BHARATANATYAM AND
YOGA
By
Yogacharya Dr ANANDA BALAYOGI
BHAVANANI
and
Yogacharini Smt DEVASENA BHAVANANI
YOGANJALI NATYALAYAM, PONDICHERRY-13,
SOUTH INDIA
www.geocities.com/yognat2001
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INTRODUCTION
Bharatanatyam and Yoga are two ways that
exist to help us understand the manifestation of the Divine in the human form.
Both of these wonderful arts are products of Sanathana Dharma, which is the
bedrock of Indian culture. The Natya Shastra of Bharata Muni lays emphasis on
not merely the physical aspects of Bharatanatyam, but also on the spiritual and
esoteric nature of this art form. Both of these arts are also evolutionary
sciences for the spiritual evolution of the human being to the state of the
super human and finally the Divine.
The spiritual and Yogic nature of
Bharatanatyam, is very well explained in the following comment by our Guru
Yogamani, Yogacharini, Puduvai Kalaimamani Smt Meenakshi Devi Bhavanani who is
eminently qualified to talk on this subject being both an eminent world famous
Yogini and a distinguished Bharatanatyam artist, rolled into one dynamic being.
ÒBharatanatyam is a Yoga, if Yoga means
union. For surely this ancient art is one of the most beautiful and satisfying
ways of expressing the human longing for union with the Divine. As an art form,
Bharatanatyam demands conscious
understanding of body, mind and emotions. The sincere dancer must understand
the nature of Bhakti and Jnana and the innate longing in all living creatures
for Samadhi or cosmic consciousness. The ÔDivine dance of energyÕ in the
universe, so graphically and beautifully represented by Lord Nataraja, the lord
of dance is the source of inspiration for all Bharatanatyam artists who understand the deeper
aspects of their art. Especially for the youth, this Divine art is a boon for
it shapes the body into graceful controlled beauty, the mind into alertness and
sensitivity and the emotions into controlled and purified receptors for the
deepest inner longings of humankind. Lord Shiva himself blesses those young
people, who take to this art, offering their profound interest, their love and
their discipline as Dakshina. Such true Sadhaks then find that Satyam, Shivam
and Sundaram Ð truth, goodness and beauty do flower in their lives, boons
granted gladly by the lord of dance to his ardent devotees.Ó
In modern time, both of these elevating
spiritual arts have been the victim of degeneration to such an extent that Bharatanatyam is only treated as a decorative
performing art and Yoga as a ÔKeep fitÕ exercise thus negating the very soul of
these art forms. The depths of the spiritual concepts of these arts have been
by far and large lost and they are being practised only at a very superficial
and mundane level.
However, there exists a ray of hope at
the end of this dark tunnel, as slowly and steadily many of the practitioners
of these arts are awakening to their real inner meaning. Many of them are
taking concrete steps to bring back the real meaning into the practice of these
arts, which are actually ÔlifestylesÕ in their true nature.
HISTORY AND MYTHOLOGY
Both Yoga and Bharatanatyam trace their roots to Sanathana Dharma
and Lord Shiva is held to be the manifesting principle of both according to the
South Indian Shaiva Siddhanta tradition. Dance, music and theatre are an
enduring part of Indian culture. In India all forms of art have a sacred origin
and the inner experience of the soul finds its highest expression in music and
dance. The Hindu attitude towards art as an expression of the Inner beauty or
Divine in man brought it into close connection with spirituality and religion.
Using the body as a medium of communication, the expression of dance is perhaps
the most intricate and developed, yet easily understood art form.
Ancient Indian Civilisation prospered on
all fronts, leading to the compilation of epics like the four Vedas,
Upanishads, Ramayana, Mahabharatha, Puranas etc., which serve as the basis for
all streams of learning. The Vedas (Sama, Yajur, Rig and Atharva) are said to
be Divine spiritual knowledge derived from the supreme. Elaborate and eloquent
references to the art of dancing abound in the Rig Veda, substantiating that
dance was one of the oldest forms of art in India. The Natya Shastra is the
earliest Indian text in the history of performing arts. Over time many
classical dance forms emerged in India including Bharatanatyam , Kuchipudi,
Kathakali, Mohini Attam, Kathak, Odissi and Manipuri, as well as numerous
vigorous folk dances.
According to Natya Shastra and Abhinaya
Darpana, Lord Brahma created the art of dance upon the request of the Gods as a
form of entertainment and it became known as the fifth Veda, and was open to
all, irrespective of caste and creed. Prior to the creation of the Natya Veda,
Brahma entered a Yogic trance in which he recalled the four Vedas. He drew
literature from the Rig Veda, song from the Sama Veda, Abhinaya or expression
from the Yajur Veda and Rasa or aesthetic experience from the Atharva Veda.
These aspects are the four main constituents of the Natya Veda. Lord Brahma
passed on this Natya Veda to his son, sage Bharata, who passed it on to his 100
sons. Thus this divine art descended from the heavens to Earth. Lord Shiva took
up the Tandava (masculine form of dance), whereas Goddess Parvati, his consort,
took up the Lasya (feminine form). Bharata staged the first play with his
hundred sons and Apsaras in the amphitheatre of the Himalayas. Lord Shiva, the
ultimate dancer, was so enchanted that he sent his disciple Tandu to Bharata,
to teach him the true elements of dance. These are depicted in the Natya
Shastra, in its chapters collectively named the Tandava Lakshana.
Lord Nataraja is considered to be the God
of dance in Hindu mythology. His dancing image, in the Tandava form, is the
starting point of all creation. To the dancer the four arms of the Nataraja are
a depiction of dance movement in an immovable and static medium. The mystique
of the arms and legs of the figure has a cosmological significance as the dance
is taken as merely a human representation of a cosmic fact. In the Nataraja
image the frontal palm of the right hand, which is lifted and slightly bent,
represents security (Abhaya) to devotees. The left hand, which is thrown across
the body with the fingers pointing downwards, indicates the feet of the Lord as
the refuge of devotees. The upraised left foot represents the blessing bestowed
by the Lord. In the right upper hand Shiva carries a small drum representing the
creative sound, which began the universe, and in the other hand he has a fire,
which is symbolic of light and therefore destruction of ignorance. Under the
right foot is a dwarf, which signifies triumph over evil. Encapsulated in this
figure of the Dancing Lord is the entire function of Shiva as the creator,
preserver and destroyer. This dance is a metaphor for the belief that life is
essentially a dynamic balancing of good and bad, where opposites are
interdependent. The dance of Shiva is the dance of life.
Each Indian classical dance form draws
inspiration from stories depicting the life, ethics and beliefs of the Indian
people. The genesis of the contemporary styles of classical dances can be
traced to a period around 1000-1500 years ago. India offers a number of
classical dance forms, each of which can be traced to different parts of the
country. Each form represents the culture and ethos of a particular region or a
group of people. Bharatanatyam
flourished in areas of Tamil Nadu, Karnataka and Andhra Pradesh.
Kuchipudi is another famous classical dance of South India, from Andhra
Pradesh. Kathakali is a theatrical dance form of Kerala. Mohini Attam is the
feminine counterpart of Kathakali. Kathak is the classical dance form of North
India and has two main Gharanas or schools - the Jaipur Gharana and the Lucknow
Gharana. Odissi is the classical dance of Orissa and was mainly centered around
Puri and Bhubaneswar. Manipuri is the classical dance of the Northeastern state
of Manipur. Besides these, there are several semi-classical dances that
contribute to the plethora of Indian dances.
In India, classical dance and music
pervade all aspects of life and bring color, joy and gaiety to a number of
festivals and ceremonies. In fact, dance and music in India are tied
inextricably to festivity of any kind.
KEY ASPECTS OF BHARATANATYAM
Bharatanatyam is a seamless blend of Nritta (rhythmic elements), Nritya
(combination of rhythm with expression) and Natya (dramatic element).
Nritta is the rhythmic movement of the
body in dance. It does not express any emotion. Nritya is usually expressed
through the eyes, hands and facial movements. Nritya combined with Nritta makes
up the usual dance programs. Nritya comprises Abhinaya, depicting Rasa
(sentimental) and Bhava (mood).
