Thursday, March 7, 2013

Dance of Joy


In such a view of the dance, which in India is represented by numerous schools and traditions, stripped of coaxing disco and take on genius. In fact, in India the dance is a form of artistic expression, characterized by very strong links with the mythology and classical literature, thus becoming state of the soul that recalls the dance as an act of creation. With dancing man enters the sacred. This is also a natural human instinct which is found in prehistoric times and that connects people around the world. Everything starts with the cosmic dance of Shiva, the god of the Hindu trinity and kings of the dancers, who with his movements keeps the cosmic rhythms.



A concept that has not only religious symbolism, just think of the rhythm of the vibrations of our quartz watches that fit the rhythms of the universe. Even life is rhythm in a "trivial" hen's egg, just a few hours after fertilization was born a pulsation in the very place where, later on, beat a heart that does not exist yet: the rhythm anticipates both the organ that the embryo. For the Hindu spirituality dance from an intuitive response to a question insoluble at an intellectual level, because God has never bothered to create this gigantic universe with its billions of suns? God is not self-sufficient? For a game, a dance. Since neither the game nor the dance in need of justification, they are self-sufficient.


So the dance is transformed into sacred experience, a ritualistic art form, a divine gift to humanity, that humanity itself practice to please the divine. The mythological story goes that the Natya Shastra is the fifth Veda, called for this reason also Natya Veda. In the form of Nataraja he is beautifully represented in the pose with the left leg raised and the left foot shows the path of salvation, while under the right foot is a dwarf, the symbol of the ego and its limits, whose "smallness "characterizes its small size. The right hand with the palm facing the observer, in the mudra called "pataka" to protect the devotees, the left is in a mudra called "kari", similar to the mudra "dola", which means "I AM HERE". The other right hand holds a small drum, a symbol of passing time, the pace of life and in the left hand there is a flame, that is the creative energy and purifying force.


It was inspired by Brahma, the Creator of the Universe, and was composed by extracting characteristics from each of the four Vedas, the Rig Veda Brahma drew his acting, drew the abhinaya from the Yajurveda, the Samaveda and the song Atharvaveda the rasa. Legend has it that Bharatamuni received, therefore, the Natya Shastra by Brahma. In another fundamental text on Indian dance, Abhinaya Darpanam, it is said that "Brahma gave him his first lessons in the natya Barata Muni. Following Barata Muni, with the help of Gandharvas and Apsaras, the celestial dancers and singers, presented the three forms of dance - natya, nrtya and nritta before the lord Shiva. Recalling his violent style of dance, Shiva then asked the aide Tandu, assisted by the following, to transmit the technique to Bharata Muni.


As if that were not enough, affectionately asked his wife Parvati to show the essay style Lasya. Understood the technique, the holy bother to transmit knowledge to others. " And so here are the two fundamental characteristics of Indian dance: the style "tandava", energetic and impetuous, and the "laasya", sweet and feminine. Shiva as Lord of the Dance, is called "NATARAJA" or even "NATESHWARA", which are no more than two of the 108 principal names of God.


Shiva Nataraja is the supreme lord to which the dancer turns and always inspires. The magnificent temple that is dedicated, in Chidambaram, is the place where every year on the occasion of the festival dedicated to him between February and March, the "Mahaashivaraathri", many dancers and dancers perform to pay homage. For 4 or 5 consecutive nights, performances continue until the wee hours of the morning. In the early twentieth century moralist attitude against dancing, reached its maximum fervor to the detriment of all forms of artistic representation. In the '20s, at the same time the constant harassment, spread within the thoughts of the Indian bourgeoisie more enlightened, the need to recover the cultural roots of the nation. Gandhi himself asserted that any form of independence by a hegemonic country needed the recovery of thought, culture and traditions of indigenous peoples.

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