Yakshagana is basically a folk art and not of classic or elite tradition. In Tenkutittu traditionally more than 15 types of colours have been identified. But in practice three important set of colours are identified: 1. Raajabanna 2. Kaatbanna 3. Sthreebanna

Himmela in Tenkutittu is a coherent one with beats of Chande and Maddale coupled with chakrataala and Jaagate of bhaagavatha result into an excellent symphony. Dance form of tenkutittu strikes the attention of audience by 'Dheengina' or 'Guttu'-Performers often do Dhiginas, jumping spins in the air and often continuously spin hundreds of times. Tenkutittu is a variation of Yakshagana more focused on high flying dance moves. Tenkutittu is well known for its extravagant Rakshasas (Demons) and its incredible dance steps. The Tenkutittu, albeit, has remained a popular form and has its own audience even outside the coastal areas. DHARMASTHALA MELA and KATEELU DURGAPARAMESHWARI MELA (most popular melas), HOSANAGARA mela and other melas have popularized this form. Several creative plays have been composed by noted scholars such as Amritha Someshwara.

Components

Yakshagana Raga

Main article: Yakshagana Raga

Yakshagana Rāga refers to melodic framework used in yakshagana. It is based on pre-classical melodic forms that comprise a series of five or more musical notes upon which a melody is founded. Ragas in Yakshagana are closely associated with a set of melodic forms called Mattu. In Yakshagana tradition, rāgas are associated with different times of the night throughout which Yakshagana is performed.

Yakshagana Tala

Main article: Yakshagana Tala

Yakshagana Tala (Sanskrit tāla) are frameworks for rhythms in Yakshagana that are determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.

Yakshagana Prasanga and literature

Main article: Yakshagana poetry

Yakshagana poetry (Yakshagana Padya or Yakshagana Prasanga) is a collection of poems written to form a music drama called Yakshagana. The poems are composed in well known Kannada metres using the frame work of Yakshagana Raga and Yakshagana Tala. Yakshagana also has what is called a Yakshagana metre (prosody). The collection of Yakshagana poems forming a musical drama is called a Prasanga. Oldest surviving parasanga books are believed to have been composed in 15th century.  Many compositions have been lost. There are evidences to show that oral compositions were in use before 15th century. The Yakshagana Prasangas (Literature) are printed in paperback editions nowadays and sold in bookstalls.

Costumes and ornaments

Kings costume (Raja vesha) with Kireeta or the headgear. The mace is used as an abstract depiction of a weapon.

Yakshagna costumes are rich in color. The costumes or Vesha in Kannada depends on characters depicted in the play or prasanga. It also depends on Yakshagana style or tittu.
Badagutittu Yakshagana Ornaments are made out of light wood, mirror work, colored stones. Though, lighter materials like thermocol are used in modern days, ornaments are still predominantly woodwork.
Yakshagana costumes consist of headgear (Kirita or Pagade), Kavacha that decorates chest, Buja Keerthi (armlets) that decorate shoulders, and belts (Dabu) all made up of light wood and covered with golden foil. Mirror works on these ornaments helps to reflect light during show and adds more color to costumes. These armaments are worn on a vest and covers upper half of the body. Lower half is covered with Kachche that comes in a unique combination of red, yellow and orange checks. Bulky pads (cloths) are used under Kachche and this makes actors different from general audience in size.
Bannada Vesha that involves detailed facial makeup is used to depict monsters. It may take 3 to 4hrs to complete makeup for certain vesha.
Traditionally, males are playing female roles in Yakshagana. However, more recently yakshagana has seen female artists, who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments.

Sattriya

Sattriya or Sattriya Nritya (Assamese: সত্ৰীয়া নৃত্য), is one among the eight principal classical Indian dance traditions. In the year 2000, the Sattriya dances of Assam received recognition as one of the eight classical dance forms of India.  Where as some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the founder of Vaishnavism in Assam , the great saint Srimanta Sankardev, in 15th century Assam.

Sankardev created Sattriya Nritya as an accompaniment to the Ankia Naat (a form of Assamese one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called. As the tradition developed and grew within the sattras, the dance form came to be called Sattriya Nritya. Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago.

