Dancing Shiva
Fritjof Capra, an American physicist of Austrian origin, authored ‘The Tao Of Physics’ in 1975 and brought to light the concept of creation and destruction as the essence of inorganic matter - while drawing a very interesting comparison with Lord Shiva’s Dance, which he termed as a dance of ‘subatomic matter’. Capra also explained the relationship between Shiva’s dance and science, potentially inferring that destruction eventually led to creation and evolution. Shiva’s dancing form, the Nataraja (King of Dance), and his cosmic manifestation (Nritya-murthi) has been a part of Indian mythological folklore. It is believed that Shiva danced to put an end to the universe and ordered God Brahma to create life anew. The Nataraja form has been depicted through sound rays emanating from the beating of a hand drum (Damroo) by Lord Shiva, and has also been associated with the five elements of nature: Air, Water, Fire, Earth and Ether, by many religious scholars. Capra believed that Nataraja’s body and hands represented the sky and the eight directions (ashtadik): the three eyes represented the sun, the moon and the directions; the smile, the crescent moon; and the tiger skin, the attire. The serpent on his neck and the body of a dwarfed demon under Nataraja’s feet embodied the qualities of enlightenment, wisdom, protection, freedom, kindness and the control over negative qualities like sloth, jealousy, anger and dimness in knowledge.
Shiva or Mahadeva, the great and auspicious Hindu God, is arguably the most popular of Hindu deities and is worshipped extensively in the Shaivate tradition of Hindu religion. He is considered to be one of the trinity of Hindu Gods - along with Brahma (Creator) and Vishnu (Preserver). Mythologically, Shiva performs the role of the Destroyer, but in equal measure he is considered to be the Preserver of Divine Art. Many scholars like Capra were intrigued by Shiva and his dancing forms - primary of them being the fearsome and the compassionate. Shiva is seen as a yogi (ascetic) living on Mount Kailash and also as a married God with two children (with his wife Shakti or Parvati). He has also been portrayed as the slayer of demons - his fiery third eye reducing evil to ashes. His matted locks hold a crescent moon, which controls the flow of the holy Ganges that trickles down from his hair; and he holds a Damroo in one hand and a Trishul (Trident) in the other.Shiva is believed to manifest the Cosmic aspect of Dance. He is the Lord of the Divine Dance called Tandava, which is a vigorous and enthusiastic form of expression portraying both a violent nature (Rudra Tandava) and also enjoyment and joy (Ananda Tandava). Hindu mythology has also documented instances when some of the other Gods of Heaven - Krishna (incarnation of Vishnu) and Indra (King of Heaven) - have performed the Tandava. As Shiva is generally viewed as a Yogic God, Tandava is often associated with trance, joy, divinity, self-realisation and the merging of self with the Divine. Shiva’s Dance also manifests Divine eternal energy, propagating qualities from the fifth Veda - the Natyaveda, which encompasses lyrics, gestures, music, emotion and sentimental connotations from the other four Vedas.Tandava is also said to be a paradox in real terms: the yogic ascetic, who is calm within himself, free from tensions and worries and who has experienced the absolute, transforms himself into a dancing mode, juxtaposing the internal calmness with energy, activeness and playfulness, through agitated and frenzied movements.
Tandava is considered to have its origins from Tanda, one of the attendants of Shiva, who instructed Bharata Muni, the author of Natyashastra, the treatise of Classical Dance, to incorporate Tandava within two modes - the Karanas (108 in number) and the Anghaharas (32 in number). These are a combination of hand gestures and feet movements, where seven or more Karanas form every Anghahara. The Shivapradosha Stotra also mentions that when Shiva performs the Tandava, the other Gods accompany his performance. Brahma, the Creator, sets the rhythm (tala); Vishnu, the Preserver, plays the Mridangam (a cylindrical drum); Goddess Saraswati, the Goddess of Learning, plays the Veena (stringed instrument); Lakshmi, the Goddess of Wealth, sings; and Indra, the God of Heaven, plays the flute. Even Goddess Gauri performs with Shiva in an enjoyable performance in the evening. The female version of the Tandava performed by Shiva’s wife Parvati is called the Lasya, and the tradition of Lasya is still prevalent among female dancers. There are also instances when Shiva has performed the Tandava in fury, especially when his wife Sati (the earlier birth of Parvati) immolated herself after being insulted by her father. Shiva is believed to have made Heaven and Earth tremble in his Dance of grief and anger. He is also believed to take the form of Bhairava or Veerabhadra while dancing vigorously in the Samshan (cremation ground), in order to free the trapped soul from bondage and to reduce ego to ashes and dust. He dances in the midst of demons that, according to scriptures, fear and revere Shiva as their only God. Shiva is also believed to dance for the purification of the soul, protection and well-being of his devotees, destruction of avaidya (illicit deeds), adharma (unrighteousness) and maya (illusion). The different postures adopted in the Tandava are also depicted by the Nataraja form, where Shiva wears different earrings on both ears. He holds fire on one hand, raises his foot and crushes a dwarfed demon under the other; points one hand forward while holding a Damroo, straps a serpent on the other wrist and touches the Chakra (the wheel of life) with his hand and feet.Shiva’s Dance has been documented in Hindu religious scriptures, in bronzes and sculptures, especially in the temples of South India. The followers of the Shaivate tradition and the worshippers of Shakti (the consort of Shiva) believe that Shiva’s Dance underlines the principles of the cosmic and philosophical tenets of the Hindu religion. Metaphysicists dealing with the principles of abstract concepts like knowledge, being, identity, time and space, have also acknowledged the meaningful amalgamation of the known and the unknown through the Dance of Lord Shiva. Shiva, to many, is not only a God who is worshipped, but also a Dancer who facilitates scientific, cultural and religious unison.