To appreciate Natya or dance drama, one
has to understand and appreciate Indian legends. Most Indian dances take their
themes from India's rich mythology and folk legends. Hindu Gods and Goddesses
like Shiva and Parvati, Vishnu and Lakshmi, Rama and Sita, Krishna and Radha
are all depicted in classical Indian dances.
Classical dance is a combination of
Bhava, Raga and Tala (mood, melody and rhythm). The Gati or gait is stylized
for each classical dance form. The Gati is also called Chaal in Kathak, Chali
in Odissi and Nadai in Bharatanatyam .
ABHINAYA:
Abhinaya is the rhythmic expression of
moods, emotions and a narrative through the use of Mudra (hand gestures),
Bhanga (postures of the body) and Rasa (facial expressions). Abhinaya has been
vividly described in Abhinaya Darpana, a medieval work on histrionics that was
codified by Nandikeswara.
ÒAbhinayaÓ literally means the
Òrepresentation or exposition of a certain themeÓ. The basic root meaning is
from the Sanskrit ÒAbhiÓ which means Òto or towardsÓ Ð with the root ÒNiÓ Ð Òto
leadÓ. Abhinaya thus means, Òto lead (the audience and performer) towards a
particular state of being or feeling.Ó ÒAbhinaya Ó has four aspects namely:
Aangika, Vachika, Aahaarya and Saathvika. Aangika is the language of expression
through the medium of the body (Sharira), the face (Mukha) and movement
(Cheshta). Vachika Abhinaya is the expression through words, literature and
drama; Aahaarya, the expression through decoration such as make-up, jewellery
and costumes; Saathvika, the expression through acting out and manifesting the
different state of the mind and feelings.
Lord Shiva is praised as the embodiment
of the above four types of Abhinaya in this following Shloka that is recited by
all dancers in the initial part of their training in an effort to make them
realise the divine nature of this art form.
ANGIKAM BHUVANAM
YASYA VACHICAM SARVA VANGMAYAM
AHARYAM CHANDRA TARADI TAM VANDE SATVIKAM SHIVAM.
(We bow to Him the benevolent One, Whose
limbs are the world,
Whose song and poetry are the essence of all language, Whose costume is the
moon and the stars.)
POSTURES:
The ideal postures of the body are
depicted in the Shilpa Shastra and there are four types of Bhangas (postures),
the deviations of the body from the central erect position. These four Bhangas
are: Abhanga, Samabhanga, Atibhanga and Tribhanga. Abhanga signifies
"off-center", an iconographic term for a slightly askew standing
position. Samabhanga is the equal distribution of the body limbs on a central
line, whether standing or sitting. Atibhanga is the great bend with the torso
diagonally inclined and the knees bent. Tribhanga is the triple bend with one
hip raised, the torso curved to the opposite side and the head tilted at an
angle.
MUDRAS:
Mudras are found in both Yoga and dance
and while they are used for communicating externally in dance there are used
for internal communication in Yoga. In dance, the way a Hastha Mudra is held,
is divided into 12 Prana Lakshanas or 12 different ways of holding a hand.
1. Prakarana
Hastha - The fingers are stretched
2. Kunchita
Hastha - The fingers are folded
3. Rechita
Hastha - The fingers are given
movement
4. Punchita
Hastha - The fingers are folded or
moved or stretched
5. Apaveshtita
Hastha - The fingers are bent down
6. Prerita
Hastha - The fingers are bent back
or moved or stretched
7. Udveshtita
Hastha - Holding the hands UP
while dancing
8. Vyavrutta
Hastha - Hands help UP in the
sides
9. Parivrutta
Hastha - Hands are brought
together from sides
10. Sanketa Hastha - Hands used to convey Implied Meanings
11. Chinha
Hastha - While dancing a dancer
tries to show lot of things which are visible and invisible like a person's
physical appearance, face, weapons, places of limbs and other parts of the
body, his/her influence on others, their mannerisms etc. Hands used to show
such things are called Chinhe
12. Padarthateeke
- Hands used to confirm the meanings of certain words
The Hastha Mudras or hand gestures of
Bharatanatyam are a very highly
developed aspect of the art and are a science of communication with the Divine.
They are used for a variety of reasons such as to mime the meaning of the song,
convey deeper feelings, bring out inherent qualities, invoke the myriad forms
of the Divine as in Navagraha and Dashavathara Hasthas or in some cases they
may be simple aesthetic ornamentation. Some have very limited meanings, and
some are used as catch-alls for miming a variety of ideas.
The Natya Shastra lists numerous Mudras
along with their meanings. Many others have been developed in the time since,
whose histories are harder to trace. In the cases where an idea is being
conveyed, it is more important to communicate clearly with hand gestures -
adapting them if necessary - than it is to perform them with rigid correctness.
Hand gestures of Bharatanatyam are classified as
ASAMYUTHA
HASTHA - Single hand gestures
SAMYUTHA
HASTHA - Double hand gestures
There are 28 Asamyutha Hasthas and 24
Samyutha Hasthas. Each Hastha has a defined usage called Viniyoga. These Viniyogas
are again Sanskrit Shlokas codified in the Natyashastra.
ASAMYUTHA
HASTHA (SINGLE HAND GESTURES)
Pataka
Tripatakordhapataka Kartareemukhaha
Mayurakyordhachandrashcha Arala Shukatundakaha
Mushtishta Shikarakyashcha Kapitha Katakamukhaha
Suchee Chandrakala Padmakosham Sarpashirastata
Mrugasheersha Simhamukho Langulasolapadmakaha
Chaturo Bramarashchiva Hamsasyo Hamsapakshakaha
Samdamsho Mukulashchiva Tamrachooda Trishoolakaha
Ashtavimshatihastha
Naam Evam Naamaanivikramat.
SAMYUTHA HASTHA (DOUBLE HAND GESTURES)
Anjalishcha
Kapotashcha Karkata Swastikastatha
Dolahastha Pushpaputaha Utsanga
Shivalingakaha
Katakavardhanashchiva Kartaree Swatikastata
Shakata Shankha Chakrecha Samputa Pasha Keelakau
Matsya Koorma Varahashcha Garudonagabandakaha
Khatwa Bherundakakhyashcha Avahitastathivacha
Chaturvimshatisankhyakaha Samyuta Katithakaraha
Different schools and styles of dance use
different hand gestures and different terms for the same hand gestures. Most
have a fairly similar set of terms that largely overlap with this list, but
many may be different in the details. It is largely a case of individual style,
and the important thing is to communicate the ideas clearly.
NAVA RASA:
Nritya is that manifestation of dancing
that includes both Rasa (aesthetic flavour) and Bhava (human emotions), as in
the dance with Abhinaya, the art of expression.
There are nine major classical categories
of emotions or Rasa, called Nava Rasas that are depicted in the Abhinaya of Bharatanatyam . These are Shringara (erotic love), Haasya
(humour and laughter), Karuna (compassion), Roudra (anger), Veera (heroism),
Bhaya (fearful terror), Bheebatsa (disgust), Adbhuta (wonder-awe) and Shanta
(peacefulness).
The Nava Rasas are a major
form of emotional catharsis and Natya (dance) helps cleanse the negative
aspects of human emotions and sublimate them for higher emotions of Divine
Bhakti. They are also a great means of psychological preventive therapy as most
modern societies give little or no scope for expression of these emotions in
the proper manner.
The Nava Rasas also help
youngsters to learn about these emotions in a positive manner. They can then
produce a balanced wholesome personality who embodies Sama Bhava or equal
mindedness.
According to one of the greatest
exponents of Bharatanatyam , Balasaraswati "Bharatanatyam , in its highest
moment, is the embodiment of music in its visual form. For more than thousand
years, the Shastras have confirmed that an individual dedicated to dance must
be equally dedicated to music and must receive thorough training in both the
arts. In demonstrating the art of Bharatanatyam abroad, I have made a special point of showing audiences how
delicately linked is the realisation of movement to Raga expression in
Abhinaya, including the subtle expression of Gamakas, intonation of Sruti, and
the unfolding of improvisation in Niraval. In the same way that we look for
perfect blending of Raga and Tala and of Raga and Bhava in Abhinaya, so also it
is essential that the Raga and the Sahitya be perfectly matched and in
accordance with the necessities of expression in the dance."