The dance

Sattriya Dancer Krishnakshi Kashyap in a traditional Sattriya Dance costume made of Assam Pat silk and traditional Assamese jewellery: Kopali on the forehead, Muthi Kharu (bracelets), Thuka Suna (earrings) and Galpata, Dhulbiri, Jethipata and Bena (necklaces). Traditional Kingkhap motif is used in the main costume with Kesh pattern on the border. The Kanchi or the waist cloth has the traditional Miri motif.

The core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members of the sattras, on themes not merely mythological.

Sattriya Nritya is divided into many Aspects: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya, Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi, and Sutradhara, to name but a few - these being the counterpart to Items in Bharata Natyam. Like the other seven schools of Indian Classical Dance, Sattriya Nritya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natyashastra, Abhinaya Darpana, and Sangit Ratnakara; a distinct repertoire (marg) and the aspects of nritta (pure dance), nritya (expressive dance), and natya (abhinaya).

Sattriya Nritya is accompanied by musical compositions called borgeets (composed by Sankardeva, among others) which are based on classical ragas. The instruments that accompany a traditional performance are khols (drums), taals (cymbals) and the flute. Other instruments like the violin and the harmonium have been recent additions.

The costumes are usually made of pat - a silk produced in Assam which is derived from the mulberry plant -and woven with intricate local motifs. There are two types of costumes - the male costume comprising the "dhoti" and "chadar" and the female costume comprising the ghuri and chadar . The waist cloth which is known as the kanchi or kingkini is worn by both the male and female dancers. The ornaments, too, are based on traditional Assamese designs.

History

Dr mallika kandali performing Sattriya dance

This dance form has remained a living tradition in Assam's Vaishnava monastries, known as sattras, for over 500 years now. It was originally practised by celibate monks in the form of mythological dance-dramas. These dance-dramas were, in the main, written and directed by the Assamese Vaishnava saint and social reformer Sankaradeva, and by his principal disciple Madhavadeva. They were mostly composed during the 16th century.  In the second half of the 20th century, Sattriya Nritya moved from the sanctum of Assam's sattras/monastries to the metropolitan stage.  Once the domain of celibate male monks, it is now performed by male as well as female dancers. The sattras had observed and maintained certain rigid disciplines and austerities within their walls and, until the first half of the 20th century, this dance style was performed in a highly ritualistic manner by male dancers alone. The classical rigidity, the strict adherence to certain principles, and the non-engagement of academic research on the dance form all contributed to the delayed recognition and acceptance of Sattriya Nritya as one of the eight classical dance forms of India. On 15 November 2000, the Sangeet Natak Akademi finally gave Sattriya Nritya its due recognition as one of the classical dance forms of India, alongside the other seven forms.

However, despite its delayed inclusion within the canon of Indian Classical Dance, and the accompanying lack of organisational support from the Centre that that entailed, Sattriya Nritya continued through the centuries to maintain within its forms the classical exactitude and intricate detail that mark ancient art forms. One positive outcome of Sattriya Nritya's strict adherence to the principles of the sattras has been this ability to maintain its pure forms, its distinct style. Now that it has made its journey from the sanctified interiors of Assam's sattras to the demotic spaces of the world's stages, it is time for an appraisal of Sattriya Nritya's artistic and aesthetic qualities.

Promotion of Sattriya Nritya

Over the years, Sattriya Nritya has received greater acceptance and patronage both outside the state of Assam, and outside India.

Leading Exponents of Sattriya

The following is a list of some leading exponents of Sattriya.^[a]

1.  Bapuram Barbayan Atai

2.  Maniram Dutta Muktiyar Barbayan

3.  Gahan Chandra Goswami

4.  Jibeshwar Goswami

5.  Pradip Chaliha

6.  Lalit Chandra Nath Ojha

7.  Gopiram/Gupiram Bargayan

8.  Raseshwar Saikia

9.  Haricharan Saikia

10.              Kosha Kanta Deva Goswami

11.              Ananda Mohan Bhagawati

12.              Gunakanta Dutta Barbayan

13.              Prabhat Sarma

14.              Jatin Goswami

15.              Paramananda Barbayan

16.              Manik Barbayan

17.              Ghanakanta Bora Barbayan

18.              Jibanjit Dutta

19.              Tankeshwar Hazarika Barbayan

20.              Muhi Kant Borah Gayan Barbayan

Divine forms:

Nataraja

Nataraja or Nataraj,   The Lord (or King) of Dance; Malayalam: നടരാജ ;Tamil:   (Koothan);  , is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation.

