Dance unites expressions of joy and wonder all over the world, notwithstanding religion, race or color of skin. Sacred origins can be traced for all forms of Indian art and the inner experiences of the soul are best manifested through the sacredness attached to classical music and dance.
Bharatnatyam is believed to be the oldest of all forms of classical dances in India, given the fact that it draws the most heavily from the ancient Indian texts of dance. The Natya Shastra from the 2nd century A.D. is the oldest available text on Hindu dramaturgy and was composed by the sage Bharata. It states that Lord Brahma revealed to the sage, the art of Natya or drama. This ancient text is composed of 36 chapters and deals minutely on the theory of music, dance, theatre, poetry and stages. It also furnishes details of costume, makeup and stage arrangements.
Legend has it that this ancient text was created by Lord Brahma at the beginning of the second eon or the Treta Yuga. Originally created as a means of diversion for those from the lower castes who could not practice the four Vedas, it supposedly draws from all four Vedas – the recitative (Paathya) from the Rigveda, the songs (Geet) from the Samaveda, histrionic representation (Abhinaya) from the Yajurveda and sentiments (Rasa) from the Atharvaveda. When the Gods (Devas) expressed their inability to practice this new Veda (Natya Veda), Brahma passed it to Sage Bharata and his hundred sons. Lord Shiva, impressed by this new art sent Tandu, his disciple, to learn the elements of dance. Lord Shiva then learnt the Tandava (masculine) form of dance while his consort, Goddess Parvati learnt the Lasya (feminine) form.
Originally, the Bharatnatyam dance was an exclusive forte of the temple dancers or Devadasis, whose sole purpose in life was to serve the temple deity. These dancers were offered to the temples in their early childhood and were symbolically wedded to the temple deity. These young Devadasis were then taught the arts of music and dance, sacred and classical literature in Sanskrit, Tamil and Telegu and certain religious duties in the temple. Of course, time has freed this dance from the confines of the temple and nowadays the art is being practiced by anyone who can show enough dedication to this ancient art.
Bharatnatyam is said to have a deep link with Yoga and is believed to be a means of realizing Godhood. Over two thousand years of evolution of this dance has kept this dance fresh and fascinating in its richness, traditional movements and aesthetic appeal. This graceful dance has its origins in the state of Tamil Nadu in Southern India.
This dance deals with physical balance, so as to enable effortless movements of the limbs. Gestures of the hands as well as the eyes are the lifeline of this dance form, and the main means of reflecting the mood underlying a dance performance. The palm of the hand, along with the movement of fingers, forms the center of expressive gestures in Bharatnatyam. The wrist is a pivot for the movements of the hands in any direction. Gestures formed by the hands are collectively called the Mudras or Hastas. Bharatnatyam has a repertoire of 28 Asamyukta hastamas (single handed gestures) and 24 Samyukta hastamas (two-handed gestures), each held at different angles from the body to express various thoughts.
The doll shown depicts a dancer who is enacting Radha, who is anxiously waiting for her eternal lover Lord Krishna. Radha is shown wearing a green saree with red and golden border. She wears golden waistband. The saree is folded and patterned in flowery flares – one small and the other long – in the front, so that they look like an inverted rising sun. She wears golden necklaces, earrings, bangles, armlets, headband with a tikli and two discs on the head – sun and moon. Her hair is pleated and is decorated with flower garlands. She wears a wide ghoongroo (anklet worn during dances) on her ankles.
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