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CHAPTER II DANCE According to the Indian tradition, the Dance and the Drama are inseparable arts. The ancient Indian aestheticians regarded Nrtya (dance) as a limb of the drama proper. The mime or gesture (Angikabhinaya), costume and make-up (Aharyabhinaya), the imitation of life-like gestures, presentation of all situations and emotions and its rules of basic representation (Samanyabhinaya) and special representation belong as much to the art of dancing as to that of the drama. In every aspect of drama there is an element of dance. Hence the art of dancing is indistinguishable from the drama. The function of drama according to Bharata is aesthetic pleasure. Natya is the imitation of the universe, that is representation of human beings in their states of emotions. What Bharata intended was not a blind imitation of life but 'Bhavamikirtanam." Sanskrt drama contained every thing that heightened 'Sobha' or 'aesthetic beauty!. According to Bharata, everything that is artistic and pleasurable can find a place in drama. Hence, it was accompanied by sweet musical tunes and graceful dances. The song, the dance, beautiful spectacles, drapery etc. enhance the charm of a drama. So, the peculiarity of ancient Indian dramas was their general dependence on dance (nrtta), song (gIta) and instrumental music (Vadya). In the Natyasastra, Bharata discusses four types of Abhinaya as an aspect of Natya which includes dancing also.

- 74 Nrtta, Nrtya and Natya are the three aspects of one single art. This art, through the medium of the beautiful and complete language of movements of every part of human figure, expresses Bhava and Rasa. The evoking of sentiment is considered to be the most vital function of a drama as well as of a dance. Bharata details the various movements of angas and upangas to represent the dominant states (Sthayibhavas) and the transitory states (Vyabhicari Bhavas). This art developed three varieties in our ancient tradition. Abhinaya Darpana draws a clear distinction between Nrtya and Nrtta. The Dance which does not express mood (Bhava) by means of Abhinaya is called Nrtta; and that dance which suggests Rasa and Bhava is called Nrtya. Dhananjaya, the author of Dasarupa, has also distinguished these terms. According to him, Nrtta is based upon the principle of Tala and Laya. Nrtya expresses Bhava and Rasa. The Abhinaya portion of Nrtya depends for its expression on the lyrical literary composition. This Abhinaya portion was originally regarded by Bharata as a part of Natya (drama). 2 1 Dance is the rhythmic physical movement prompted by feelings and emotions. It is the spontaneous movement of the angas and upangas under the influence of some strong emotion such as joy, pleasure, anger or religious exaltation. The art of dance is most intimate with Nature. In Nature we see many simple rhythmic movements, a natural outburst of the dancing instinct. Peacocks dance at the sight of clouds, while snakes dance to music. There is also a rhythm in the dance of waves. No wonder then that in ancient times dance

- 75 existed as a spontaneous force in the life of Nature-workshipp- -ing Aryans. Then dance became the most important feature in the ritualistic practices. In ancient India dance has been closely associated with religious rites and worship as a means of propitiating the Gods, the Goddesses and Nature spirits in whom they had faith or whom they feared. Ritualistic dances are mentioned in the Vedic literature. There is a very important evidence in the Taittiriya Samhita of the Arana Yajurveda which shows that band maids used to dance around the sacrificial altars with vessols filled with water on their 3 heads. In course of time, as society advanced, the art of dancing came to be used for secular purposes and became a social pastime and a means of evoking aesthetic pleasure or enjoyment. Dancing as an art came into existence with the development of human society and civilization. Mahesvara or Siva is considered to be the originator of dance. According to the Indian tradition he is the greatest dancer. He is called Nataraja. Siva is looked upon as a master dancer and the daily dance in the Nature is the eternal response of all creations to his rhythmic force which symbolizes his Tandava dance. His aspects are many. The most popular representation of Siva is the Nataraja. This dancing image appears supremely great in power and grace. Dr. A.K.Coomarswamy says "How amazing the range of thought and sympathy of those rishi-artists who first conceived such a type

- 76 of this.... How supremely great in power and grace this dancing image must appear to all those who have striven in plastic forms to give expression to their intuition of life .. No artist of to-day, however great, could not exactly or more wisely create an image of that Energy which science must postulate behind all phenomena. Siva and his consort Parvati are often depicted in ancient sculptures as Ardhanari Natesvara. Divine origin is attributed to Dance. According to Bharata Abhinaya Darpana of Nandikesvara, Brahma, after creating the fifth veda 1... Natyaveda, imparted it to Bharatamuni. together with groups of Gandharvas and Apsaras performed Natya, Nrtya and Nrtta in the presence of Lord Siva. The divine dancer was deeply impressed, sent for his ganas or attendants and ordered them to teach that art to people on earth. He gave Bharata, instructions in 'Lasya' through Parvati. Tandu instructed Bharata in the Tandava or the Virile aspect of dancing. Its vigorous movements are meant for male dancers. The Lasya or graceful feminine movements were imparted by Parvati to Usa the daughter of Banasura. Usa taught the art to the milkmaids of Dvaraka, who taught this to women of Saurastra who in their turn taught it to women of other countries. In this way this art was traditionally handed down and has come to stay in the world. 5 Natyaveda was meant for the delectation of all. From Bharata's Natyasastra it is clear that various styles of dancing