Depiction

A traditional Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India, and is the prime deity in the famous Thillai Nataraja Temple at Chidambaram.
The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (or in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well known sculptural symbol in India and popularly used as a symbol of Indian culture.
The two most common forms of Shiva's dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews – weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva's nature; for he destroys in order to create, tearing down to build again.

Etymology

See also: Koothu

Nāṭaraja is derived from the Sanskrit words narta rājan "lord of dance". The change of the dental /rt/ to a retroflex /ṭ/ with concomitant vowel lengthening is a normal sound change for the Prakrit languages descended from Sanskrit.
Koothan is derived from the Tamil word Koothu, which means dance or performance. A male dancer is termed Koothan. Also known as Natairajan in classical Tamil, meaning Nathiyathin(of dance) Raajan (king). Naathiyam is another word for dance.

Characteristics

Nataraja, Bronze, Chola Dynasty, Tamil Nadu, Government Museum Madras, India

• A cobra uncoils from his lower right forearm, and the crescent moon and a skull are on his crest. He dances within an arch of flames. This dance is called the Dance of Bliss, aananda taandavam.
• The upper right hand holds a small drum shaped like an hourglass that is called a ḍamaru in Sanskrit.  A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. It symbolizes sound originating creation or the beat of the drum is the passage of time.
• The upper left hand contains Agni or fire, which signifies destruction. The opposing concepts in the upper hands show the counterpoise of creation and destruction or the fire of life.
• The second right hand shows the Abhaya mudra (meaning fearlessness in Sanskrit), bestowing protection from both evil and ignorance to those who follow the righteousness of dharma.
• The second left hand points towards the raised foot which signifies upliftment and liberation. It also points to the left foot with the sign of the elephant which leads the way through the jungle of ignorance.
• The dwarf on which Nataraja dances is the demon Apasmara (Muyalaka, as known in Tamil), which symbolises Shiva's victory over ignorance. It also represents the passage of spirit from the divine into material.
• As the Lord of Dance, Nataraja, Shiva performs the tandava, the dance in which the universe is created, maintained, and dissolved. Shiva's long, matted tresses, usually piled up in a knot, loosen during the dance and crash into the heavenly bodies, knocking them off course or destroying them utterly.
• The surrounding flames represent the manifest Universe.
• The snake swirling around his waist is kundalini, the Shakti or divine force thought to reside within everything. This also parallels the cords of life worn by the Brahmins to represent the second rebirth.
• The stoic face of Shiva represents his neutrality, thus being in balance.

Significance

An essential significance of Shiva's dance at Tillai, the traditional name of Chidambaram, can be explained as:^[1]

• First, it is seen as the image of his rhythmic play which is the source of all movement within the universe. This is represented by the circular or elliptical frame surrounding the Lord.
• Secondly, the purpose of his dance is to release the souls of all men from the snare of illusion.
• Lastly, the place of the dance, Chidambaram, which is portrayed as the center of the universe, is actually within the heart.

Dancing is seen as an art in which the artist and the art s/he creates are one and the same, thought to evoke the oneness of God and creation.
In the compact spiritual texts of divine knowledge, the holy Geeta, there are three basic guna: Satvic, Tamsic and Rajsic. These combine with each other, and the life forms are created as a result of this divine activity. These life forms remain devoid of prana (breath), until the Divine entity infuses them with life. The Geeta says the division of the Divine entity is ninefold, of which eight can be known by humans, but the ninth is eternally unexplainable and hidden and secret. These eight divisions are the elements, Earth, Water, Fire, Air, Akash, Mana, Buddhi, Ahamkara.
Nataraja is a visual interpretation of Brahman and a dance posture of Lord Shiva. It is the representation of reality at the time of cosmic destruction. We being life forms, cosmic destruction would mean the disappearance of all life. The half moon shown in the head of Nataraja is a symbol only. The fall of the moon would result in cosmic destruction.
The third eye on the forehead of the Lord is a symbol. The serpent wrapped around the neck is a cosmic entity, just as Shiva. Other vedic texts mention a cosmic serpent called Kundalini, present in every living form at the base of the spinal cord. Myths abound about Kundalini's presence and the cosmic dangers associated with its arousal. More abstract and invisible divine energy centres, called Chakras, are associated with its Rise.