She also points out, "Shringara
stands supreme in this range of emotions. No other emotion is capable of better
reflecting the mystic union of the human with the Divine. I say this with great
personal experience of dancing to many great devotional songs, which have had
no element of Shringara in them. Devotional songs are, of course, necessary.
However, Shringara is the cardinal emotion, which gives the fullest scope for
artistic improvisation, branching off continually, as it does, into the
portrayal of innumerable moods full of newness and nuanceÓ.
She continues in the same vein by saying,
ÒIf we approach Bharatanatyam with
humility, learn it with dedication and practice it with devotion to God,
Shringara which brings out the great beauties of this dance can be portrayed
with all the purity of the spirit. The flesh, which is considered to be an
enemy of the spirit and the greatest obstacle to spiritual realization, has
itself been made a vehicle of the Divine in the discipline of the dance.
Shringara thus is an instrument for uniting the dancer with Divinity. Since the
dancer has universalized her experience, all that she goes through is also felt
and experienced by the spectator".
NATYA KARANAS
Acrobatic Natya Karanas are very much a
part of the traditional Bharatanatyam
repertoire. 108 Natya Karanas have been described in the Natya Shastra.
Natya Karanas are not only particular poses as is commonly believed, but also
are cadences of movements. It is necessary for an understanding of the Karanas
that the dancer masters the movements of the separate parts of the body like
the neck, head, feet, thighs, waist and hands, and understands how geometric
shapes can be created with the Angas (limbs), Evidence of Natya Karanas is very
clear in studying sculptures and paintings in Gopuram walls, ceilings and
courtyards of our ancient Dravidian temples, especially in Chidambaram,
Kumbakonam, Thanjavur and Tiruvannamalai, where dancers are depicted in
acrobatic stances. These stances are very similar to Yoga Asanas. On the
Gopuram walls at Chidambaram there are many classical dance poses, which are
also Yoga Asanas.
Tandava, the classical dance, takes its
name from Tandu, the celestial attendant of Lord Shiva who instructed the sage
Bharata in the use of the Angaharas and Karanas, the plastic modes of Tandava
at Lord Shiva's behest. A Karana is a unit of dance in which gesture, step and
attitude are coordinated in a harmonious rhythmic movement. A sequence of six
or more Karanas is called an Angahara. Anga refers to the body and Hara is a
name of Lord Shiva, creator of the Tandava, comprising 32 Angaharas composed of
108 Karanas. The Nataraja temple
of Chidambaram is sculpted with these 108 Karanas on the inner walls of the 4
gateways leading to the temple. These lovely sculptures vividly depict the
Tandava dance form.
While Shiva performed the Tandava,
several Karanas were linked together as a garland of dance poses with the help
of Rechakas or pauses. These became the Angaharas, garlands of dance
poses for lord Hara. Each combination of Angahara contains six, seven,
eight or nine Karanas. There are thirty-two Angaharas, according to
Bharata. Later, learned experts in the field of dance created several
additional Angaharas in their own style. These were in different
combinations of Karanas and subsequently were different from those of Bharata.
According to experts of dance therapy,
each of these 108 positions corresponds to one of the different human emotions.
Holding a posture enhances the emotion it corresponds to. The length of time
that the posture needs to be held will depend on how quickly you wish your energy
sphere to become contented. You will need to perform the two or three postures
for the counteracting emotion to the one you suffer from for a maximum total of
30 minutes per week for one year in order to get cured, and become contented in
this respect. In practicing the opposing Karana, only the body, leg and arm
movements need to be considered - not the detailed head, hand and foot
gestures. Also, one does not need to be concerned with the movement into or out
of the posture; nor with the actual emotion being represented - the mind needs
to remain calm.
The Karanas in the Brihadeshwara Temple
are sculpted on the walls of an inaccessible room on top of the Sanctum
Sanctorum, and consist of about 87, four-armed, large figures of Shiva in
Karana poses, with one pair of hands holding various weapons. There are other
stray Karana figures, scattered all over Southern India in other temples.
Strictly speaking, the Karana is an entire dance movement whereas the
Karana-Sculpture is just one static pose taken from these. The beautiful
bracket and wall figures of the Chennakesava temple at Belur, and the
Hoysaleswara temple at Halebid depict dancers in a variety of poses that can be
easily identified with the Caris, the Sthanakas and the Karanas described in
the Natya Shastra. After a deep study of the sculptures at Chidambaram,
scholars have classified Karanas into nine types. According to Sarangadeva in
the Sangita Ratnakar, a beautiful classical pose, formed by changing the hands
and legs in dance, conditioned by the mood or flavour, is known as a Karana.
Bharata, in the Natya Shastra, merely defines a Karana as a combined movement
of the feet and the hands that, though momentarily static, is a dynamic series
of movements, which culminates in a specific pose. By themselves, the Karanas
are beautiful aspects of dance, believed to have originated with Lord
NatarajaÕs Tandava. Pundits like Somanathkavi, Abhinavgupta and Sarangadeva
suggested their use along with Bhava so as to expand their utility into the
realm of Abhinaya. Over the years, Gurus interpreted Karanas with expressions
in the Bhagavata Mela Natakam style, thereby incorporating these Karanas into
Javalis and Padams.
The Natya Karanas give us a static
element to offset the dynamic movements of the dance. This is important, for a
pause is as important as a movement in classical dance. Natya Karanas have not found prominence
in the modern repertoire and one of the major reasons may be the physical
inability of modern dancers to perform them. Most dancers today are overweight
and inflexible due to the effects of modern lifestyle and diet. Unless a person
has tremendous dedication and determination it will be very difficult to be
able to perform most of the acrobatic Natya Karanas. We often see dancers
struggle to stand even on one leg in a feeble attempt to recreate the masterly
Karanas.
Under the dynamic leadership of
Kalaimamani Yogacharini Meenakshi Devi Bhavanani, Yoganjali Natyalayam,
PondicherryÕs premier institute of Yoga, Bharatanatyam and Carnatic music has tried to restore
the acrobatic Karanas to the Bharat Natyam repertoire. According to Yogacharya
Dr Ananda Balayogi Bhavanani, Chairman Yoganjali Natyalayam, acrobatic Natya
Karanas are very much a part of the traditional Bharat Natyam repertoire, but
have been practically lost in todayÕs performances. He says that evidence of their
presence in this art form is very clear in studying bas relief, sculptures and
paintings in Gopurams, walls, ceilings and courtyards of our ancient Dravidian
temples, especially in Chidambaram, Kumbakonam, Thanjavur and Tiruvannamalai,
where dancers are depicted in acrobatic stances. He also points out that these
stances are very similar to Yoga Asanas, and in the Gopuram walls at
Chidambaram, at least twenty different classical Yoga Asanas are depicted by
the dancers, including Dhanurasana, Chakrasana, Vrikshasana, Natarajasana,
Trivikramasana, Ananda Tandavasana, Padmasana, Siddhasana, Kaka Asana,
Vrishchikasana and others. Yoganjali Natyalayam has as one of its aims the
restoration of these acrobatic Karanas to the classical Bharatanatyam performance and this is possible only
by combining sustained Yogic discipline with dance training from an early age.
The sincere and regular practice of Yoga from early childhood helps to
re-create the Karanas efficiently and many of the students of Yoganjali Natyalayam
have become experts in the artistic presentation of these Karanas.
SIMILARITIES BETWEEN THE APPROACHES OF
YOGA AND BHARATANATYAM
There are a great many facets of Yoga and
Bharatanatyam that are similar to
each other. Some of these will be described in this section.
DISCIPLINE:
This is an important quality required in
both Yoga and Bharatanatyam . Yoga can be defined as discipline and one of the
important aspects of Yoga is the emphasis on Tapas as discipline. Yoga also
emphasizes that Abhyasa or dedicated and determined practice is vital for
success. No dancer can ever expect to master this art without a similar
approach of dedicated, determined, sincere and regular Riaz or Sadhana. Sadhana
and Abhyasa are vital for success.
