In the previous issues, we saw how language form part of the Hindu culture.
In this issue, we’ll see how performing arts constitutes a part of this and how
it connects a true Hindu to his/her religion. Again, as we indicated in the past
issues, even though it may not be possible to follow all the aspects of this
culture in today’s environment, it is good to be aware of it and strive to reach
the ideals.
PERFORMING ARTS: All forms of art (fine
and performing) to a true Hindu are sacred because their message is one of
spontaneous love, truth and God’s glories. Traditional Indian music and dance
are art forms believed to have been handed down by the Lord Brahma himself.
Sama Veda (one of the four Vedas) chanting is
very much musical. The Natyashastra, sometimes
referred to as Natyaveda gives details about
dance, music and drama and is believed to be authored by sage Bharata.
Music:
Music occupies a highly respectful place in the Hindu tradition. Vedas are
considered as “ the Lord’s breath”, “eternal words”, and “ the only authority (pramana)
on subjectmatters beyond senses”. Music is referred to as “upaveda”
(a co-veda) of Sama Veda, one of the four Vedas. It is also called “Gandharvaveda”
since Gandharva devatas always are engrossed in music. Since sage Bharata handed
it down later, it is also named “Bharataveda”.
It seems Samaveda has seven notes called “krushta”,
“prathama”, “dwiteeya”,
“triteeya”, “chaturtha”,
“panchama”, and “shashta”
corresponding to the well known seven notes of music “panchama”, “madhyama”, “gandhara”,
“rishabha”, “shadja”, dhaivata”, and “nishada” respectively.
Music’s religious connection is illustrated in shastras in various ways.
Some examples are:
- Lord Brahma always is engrossed in Sama Veda
- Goddess Saraswathi plays the Veena
- Lord Shiva enjoys songs
- Lord Dakshinamurthy in one form has veena in his hands
- Sri Krishna is the enjoyer of flute
- “one who knows the essence of the Veena sound, the variations of shruthi,
and rhythm (tala or time) also attains moksha”
- “God is there where the devotees sing”
Sages such as Thumburu, Narada, Shuka worshipped the Lord with music. In
recent times, the trinities of music, Thyagaraja, Deeksitar, and Shayama
Shastry worshipped God with music. It is well known that Lava and Kusha (sons
of Sri Rama) sang with expression in front of sages and Sri Rama himself. Even
a small child stops crying when sung.
At the end of the pooja, shastras say that one should offer music of
various forms to the Lord. Music is used in meditation as “nadabrahma
upasana”. Generally the lyrics in music are from Puranas and is
rendered as offerings to the Lord.
Thus the original purpose of the music is for the worship of the Lord.
Though it serves as entertainment to the ordinary senses, its ultimate gain is
in attaining the true happiness, the experience of oneness with the Lord.
Dance:
The Natya Shastra is said to be a revelation by Brahma himself to Sage
Bharata. Brahma thought of making it a fifth Veda and thus revealed it to
Bharata for all to listen and see. Bharata taught it to his sons and the
tradition continued. Brahma took the recitative from Rgveda, the expression (abhinaya)
from Yajurveda, song from the Samaveda, and the sentiments (rasa) from the
Atharvaveda to create the Natyaveda. Thus it is connected to Vedas. The dance
has three elements, natya, nrtya, and nrtta. Natya is dramatic representation
of speech, nrtya includes expression of sentiments and emotions, and graceful
movements of the body. Nrtta is just movements of the limbs with rhythm (tala).
The dance themes are generally taken from Puranas and Ithihasas.
The dance is a complete art when the dancer understands the profound truths
revealed in the Vedas. The dance then becomes an offering to the Lord through
the elaborate graceful rhythm and movements and the stage itself is a temple.
In fact, in olden days the dance was performed only in temples in front of the
Lord and the dancers were dedicated to the service of the Lord only. It was
not intended to be an entertainment.
The manifestation of Shiva as Nataraja is well known as a symbol of the
sanctity of the dance. He is considered the King of dancers. It is called
Shiva Tandava Nrtya. The glory of this dance of Shiva is described as follows:
Lord Brahma is playing the cymbols. Lord Vishnuis is playing the drums.
Goddess Bharati is playing the veena. Surya (sun) and Chandra (moon) are
playing the flute. Sidhas, Suras, and Kinnaras (different Celestials) are
putting tala (timing, rhythm), Nandi and Shanmukha are playing mrdangam (two
headed drum). Sage Thumburu is singing. It is in this setting Shiva is dancing
in Nataraja form.
This form depicts the Lord’s exquisite face which radiates knowledge and
serenity, while the body is a balanced dance of creation and resolution. The
drum represents the sounds of creation and the fire symbolizes the
destruction. The demon on whom he dances represents the individual caught in
the bondage of wordly existence. His raised left foot and the hand of
benediction denote the freedom of the individual who has surrendered unto his
feet.
Even today, this classical dance starts with a worship to Nataraja. The
arts then are also an expression of devotion to the Lord and his creation.