Murtis

The Nataraja sect originated in the state of Tamil Nadu in southern India. The trajectory of the dancing Shiva is traced from the processional worship of metal icons outside the sanctum  to the cultic elevation of the Nataraja bronze into the sanctum at Chidambaram.

In the Shiva temple of Melakadambur is a rare Pala image that shows the ten-armed Nataraja dancing on his bull.

Archaeo metallurgical studies made on South Indian bronzes by Sharada Srinivasan combined with iconographic and literary evidence showed that the Nataraja bronze was a Pallava innovation (7th to mid-9th century), rather than 10th-century Chola as widely believed. That the depiction was informed of cosmic or metaphysical connotations is also argued on the basis of the testimony of the hymns of Tamil saints.
The largest Nataraja statue is in Neyveli, in Tamil Nadu.
The image of "the Lord as the Cosmic Dancer" is shown at the Chidambaram temple, an unusual fact as Shiva is depicted in an anthropomorphic form rather than in the usual non-anthropomorphic form of the lingam.
In 2004, a 2m statue of the dancing Shiva was unveiled at CERN, the European Center for Research in Particle Physics in Geneva. The statue, symbolizing Shiva's cosmic dance of creation and destruction, was given to CERN by the Indian government to celebrate the research center's long association with India. A special plaque next to the Shiva statue explains the significance of the metaphor of Shiva's cosmic dance with quotations from Fritjof Capra: "
Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.

Divine Forms

Tandava

Tāṇḍava   or Tāṇḍava nṛtya  ) is a divine dance performed by the Hindu god Shiva. Shiva's Tandava is described as a vigorous dance that is the source of the cycle of creation, preservation and dissolution. While the Rudra Tandava depicts his violent nature, first as the creator and later as the destroyer of the universe, even of death itself; the Ananda Tandava depicts him as enjoying. Shiva as Nataraja (lit. "Lord of dance") is considered the supreme lord of dance.
The Tandava takes its name from Tandu, the attendant of Shiva, who instructed Bharata (author of the Natya Shastra) in the use of Angaharas and Karanas, modes of the Tandava at Shiva's order. Some scholars consider that Tandu himself must have been the author of an earlier work on the dramatic arts, which was incorporated into the Natya Shastra.  Indeed, the classical arts of dance, music and song may derive from the mudras and rituals of Shaiva tradition.

Some of the 108 Karanas of Nataraja at Kadavul Hindu Temple, on Kauai, Hawaii. It is one of the few complete collections in existence, commissioned by Satguru Sivaya Subramuniyaswami in the 1980s. Each sculpture is about 12 inches tall. Chidambaram Temple is also known to have a complete set.

The 32 Angaharas and 108 Karanas are discussed by Bharata in the 4th chapter of the Natya Shastra, Tandava Lakshanam.  Karana is the combination of hand gestures with feet to form a dance posture. Angahara is composed of seven or more Karanas. 108 karanas included in Tandava could be employed in the course of dance, fight, and personal combats and in other special movements like strolling.
The dance is a pictorial allegory of the five principal manifestations of eternal energy:

• 'Srishti'   - creation, evolution
• 'Sthiti'   - preservation, support
• 'Samhara'   - destruction, evolution
• 'Tirobhava'   - illusion
• 'Anugraha'   - release, emancipation, grace

Thus Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death.

Tandava, as performed in the sacred dance-drama of southern India, has vigorous, brisk movements. Performed with joy, the dance is called Ananda Tandava. Performed in a violent mood, the dance is called Rudra Tandava. In the Hindu texts, at least seven types of Tandava are found: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samhara Tandava, Kali (Kalika) Tandava, Uma Tandava and Gauri Tandava. However, some people believe that there are 16 types of Tandava.
"How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of." - Ananda Coomaraswamy
The dance performed by Shiva's wife Parvati in response to Shiva's Tandava is known as Lasya, in which the movements are gentle, graceful and sometimes erotic. Some scholars consider Lasya to be the feminine version of Tandava. Lasya has 2 kinds, Jarita Lasya and Yauvaka Lasya.
The Hindu scriptures narrate various occasions when Shiva or other gods have performed the Tandava. When Sati (first wife of Shiva, who was reborn as Parvati) jumped into the Agni Kunda (sacrificial fire) in Daksha's Yajna and gave up her life, Shiva is said to have performed the Rudra Tandava to express his grief and anger. The Shivapradosha stotra says when Shiva performs the Sandhya Tandava, the other gods like Brahma, Vishnu, Sarasvati, Lakshmi and Indra play musical instruments and sing Shiva's praises.  Ganesha, the son of Shiva, is depicted as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing the Tandava) in temple sculptures. The Bhagavata Purana talks of Krishna dancing his Tandava on the head of the serpent Kaliya. According to Jain traditions, Indra is said to have performed the Tandava in honour of Rishabha (Jain tirthankar) on the latter's birth.