GURU BHAKTI:
Both arts stress the importance of Guru
Bhakti and the role of Guru Krupa in achieving success in all endeavors. The
Guru is held even higher than God and this is explained in the following way. A
hypothetical question is asked as follows. If God and Guru appear before you at
the same time, to whom will you bow down first? The answer is that we will bow
to the Guru first as he is the one who will show us God. Without the Guru we
cannot recognize the Divine even if he is standing in front of us.
The traditional method of learning in
both of these arts was the Guru-Chela relationship that was often in the
Gurukula pattern where the student lived with the Guru as a family member
learning 24-hours-a- day for many years before mastering the art. This was a real
trial by fire in many cases and only the true seeker would be able to pass such
a test. Nowadays both these arts have become academic in nature and a lot has
been lost in this transition from Gurukula to college method of imparting
instruction.
BHAKTI RASA AND BHAKTI YOGA:
One of the important streams of Yoga is
Bhakti Yoga and this is related to the Bhakti Rasa of Bharatanatyam . All great
Bhakti Yogis of our ancient Indian history were deeply immersed in music and
dance in their love for the divine. Meerabhai, Thiyagaraja, Chaithanya Maha
Prabhu, Andal, Karaikal Ammaiyar, Nandanar and Avvaiyar are some of the few
examples of such Bhakti Yogis. It is said that Lord Shiva danced the Ananda
Tandava at Thillai (Chidambaram) following the request of his great Bhaktas,
Sage Patanjali and Sage Vyagrapadha. Similarly he also is believed to have
given the benevolent Darshan of his Cosmic Dance for the great woman saint,
Karaikal Ammaiyar.
VIBRATIONAL PLANE:
Mantra Yoga and Nada Yoga are related to
the Indian Classical Music that is an integral part of Bharatanatyam . The
vibrations produced by the sounds of music and the use of the Bhija Mantras of
Laya Yoga and Mantra Yoga has a similar effect in arousing latent and potent
energies of our inner being. Bharatanatyam utilises numerous shapes that are similar to the Mandalas of
Yoga and Yantra and these shapes also produce a bio-electo-magnetic field that
energizes not only the dancer but also her audience too. All matter is
vibration and the differences are only due to the different speeds of vibration
that result in differing degrees of freedom. This is well understood by modern
physicists, one of whom, Fritjov Capra even went to the extent of declaring the
principle of Lord Nataraja as the most apt symbol of quantum physics itself in
his book, ÒThe Tao of PhysicsÓ.
SPIRITUAL PLANE:
The concept of unification of Jivatma and
Paramatma and the longing of the Jivatma for this union finds common
manifestation in both dance and Yoga. Both aim to transcend the individualistic
Ahamkara and evolve into the ultimate universality. The legendary pioneer
Rukmini Devi, founder of Kalakshetra rightly observed that dance is a form of
Yoga. She said, ÒIt needs true Bhakti or devotion. We have no more temple
dancing today, but we can bring the spirit of the temple to the stage. This
will change our entire attitude towards this art and then our physical bodies
will become transmuted and non-physical. Every performance becomes a means of
not only making the dancer one with the higher Divine Self but the audience
too. This oneness is YogaÓ.
Martha Graham, one of the greatest of
modern dancers was able to transcend his individuality when he said, "I am
interested only in the subtle being, the subtle body beneath the gross
muscles."
The roles of the Nayaki pining for her
lord are meant to portray the pining of the Jiva for the spiritual union with
the Paramatma. The Sakhi, the friend who brings about this union in dance is in
reality the Guru who helps the Sadhaka reach that state Ultimate Universal
Unification. The legendary Balasaraswathi who became synonymous with
Bharatanatyam for many a Rasika
said revealingly, ÒBharatanatyam
is an artistic Yoga (Natya Yoga), for revealing the spiritual through
the corporealÓ.
CONCENTRATION AND MEDITATION:
The sixth step of Ashtanga Yoga is
Dharana or concentration. This concentration when taken to its extreme leads us
into the meditative state of Dhyana. Many of the concentrative practices of
Yoga are based on the Mandalas that are assigned to the different elements of
the manifest universe. The dancer requires a similar state of utmost
concentration in order to bring about the union of Bhava, Raga and Tala in her
presentation. The different aspects of Bharatanatyam such as Nritta, Nritya and Natya must be seamlessly unified
with great concentrative ability for the performance to peak in its intensity.
When the dancer achieves that peak of concentration in her performance she
loses herself into the state of meditation. The Yogic state of Dhyana and the
trance like states experienced by the dancers while performing are quite
similar in their universal nature. Shri Tiruvenkatachari, an eminent dance
historian (1887) compared Yoga with the dance and said that the secret is
Ôforgetfulness of the individual selfÕ. He also mentioned that dance is a means
of attaining Moksha just as is Yoga.
BENEFITS OF YOGA FOR DANCERS
According to the Abhinaya Darpana of
Nandikeswara, the important inner qualities of the dancer (Antah Prana) are as
follows.
JAVAH STIRATVAM REKHA
BRAHMARI DRISHTI ASHRAMAHA
MEDHA SHRADDHA VACHO GEETAM
JAVAH Ðswiftness or speed
STIRATVAM Ðcomposure or steadiness
REKHA -symmetry
BRAHMARI Ðversatility and circular
movements
DRISHTI Ðglances of the eyes
ASHRAMAHA Ðease and tirelessness
MEDHA -intelligence
SHRADDHA Ðconfidence and interest
VACHO Ðclear speech
GEETAM-capacity of song
All of these inner qualities can be
developed and maintained through the practice of Yoga and in addition to the
above mentioned aspects of the personality, it is important for the dancer to
have numerous physical and mental qualities that can be obtained through a
dedicated practice of Yoga as a way of life.
STRENGTH, BALANCE AND CONCENTRATION:
These physical qualities are essential
for the dancer at all stages of their artistic career. The standing poses such
as Padahastasana, Padangushtasana, Trikonasana, Natarajasana, Virasana and its
variations, Garudasana, Padottanasana are especially useful to develop strength
in the legs and thighs. One legged poses such as the Natarajasana, Garudasana,
Vrikshasana, Vatayanasana, Eka Padasana and Ardha Chandrasana help develop an
excellent sense of balance as well as improve single minded concentration.
The hand balancing poses such as
Mayurasana, Titibasana, Vrichikasana, Dolasana and Hamsasana develop strength
in the shoulders, arms and wrists that is essential for holding the arms up in
numerous Nritta sequences such as in the Alarippu, Varnam and Tillana.
CARRIAGE AND CENTRE OF GRAVITY:
Yogasanas help develop proper carriage
and back bending postures such as Ushtrasana, Bhujangasana and Chakrasana
avoids the hunchbacks that are common in modern school going children from
carrying heavy loads of books. Repeated practice of balancing poses on right
and left sides as well as from different positions such as supine, prone, and
the topsy turvy poses, the centre of gravity is improved and this leads to a
perfect positioning of the body in performance of the various items.
STAMINA AND ENDURANCE:
Practices such as the solar plexus-charging
Agnisara, the Hakara Kriya with the activating sound of HA and the Malla Kriya
with the Nasarga Muka Bhastrika as well as the practice of Suryanamaskar help
improve stamina and endurance. Padmashri Adyar K Lakshmanan, one of the most
eminent Bharatanatyam masters of
modern India, has often marveled at the stamina and endurance that is possessed
by the students of Yoganjali Natyalayam. He attributes it to their practice of
Yoga and feels that Yoga gives them abundant energy to go through the most
vigorous of items without requiring any rest at all in between lines or even in
between items. The hand balancing poses such as Mayurasana, Titibasana and
Bakasana as well as postures such as Paschimottanasana, Navasana, Sarvangasana
and Halasana help greatly in this regard. Performance of Suryanamaskar slowly
with emphasis on breathing and performance of various Pranayamas such as
Vibhaga and Pranava Pranayamas helps to energize the entire system. We can
balance the catabolic breakdown of the body by the anabolic activities of Yoga,
thus retarding the aging process and also give the dancer the invaluable gift
of a longer professional life.
BUOYANCY AND AGILITY:
Various Asanas and Pranayamas are useful
in developing a sense of buoyancy and improving the agility of the dancer.
Practice of Pranayama helps to achieve a state of lightness of the body that
can be compared to the Yogic Siddhi of Lagima or being as light as a feather.
