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Song and dance were considered a part of the tantric spiritual practice. Through songs or dohas, the yogis expressed their levels of achievements. The dohas of the 84 Siddhas including Krsnacarya is very famous. The Carya songs of these Masters should be considered as pith instructions regarding the theory, practice and experience of the tantric method. The importance of the ritual of song and dance is stressed in the following two verses from "Hevajra Tantra. [Hevajra Tantra] If songs are sung from joy then let the supreme songs regarding the Vajra be sung. When joy arises, if the yogi dances for the sake of liberation, then let him dance the Vajra postures with full attention. (1.6.10)460 It is said that Dance which is the performance of emanation must be performed with uninterrupted attention, an impassioned mind, and with the postures of the deities which serve to indicate their natures. Songs may be sung at the same time and also at a later time. these songs, couched in code, should express the Means to the supreme. The Dance is said to be the emanation and the Song the recitation of mantra. With the Dance the disciples can become familiar with the forms of the deities to be emanated. With the Songs the whole assembly is protected and the inimical forces subdued. In this manner the whole assembly is empowered by the Dance and the Song during the Assembly of the Circle of Initiates.461 [Hevajra Tantra] The Vajra songs are considered as signifying mantra and the dance the emanation. So the yogi must always sing and dance. (1.6.13)462 [Hevajra Tantra] With undistracted concentration the dance is performed assuming the postures of the divine Heruka and this emanation is performed with an impassioned 460 yadi gitam giyata anandat tarhi vajranvitam param/ yadi anande samutpanne natyate moksahetuna/ tarhi vajrapade natyam kuryad yogi samahitah//10// (Hevajra Tantra (Commentary) , p.64) 461 (Hevajra Tantra (Commentary) , p.xLi) 462 mantravisuddhya sthita gita nartana bhavana smrta/ tasmad gitan ca natyan ca kuryad yogi sada sada//13// (Hevajra Tantra (Commentary) , p.65) - - 235 -

mind in a state of uninterrupted attention. With songs and dances which reveal the Vajra natures and with the postures of the Buddhas, the Yoginis and the Mother goddesses, with these the supreme songs and dances are performed. (II.4.11-1 2)463 [Hevajra Tantra] The protection of both the assembly and oneself is by means of such song and dance. By this the world is subdued and also by this is the recitation of mantra. There where the song is attentively sung and the dance is gracefully danced, the appointed leader of the assembly should note the smell. The first smell is that of garlic, then the smell of vultures and after the smell of camphor and sandalwood. Then after, the empowerment of the song should be noted. The call of a swan and the hum of a bee is to be heard after the song is over. In the outer garden of the assembly ground the sound of a jackal should also be noted. (II.4.13-16)464