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THE ART OF DANCE IN THE VISHNUDHARMOTTARA Adhyaya 34 of the Vishnudharmottara is called 'Nrttasastravarnanam'. According to it, it was Visnu who originated Nrtta and not sive. This can be explained by the fact that it is a Vaisnava Purana. Here the mythical origin of Dance is described. Visnu was fighting with the demons Madhu and Kaitabha. The graceful movements of Visnu indicated the art of dancing. This art represents the three worlds (Trailokasyanukaranam'). Then Visnu handed down this art to Brahma who imparted it to Rudra who acquired the title of Nrttesvara.⁹ Thus, Lord Visnu created Nrtta which is constituted by Angaharas and Karanas. It is said that Visau is pleased by his devotee who worships him by dancing before him, because dancing is superior to the offerings of flowers etc. Worship through dancing is the real worship which satisfies all the desires of a devotee and gives him the great means of salvation. Nrtta is glorified by the Vishudharmottara again and again. It is remarkable that the Purana condemned the professional dancers (who made a living out of the art of Dancing). Thus, the art of dance is considered as a religious ritual, because according to the Vismudharnottara Nrtta or Dance is Mangalya i.e. auspicious and sacred. Adhyaya 20 describes Natya as the initation of the worldly affairs and Nrtye is that which beautifies Natya. Nrtya or Dance is of two types - Tandava is characterized by intense excitement and heroic mood and a touch of wrath. It is performed by males. Lasya shows amorous 11 10

expressions and graceful movements of limbs. It is prescribed for women. The cosmic dance of siva is of the first type while the Rasalila of Krsna with the Gopis of Vrndavana is of the Lasya kind. These two are divided by the Visnudharmottara into abhyantara and bahya. Abhyantara is regarded as auspicious and follows precise rules. precise rules. It is further said that Lasya can be performed under a pavilion or in the open, while Tandya should be performed only under a pavilion. The same Adhyaya mentions some important technical terms like Recaka, Cari, Mandala, Angahara and Karana. Bahya is not regulated by such The Visnudharmottara mentions Recaka of four types. Recaka is the movement of the limbs. According to the Natya sastra the four types of Recakas are Katirecaka, Padarecaka, Kararecaka and Grivarecaka. Among the Recakas the first is that of foot, the second is that of the waist, the third is 12 that of the hand and the fourth is that of the neck. The Purana mentions Kati and Pada Recaka, but instead of mentioning the other two viz. Kara and Griva, it gives the word Ahghri, which is not correct. Cari is of two kinds Cari and Mahacari. It is defined by the Purana as the delicate movements of limbs 13 and speech. According to Bharata, Cariis associated with 14 Sragara Rasa and Mahacari with Raudra Rasa. Detailed description is found in the 'Natyasastra X.51.' Persons practising (the Caris) should take up simultaneously the movements of the feet, the shanks and the thighs. For in the movement of feet are included all the movements of shanks and thighs. It appears

- 83 that Cari is a movement of foot. In the next Chapter, it is clearly stated that Carl is the movement (mainly) with a single foot (Bharata Natyasastra , XI. 3). The Visnudharmottara also describes Cari as a movement of a single foot. 15 Mandala is the combination of Caris. It is divided into two types viz. Akasagami (the movements above the ground). The Vishnudharmottara mentions ten varieties of each of these. The ten types of Akasagami Mandala are Atikranta, Vicitra, Lalitasancara, Sucividdha, Dandapada, Vikrta, Alata, Vamabaddha, Salalita and Kranta. The ten types of Bhauma Mandala are Bhramara, Askandita, Avarta, Samasarita, Edakakridita, Addita, Sakatasya, Adhyardha, Pistakutta and Casa Gati. The Karana as a unit of movement is the most important topic discussed in the nrtta technique of dancing by the Natyasastra. The Natya sastra enumerates 108 Karanas. The Visnudharmottara says that Karanas are hundred and eight but mentions only 90 varieties of it. Angaharas are the combination of the maranas. The Vishnu-dharmottara mentions 36 types of Angaharas while according to the Natyasastra the number of the Angaharas is 32. Pindi or Pindibandha or finished figures, developing out of particular pieces are performed by groups of dancers. Pindi is described in the Vismidharmottara as having the shape of the symbol of a particular deity. In the Natyasastra, Bharata mentions several such pindis and says that the Pindis of the remaining gods and goddesses will be marked with their

路 84 own banners. Thus, the Pindi of Siva is vrsa, of Brahma (Svayambhu) is padma, of Vismu Tarksa, of Kali Simhavahini etc. 18 Two types of Dharmis are also mentioned- Natyadharmi and Lokadharmi. They are explained by the terms 'conventional' of a theatrical nature) and 'realistic' respectively. According to the Natyasastra, Lokadharmi is the representation of the natural (and not artificial) behaviour of the characters as well as the other natural presentations. But the tradition of the ancient Indian theatre recognized a certain degree of artificiality through many conventions, such as acting with graceful Ahgaharas and characteristics of dancing and conventional representation of heavenly scenes and supernatural powers. And all these conventions were regarded as artistic by the ancient Indian dramatic tradition. This is the Idealism and Realism of the Indian stage.

- 85 At the time of Bharata, Dance was regarded as an integral part of Drama. Bharata says in his Natyasastra "there is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama. Hence in drama meet all the departments of knowledge, different arts and various actions." 21