Skip to main content

NatyaShastra (Part 5) --- The Problem & Its Solution


Bharat's Instruction regarding Bhava and the strory behind it


Samudra Manthan
Samudra Manthan
      Once Bharat Muni and his sons along with the Apsaras had perfected the art of Dance, Drama and Music, Bhrama thought it would be a good idea to put a performance in front of the whole world. It was decieed that the incident of Indra defeating the demons would be an apt drama that can be performed putting the principals and learning from Natya Shastra. It is believed that all were to perform the episodes of Samudra Mathan.
        An auspicious day was selected for the performance and everyone was invited for entertainment. After the performance all the Devas were extremely happy with Bharat's hard work and started gifting him out of the happiness.

The specific Gifts
Samudra Manthan
       It is believed that Bhrama was very happy with the part played by the Vidhushak or the Narrater or the Clown and gifted him a wooden stick to be carried during all the performances. Indra gifted him a flag that was to be hosted on stage.Surya gifted an Canopy or Umbrella to provide shade from the sun. Vishnu presented him with a throne or seat. The list just goes no.  From here the custome of gifting started. It is customary to provide the performer with gifts before or after the performance. For example on the day of Arangetram or Salangai Pujai, invitees visit the performers house to and give them presents.


The Problem
       While the Devas were extremely happy with the performance, the Asuras were not at all pleased with the performance as it portrayed the Asuras as the loosing side. Bharata tried to explain  that the play was a mere reiteration of a historical incident. However there was quite a bit of chaos that was created because of this.

Bharata's learning
       It was after this incident that Bharat Muni instructed his disciples that before every play it is to be mentioned that the audiences are to have a detached attitude while witnessing a play or an art of any form. Being emotionally over involved will harm both the art and the audiences.
Gangharva & Apsara
He also instructed that when Bhavas do not get elevated to the level of raasas in the audience's mind due to the lack of immaturity of either the artist or the audience , art cannot be enjoyed.

Author's Note : The reason I have dedicated a whole page on the importance of the being aloof from the performance and to present it from a third person's point of view is to emphasize the fact that it is still relevant in today's world. Each and everyone of us forms an important part of the society and have specific but important responsibilities. I believe that it is the duty of the dancers and choreographers to present the problems of the societies along with the solutions with the help of the stories of the past, present or future. However while telling the stories if any particular side is taken, injustice is done to a particular person,community,gender,section of the society. And the Society as a whole will suffer.


Note : Drop your queries or suggestions at sangeetkalakendra@gmail.com
Visit our Facebook page : https://www.facebook.com/Sangeet-Kala-Kendra-1461430557205352/



Comments

Popular search

Angalakshana Part 1 - Anga Pratyanga & Upanga

 The science of dance was extremely well developed in ancient India. The word  Angalakshana  refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body.  Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom.  Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga.  Charaka also proved the co relation of spirituality and physical health c

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage.  Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called  Deva Hastas and AshtaDikpal Hastas.    Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.

Natya Shasatra _Slokas

Artist : Shilpi Nandi  "The joy of dance can not be explained or taught. It has to be experienced."  Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami  Brahamanaya Duthahrutham     I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me  by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu  Gurunamasya samsthithaha  Vakshasthaschaiva vipranaam   Sheshethwa niyamo bhaved     I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire south east Asia. Vishnu shakthi samuthpannae 

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

              Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side.  Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow   Dampati Hasta   : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand.  Matru :  Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi