Semantic Attitudinisation

I

Symbolism of the Cosmic whirl

The whole cosmos, the creation, is always in a flux. Move­ment, speed, whirl, revolutions, transitions and cyclic changes go on forever. It is an ever emanating process. This is intensified during the cyclic dissolutions. All this is symbolised in Natya, dance. Our ancient Rishis, seers in their super-state of contem­plation, have divined these movements of the spheres as Dance. The Lord is the King of Dance, Nataraja. Our ancient texts have described this dance as conveying to us profound and spiritual meaning. (See T. A. Gopinatha Rao’s Hindu Iconography Vol. II, PT. i) Siddhanta Dipika, Vol. XIII, 1912, July, gives in detail the mystic significance of this dance. The great Master of dancing is Siva. The cosmos is His theatre. There are many steps in His repertoire. He        Himself is the actor, danseuse and the audience.

“When the actor cometh beating the drum,
everybody cometh to see the show, when the
actor collecteth the stage properties, He
abideth alone in His happiness.”

The seminal and root idea behind all these dances is more or less the same – the manifestation of the primevel rythmic energy. Siva is the Eros rotogonos of Lucian, where he wrote:

“It would seem that dancing came into being at the beginning of all things and was brought to light together with Eros, that ancient one; for we to see the primevel dancing clearly set for the choral dance of the constellations and of the planets and fixed stars, their interweaving and inter­change and orderly harmony.”

A great motif in religion and art or any great symbol becomes all things to all men. Age after age it yields to men such treasures of spiritual wealth, as they find in their own hearts ... Whatever be the origins of the dance of Siva, it becomes in time the noblest image of divine activity of God, which any art or religion can boast of.”

Placing the Mother of the three worlds upon a golden throne studded with precious gems, Sulapani (One that has the trident in hand) dances on the heights of Kailas and all the gods gather round Him. Sarasvati plays on the vina, Indira on the flute, Brahma holds the time-marking symbols, Lakshmi begins a song, Vishnu plays on the drum and all the gods – Gandharvas, Yaskhas, Uragas, Kinneras and Apsaras and all other beings of the three worlds assemble there to witness the celestial dance and hear the music of the divine choir at the hour of the twilight. Taandava­satakam of Patanjali and Siva-taandava of Dasakantha-Ravana are the famous paeans of praise on the dance of Siva.

Ancient texts on iconography have aesthetically described in detail the structure of this aspect of Siva. Nritta Murti is the poetic and aesthetic creation of the poet-sculptor or painter. Canons are prescribed in those texts. They are (i) amsumadbheda agama 65th Patala, (ii) Uttarakamika gaama 46th Patala, (iii) Suprabheda agama 34th Patala, (iv) Purva karana agama and (V) Silpa Ratna. Sixteen hands are prescribed for the Nritta Murti to represent several potential qualities of the Lord. The right set of hands carry are posed in Abhaya, Damara, Vajra, Sula, Paso, Tanka, Danda and Naga. The left set of hands are in the poses of Dola, Anita, Mithuna, Vismaya, Valaya, Kapala, Kheta, Ghanta Kheta.

The above represent and symbolise the various Bhavas and Vibhavas. This representation is known as Anubhava. These Bhavas and Vibhavas, i. e., concepts and the meanings are mani­fest in articulation also in the song. The word or words are represented in physical actions, poses and attitudes. Natya is semantic attitudinisation.

Another Perspective

There is the name of Mahaa-Vishnu, Ranganaayaka, which is very popular. It is well known that the whole creation is compared to a stage. The Lord of the stage is Ranganaayaka. The Murti is generally installed as a Sayana Vigraha. He is lying on his serpent couch in a relaxed mood or state. This Ananta or Sesha (serpent) with His endless coils represents the timelessness or eternity. On this lies the lord. He has set the ball of creation rolling and reclines over the bed of Timelessness. He sets afloat the manifest creation in space-less Space and looks on in his relaxed and sportful mood (Leela) the creation in its cosmic whirl, speed and undulatory movement progresses eternally. The same is presented to us as the dance of the Devi, Ranganayaki. This picture is well symbolised in a beautiful song of the great Vishnu Bhakta Sri Annamacharya – alarulu kuriyaga audende. While the flowers showered over here, She, the Devi Alamelmanga, is dancing. The Lord is in his repose. The creation gains its momentum and progresses. This is the representation of the whole cosmos in its kinetic form. In his reclining posture we notice that from His lotus-navel sprouts out the Creator Brahma. The grand conception in sequential order is symbolised with pro­found significance. These are our traditions of the philosophy of dance.

II

Bharata’s “Natya Sastra” (B. N. S.)

Our ancient seers have intensely and deeply studied the physiology of the human frame and have recorded the reactions of the various limbs in correspondence with the mental processes. Every thought, every emotion and every sentiment is manifested in some changes in the limbs. This study has been thoroughly studied and registered in text-books. The magnum opus is Bharata’s “Natya Sastra.” (B. N. S.)

Unique and marvellous is the treatise attributed to Bharata. It is a compendium covering in its range everything about theatrics. The several laws that govern and guide the play or dance, their structure and production are analytically indited in this encyclo­paedic work. This is a pioneer work in the world. It registers a tradition and expatiates on the various functions of the theatre. It remains an undisputed authority and a source book on the subject – a canonical thesis. It is the master work for play­houses, plays, dance, aesthetics and the history of theatre and other several allied subjects. No topic is strange in this book and every topic required is included in this. Its reading and following benefits an actor, regisseur, musicologist, playwright, poet and historian. It contains the essence of all the four Vedas. Its contents are all-knowledge and the’ other name is “Natya Veda.” There is no other art, no other science, no other learning or discipline or workmanship or Yoga that is outside the gamut contents of this “Natya Veda” or Sastra. Kay Ambrose of England, who learnt this art of dance under Ramgopal, has observed in her book, Classical Dances and Costumes, the following:

“India herself is a storehouse of magic, with colours that injure the eyes, a climate ranging from snow to unbearable heat, tiny deadly insects and huge kind elephants and an all- healing philosophy which soothes the soul of the restless, pities the wicked, tolerates the ignorant, smiles at modern science as a mother smiles at the self-opinionated child. India has her own miracles which she disdains to advertise. She venerates her wise old men whose sweetness and wisdom combined have the cleanliness of an English hay-field. And as she absorbs everything in her philosophy, she can show everything in her dance.”

B. N. S. besides being a treatise on the scientific theory of the art, its contents are of utmost importance to the performing artistes. This art-form, besides being charged with mystic and spiritual significance, serves also as a medium of communication. Any idea after its articulated stage is transformed by the danseur or danseuse into a visible form – into a set of attitudes of the various limbs of the human body. This is performed in not only aesthetic splendour but is accompanied by euphonic time-beat and pleasant sounds. The whole movement is dynamic. It imparts an exalted sentiment or taste – rasato the rasaite audience – a Sahridaya. The canonical thesis contained in B. N, S. did not stagnate. Three millenia of the passage of time, supplied numerous texts on Natya. The growth of ideas – commensurate with the advance of civilisation – demanded proportionate changes in the dance art-form. The whole suite of attitudes conveyed more ideas and, sentiments.

As music is the twin art of dance, every text on music contained a chapter on dance and vice versa, every text on dance contained a chapter on music. Dance performance is an unique example of bi-unity that is of music and movement in its applied form.

Also this performing art-form has enthused the painter and the sculptor to present in their media aesthetic forms and these two fine arts of painting and iconography developed their canons of proportion and rhythm. Vishnudharmottara gives the kinship ofthese fine arts with dance and music.

Music too is represented in aesthetic visual forms, both with the aid of the brush and the hues and the chisel and the hammer. We have the aesthetic productions of Raaga-Raaginis. In sculpture Siva is represented as Saptasvara Murti. At Parel near Bombay in the 7th century a Sivasvarupa was carved out of a rock. It is a composite figure of seven Murtis, representing the Sapta­svaras, represented longitudinally in oval form, with figures of musicians on the lower sides. It is a beautiful figure that shines out in all splendour. This Saptasvara Sundaramurti is the symbol of all music, just as Nataraja is the symbol of all dance movement.

The B. N. S. also recognised the regional variations in the dance art-forms. We are familiar with the Kathak, Manipuri, Odissi, Kuchipudi, Bharata Natya and the Kathakali. There are more schools founded on traditions of their own. Moreover there are folk-dances with hoary traditions including tribal dances. Their revival in their pristine form has to be rehabilitated. With the advancement of mechanisms these can be recorded just like the literary texts. Such records will be treasures of rich heritage to be handed over to posterity.