The Writer is a renowned Kuchipudi Danseuse and Choreographer
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Dance ‘Evolutionography’
When I first began choreographing, I never thought of it as Choreography but as expressing feelings. Though every piece is different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else - the music, the set, the movement and whatever is said’ - Pina Bausch . World-renowned Choreographers listened in rapt attention, as the voice of this American choreographer of repute boomed across the length and breadth of the room. He shrugged his wide shoulders nonchalantly, and glancing condescendingly at the Indian delegate who was busy sketching on a piece of paper, he continued, “Choreography, Ladies and Gentlemen, is an art, a skill of sequencing movements to conform to a definitive design. A Choreographer decides on the placement of his artistes on stage. Choreography is a composition of various movements that are unified as an entity through a singular tenor.” Every word seemed to hit the audience with the force of a Thesaurus synonym. The French Choreographer pointed out that Choreography was a specified set of human movements on stage, which exhibited emotions and energy; he clarified that these movements could evolve from various techniques and combinations. The audience appreciated his views and applauded generously. The Italian delegate spoke about repetition in Choreography - especially in dance movements that were fleeting and spontaneous. Disagreeing with his French counterpart, he said that Choreography could not be planned and dictated. He believed that interpretation formed the basis for innovative Choreography. The European Choreographers seemed to be sticklers for technical detail, while the pan-American ones seemed to rely more on design and placement on stage. Words like mirroring, retrograde, canons, levels, shadowing and unison were fired like unguided scud missiles, as various speakers attempted to explain the technique of dancing in pairs or in groups. The atmosphere had indeed become charged. However, the Indian choreographer just carried on with her sketching. The annoyance of the American with her was most apparent, especially when a few sheets of her sketches flew towards him.
As the gathering broke for lunch, the American delegate glanced over the Indian’s shoulder to see what she had sketched. He saw a few graphics, seeming like words of some unknown language. They were ‘shlokas’. Taking just a frugal bite from her plate, the Indian choreographer was engaged in conversation with her counterpart from Botswana. Their conversation was not on the elements of dance, but was focused instead on family and children. The post-lunch session saw more speakers take the stage. The Indian was called in as the last speaker. As she walked past the other delegates, a rude voice rang out, “If only you were listening…’. The Indian choreographer placed her spectacles firmly on the bridge of her nose and smiled. She commenced, “I am sure that the delegates have enriched themselves with the knowledge shared during this seminar. Considering the success and creativity of each of them on the stage for decades, their comments have their own merits. It is also true that regional diversifications in the dance world are manifesting into an international unification; and that the lines of distinction are blurring and, beyond doubt, cultures are intermingling. But my experience with Indian classical dances has always made me ask myself a question - why the need for Choreography? Do not be startled. Dance, to us, is not intended to have an outcome, a goal or a vision. It is a release of energy, a unique expression, which naturally comes from within. India has more than 400 forms of dance, and more than a dozen ‘classical’ ones; each movement in each style has its distinctive dignity and artistry, which cannot be supplanted by the other. It is not about synchronisation, or individuality, or even about placement or technique, but about the art of being deep-rooted. An Indian classical dance can display grace and gentleness in its female form, and at the same time have acrobatic twists and turns in its male version. One dance could be lyrical, with appropriate gestures, facial expressions and sprightly movements, while another could be very subdued. However, when two or more Indian dancing styles are combined into a single choreographic entity, there is an element of under-use and un-use.” She continued, “Let me explain. Our Gurus have experimented with dance forms, and have combined the nuances and tenets, without compromising on the term, sense, style, regional flavour and space - which are often masked by the panoramic setting of Choreography. Choreography creates a new style, and in course of time a new dance form itself, which is undoubtedly its selling point. It is also instrumental in the creation of new variations, in the ever-expanding horizon of dance. But, does it really preserve that which is pristine and pure in dance? Our Gurus never taught us to choreograph or design. They made us understand the mystical aspect of the lyrics and compositions, and
the use of different musical instruments - not as mere accompaniments, but as a part and parcel of the entire dance ‘package’. We work on our instincts and let new forms take over from existing traditions, and also understand and acknowledge that tradition also gets reinforced deeply by newer forms of dance. Indians just dance; our dance choreographs itself.” She looked at her American friend and concluded, “My apologies to you Sir, but Choreography, as I see it, is a Broadway concept of the 1950s, a necessity of the American and European post-war performing art revival effort. I appreciate that effort, and attempt to learn from it with each passing day. Our Gurus and our ‘shishyas’ never were, nor will ever be, Choreographers, for we have always been traditionalists who have let evolution run its course. We are ‘evolutionographers’.” As she walked down from the stage, there was no applause, no reaction…and if silence could speak a thousand words, they were already spoken by the impressive (and impressed) audience.
The Writer is a renowned Kuchipudi Danseuse and Choreographer
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