Agility is an important quality required by the dancer as there are numerous variations
of gaits (Gathi Bhedhams) in Bharatanatyam and she needs to be extremely agile in order to execute them
perfectly. The ten Gathi Bhedhams are usually described as Hamsee (Swan like
gait), Mayooree (Peacock like
gait), Mrigee (Deer like gait), Gajaleela
(Elephant like gait), Thuranginee (jumping gait), Simhee (gait of the Lion), Bhujangee (snake
life gait), Mandookee (frog like gait), Veera (heroic gait), Manavee (man like
gait). Single leg balancing postures such as Vrikshasana, Natarajasana, Rathacharyasana,
Eka Padasana, Vira Bhadrasana, Hasthapadangusthasana and Garudasana as well as
the back bending poses such as Chakrasana, Dhanurasana and Ushtrasana instill
great agility in the dancer.
FLEXIBILITY:
One of the important physical attributes
required by a dancer is flexibility of the body. Jattis and other practices of the Shetali Karana Vyayama,
spinal twists such as Ardha Matsyendrasana and Vakrasana, back bending Asanas
like Laghu Vajrasana, Rajakapotasana, Chakrasana and Dhanurasana and forward
bending Asanas such as Padahasthasana, Paschimottanasana, and Halasana ensure
flexibility of the body. The body
can then be a supple and well-tuned instrument that allows her to perform any
movement that she wishes effortlessly and gracefully while dancing. This effortlessness is essential for a
dancer because, when she makes any movement with strain, not only does she
suffer but the sensitive Rasikas are also jarred out of the smooth harmony that
had been earlier effected in them by her easy and flowing movements.
COORDINATION:
Practice of Suryanamaskar, alternate
nostril breathing Pranayamas such as Nadi Shuddhi and Loma Viloma as well as
various Jattis help to develop rightÐleft coordination and balance in the
dancer. Asanas wherein the hands are joined to the feet like Padahasthasana,
Janasirasasana, Paschimottanasana and Akarna Dhanurasana are very useful to
develop hand-foot as well as right-left coordination, very essential for a
smooth performance. Yoga is isometric and internal. It is a contest between our
inherent inertia and the power of the will. Parts of the body are pitted
against one another and a unique harmony of body, mind and breath is developed.
This internal struggle when handled successfully deepens the consciousness of
not only the working of the body but also of the mind and emotions.
Right-left brain function is improved by
Pranayamas as right nostril breathing stimulates the left-brain and vice versa.
This helps improve coordination between the two halves of the body and thus
produce an artistic and perfect symmetry, essential for a good dancer.
MUSCULOSKELETAL BENEFITS:
A regular practice of Yoga helps the
dancer avoid hip, back, shoulder, neck and knee related problems that are
rampant in the modern dance world. Practices such as Baddha Konasana, Jatara
Parivrittaanasana, Hanumanasana, Trikonasana, Padotannasana, Upavishta
Konasana, and Mandukasana are good for the hips and legs. Vajrasana and its
variations as well as the Garudasana are good for the feet while Chatus Padasana,
Bhujangasana, Kaya Kriya, Shalabhasana and Ushtrasana are excellent for the
back. Even in dancers suffering from these musculoskeletal disorders, Yoga can
help them recover faster and better as well as limit the morbidity and
disability that may otherwise result from over use and misuse of these parts of
the body. Brahma Mudra, Kaya Kriya, Tala Kriya and Dridha Kriya are extremely
beneficial for health of the entire musculoskeletal system.
PHYSIOLOGICAL FUNCTION:
Yoga helps develop all systems of the
human body (cardiovascular, respiratory, digestive, eliminative, endocrine,
nervous and musculoskeletal) thus strengthening, cleansing and purifying the
human body so that it is brought under our conscious will. This is vital for
the dancers.
Yoga stimulates and strengthens the
neuro-endocrine system and it counteracts the body stiffness, changes in skin
tone and hair loss, which are common problems due to glandular imbalance.
Youthfulness that is essential for a dancer is the byproduct of neuro-endocrine
health and this can be attained by a regular Yoga practice.
All round health is developed which will
stand the dancer in good stead even after retirement, saving them the Ôpost
retirement blues and breakdownsÕ.
ENERGY:
In the science of Yoga, body movement and
breath must be synchronized. The body is lifted on the incoming breath and
lowered on the outgoing breath. Bhastrika or the Ôbellows breathÕ activate the
solar plexus, which is an energy reservoir, as well as strengthens the
diaphragm thus producing strength, vitality and endurance. Pranayamas such as
Mukha Bhastrika stimulate the internal cleansing of toxins. Breath is directly
related to energy levels, life span, quality of emotions, state of mind and the
clarity and subtlety of thoughts. This use of breath power with the body
movements brings about revolutionary effects on the performance of the dancers.
This synchronicity of breath and movement also improves their state of mind,
control of emotions and all round physical and psychological health. Laya Yoga
practices such as the Mantralaya as well as Pranayamas like the Kapalabhati,
Surya Pranayama and Surya Bhedana and other practices such as Surya Namaskar,
Paschimottanasana, Nauli and Agnisara help to create an energy reservoir that
can be tapped into at will.
AWARENESS:
According to Yogamaharishi Swami
Gitananda Giri Guru Maharaj, Yoga is four fold awareness. We become aware of
the body through Asanas. We become aware of the emotions through Pranayama and
thorough the meditative practices we can become aware of the mind. When we
transcend the individualistic ego, we become aware of awareness itself. A Yogi
sits in a cave, but feels himself all pervading and eternal. Similarly in drama
and dance, the limitation of time is dissolved. The experience of a dancer and
a Yogi is the same - to go beyond worldliness and to transcend one's individual
self.
STRESS AND RELAXATION:
Yoga has a lot to offer in terms of
stress reduction. Dancers face a lot of stress in terms of preparation for
performances and high expectations of the teachers, friends, relatives and the
audience. Critics and other writers also tend to increase the pressures on the
dancer.
Yogic Asanas, Pranayamas and Jnana Yoga
Kriyas, work on the various Koshas of our body and clear up all the subconscious
'quirks' in our brain from the billions of years of evolution from animal to
the human state. An understanding of these 'quirks' helps us to understand our
reaction to various situations and helps to prevent our 'stress response' to
them. 'Stress Relievers' from Hatha Yoga and Jnana Yoga are of immense benefit
in relieving pent up emotions and tempering our reactions to stressful
situations.
Yoga has a lot to offer to dancers
through the field of relaxation. In the dance world, all is PUSH, PUSH and
PUSH. There is little room for relaxation in the arena. Yoga teaches us that
there has to be balance.
The Yogic concept of ÔSpandha-NishpandhaÕ
or Ôexertion-relaxation-exertion-relaxationÕ in an alternating rhythm is unique
to the Yogic art of relaxation and provides a counterfoil to the extreme stress
of competitive and performance related pressures, thus fostering mental,
emotional and physical health.
Pranayamas such as Brahmari, Pranava,
Shetali and Sitkari are excellent stress relievers. Shavasana with a great
variety of relaxation practices as well as the Bhujangini Mudra and Pavana
Mukta Kriyas are an excellent foil against stress. Yoga Nidra and the
performance of Savitri Pranayama in Shavasana can help produce total relaxation
at all levels.
PROVIDING ANSWERS TO DEEPER YEARNINGS:
The philosophy of Yoga helps the dancer
to come to grips with many questions that pop up in their life. Classical dance
in ancient times was associated with high levels of moral and ethical codes of
behavior. The modern day dance world has gone a long way astray from such
ideals and the inculcation of Yogic values such as Yama and Niyama can go a
long way in bringing back such ideals in to the world of dance. This will
stimulate modern dancers to have a second look at their decadent life styles
and try to change for the better. The Yamas when practiced provide much mental
solace and ethical strength to the dancers while the Niyamas produce the stoic
qualities necessary for high-tension situations. The whole philosophy of Yoga
can constitute a Ôtouch stoneÕ for those who find themselves lost when the
spotlight dims or shifts its focus to another performer. A more conscious and
aware outlook of the whole phenomenon of human life on earth will make the
dancer a more valuable member of the human social unit.
