Ancient Indian Dance Traditions and Classical Treatises

Historical Foundations of Indian Dance

Historical knowledge of ancient events and incidents related to dance reveals that India has a rich tradition dating back to antiquity.

• Evidence of dance comes from: Inscriptions, sculptures, paintings, literary sources, excavations, myths, and legends.
• The Vedas are the earliest sources of dance and music.
• Dance is mentioned in the Vedas, Epics, Puranas, and Sanskrit literature (Nataka and Kavya).
• Excavations at Mohenjo-Daro and Harappa yielded a bronze dancing girl statue and a broken dancing torso.
• The Harappa torso is believed to be an early form of the Nataraja (Dancing Shiva) pose.
• Natya Shastra by Bharat Muni is the first major treatise on dance, drama, and music.
• The Natya Shastra dates approximately to the 2nd century BC.
• The term Nritya is mentioned in the Rigveda, proving that dance existed in Vedic times.

Medieval Treatises: The Madhya Yuga Period

The Medieval period (Madhya Yuga) saw significant growth in Indian art and literature. Most scholars based their work on Bharat Muni's Natya Shastra. While many ancient texts were lost, several important Granthas survived.

• Important Granthas:
  • Natya Shastra
  • Sangeet Ratnakar
  • Abhinaya Darpan
  • Bharatabhasha
  • Abhinavabharati

1. Natya Shastra – Bharat Muni

• The most important and oldest dance treatise, known as the Panchama Veda (Fifth Veda).
• Contains 36 chapters and 6,000 verses.
• Chapters 4–20 mainly discuss dance.
• Covers dance, drama, music, and stagecraft.
• Mentions 108 Karanas, 32 Angaharas, Hasta Mudras, Drishti Bhedas, Shiro Bhedas, and Greeva Bhedas.
• It is the foundation of Indian classical dance.

Exam Note: Natya Shastra by Bharat Muni is the foundation of Indian classical dance, drama, and music, and is known as the Panchama Veda.

2. Sangeet Ratnakar – Sharangdeva

• An important medieval text on music and dance written around 1210–1247 AD.
• Contains 7 chapters; the first six focus on music, while the last chapter focuses on dance.
• Discusses Swar, Raag, Taal, instruments, and dance.
• Divides Nritya into: Visham, Vikat, and Laghu.

Exam Note: Sangeet Ratnakar by Sharangdeva is an important medieval work that explains music, dance, raag, taal, and instruments.

3. Abhinaya Darpan – Nandikeshwara

• A vital text for Kathak and Bharatanatyam.
• Simpler and easier to understand than the Natya Shastra.
• Explains Abhinaya, Natya, Nritya, Nritta, Hasta Mudras, Shiro Bheda, Drishti Bheda, Greeva Bheda, and Bhramari.
• Considered a practical guide for dancers.

Exam Note: Abhinaya Darpan by Nandikeshwara explains abhinaya, mudras, body movements, and expressions used in classical dance.

The Concept of Rasa in Indian Aesthetics

Rasa refers to the emotional essence or feeling experienced by the audience, as explained in the Natya Shastra by Bharat Muni. Rasa is created by:

• Vibhava (Cause): Divided into Alambana (the person/object causing emotion) and Uddipana (the environment or stimulus).
• Anubhava (Expression): Visible expressions of emotion, such as facial expressions, gestures, and body language.
• Sanchari Bhava (Supporting Emotions): Temporary emotions that help strengthen the main emotion.
• Sthayi Bhava (Permanent Emotion): The basic emotion that becomes Rasa when expressed.

The Nine Rasas (Navarasa)

• Hasya Rasa: Emotion of laughter; Sthayi Bhava is humor. Example: Villagers laughing when Krishna is dressed as a girl.
• Shringara Rasa: Emotion of love; Sthayi Bhava is Rati. Known as the "King of Rasas." Types include Sambhoga Shringara (union) and Vipralambha Shringara (separation). Example: Radha and Krishna.
• Raudra Rasa: Emotion of anger; Sthayi Bhava is Krodha. Expressed through raised eyebrows and shouting. Example: Bhima seeing Draupadi insulted.
• Bibhatsa Rasa: Emotion of disgust; Sthayi Bhava is disgust. Example: Rotten food or bad smells.
• Karuna Rasa: Emotion of compassion or sorrow; Sthayi Bhava is mourning. Example: Raja Harishchandra losing his son.
• Veera Rasa: Emotion of heroism; Sthayi Bhava is courage. Qualities include bravery, patience, and sacrifice. Types: Daanveer, Dharmaveer, Yudhveer, Dayaveer. Example: Shri Rama.
• Bhayanaka Rasa: Emotion of fear; Sthayi Bhava is Bhaya. Expressions include trembling and a pale face.
• Adbhuta Rasa: Emotion of wonder; Sthayi Bhava is amazement. Caused by miracles or extraordinary events.
• Shanta Rasa: Emotion of peace; Sthayi Bhava is detachment. Caused by spirituality and meditation.

Nayika Bhed: Classification of Heroines

Nayika Bhed is the classification of heroines in Indian classical dance, explained by Bharat Muni in the 24th chapter of the Natya Shastra. Heroines are classified based on relationship, age, character, physique, and situation.

Classification by Dharma (Relationship)

• Swakiya: The lawfully married wife; loyal, devoted, and a good homemaker.
• Parakiya: A woman who loves a man other than her husband.
• Samanya (Ganika): A courtesan or independent woman associated with many men.

Classification by Age

• Mugdha: A young, innocent girl new to adolescence.
• Madhya: A young adult developing romantic feelings; shy and emotional.
• Pragalbha / Proudha: A mature, confident, and experienced woman.

Classification by Character

• Uttama: Calm, gentle, and easy to please.
• Madhyama: Reacts according to her husband's behavior.
• Adhama: Difficult to please; often angry or upset.

Classification by Physique (Jati)

• Padmini: Beautiful, graceful, and ideal; loves music and dance.
• Chitrini: Artistic, witty, and beautiful.
• Shankhini: Proud, arrogant, and temperamental.
• Hastini: Heavy build with a strong appearance and an elephant-like gait.

The Ashta Nayika (Eight Heroines)

• Swadhinapatika: A woman whose husband is completely devoted to her; she is confident and proud.
• Vasakasajja: One who is decorating herself and waiting excitedly for her beloved's arrival.
• Proshitapatika: A woman whose husband is away on a journey, causing her to feel the pain of separation.
• Virahotkanthita: One who is longing for her beloved and waiting because he is unable to come.
• Vipralabdha: A heroine who feels deceived because her beloved promised to come but did not.
• Khandita: One who is angry because her beloved was with another woman.
• Kalahantarita: A woman who fights with her beloved and later regrets it.
• Abhisarika: A heroine who bravely goes out to meet her beloved despite obstacles.