An In Depth Essay on East Indian Dance: By Yamuna Wali

The development and evolution of Indian dance is intrinsically connected to Indian philosophy and spirituality. Hindu beliefs state the supreme energy available in dance and music gave birth to the universe. This cosmically creative process is personified by Nattaraj, another representation of Shiva, known as the King of Dance. Sound and rhythm naturally followed the dance of Shiva, structuring the basis for a harmonious lifestyle devoted towards peace and tranquility. Dance manifested as the soul's transcendence to higher levels of being. Rhythmic expression of movement facilitated a mechanism capable of accessing the higher mind of humanity. In addition to qualities of stability, balance, commitment, and focus, skillful acumen in expression and delivery were cultivated.

Mythology and allegorical interpretation inhabited art,dance, and music in the Indus Valley. The lives of the deities, both realizations and mistakes, were dramatized and embellished with music and meaningful gesture (mudra). Consequentially, temple dances were infused with spiritual meaning. Divine intention based the physical perfection possible in great dancing; "... a dancer who has absolute mastery over a great technique should be able to evoke spiritual subtleties which have nothing to do with the muscular control of his arms and legs." (Ambrose, 1950) The physical beauty of both the gods and the dancers inspired divine attributes of the universal supreme being, connecting the human mind with spiritual ideals.

The principals of male and female or tandava and lasya are fundamental components within the dance and religion of India. Both polarities passionately communicate pure love. In the language of dance, tandava encompasses vigor and strength. Tandava moves about with fiery technique. (Ambrose, 1950) Lasya is gentle and softer, "weaving astonishment" with expressive powers. Many Hindu dyads mirror different faces of archetypal sources for masculine and feminine. Shiva and Parvati are the embodiment of tandava and lasya; Krishna and Radha characterize the sharing of their divine love; rhythm and melody lyrically express the differences between the two; and dance is the union.

The love shared by Krishna and Radha is an important theme for many Indian dances. Providing a divine context, it allows for exploration of interpersonal issues occurring in human relationship. Krishna is the eighth avatar of Vishnu, the Preserver god in the Hindu trilogy. Characterized in two different lights, Krishna can be depicted as the wise sage dictating the Bhagavad Gita in the epic Mahabharata; or he is also shown as the mischievous and clever lad flirting with all the gopis, or young girls. The geographic setting of Krishna's life is located along the Yamuna River, in the northern region of India. The stories and songs composed around the life of Krishna are known as the Ras Lila.


A complete set of rhythmic syllables emanated from Krishna as he danced on the head of the great snake Kaliya. The legend tells of Krishna, whilst playing with his friends, had an ambitious idea to throw his ball across the river Yamuna, where Kaliya Daman lived. After the ball fell into the water, Krishna was committed to retrieving it. He then dove into the river and battled the great snake. The ensuing dance upon the snake's head symbolizes Krishna's victory. He was thus given the name Natwari, meaning the best dancer. Bols or syllables like Ta, Tei, That, Digi, Tram, Tigdha, etc. are all considered Natwari bols. As a northern dance, Kathak naturally inherited both the bols and mythological significance Krishna played.

Kathak, the "whirling dance of the north" (Ambrose,1950), tells a story of beauty and divinity with its power of movement and expression. Kath, the root of Kathak, in fact means the art of storytelling. A Kathak or Kathakar was someone who told stories. Based on the Natya Shastra, written by the sage Bharata Muni, Kathak, like other styles of Indian dancing, has a specific set of directions pertaining to every aspect of its production. According to this highly precise treatise setting out the rules pertaining to the science of stage and theatrical presentation, three distinct principals known as nritta, nritya, and natiya, constitute the scope of dance or nat (to dance).

Nritta encompasses technique and abstract movement where music is always present and a theme is not required. The correct placement and execution of feet and limbs with grace and rhythmic precision are what is implied by nritta. It should, however, convey a sense of pure joy, "sublime and ethereal" (Unknown Author). Natiya includes the entire gamut of expression and gesture - abhinaya, and mood -bhava. Nrittiya is composed by combining both nritta and natiya, using movement, rhythm and expressive components for delivery. All three are characterized by rasa, aesthetic flavor.