RIGHT ATTITUDE:
The regular practice of Yoga as a 'Way of
Life' helps reduce the levels of physical, mental and emotional stress. This
Yogic Ôway of lifeÕ lays emphasis on right thought, right action, right
reaction and right attitude. "To have the will to change that which can be
changed, the strength to accept that which can not be changed, and the wisdom
to know the difference" is the attitude that needs to the cultivated. An
attitude of letting go of the worries, the problems and a greater understanding
of our mental process helps to create a harmony in our body, mind whose
disharmony is the main cause of
'Aadi Ð VyadhiÕ or the psychosomatic disorders.
The practice of Pranayama helps to
regulate our emotions and stabilize the mind, which is said to be as restless
as a Ôdrunken monkey bitten by a scorpionÕ. Animals that breathe slowly are of
less excitable nature than those that breathe rapidly and a similar observation
holds true for humans. Even when we get angry, we can experience that our
breathing becomes rapid and it is slower when we are cool and relaxed. Thus the
slow, rhythmic and controlled breathing in Pranayamas leads to the emotional
control seen in many Yoga Sadhaks.
BENEFITS OF DANCE FOR YOGA SADHAKAS
A true Yogi is neither an introvert nor
an extrovert. He or she is an ambivert, a person who is equally at home
irrespective of whether he is introspecting within himself or whether he is
interacting vibrantly with the external environment. Therefore to make sure
that the natural introversion of Yoga is balanced with healthy extroversion,
some form of extroverted activity such as sports, music or art and craft skill
need to be deliberately cultivated.
Dance provides a dynamic activity to
offset the static activity of Yoga and many modern Yoga practitioners can
benefit from such an associations.
Dance also provides a great source for
emotional catharsis and this can help the Yoga Sadhaka to get over many of the
emotional hang-ups that continue to bother them in his or her Sadhana.
MUDRA ACCORDING TO YOGAMAHARISHI
DR SWAMI GITANANDA GIRI GURU MAHARAJ
Pujya Swamiji, Gitananda Giri Guru
Maharaj, the codifier of the Rishiculture Ashtanga Yoga Paramparai was a
world-renowned expert on Classical Yoga and his knowledge of the Yogic science
of Mudra was unsurpassed. Here we present an extract from his book MUDRAS published by Satya Press, Ananda Ashram,
Pondicherry.
THE NEURO - MECHANICS OF MUDRA:
The casual observer or the neophyte to
Yoga may be easily led to believe that the beauty of the gesture, or the power
of the esthete is that which evokes the Devatta, the Deva and the Devis, or
that the entire procedure is entirely symbolical. Nothing could be farther from
the truth.
There is a good basis for acceptance that
the Mudra does control the mind-brain processes and the functions within the
nervous system by uniting various nerve terminals of the sympathetic and
para-sympathetic function. It is acceptable in neurology that the human nervous
system is divided into aflex and reflex systems. The aflex carries afferent or
sensory responses as well as efferent or motor responses. The reflex system is
much like the grounding wire of any high voltage electrical system. A second
function of the reflex system is that if feeds back to appropriate brain
centres reflexogenic impulses that are associated with the modern concept of
biofeedback. There are some 729 reflexes in the Yoga system. Modern Science has
accepted some 222 of these reflexes. Mudra Yoga is a most exact science,
emanating from our ancient Rishi Yoga culture.
In Yoga, the human body can be divided
equally into ten distinct parts, five on each side of a median drawn directly
through the centre of the body from the top of the head to the base of the
spine and terminating in each of the digits of the toes and the fingers. The
body can be further sub-divided into ten Pranic areas, where one of the five
major Pranic flows governs the head and others the chest, the abdomen, the
pelvis and the extremities. Five minor Pranas are more subtly at the work
within specific nerve areas.
The true use of Pranayama is to control
these ten flows of Prana Vayu and the Prana Vahaka or nerve impulses, which
move in the Nadis or nerves of the Pancha Kosha, the Five Bodies of Man.
When the fingers of the hands are united
together in the Hastha Mudra, the specific nerves (as in Jnana Mudra) are
united together in a closed nerve circuit. The fingers not in use represent an
open nerve circuit. If the hands are united together (as in Namaskara Mudra),
then the cranial nerve circuits of the head and the upper part of the body in
the Pneumo-gastric or Vagus system are united together. If the hands are
brought into alignment on the face (as in Yoni Mudra) then the Vagus nerves and
the facial nerves are brought together in a closed circuit.
If the hands are united with the feet (as
in Yoga Mudra) then the Vagus system is close-circuited with the cerebrospinal
nerves.
When a posture like Parva Asana, the Past
Posture, is used, all of the nerve systems of the body are thrown into
turbulent action. Parva Asana is used by the Yogi to see into his past
existences, to remember past lives. It is also sometimes called Purva Janma
Mudra or Parva Mudra.
The purpose of the Hatha Yoga Asanas is
to bring together these same nerve terminals, uniting them uniquely in the
various postures to produce the specific effect of that posture. This is one
good reason that Asanas, Kriyas and Mudras must be done correctly, otherwise
the posture is a meaningless gesture, rather than that as understood in the
inner teachings of Yoga, a concrete method to achieve Union.
MAJOR
POINTS TO BE CONSIDERED IN MUDRAS ACCORDING TO YOGAMAHARISHI DR SWAMI GITANANDA
GIRI GURU MAHARAJ
1. The Mudra is made complete by bringing
together acupressure points at various sites on the human body. These Bindus
are concerned with the pristine practice of Mudra. Yet, every Asana or Kriya is
in some way a partial Mudra if these acupressure Bindus are brought into play.
Particularly, this is to be noted in the practice of Hathaats, Hathenas, and
the Hastikams in the Hatha Yoga system. This group of Asanas comes very close
to being: Mudras.
2. The Mudra or gesture can act like a
Kriya increasing or impeding circulation of the blood or lymph into various
vital organs. Mudra can control every organ and function of the body and mind.
3. The Mudra moves energy through the
physical nervous system of a bi-polar nature. This bi-polar nature is also
inherent in the energy moving in the Pranamaya Kosha, the Vital Body. The Mudra
helps to produce an electrical field around the Yogi, abundant in negative
ions, producing a sense of well-being.
4.
The Mudra extracts energy and substances from the nerves and vital bodies
producing the various enzymes and hormones needed for vibrant health.
5.
The Mudra creates a uni-polar base of energy in the Kanda, the Conus Medullaris
at the base of the spinal cord. This uni-polar energy is popularly called
ÒKundalini ShaktiÓ.
6. The Mudra converts enzymes and
hormones into Ojas, purified autocoids, and Tejas, super-enzymes. The Mudra
accomplishes Urdhwa Retas or a transmutation of lower substances and drives
producing a Satchidananada Deha, an indestructible Yogic body.
7. The Mudra arouses and controls the
Kundalini Shakti. Kundalini arousal without Mudra is madness.
8. The Mudra is itself a vehicle of total
Union or Yoga. To a pious Hindu Yogi, the Mudra is no longer a gesture of
Union, but is Union itself. The devotee becomes Shiva, or Shakti. ÒVerily, the
Mudra is the Devi, even the Supreme Adept Himself ... Devi is Shakti, but the
Mudra controls Her ... so Mudra is also the Supreme ShaktaÓ.
ART OF MUDRAS ACCORDING TO KALAIMAMANI
YOGACHARINI MEENAKSHI DEVI BHAVANANI
Yogacharini Meenakshi Devi Bhavanani is
one of the few experts in the world who has the unique combination of more than
35 years of study, research and teaching experience in the fields of Yoga and
Bharatanatyam . She is a member of numerous Central and State Government
councils of Yoga and has trained thousands of dancers in the art of Natya
Karanas. Here we reproduce an essay by her that is excerpted from her book, YOGA:
ONE WOMANÕS VIEW,
published by Satya Press, Pondicherry.
What are the means of communication,
which are subtle, refined, and delicate beyond words? What means of
communication exist which will not destroy the fragile relationship, the
delicate emotion, the subtle thought? Even more important, how can the
individual mind communicate with its own emotions, with its own body? Is there
an intimate form of communication within the human structure itself? In India,
a whole language grew up which was capable of expressing the subtlest spiritual
truths, the most refined human emotions and thoughts without resorting to the
gross vehicle of verbal communication, which alters any situation it expresses.
