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India is a culturally rich country that follows the traditional values. Tradition is the practice that has been there for years and that which has been followed by generations. 狈腻峁瓂补 has been considered one of the fine arts that elevate a person to attain moksha.

Bharata says one who performs this act of Lord Siva will attain the Sivaloka.

尘补丑别艣惫补谤补蝉测补 肠补谤颈迟补峁� ya ida峁� samprayojayet |
蝉补谤惫补辫腻辫补惫颈艣耻诲诲丑腻迟尘腻 艣颈惫补濒辞办补峁� sa gacchati ||^[1]

The 狈腻峁瓂补艣膩stra written by Bharata is considered the origin for all the dance forms prevailing in Asia and it is a traditional work on theatre. Dance, in a broader sense, is viewed as perfectly coordinated movements that are structured to suit a particular style based on tradition, which has scope for creativity in exquisite beauty and rhythm.

Bharata says the employment of music, instruments and dramatisation pertaining to the themes should be as in a sequence like 补濒腻迟补肠补办谤补.

别惫补峁� 驳腻苍补峁� ca 惫腻诲测补峁� ca 苍腻峁瓂补峁� ca vividh膩艣rayam |
补濒腻迟补肠补办谤补pratima峁� kartavya峁儾阅遽弓y补yokt峁沚hi岣� ||^[2]

Bharata muni has mentioned in the fourth chapter of the 狈腻峁瓂补艣膩stra at many instances that whatever formulated by him can be used according to the dance master鈥檚 imaginations

.鈥榶补迟谤补迟补迟谤腻辫颈 蝉补尘测辞箩测补峁� 膩c膩ryair苍腻峁瓂补艣aktita岣� |鈥�^[3]

This itself means that the raw material has been provided and it can be shaped as per our imagination.

Even while defining some 办补谤补峁嘺蝉 he states that hands can be engaged suitably according to the action befitting the occasion:

鈥榩rayogava艣agau hastau鈥�^[4]

And right hand should be moved accordingly based on the movement of leg:

鈥榗ara峁嘺sya anugacch膩pi dak峁�i峁嘺stu bhavet 办补谤补岣� 触鈥�.^[5]

Thus, he himself opens a way to creativity.

Bharata has mentioned about the combinations of two 办补谤补峁嘺蝉 and so on as 苍峁泃迟补尘补迟谤办补, and kalapaka^[6] but he has not specified any of those actions. Even his followers have not detailed about that. So here again, this can be created by the dancer, based on the traditional 办补谤补峁嘺蝉. These can be used as 苍峁泃迟补驳补迟颈蝉. He also takes into account the chorographical patterns of group compositions called 辫颈峁囜笉墨产补苍诲丑补蝉, which are creative formations. They are named as 莫艣惫补谤补辫颈峁囜笉颈 for 莫艣惫补谤补, 艢颈办丑颈辫颈峁囜笉颈 for 碍耻尘腻谤补 and many more. These give ample scope for gati in group formations.

Abhinava says:

tatraite pi峁囜笉墨bandh膩 腻诲丑腻谤补 a峁単aprayoga s膩dhakatabhed膩d bahuprak膩ra峁� bhidyante |^[7]

Thus starting from the basic techniques of 腻峁単补蝉 and up腻峁単补蝉, almost all the 惫测腻测腻尘补蝉 and cadences of dance can be used for gati. This has been emphasized by Abhinava.^[8] This itself proves that gati is the choreographers technique.

艢腻谤峁単补诲别惫补 who calls himself 苍颈艣艣补峁卥补, strictly follows Bharata and states what Bharata has given is the 尘腻谤驳补 form of 苍腻峁瓂补. The 108 办补谤补峁嘺蝉 of Bharata are called 尘腻谤驳补 办补谤补峁嘺蝉 and he, also, has made additions of 办补谤补峁嘺蝉 prevalent during his period as 诲别艣墨 办补谤补峁嘺蝉.^[9] Here it is understood that the predecessors of Bharata have followed his tradition, yet at the same time they have also given place to their own creativity.

J膩yana has explained the tradition of Bharata elaborately and he adds some of the 诲别艣墨 varieties.

He states that if Bharata, himself comes in the next 碍峁泃补测耻驳补, he will surely be thrilled and will appreciate him for his work.

腻驳补迟测补......... 诲峁涐梗峁璿腻 bh奴ya岣� k峁泃膩dau pras峁沵arapulakavya帽jit膩nta岣� 辫谤补尘辞诲补岣� | 腻艣肠补谤测补峁� pa艣yateda峁� kathamadhigatav膩n膩艣aya峁� me 蝉补尘补驳谤补峁� sa 艣谤墨尘腻苍 箩腻测补蝉别苍腻辫补迟颈谤颈迟颈 苍颈测补迟补峁� vak峁�yate'gre mun墨n膩m ||^[10]

Hence, these authors were confident enough to bring out their own views also.

In 苍腻峁瓂补, one鈥檚 creative ability can be brought out by choreographing dance for thematic songs, songs based on various rasas, setting various complicated rhythm patterns, innovative ideas depicted through body movements, different choreographic patterns presented by the dancer in group and solo, 惫腻肠颈办补 or dialogues added in between the dance, appealing costumes, stage lightings and decors using technological improvements, and so on. Gati will add on for an effective presentation.

Bharata himself has said that the 诲丑谤耻惫腻蝉 can be composed in 辫谤补办峁泃 languages and thus we have scope to add songs in regional languages. If these are followed in improvising the Sanskrit dramas, it will have more reach among the audience. An artist has to be creative. He cannot portray the same old ideas always. When the same ideas are repeated, the audience becomes unsatisfied. If you are to attract an audience, one must be creative on stage. Here the 办腻惫测补 can be traditional, but the 苍腻峁瓂补 can be created innovatively, based on the traditional techniques. These are now seen in contemporary dramas of Kavalam Narayana Panikker, Ratan tiyam and many more. Thus, 濒补办峁�y补 merges with 濒补办峁�a峁嘺 and 办补濒辫墨迟补 that is learnt from the 艣腻蝉迟谤补蝉 and is expanded through kalpana, the imagination of the artist.

Tradition and creativity varies from person to person. Whatever one thinks traditional, may be creative for another person. It changes according to the spectators taste. So tradition should be considered as a base, ideas should be created to match and beautify the traditional art form, and tradition should not be destroyed or overruled in the name of creativity.

Indian art is in itself limitless. The only limitation is in the mind of the audience, and therefore that mind has to be opened and made receptive. A performance, traditional or creative whatever it may be, the result should be 谤补蝉腻苍耻产丑腻惫补. Since the purpose of 苍腻峁瓂补 is attainment of rasa, an Indian artist has to keep the audience in mind. Based on this various gaits, movements covering the stage, fighting sequences, etc. should be depicted in the dramatic and dance performances. When the audience relishes the aesthetic experience of the performance, there lies the success of the choreographer. A combination of tradition, authenticity and creativity is very important for any art to survive. Therefore, the Sanskrit language and 苍腻峁瓂补 of Bharata can be kept alive.

From a remote antiquity down to the present age, an interrupted stream of dance and drama themes have flowed through Vedic, epic and classical periods. 狈腻峁瓂补 is one of the most exquisite art form. While it is an art of the physical body, yet it is through which one must transcend the physical body and only when this is achieved can there be truly a divine experience. The purpose of 苍腻峁瓂补 can be achieved only when the dancer understands the spiritual significance of dancing. The art of dance that pleases the connoisseur is more an offering to the deity.

Bharata himself says:

na hi ras膩d峁泃e ka艣cidarta岣� pravartate |

Rasa is present in each and every aspect of life, same as in 苍腻峁瓂补. Gati, though it looks more physical it involves the aspect of 鈥�sat鈥� and 鈥�cit鈥� in it. The involvement or oneness of the actor with the character i.e. 鈥�迟腻诲腻迟尘测补鈥� starts as soon as he enters the stage. Thus, gati is the vital factor for rasotpatti.

The very concept of 狈补峁璦谤腻箩补 elevates the art of dance to a highly spiritual and philosophical plane, reflecting the essence and inner truth of Indian culture. 艢ri 碍峁涐梗苍补 is also visualized as the immortal dancer. He is the universal soul (the Paramatman) and the 驳辞辫墨蝉 (箩墨惫腻迟尘补苍) are human souls, dancing around him and each feeling that the Lord is dancing with her alone. Dance induces ecstasy, the experience of Divinity, the realization of one鈥檚 nature and finally helps in achieving mergence in to the divine essence.

The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 states that 苍峁泃迟补 is a great mode of 腻谤腻诲丑补苍补 to the Lord 艢颈惫补 and 苍峁泃迟补 is supposed to be a greater offering to the Almighty than flowers, food, incense and other offerings.

so'pi tu峁�yati n峁泃tena samyag膩r膩dhito 丑补谤补岣� |
...... pu峁�panaivedyad膩nebhyo 苍峁泃迟补d膩na峁� vi艣i峁�yate ||^[11]

The offering of music, vocal and instrumental and dance secured the highest fruit attained by the performance of sacrifice, assuring the fulfillment of even impossible desires.

The connoisseur who offered his knowledge of dance for glory of God was assured 尘辞办峁�a or the attainment of liberation.

devat腻谤腻诲丑补苍补峁� kury膩dyastu n峁泃tena dharmavit |
sa sarvak膩m膩n膩pnoti 尘辞办峁�o辫腻测补峁� ca vindati ||^[12]

础驳苍颈辫耻谤腻峁嘺 states, by performing dance and worshiping the Lord, the dancer attains the supreme Brahman.

诲峁涐梗峁璿腻sa峁僷奴jita峁� d别惫补峁� n峁泃yam膩no'numodayat |
补蝉补峁兣沘测补尘补迟颈岣� 艣耻诲诲丑补岣� 辫补谤补峁� brahma sa gacchati ||^[13]

The researcher feels that whatever possible is done towards the understanding of the concept of gati in 苍腻峁瓂补 and there is a scope for further more studies based on many other elements of 苍腻峁瓂补, as it is a vast ocean.

Bharata states,

鈥淭he range of knowledge relating to arts and crafts are unlimited.

Therefore, it is impossible to reach the limit of the art of 苍腻峁瓂补. No one can try to cross even one portion of this.鈥�

na 艣akyamasya 苍腻峁瓂补sya gantumanta峁� katha帽cana |
办补蝉尘腻迟 产补丑耻迟惫补峁� j帽膩n膩n膩峁� 艣ilp膩n膩峁� v膩pyanantata岣� ||
ekasy膩pi na vai 艣akyamanta峁� j帽膩n膩r峁嘺vasya hi |
gantu峁� ki峁� punaranye峁Ｄ佱箖 j帽膩n膩n膩marthatatvata岣� ||^[14]

Thus, the aspect of gati paves way to the concept of 艣补谤补峁嚹乬补迟颈 of the actor who acts as a puppet in the hands of the Lord in this world stage. A 尘腻谤驳补 is the path derived by Bharata to realize the 叠谤补岣�m补苍. 狈腻峁瓂补 is linked to bhakti and through 艣补谤补峁嚹乬补迟颈 or complete surrender, thereby to the attainment of mukti. The universe itself is believed to have come into being as the result of the cosmic dance of 莫艣惫补谤补. Without his movement, no animate or inanimate entity in the world can come to existence.

Therefore, the aesthetic pleasure obtained from 苍腻峁瓂补 is considered Supreme Bliss.

ni艣calasthitimadvyomabh奴c膩r墨sadgatiprada岣� |
蝉补谤惫补诲腻 dhvanim膩tr膩tm膩 艣ambhurvijayat膩m 辫谤补产丑耻岣� ||^[15]

Footnotes and references:

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[1]:

狈腻峁瓂补艣膩stra IV.319.

[2]:

Infra.XVIII.Com.p.4.

[3]:

Infra.IV.57.

[4]:

Infra IV. 127.

[5]:

Infra IV.58.

[6]:

Infra.IV.31,32.

[7]:

Infra.IV.com.p.170.

[8]:

Infra.IV.com.p.62.

[9]:

SR.VII.

[10]:

N峁泃taratn膩val墨 I.16

[11]:

痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补-辫耻谤腻峁嘺 III.34.23,25.

[12]:

Ibid. III.34.29.

[13]:

Ag.Pu.as quoted by SKD.II.p.919.

[14]:

狈腻峁瓂补艣膩stra VI.6,7.

[15]:

Ibid.X.Com.p.67