Divine Forms

Rasa lila

The Rasa lila (IAST rāsa-līlā) (Hindi: रास लीला) or Rasa dance is part of the traditional story of Krishna described in Hindu scriptures such as the Bhagavata Purana and literature such as the Gita Govinda, where he dances liki with Radha and her sakhis. The Indian classical dance of Kathak evolved from the 'Raslila of Braj and Manipuri Classical Dance' (Vrindavan) also known as Natwari Nritya, which was revived in 1960s by Kathak dancer, Uma Sharma.
The term, rasa meaning "aesthetics" and lila meaning "act," "play" or "dance" is a concept from Hinduism, which roughly translates to "play (lila) of aesthetics (rasa)," or more broadly as "Dance of Divine Love".
The rasa lila takes place one night when the gopis of Vrindavan, upon hearing the sound of Krishna's flute, sneak away from their households and families to the forest to dance with Krishna throughout the night, which Krishna supernaturally stretches to the length of one Night of Brahma, a Hindu unit of time lasting approximately 4.32 billion years. In the Krishna Bhakti traditions, the rasa-lila is considered to be one of the highest and most esoteric of Krishna's pastimes. In these traditions, romantic love between human beings in the material world is seen as merely a diminished, illusionary reflection of the soul’s original, ecstatic spiritual love for Krishna, God, in the spiritual world.
In the Bhagavata Purana it is stated that whoever faithfully hears or describes the Rasa lila attains Krishna's pure loving devotion (Suddha-bhakti).
Just as a child plays at its own will with its reflection in a mirror, even so with the help of His Yogamāyā Bhagavān Śrī Kṛṣṇa sported with the Gopīs, who were like many shadows of His own form

Etymology

Apart from the definition above, the term also comes from the Sanskrit words rasa and lila, with rasa meaning “juice”, “nectar”, "emotion" or "sweet taste" and lila meaning "act".By taking this etymologic breakdown of the word literally, "Rasa lila" means the “sweet act” (of Krishna). It is often freely rendered as "the dance of love".

Performance

Rasa lila has been a popular theme in Bharatanatyam, Odissi, Manipuri and Kuchipudi items. Ras lila is a popular form of folk theatre in the regions of Mathura, Vrindavan in Uttar Pradesh, especially during the festivals of Krishna Janmashtami and Holi, and amongst various followers of Gaudiya Vaishnavism in the region. Raas leela(Raax lila) is also observed as one of the National Festivals of Assam. During Raax lila, several thousand devotees visit the holy temples and Xatras of Assam every year.

In the tradition of Vaishnavism of Manipur Rasa Lila is depicted within classic Manipuri dance, and revolves around the same story of the love between Krishna and the cowherd girls and tells the divine love story of Krishna, svayam bhagavan and Radha, his divine beloved. This form of dance was started by Bhagya Chandra in 1779 and in some parts of India is still performed every year on Krishna Janmashtami (the festival to clebrate Krishna’s birthday). According to different traditions, the rasa-lila is performed either by boys and girls, or by girls only. The dance is performed holding dandi (plural of danda) or sticks and is often accompanied with folk songs and devotional music.
The Traditional Rasa Lila performances in Vrindavan are famous throughout the Vaisnava world as an experience of the spiritual world. Rasa Lila performance was started by Swami Sri Uddhavaghamanda Devacharya in the early 15th Century CE at Vamshivata in Vrindavan, Mathura. He was a prominent saint of the Nimbarka Sampradaya, and disciple of the world-renowned Swami Sri Harivyasa Devacarya. The Vani literature of Vraja is the transcription of the songs that were heard by Swami Harivyasa Devacarya and his Guru, Swami Shri Shribhatta as they meditated on the Nitya Lila of Shri Radha Krishna. These songs describe the eternal spiritual abode of Shri Radha Krishna, the Sakhis and Nitya Vrindavana Dham - or Nikunja Dham.
As many new devotees of that time could not understand the Vraja language, Swami Uddavaghamanda Devacarya trained his Brahmachari students to play the parts that appeared in the songs in order to get a visual representation of the Lila that was being described. Many were sceptical of this, and attempted to thwart the first enactment. However, at the conclusion of the first Rasa Lila, tradition has it, the Lord Himself appeared and gave the actors his own Crown, and decreed that whenever a qualified actor was to take the part of the Lord, from the moment he put on the crown on his head, it should be understood that he represents the Lila potency of God, and treated with due respect. Shri Radha and Krsna shall be known as Shri Radha Rasavihari.
Since then, the traditional form has remained that actors who are young Brahmacharis will join a group led by the Swami of that group. The music remains the typical Dhrupada style of the Vraja Acharyas who penned the songs they heard to the accompaniment of Sitar and Pakhawaj and the songs are sung in Vraja Language, a parent to modern Hindi.
Recently, many people have taken advantage of the religious sentiments and have begun plagiarising this ancient art, and for popularity changing the music to popular music. Yet there are a dedicated few who seek to preserve the traditional form of devotional art known as Rasa Lila.