III

Abhinaya

The word ‘abhi’ is a prefix to the verbal root ‘hi’ which means to make it reach, or to realise, or to make one realise or to perceive or cognise, abhiand nitogether in crasis (sandhi) formation becomes Abhinaya. The verbal root niwith abhiprefaced to it, also indicates going towards or approaching In so far as dramatic action leads towards understanding (by the elite audience) that is, Sahridaya, it is known as Abhinaya. Abhinaya connotes the means by which several states of feelings and several ideas along with the multifarious attitudes of various limbs and sub-limbs convey objectively to the audience purposeful gestural communication.

Four well-recognised modes of this gestural communication are canonised in the texts on Natya:

I. Vaachika – Action of Speech

During the cosmic whirls of the dance of Siva, sounds are produced and the ancient Rishis have divined these sounds. Panini has codified them as the fourteen Sutras of the alphabet –A to Hal. These are known as Mahesvara Sutras. Then ensued the whole cavalcade of literature. These are worked into songs and entwined to music during a dance or dramatic performance. ­

II. Saatvika – Involuntary emotions that outwardly ‘appear in limbs. These are Sveda– sweating, romanea– horripilation. Vaivarna–discolouration, sthambha- stupefaction, svarabheda­change and trepidation in voice, vepathu- trembling with fear, as hru - tears of joy or sorrow, and pralaya- death. These anubhavascan be experienced only by expert actors that identify themselves with the moods of the role they are depicting taadaatmyam.

III. Ahaarya consists of the articles of the make-up, costu­mes and decor. These feed the appearance of the role that is taken up for acting.

IV. Angika - Actions of the limbs.

These   actions are very elaborate. The main limbs are the head, the hands, the waist. the chest, the sides and the feet. These are again divided into sub-limbs. More than two hundred of the actions of these limbs and sub-limbs are enumerated after a deep study of human beings.

Most important are the poses of the palm or hand, that is Hasta-abhinaya. These palm-poses accord with the looks. In the suite of the actions, the poses of the rest of the limbs accord. This Anga-abhinayais the richest vein in dancing. These are purposeful gestural communications and the dance may be com­pared to the semantics of language.

Gesture expression is Natya
Verbal expression is language,
Both the expressions go together
To make simulation Graceful and Sublime.

IV

Suggestions
A long-ranged and comprehensive research work has to be carried out to publish the gamut of literary and art treasures in the sphere of Natya. The following research project may be considered:

(1) Collection of the bibliography on Natya and Music, in all Indian languages published and unpublished MSS.

(2) Accession to a specialised library all the books and Xerox copies of the available MSS.      
(3) Bringing out a revised and enlarged edition of Bharata Kosa, formerly compiled by late lamented Sri Manavalli Rama­krishna Kavi.

(4) A Thesaurus of Anga-Abhinaya compiled from all the available texts published and unpublished.

(5) To publish separately the chapters on dance contained in the texts on music. Vice-versa the chapters on music contain­ed in the dance texts.

(6) A critical edition of the B. N. S. together with the com­mentatry of Abhinava Gupta.

(7) Publication of the Hasta Ratnavali of Raya Raghava.

(8) Illustrated album of the various attitudes of Anga-abhi­nayaas a supplement to the Thesaurus. (No. 4 above)

V

Conclusion

We know that precious medicines are encased in tiny boxes. Similarly profound thoughts and splendorous imagery are filled in a beautiful half-verse of Lilasuka.

            Anganaa manganaa mantare maadhavo
            Maadhavam maadhavam caantarenamgana             II. 35/2

In three words, Maadhava, Angana, and Antare a gamut of meaning is encased. The two Uttara Padas describe the aesthetic context

            itha ma kalpate mandate madhyagam
            sam jagau venu na devaki nandana

The accepted philosophical theory is that the whole creation is feminine to the Lord. The creatures of the manifest worlds are the eternal brides seeking the hand-support of the Lord, the Paramount Lover. Even the recesses of space antareare immanently occupied by the Lord. This verse visualises the Lord in the centre, playing on the flute giving forth notes of celestial melodies pregnant with ecstatic divine love, and encircling Him are the Gopis, with Lord Krishna stationed in between them. When the dances progress in circles, the basic and cosmic vibra­tions of the universe are represented symbolically. This dance­form proclaims the Ultimate Truth. The Lord is the in-dwelling out-dwelling and the all-pervading Lover of the creation. All casmos is the Lord. The distinctions pale away into insignificance when the Lord is identified with the apparently divided selves, Gopis, and the notional space intervening them. The three words, Maadhava, Angana and Antare are the Trinity.

Thus we conclude, that to know India’s dance is to know all.

(Paper sent to the seminar on Natya Sastra sponsored by the University Grants Commission, conducted at S. V. University, Tirupati.)