Dance and Hindu epics

Subashini Pathmanathan

In Hinduism excellent and exceptional Hindu epics are available. Ramayana and Mahabharata are the two important and outstanding epics in Hinduism. These epics are still used in our dance dramas. Some extracts from these epics are taken for the classical dance forms. These dance forms play an important role in South East Asian dances which are mainly influenced by the Hindu epics. Both these epics are based on Vaishnava cult.

Beside these, various epics on Lord Shiva are used for the classical dance items such as Padams, Keerthanams, Sabthams, Varnams, Solkams, Viruthams and Thillanas. All these items are based on different themes on different epics.

In most of the epics the Apsaras (the divine dancers or the dancing maids of Devaloka) from heaven dominated the dance scenes. Even there are numerous references to Lord Shiva in relation to dance. There are 108 Thandava Karnas (108 Thandava dance poses) in Hinduism.

Koothapiraan, Aadavallan, Kootharasan, Thaandavamoorthy, Nataraja, Aadumtheivam, Ampalakoothan and Narthana Moorthy are some of the terms referred to Lord Nataraja the cosmic dancer. In other words Lord Shiva is called by numerous names connected to dance. Similarly even Lord Ganesha is often referred to as ‘Narthana Ganapathy’ in various epics. It reveals the dancing Ganesha. Lord Krishna’s dance on five headed cobra is called Kalinga Narthanam. Today classical and folk dances have adopted beautiful epic themes for dances. These epic themes are described through numerous prose songs. Numerous beautiful references are seen in the epics about Lord Krishna’s dance with Radha. There are a lot of references about Goddess Kaali’s dances in different epics, puranic and ithikaasa stories. The term Narthana Kaali means dancing Kaali.

Appropriate dance poses are adopted in Bharatha Natyam, Odissi, Manipuri, Kuchupidi and Mohini Aatam to depict different gods for appropriate dance themes. Most popular epics in Hinduism are Ramayana and Mahabharatha. Both provide a wealth of information about dance and music in earlier times. According to Mahabharatha ‘Gantharva’ dancers entertained the people in the royal courts. The ‘Gantharvars’ were well versed in music, dance and chanting. According to Mahabharatham, Mahabharatha hero Arjuna learnt Geetham (music), Vaathya (instrument) and Nrthiya (dance).

Further there is a reference in Mahabharatha that Arjuna also learnt music and dance from Chitrasena. Further during the Mahabharatha era dance and music were imparted to the princesses in the palaces. In ancient times well defined rules and regulations were adopted for systematic dance training. It was further stated that dancing was an important training for young girls. Special dance halls were built for this purpose. Those halls were named Natanasalas or Natyasalas. These halls were not only used for performances but also used for training purposes. Even those days, the dancers were divided into three different categories. They were divine dancers, professional dancers and the dancers dedicated themselves totally without getting any benefits.

According to Mahabharatha most of the characters of Mahabharatha were involved in dance including Sage Narada, Baladeva, Krishna and their companions. For instance Balarama and Krishna joined the dances of Revathi and Sathiyabhama. According to one reference, for Yadevas dance once Arjuna attended as a special guest.

There were two different dance forms were mentioned in Mahabharatha. One is Hallisha and the other is Raasa. Hallisha means a circular dance form practiced by Gopis.

Raasa is another variety of dance which prevailed in those days. In this dance a particular dance number of women danced with one man. Evidence reveals that this Raasa dance took place especially on the full moon days of autumn season. Hence numerous references about dance could be seen throughout the Hindu epics, especially in the Hindu religious literature and in the Tamil literature.