Natyam - Mind, Speech and Action

I would like to start today’s post by saying a few words about Indian religious works in general. The sheer volume and the intricate details scare us from learning these works. The Natya Shastra is no exception. There are a few abridged versions available, still not making it easy as they also speak jargons. Also the language in which they were written, usually Sanskrit, which we are not much familiar with, makes it even more difficult. We need more abridged versions with just the needed information for any one to learn and appreciate the art form.

Natya Shastra is divided into 36 chapters. I want to discuss the chapters slowly with you all, so that we can understand the essence fully and interestingly. I would like to tell you part of the 1^st chapter just like a story. Even though Bharatha is said to be the author of Natya Shastra, the real author is Lord Brahma Himself. Just like Mahabharatha was dictated by Vyasa and written by Lord Ganesha, same way Brahma dictated Natya Shastra to Bharatha. This art form is the blend of 3 styles (Vrttis), viz Verbal utterance which includes dialogues and musical verses (Bharati), the Grand conception of mind which means the imagination and understanding of what is being performed (Sattvati), vigorous physical activity which is nothing but dance (Aarabati). Charming graceful movements (Kaisiki) were added later.

The Vrttis mentioned here are nothing but Mind, Speech and Action which are very important for all art forms. But, Dance is the only one which uses each and every part of the body thoroughly. Even eyebrows and eyelids are used efficiently both in pure dance and expressions. After Bharatha learnt, practiced and perfected the art form along with his hundred sons, presented it on stage with the help of Sages Narada and Swati. Celestial Damsels created by Brahma also joined them in the performance. A story or Dance Drama was presented by them. What was presented and during what occasion it was presented? Let us continue next week.

Natya Shastra must be older than Mahabharatha itself, as there are instances of dance being performed during that time. Arjuna disguised as Brgannala taught dance to Uthra, princess of the kingdom of Virat.

The life of professional dancers varied from time to time and is always under criticism. Even though dance has attained high status, certain reservations still remain in the society. We need to understand and accept certain things related to time. We cannot argue or criticize their life based on our exposure and life values of today. I will speak about a few instances regarding this next week.

This week’s update

The Hindu’s Friday review carried a small information about the friendship between ‘Saint Thyagaraja and Tamil composer ‘Ganam Krishna Iyer’. When Krishna Iyer elaborately sang the first line (Pallavi) from one of Thyagaraja’s compositions, Thyagaraja asked Krishna Iyer to sing one of his own compositions. Immediately Krishna Iyer composed a new Pallavi in the same Raga as Thyagaraja’s composition. This incident shows the kind of respect between two great souls. Respect for fellow artists and sharing of knowledge are two commendable characteristics one should always follow. Art form on the whole should be contributed and more important than individual gains.

See you  all again next week!