Dances

Ananda Tandava - dance of bliss

"I saw cascades of energy coming down from outer space, in which particles were destroyed and created in rhythmic pulses; I saw the atoms of the elements and those of my body participating in this cosmic dance of energy; I felt its rhythm and I heard its sound, and at that moment I knew that this was the Dance of Shiva, the Lord of Dancers." Fritjof Capra, Tao of Physics

According to mythology, Shiva first performed Ananda Tandava (the dance of bliss), to enlighten some sages who had been so immersed in their scholasticism that they had forgotten the existence of God. This Ananda Tandava was later revealed at the Jnana Sabha, one of the shrines of Chidambaram. Myth has it that, at a particular time every year, Shiva still performs the dance here.

In Indian mythology, Lord Shiva is considered as the supreme lord of dance. This divine art form is performed by Lord Shiva & his wife Goddess Parvathi. The Dance performd by Lord Shiva is known as Tandava, which depicts his violent nature as the distructor of the universe. The tandava performed with joy is called Ananda Tandava and performed in violent mood is called Rudra Tandava. There are 7 types of Tandava. Namely Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are few people who believa that there are 16 types of Tandava. Tandava has vigourous, brisk movements.The dance performed by Goddess Parvathi is known as Lasya, in which the movements are gentle, graceful and sometimes erotic also. Some scholars call Lasya as the feminine version of Tandava. Lasya has 2 kinds. Jarita Lasya and Yauvaka Lasya.

The dance of bliss, or the Ananda Tandavam of Shiva is said to symbolize the five divine acts (pancha krityas) of creation, sustenance, dissolution, concealment and bestowment of grace. The dance of Shiva has been frozen in metal and held in worships in Nataraja Sabhas, in virtually all of the Saivite temples in Tamilnadu. Five of the foremost Sabhas (Pancha Sabhai) are at Chidmbaram (Kanaka Sabhai the hall of gold), Madurai (Rajata Sabhai the hall of Silver), Tiruvalangadu near Chennai (Ratnasabhai the hall of rubies), Tirunelveli (Tamrasabhai the hall of copper) and Kutralam near Tirunelveli (Chitrasabhai the hall of pictures). Other dance halls of significance are Adri Sabhai (the Himalayas), Aadi Chitsabhai (Tiruvenkaadu near Chidambaram) and Perur Kanakasabhai (Patteeswarar temple at Perur near Coimbatore).

Some Legends:

Aadi Sesha, the serpent (couch) of Vishnu, heard from Vishnu the grandeur of Shiva's cosmic dance. Filled with irrepressable desire to witness this dance in person at Chidambaram, Seshan descended to the earth as Patanjali (the one who descended). Vyagrapaadar, another devotee of Shiva prayed to obtain the tiger's claws so that he could obtain with ease the sacred Vilva leaves meant for Shiva's worship at Chidambaram. At the appointed hour, Shiva (with Sivakami) granted to Patanjali and Vyagrapaadar, a visual treat in the form of his Cosmic Dance of Bliss, to the accompaniments of music played by several divine personalities in the Hindu pantheon. This Dance of Bliss is said to have been witnessed by Vishnu, and there is a Govindaraja shrine in the Natarajar temple commemorating this. The dance of bliss of Shiva, is also said to have been enacted upon Shiva's (Bhikshatana) victory over the married ascetics of Daruka Vanam.

Yet another legend, commemorating the dance duel between the doyens of dance Shiva and Kali is associated with Chidambaram. Shiva is said to have lifted his left foot towards the sky in the Urdhuva Tandava posture, a definite male gesture, which out of adherence to protocol, Kaali could not reciprocate, thereby causing Shiva to emerge victorious, delegating Kaali to the status of a primary deity in another temple in the outskirts of Chidambaram. This legend is portrayed in the Nritta Sabha, one of the halls within the Chidambaram temple.

The Significance of Shiva's Dance

This cosmic dance of Shiva is called 'Anandatandava,' meaning the Dance of Bliss, and symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death. The dance is a pictorial allegory of the five principle manifestations of eternal energy — creation, destruction, preservation, salvation, and illusion. According to Coomerswamy, the dance of Shiva also represents his five activities: 'Shrishti' (creation, evolution); 'Sthiti' (preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and 'Anugraha' (release, emancipation, grace). The overall temper of the image is paradoxical, uniting the inner tranquillity, and outside activity of Shiva.

Natya, Nritya and Nritta

According to the Abhinaya Darpanam, the Sangitaratnakara and other medieval treatises, dance is divided into three distinct categories, that is, natya, nritya and nritta.

Natya

Natya corresponds to drama. Natya means dramatic representation or drama with speech, music and dancing. According to Abhinaya Darpanam,

 'Naatyam tannaatakam chava pujyam purvakathaayutam',

that is Natya or Nataka which has some traditional story for its theme is an adorable (art).

Nritya

Nritya corresponds to the mime performed to the song. That is in other words, it is the Interpretative dance. The vaachikaabhinaya of natya where the actors themselves use speech, is replaced by the music and song which accompanies dance.

According to Abhinaya Darpanam,

 'Rasabhaavavyanjanaadiyuktam nruttamitiryate, etannnrutyam mahaaraajsabhaayaam kalpayet sadaa',

that is, that dance which relates to Sentiment (rasa) and Psychological Staes (bhaava) is called nritya.

Nritta

Nritta corresponds to pure dance steps performed rhythmically. Here the movements of the body do not convey any mood or meaning and its purpose is just creating beauty by making various patterns, lines in space and time.

According to Abhinaya Darpanam,

'Bhaavabhinayaheenam tu nrittmityabhdheeyate',

that is, that dance which does not relate to any Psychological State (bhaava) is called nritta.

NATARAJA

Indian dance is a blend of nritta - the rhythmic elements, nritya - the combination of rhythm with expression and natya - the dramatic element. Nritya combined with nritta makes up the usual dance programmes. Nritya comprises, abhinaya, depicting rasa (sentiment) and bhava (mood).

To appreciate Indian Dance (Natya or dance drama), one has to understand and appreciate Indian legends. These dances are dominated by rich Indian mythology. They also depict the ethos and values of the Indians.

Nataraja: Shiva, the King of Dances has an emphatic impact on the Indians. His cosmic dance conglomerates creation, preservation and destruction, Nataraja's dance is a metaphorical representation of human life, wherein the good and the bad eventually get neutralised.

Nataraja holds a small drum (damru) in his upper right hand. His lower right hand shows the fear-negating gesture (abhaya), his upper left hand is in half-moon pose (ardhachandra mudra) which holds a tongue of flame which is the fire (agni) that finally destroys the world and is then quenched in cosmic waters. Thus the hand holding the drum and the one holding fire balance the forces of creation and destruction. The second left arm is held gracefully across the chest (gajahasta mudra) with the hand pointing to the uplifted foot, denoting favour or grace for the devotee. One foot rests on Apasmara or Mauyalka, the embodiment of human cruelty and ignorance.

Surrounding Shiva's figure an immense aureole of flames emanates from him. The value of wisdom, truth and the mantra "om" is depicted through the flames.

The dances of India demand classical synergy between Nritya and Natya.