4th chapter - Tandavam

Both the Devas and Asuras wanted to get the ‘Amrta’ or the divine nectar which gave immortality who drank it. With mount Meru as the churner, snake Vasuki as the rope Devas and Asuras churned the ‘Par Kadal’ or the ocean of milk. Mount Meru started sinking. Vishnu took the form of tortoise (Kurma Avtar), and lifted mount meru to the surface of the ocean for the churning to continue.

Lot of Divine objects came out of the ocean. Goddess Lakshmi also came out during the churning. She married Lord Vishnu. At the end ‘Danvantri’, came with the pot of Nectar. Lord Vishnu dressed as ‘Mohini’ (beautiful woman), shared the nectar only to the Devas who became immortal. The Asuras didn’t get any. A war followed between the Devas and Asuras which obviously the Devas won.

The above story is the one which Brahma asked Bharatha to choreograph and later on performed before the almighty Lord Siva. The 4th chapter of Natya Shastra starts with this. Real details of grammar of Natya begin in this chapter. Simultaneous movements of hands and legs are named ‘Karanas’. They are 108 in number. Collection of few Karanas is called ‘Angaharas’. The Angaharas are taught to Bharatha by ‘Tandu’ on the instruction of Lord Siva.

The ‘Samvakara’ (Dance drama), mentioned in the 1^st paragraph is named ‘Amrthamanthana’. We will see all the 108 Karanas and all the Angaharas in detail one by one. Since Tandu taught the details to Bharatha the dance with masculine nature came to be known as ‘Tandavam’.

The first performance presented, according to Natya Shastra is a dance drama, not a solo. But today, lot of individual performances are performed compared to group presentations. This trend is becoming dragging and boring. Also, good music and dance teachers are needed in smaller towns, now available only in big cities. This will create a better opportunity, not only for the music and dance students living in smaller towns but also for the art form to have a better reach all over the country. 

The elephant God

Before beginning anything important, Lord Ganesha is invoked. He is the remover of all hurdles or obstacles. This reminds me of the story of Siva, ‘Tripura Samhara’. In this story, Siva burns down 3 demons to ashes with a single smile. While starting on a chariot, with Brahma as the charioteer, Siva forgets to invoke Ganapathy. The chariot refuses to move. Siva realizes His mistake, and prays to the elephant God. Vishnu, taking the form of a bull, pushes the chariot from behind. The chariot starts. Siva finishes His job.

Why did I start with the above story today? In the third chapter of Natya Shastra, all other Gods are mentioned. Lord Ganesha is never mentioned. This is a surprise for me. After prayer to all Gods, the teacher performs the Havana or Homam. He breaks a pot, which signifies the destruction of all obstacles. Then a fight is caused in which small wounds and lacerations occur and blood spills around. The spilling of blood is a good omen for the success of the performance. Also, intellect, mind and memory are conceived as deities and prayed. Also it is mentioned, ‘Any devotional rite is bound to increase spiritual power if there is adequate faith’.

This chapter speaks in detail about prayer, Gods of Hindu religion, how to pray to each God, what to offer etc. Madhuparka (mixture of honey, curd, ghee, water and sugar) and Payasa (milk pudding), are mentioned, which are used as offerings even today for most festivals. This brings us to the end of the third chapter of Natya Shastra.

‘Carnatic music’ is the most adaptive music as much as I know. Madurai Mani Iyer’s ‘English note’, popular until today is a good example. Also, violin, Guitar, Saxophone, Clarinet, mandolin, Key board etc are western instruments very popular in Carnatic music. Indian instruments are comparatively less in number. Even though they are western instruments, music is ours! No westernization. Indianization of western instruments! 

Adoration of the Gods of the stage

Hi! Usually I update my blog with a new post on Friday nights or early Saturday mornings, so that it will be available for every one to read on Saturday. But today is Monday. ‘Better late than never’! Is it not? A true example for this saying is none other than ‘Rukmini Devi Arundel’. She was the founder of the great dance institution, Kalakshetra. She learnt Bharathanatyam at a later age in her life and did her Arangetram at the age of 36. Kalakshetra until now stands as one of the best dance institutions in the world.

As I mentioned in my earlier post, I want to give you the names of the commentators of Natya Shastra who lived in the early centuries A.D. They are Lollata, Udbhata, Sankuka and the most famous is Abhinavagupta. Natya Shastra is very voluminous as most other literature of early periods. This is the reason why such books did not become popular.

Now, let us enter the 3^rd chapter of Natya Shastra. The topic is ‘Adoration of the Gods of the stage’. The first mentioned is Cow. Cow has to be kept in the dramatic house during the worship. Brahmins will chant the Mantras. Natyacharya or the dance teacher should consecrate the play house. Lord Siva, Vishnu, Indra, Guha, Lakshmi and many other Gods were worshipped. The Gods are prayed for protection during the performance. Then, ’Jarjara’, Indra’s missile is prayed for the destruction of evils and protection of the play house.

Writer ‘Kalki’ had a great sense of humour. His earlier writings are being published every week in the weekly magazine Kalki. Once he was watching a dancer performing the song, ‘Krishna nee Begane Baaro’. A young man and woman were seated next to him. They both were trying to find out the meaning for the song. The man came to a conclusion that Krishna wants to borrow (the song says baaro) something. Later Mr. Kalki explained that it means, 'Oh Krishna come here quickly'. Baaro means ‘come’ in Kannada language.