Esoteric meaning of Raasa Lila

The gopis are considered to be Sati. The word Sati is used to represent a chaste married woman but Sayana in his commentary of the Taitriya Aranyaka explains that the word “sati” refers to “realized souls”. Krishna plays the flute to call the gopis. The flute is given the status of a teacher, Acharya. The music is knowledge which is Brahma-Vidhya. The music flowing from the flute awakens the thirst for spiritual knowledge in the gopis. This also shows us that we can only learn Brahma-Vidhya through an Acharya. Krishna prefers to use an Acharya as an intermediary to teach us Brahma-Vidhya. Once Brahma-Vidhya is awakened, the gopis abandon their husbands to reach Krishna. The husbands represent our selfish materialistic desires.
True knowledge kills these selfish desires. The gopis want only that which is true and approach Krishna. The Raasa dance takes place in a circle. The gopis represent the jeeva atma. There is one Krishna in the middle surrounded by the gopis. Not only is there a Krishna in the middle but He also appears as a partner for each and every gopi. There are as many Krishnas as there are gopis.
The Krishna in the middle represents Paramatma in His absolute form. The Krishna dancing with each and every gopi represents His Antaryami form. As antaryami He exists as our soul. He is always with us. He exists in each and every one of us. Thus the entire Raasa dance represents the Vishwaroopa Swaroopa of God; He exists as antaryami (soul of every soul) as well as the Absolute God head.
The Raasa dance is performed with the gopis who are women. This represents that all jeeva atmas are feminine. The only male in this entire Universe is Paramatma Sri Krishna. He is known as the Para Purusha or the great Purusha. The Raasa dance shows us one of the nine relationships we share with Paramatma which is that of a husband & a wife. He is our husband. This relationship is a spiritual relationship and differs from the type of spousal relationships we are familiar to.
The gopis encircling Krishna on either side represent students and Krishna is the object of knowledge sought by them. If we look at the two Krishnas encircling a gopi then we see the student in the middle. Knowledge gains importance only when there are students to learn. The two Krishnas encircling a gopi show us the importance of the student or the jeeva atma. The two gopis encircling a Krishna show us the supremacy of the knowledge or Paramatma.
The Raasa dance has deep esoteric meaning and has nothing to do with sensual indulgent. When the esoteric meaning of the dance is illuminated, it helps us to shed our desires for materialistic sensual pleasures. It awakens the thirst to learn Brahma-Vidhya in us; with the help of this knowledge we can reach the feet of Paramatma. The dance takes place at night to show us that the union with Paramatma is beyond time and space. At nighttime the normal boundaries of time and space are not illuminated. Night here represents the transcendental nature of the union of a jeeva atma with Paramatma.

Divine forms

Lasya

The term Lasya, in the context of Hindu mythology, describes the dance performed by Goddess Parvathi as it expresses happiness and is filled with grace and beauty. She is believed to have danced the Lasya in response to the male energy of the cosmic dance of Tandava performed by Lord Shiva. In a literal sense, Lasya means beauty, happiness and grace.

Etymology

The Indian classical music terminology talam has been etymologically derived from the union of the dances of both Lord Shiva and Goddess Parvati (Tandavam and Lasyam). The expression of happiness and joy in dance is also termed as Lasyam.

Om Tat Sat

                                                        

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