In the beginning Brahma gave the Natyaveda to Bharatha. Bharatha together with groups of the Gandharva and Apsaras performed Natya, Nrtta and Nrttya before Siva. Then Siva having remembered his own majestic performance, caused Bharata to be instructed in that (art) by his attendants. And before this, on account of his love he gave to the latter, instructions in lasya through parvathi. Knowing about thandava from Tandu, sages spoke of it to mortals. Parvathi on the other hand instructed Usa, the daughter of Bana in lasya. The latter taught to milkmaids of Dwaraka, and they taught this to women of sourastra who in their turn taught it to women of other countries. In this manner this was traditionally handed down and has come to stay in the world.
Eulogy of Natya
Brahma collected themes of recitation, abhinaya, vocal music and rasas from Rig, Yajur, Sama and Atharva Vedas respectively, and made rules for this art which grants dutiful life, wealth and enjoyment as well as liberation. (Sastra, dharma, artha, karma, moksa) and which promotes fame, self confidence, fortune and cleverness, and which gives rise to peace, patience, liberality and pleasure and does away with misery, affliction, sorrow and despondency. This is viewed even more than the bliss which persons meditating experience.
Dance which is attached to the four aspects (of abhinaya) is of three kinds Natya, Nrtta and Nrtya, according to sages like Bharata and other. Abhinaya is preponderant there in the Nrtya describe before. There are four kinds of abhinaya: angika (of limbs), Vachika (of speech), aharya (of dress) and Sattvika. Ankika abhinaya is shown by means of limhs. Vachika abhinaya constitutes kavyas (poems) and natakas (dramas) which are made up of speech. Aharya abhinaya includes, the decoration of the body of means of necklaces and armlets etc. satvika abhinaya is performed with sattvika emotions by those who know how to represent them. Motionlessness, perspiration, horripulation, change of voice, trembling, change of colour, tears and fainting are the eight sattvika conditions.
Mudras are the words of dance. They are of two kinds. Single and combined. Single hands:- They are 28 in number. Pataka, Tripataka, Ardhapathaka, Kartharimukha, Mayura, Ardhachandra, Arala, Sukadhunda, Mushti, Sikhara, Kapittha, Katakamukha, Suchi, Chandrakala, Padmakosa, Sarpasiras, Mrigasirsa, Simhamukha, Kangala, Alapadma, Catura, Bhramara, Hamsasya, Hamsapaksa, Sandeimsa, Mukula, Tamrachuda and Trisula.
Combined hands are twenty three in number :- Anjali, Kapota, Karkata, Svastika, Dola, Puspaputa, Utsanga, Sivalinga, Katakavardhana, Kartarisvastika, Sakata, Sankh, Cakra, Sampuda, Pasa, Keelaka, Matsya, Kurma, Varaha, Garuda, Nagabhandha, Khatra and Bherunda.
Bharata Natyam is one of the oldest dance forms of India said to be originated in Thanjavoor of Tamil Nadu. It was nurtured in the temples and courts of southern India since ancient times.
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A spectacle for both the scholar and the simple rustic. The visual effect is enhanced by varied and colourful facial make-up with larger-than-life-masks, made of light wood and cloth padding, for certain characters.
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Margomkali is a ritual folk art of the Syrian Christians of Kottayam and Thrissur districts. A dozen dancers sing and dance around a lighted wick lamp ( Nilavilakku ), clad in the simple traditional white dhoti and sporting a peacock feather on the turban to add a touch of colour.
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A dance form essential to the wedding entertainment and festivities of the Malabar Muslims. Maidens and young female relatives sing and dance around the bride, clapping their hands.
Thiruvathirakali is a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December- January).
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