That form of communication was called the Science of Mudra.
Broadly speaking, Mudra means a
ÒgestureÓ. I can be a gesture of mind, (Manas Mudra); a gesture of the body
(Kaya Mudra); a gesture of the hands (Hastha Mudra); a gesture of the feet
(Pada Mudra); a gesture of the face (Mukha Mudra) or a gesture of the eyes
(Chakshu Mudra).
Most humans unconsciously use ÒMudrasÓ
constantly in their daily lives. They simply are unaware of it. Let us examine
a few Mudras common to humanity throughout the world, ÒMudras of the daily
lifeÓ, so to speak.
ÒBody TalkÓ has become a popular clichŽ
in Òpop psychologyÓ circles in the West. We unconsciously tell the world many
things about ourselves, unconsciously communicate much of our real self to
those around us; simply by the way we hold our body, our hands, our face, and
our feet. The English expression ÒIt was a gesture of good will,Ó indicates
that we recognize that emotions can be ÒgesturedÓ. Mentally we can ÒgestureÓ or
Òreach outÓ towards others with good thoughts or even bad ones, and this
ÒgestureÓ has its power, depending upon the concentrative power of our mind at
the time. This would be a Manas Mudra. We all know when we see someone with
shoulders caved in that the person is dejected, or lacking confidence, just as
we know that someone who walks with shoulders thrown back and straight and tall
is filled with confidence. We know that someone who is constantly ÒfidgetingÓ
or moving a body part unnecessarily is nervous and worried. These are all
examples of unconscious ÒgesturesÓ of the body, of Kaya Mudras.
Some common unconscious gestures of the
hands (Hastha Mudras) include wringing of the hands when in great difficulty or
trouble; showing the palm of the hand to another, a gesture asking the person
to stop what he is doing; (this Mudra is used by traffic policemen all over the
world); putting the hand into a first to show defiance and anger; gesturing the
thumb up, with the remaining fingers closed into a list to show approval. (In
the ancient days, the gladiators in the Roman Coliseums depended upon this
signal from the emperor to spare their lives).
Gestures of the feet are not so common in
the shoe-clad West, but everyone knows what it means if someone ÒkicksÓ their
foot at them. In the East it is considered a gesture of great disrespect to sit
with the legs crossed at the knees when in the presence of someone who should
be shown respect. It is also considered disrespectful to sit with the feet
outstretched toward anyone. In the East, because it is customary to sit on the
floor, the people are accustomed to many different positions of the feet, which
have many meanings. This is the Pada Mudra. We are all also aware of gestures
of the face (Mukha Mudras). We all know what a smile is and what a frown is,
and what a grimace of disgust looks like or a hateful look. These are all
common facial Mudras. The Chakshu Mudras, those gestures of the eyes, are much
more subtle. Certainly most lovers are experts in the Chakshu Mudra, sending
glances of love, of disappointment, of anger, of sorrow etc. The unconscious
use of the various Mudras to communicate basic emotions, feelings and ideas is
common throughout the human family. It is only in India, however, that this
human phenomenon has been observed, codified, structured and refined into both
a science and an art.
Mudra was elevated to the position of a
carefully thought out science of cause and effect in the ancient discipline of
Yoga, and refined to an exquisite form of communication in the ancient art of
Bharat Natyam. The Hatha Yoga and Raja Yoga Systems of the ancient Hindus
contain a wide repertoire of Pada Mudras, Hastha Mudras and Kaya Mudras.
Although there are Chakshu Mudras and Mukha Mudras, their use is not so widespread
as in, for example, the Bharat Natyam.
The Yogis in times past were fully aware
of the flows of Prana or Vital Energy in the body, the effect of this Prana
upon the human organism and its importance in al forms of life. The existence
of Prana is a fact that even the greatest of modern scientists have yet to
discover. Carl Sagan, well-known popularizer of scientific theories in the
United States, recently stated that it appeared as though it was simply by
chance adaptation to environmental conditions that the human body developed
five fingers and five toes. The Yogi, who knows is own body inside out and its
connection with the Universe, knows differently, and this is one of the basic
principles as to why Mudras work as they do. The human has five fingers and
five toes on each side of his body because he has five flows of Pranic energy,
which terminate in each of the digits. There are five flows from head to foot
on the right side, and five flows from head to foot on the left side. As well,
there is a definite form of Prana circulating in the head, in the torso, in the
stomach, in the pelvic area and in the extremities. These Pranic energies even
have a name in Yogic terminology. Udana Prana circulates in the head; Prana
Reflex in the chest; Samana in the digestive organs; Apana in the organs of
elimination and Vyama in the organs of mobility (arms and legs). Bringing these
various diverse flows of Pranic energy into closed circuits (ÒsealingÓ the
energy flow) is one of the methods by which Mudra achieves its purpose.
Even the less sensitive human is fairly
aware of the flow of energy off the hands and feet. This is why for ages
immemorial holy men (men who had achieved some high level of energy within
their human frame) have been able to ÒhealÓ by the Òlaying on of handsÓ. This
also explains why we like to be touched by Òhigh-energyÓ, positive people. They
are transferring their surplus energy to us. It also explains why we shudder to
be touched by negative, low energy people Ð they literally drain us of our
energy. Normally we are losing energy through our hands and feet. It was
discovered by the Yogis that joining hand to hand or hands to feet in various
ways not only prevented that energy loss, but also helped build up the power of
the nervous system, making it capable of handling the greater energy flows
needed for (and produce by) ÒrealÓ meditation. In Namaskar Mudra, for example
(which, interestingly enough, is the hand position also used by Christians for
prayer), the palm is placed against palm, and held against the region of the
heart. In Yoga Mudra, the feet are crossed into Padma Asana, with right foot on
left thigh, and left foot on right thigh, are palms of the hands placed on the
soles of the feet. In many Yoga Asanas, the palms of the hands are placed into
contact with the soles of the feet deliberately to create closed circuits.
Sometimes, various fingers are held
together in particular positions, uniting one specific flow of Prana in a
unique way with another, to produce a certain effect in the body. For example,
a whole system of Mudras has been evolved which, when the fingers are held in a
particular position, such as Chin Mudra, Chinmaya Mudra, Adhi Mudra and Brahma
Mudra, the flow of air into specific areas of the low, mid, high and complete areas
of the lungs respectively can be controlled. A Mudra used commonly for
meditative and concentrative activities is the Jnana Mudra in which the tip of
the thumb is united in a circle with the tip of the forefinger, and the other
three fingers held rigidly straight the thumb represents the energy of the
Atman (Universal Self; in physiological terms, the energy of the Central
Nervous System or Sushumna Nadi) and the forefinger represents the energy of
Jiva (individual self; in physiological terms, the right and left peripheral
nerves or the Ida and Pingala Nadi). In Yogic parlance, the energies of the
individual self are united to the energies of the Universal Self and the high
meditative state is achieved. The Hastha Mudra is both a symbolic, as well as a
causative factor in producing that which it symbolizes. It sets the stage, so
to speak, and points the way. It is the conscious, evolving aspect of mind
speaking indirectly through the Mudras to the physiological function of the
body, gesturing to the body the direction along which body energies should
flow.
There are many such Hastha Mudras, each
having its own particular effect upon the body, emotions, mind, nervous system
and Pranic flow within the human organism, each Mudra carrying its own subtle
message of evolution. Also in the Hatha Yoga repertoire are numerous Pada
together in various positions in order to affect energy flows. Sometimes the
feet are used as the vehicle of pressure to apply this pressure at a certain
sensitive point in the body, producing the desired effect on the energy system.
Some Kaya Mudra (Body Mudras) include
Yoga Mudra and Maha Mudra, but the most important of the Kaya Mudras in the
Hatha Yoga system are the six Mudras known also as the Shat Mudras or the Oli
Mudras. By placing the body into six distinct positions, using breath control
and Bandhas as well, endocrine glands of the body are stimulated indirectly.