- 77 existed in India since legendary times. Bharata refers to different styles of dancing according to the various regions of the country - the four Local usages the four Local usages (Pravrttis)- Avanti, Daksinatya, Pancali and Odramagadhi and gives their 6 characteristics. Thus, we see that the art had attained maturity in different regions long before the time of Bharata. Bharata has mentioned his predecessors also. It is very surprising that the classical art of dancing had been flourishing in a highly developed and systematio form over two thousand years ago. Everything is elaborately analysed, and rules and conventions are laid down to regulate it. Panini, the grammarian (2500 B.C.) mentions the names of two Natas - Silalin and Krasva in the Natasutra (IV.3.110- 111). The art of dancing flourished in the epic period. Actors and professional dancers were popular, and ganikas (courtesans) were considered auspicious. In the epic and Buddhist periods dancing was demonstrated in the royal court before the honoured guests. There were troupes of dancers who were patronized by kings. We hear of the seduction of Gautama Buddha by the daughters of Mara who danced before him. necessary for the princesses to be well-versed in the art of dancing. Brhannada and Uttara in the Mahabharata are some of the instances. It was In the Sundarakanda of Ramayana there are references to the art of dancing concerning its actual technique, and the Ayodhya kanda shows that Nata, Nartaks, the Ganika and the Gayika had enriched the art. Arsne is the most popular

- 78 character in dance-drama, wherein he is usually depicted as dancing (Rasalila) with Gopis on the banks of the Jamuna or with Radha in the gardens of Vrndavana. During the days of Buddha the art of dance flourished considerably. Dancer Amrapali was renowned at that time. In the fifth century A.D. during the golden Gupta period Kalidasa glorified dancing in his dramas. Both general and technical references to it are found in his dramas. Dr. Kaplla Vatsyayana has elaborately mentioned all the references to dance from the vedic period 7 to the classical Kavya period. We have seen that in India in the remote antiquity, the sages had codified the rules and regulations relating to the art of dance, drama and music in a very systematic way. The technique of four types of Abhinaya, the diverse elements of the Dharmi, the Vrtti and the gestures or the movements of different parts of the body (Angas, Upangas and Pratyangas) are elaborately discussed. Each glance, and each movement of the eyeball and eyebrow is related to the corresponding Vyabhicari bhava, Sthayi bhava and Rasa. we find a detailed account of the codification of the theory and technique of the classical Indian dance in the Natya sastra of Bharata as well as in the Abhinayadarpana of Nandikesvara (6 th or 7 th C.A.D.). Dhananjaya's Dasarupa and Sangita Katnakara of Sarangadeva are two other medieval authentic works. All these texts give more or less the same account. The technique of dance or the technique of movement is

- 79 closely related to the technique discussed in the Silpasastras and the treatises on painting. They use a similar formalised language of Abhinya and shave, the Angas, the Upangas, the hastas and the Drstis. The different types of sthana, asana, and sayana are mentioned in the both the Natya sastra and the Silpasastra as well as in the treatises on painting. Hence King Vajra in the Vismudharmottara is directed to master the laws of dancing before attempting to learn painting and iconography. The dancing girl statue which belongs to Mohenjodaro excavation in the prehistoric period is suggestive of later dance movements. From this earliest Indian representation of dancing posture to the reliefs of Cidambaram and the bronze Nataraja figures of the 15 th Century, the scholars have recognised many dancing postures and Mudras in the figures of Indian sculpture belonging to different periods of ancient and medieval Indian history. 8 Among the puranas both the Visadharmottara and the Agni Purana give technical details about the Hastas (postures) and Mudras. The Anga-Larma Abhinaya (Actions and Movements) are described in Agni Purana in two chapters (Ch. 341-343). The various limbs (Anga, Pratyanga) are described. After this the Purana emimerates the graceful actions of the various bodily limbs of an actor or an actress. The Vismudharmottara Purana gives a very detailed description about the technique of Indian Dance in the Nrttasutra. All types of postures (Sthana, Asana

- 80 and Sayana) gaits (Rasagatis), various movements of the Abgas and pratyangas, glances (Drstis) and all types of mudras are discussed by the Vismudharmottara in 15 Adhyayas 1.e. from Adhyaya 20 to 34. All these details are similar to those given in the Natya sastra and the Abhinaya darpana, with slight variations. The Visnu Purana, Shagavata Purana and the Harivamsha give some general description of Indian Dance.