Through this complicated series of body Mudras, the Tejas or firepower of the
body (sexual energy) is transmuted into Ojas, or mental energy. This is a good
example of how the higher mind speaks to the body through the medium of the
Mudra. If the mind tried to verbally instruct the body to transmit Tejas into
Ojas, the feat would be impossible. By placing the body into particular
positions, controlling the breath in a particular way and using Bandhas, the
Mudras acts as the communicative link between the higher mindÕs desire to
create Ojas, and the bodyÕs ability to follow its direction. Thus, the Mudra
becomes a subtle means of true communication between mind and body, a concrete
way in which in which the body can implement the evolutionary commands of the
mind. It is the special language uniting mind and body.
Whereas Mudras in Yoga is used mainly by
the Yogi to communicate spiritually within himself and with the Universal Self,
the Mudra in Bharat Natyam is used by the artist to subtle communicate with her
audience, creating a Rasa Ð a particular emotional state Ð or stimulating the
perception of a spiritual truth or feeling directly, from soul to soul, without
the cloying, degrading effect of verbal contact. The Mudra in Yoga is an
intra-personal communication, where via hand, foot and body positions, the mind
can communicate to the body via energy or Pranic flows, its evolutionary
commands. The Mudra in Bharat Natyam, however, is much more an inter-personal
communications, a direct communion between artist and audience. Subtle
emotions, spiritual truths that cannot be conveyed verbally, can be expressed
via the trained glance of the eye, face, the position of the hands, the feet or
the body.
Many of the Bharat Natyam, Mudras are
also to be found in Yoga, as they are deeply rooted in the natural physical
reaction of the nervous system to certain emotions and states of mind. For
example, in Bharat Natyam a closed fist with the thumb up is called Shikara
Mudra and is used to symbolize manifestations of the Divine Power Ð Lord Shiva
Lord Vishnu etc. We have seen how in common usage the erect thumb position
symbolizes triumph, success, ÒlordshipÓ (compare the popular expression Òthumb
upÓ). This corresponds well to Yogic thinking where the thumb symbolizes the
energies of the Higher Self, in physiological terms, the Sushumna Nadi. The
Namaskara Mudra which literally gestures the meaning, ÒI witness that Supreme
Force as manifesting in youÓ is common to both Yoga and Bharat Natyam, as is
the Anjali Mudra, in which the Namaskara Mudra is lifted high over the head in
a gesture of great respect to the higher authority, which could be God, Guru or
King. The Jnana Mudra, the Gesture of Meditation in Yoga, is used also in
Bharat Natyam to show the meditative state.
An interesting example of a Mudra for the
dance, which is deeply rooted in neurological truths, is the Mudra used to
depict the Rakshasha or the demon. We noted in the case of the Jnana Mudra, the
Mudras of Meditation or Wisdom, that the thumb, which represents the Higher
Consciousness, is joined to the forefinger, which represents the individual
self, and the three remaining fingers which represent the Tanmatras (the
eighteen senses of man) are held tightly straight and together in a controlled
position. This represents a man in a meditative state. In the Mudra
representing a Rakshasha, the forefinger is held against the base of the thumb,
with the thumb stretched out, indicating that the individual self willfully
refuses to join itself to the Supreme Consciousness. The other three fingers
representing all the senses are played apart widely, indicating that the senses
of the Rakshasha are out of control. Neurologically, the hand position well
represents a devil, a Rakshasha, a man who stubbornly refuses to submit his
individual will to the Divine Will and whose senses are uncontrolled. This same
kind of analysis could be applied to many other Mudras of the Bharat Natyam.
Another class of hand positions is more
graphic and descriptive, and recreates salient features of the action / emotion
/ thought expressed by simulating the outstanding characteristics of the
action. These Mudras are more obvious, such as those used to suggest carrying a
pot of water, stringing flowers into a garland, closing and opening a door,
eating butter and so on. The Kaya Mudras, holding the body in a defiant stance,
an amorous stance, etc., play their part in communicating ideas and emotions as
well.
The Pada Mudras reinforce the work of the
Kaya Mudras. Chakshu and Mukha Mudras are the vital link between Hastha, Pada
and Kaya Mudras and the Rasa to be created in the audience. The skilled,
trained dancer learns to communicate with her eyes and subtle gestures of face,
using facial muscles, eyebrows, eyelids and mouth to convey her point. The most
exquisite communication is achieved without uttering a single word. Of course,
elaborate instrumental and vocal music and the collective cultural
consciousness of the audience is also drawn upon to achieve the total effect.
When that magic of shared spiritual insight and awareness occurs, as it often
does in a Bharat Natyam recital, it is amazing to think that so much has been
shared, so many emotions, so many thoughts, so many experiences with nary a
word uttered by the artist or audience. The purifying and uplifting process of
that type of artistic communion must be experienced to be understood.
Through the science of Mudra, that rare
moment of perfect and pure communion and oneness can achieved, whether uniting
man with man in a high spiritual level of consciousness or uniting man with the
Supreme Force in that fleeting moment of spiritual insight. The Mudra ÒgesturesÓ
the energy necessary and ÒsealsÓ that otherwise intangible and illusive moment,
fixing it for all time in our heart and nerves, bones and blood, mind and body,
soul and thought Ð creating a solid foundation stones upon which to build a
spectacular spiritual life.
The Mudra , that Divine gesture, ÒsealsÓ
into our very cells that , ÔCall to a Higher LifeÓ, which can never again be
denied!
CONCLUSION
The Upanishads say, ÒDevo Bhutva
Devam YajetÓ meaning
Ð ÒBecome a God in order to worship God.Ó India has always embodied this
eternal principle in its culture and has spread it across the seas. Dancing was
considered the religious ceremony most pleasing to the Gods and dedication of
all activity to the Divine was the highest form of worship.
According to the Natya Shastra, ÒThere is
no wisdom, nor knowledge; no art nor craft; no device, nor action that is not
to be found in NatyaÓ.
Brahma, created the fifth Scripture,
Natya Veda, the scripture of the Dance, presenting moral and spiritual truths
in a form, which is easy to understand, even for the masses. Brahma then said
to the people, ÒThis art is not merely for your pleasure, but exhibits Bhava
(emotion) for all the three worlds. I made this art to reflect this world,
whether in work or play, profit, peace, laughter, battle or slaughter. This art
shall teach men that the fruit of righteousness will be given to those who
follow Dharma, the Moral Law. The spirituality of this art shall be a restraint
for the unruly, a discipline for the followers of rule. It will create wisdom
in the ignorant, learning in scholars, afford sport to kings and endurance to
the sorrow-stricken. Replete with the diverse moods, informed with varying
passions of the soul, linked to the deeds of all mankind, the best, the
middling and the low, affording excellent counsel, and all else, this great art
shall console and elevate the worldÓ.
A distinctive feature of the
Bharatanatyam is the fact that it
conceives of movement is space mostly along either straight lines or in
triangles or in circles, by which we gain a lot of energy. These movements are
in actual act, moving lines, which come together in discernible patterns. These
patterns reflect or mirror the Mandalas (mystic shapes or forms), which are
associated with the six Chakras of the human psychic energy body (Sukshma
Sharira, as it is termed in Yoga).
Bharatanatyam is no less a spiritual search than the SanyasiÕs way of
renunciation. Yoga and Bharatanatyam
are both a means by which Òwith body, mind and soul we may pray to the
Divine.Ó These great arts help us to divinize ourselves, to develop spiritual
qualities of loyalty, fidelity, a sense of Dharma, discipline, awareness,
sensitivity, strength, courage, skill, cooperation, diligence, health,
happiness and well being, serenity and peacefulness of mind.
May the artistic community of this great
nation of Bharat strive to keep the purity of its great cultural heritage
intact, inspiring people in all times to follow the advice of the great Rishi
Veda Vyasa, who exclaimed at the end of his great epic, the Mahabharatha:
ÒOh man know this! Do your Dharma
(Ordained virtuous duty)! Then Artha (wealth) and Kama (fulfillment of desire)
shall automatically come to you. Having fulfilled yourself in Artha and Kama,
you will then seek and obtain Moksha! Hence I say, ÒDo your Dharma and all else
shall come automatically to you.Ó
The great art of Bharat Natyam surely
shows us how we may fulfill our Dharma in a most refined, pleasing, enjoyable,
dignified, beautiful and joyful manner and attain that final union with the
Supreme Self.
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