The treatise proceeds: ...What is said traditionally by our ancestors must be kept in view. Having made the invocation, etc., the dancing may begin. The song should be sustained in the throat; the mood (bhava) must be shown by the glances; time (tala) is marked by the feet. For wherever the hand moves, there the glance follows; where the glances go, the mind follows; where the mind goes the mood follows; where the mood goes, there is the flavor (rasa). (Ambrose from Natiya Shastra, 1950)

There are nine emotional flavors coloring the canvas of life, capable of being communicated through Indian dance and facial expression. The nava rasa are as follows: Shringar (Beauty and attraction), Karuna (Compassion and sadness), Vira (Heroic pride and confidence), Raudra (Anger and ferocity), Bibhatsa (Disgust and aversion), Hasya (Laughter and joy), Bhayanaka (Fear and fright), Adbhuta (Surprise and wonder), and Shanti (Peace). Each composition, rhythmic or expressive, relates to a particular rasa. It is a dancer's responsibility to illuminate her dance with brilliantly animated expression and devotedly practiced skill, infusing the entire performance with aesthetic mastery.

Within the Natya Shastra there are specific instructions explaining the presentation of dance and drama. Drums and music are a major factor in the accompaniment of the dancer who is bare footed; ankles wrapped with 100-200 bells per foot. Timing is a crucial factor at any point. Rhythm or laya provides the foundation for a dancer's ability to be in taal or time. The dancer is able to metrically recite the syllables of the compositions correctly (pahrant), applying the appropriate tonal accents and intonations. (Unknown Author) The dancer claps the beats while speaking rhythmic poetry, always ending on sam, the first beat of the new cycle. (Natya Shastra)

Traditional presentation of dance parallels the universal progression from slow to fast. Vilambit is slow and steady, allowing the artist to acclimate with equipoise and deliberate precision. Media is a medium paced time, gradually increasing speed to a comfortable and uplifting tempo. Finally in Droot, the artist has gained speed, velocity, strength, and mobility, culminating in a vehement display of technique and expressive power. The progression allows for a natural acceleration, providing a healthy way for the dancer and the audience to build energy.

The dance begins with an invocation or devotional piece called a Vendena. This can be to any divine being and is often a slow song or prayer with music. The dancer then "enters" with a segment called amad, meaning welcome. Firstly, the dancer begins with a "decorative and graceful attitude," : that, characterized by crisp attractive movements and changes in direction (Unknown Author). Chal, meaning a stylized walk, can be used. Rhythmic compositions: tukra and teehai, based on percussive syllables (bols) are incorporated after the that portion. These are nritta, purely abstract dance and percussive sequences relying on technique alone. (Natya Shastra)

The next portion, tatkar, is a fast and powerful footwork with complicated patterns and cross-rhythms forming an exercise, "... as however the feet can fly, the separate beats must be clearly discernable." (Ambrose, 1950) A dancer can then perform a ghat, "a short decorative passage performed in rather a lyrical manner to a gentle rhythm." (Unknown Author) The ghat embraces the idea of nritya, where technique and expression have joined with rhythm and music. Parans, heavier compositions using a deeper tonal drum called the pakawaj, are one of the last segments in the dance. They are resonant with dynamic energy requiring vigor and acuity.

As speed gradually increases, chakars, any number from one to thirty "whirling pirouettes" can be turned with balance and accuracy. Chakars are one of Kathak's most fabulous trademarks. Based on ancient principles, whirling activates chakras, centers of energy in the body. For example, the whirling dervishes in Sufism, an esoteric school of Islamic belief, accesses the potential energy available when turning around oneself as the earth on its axis. Another unique feature in Kathak is the liberty and improvisation the dancer has in his repertoire. Strict dependence on order is not emphasized in nritta portions.






Originating in temples, Kathak later thrived in Moghul courts. Kathak had already evolved into a system of movement when the Moghuls arrived in northern India, bringing with them ornate melodies, rhythms, and patterns in music and dance. Although the Moghuls emphasized abstraction and ornamentation over native mythology and worship, Kathak managed to maintain its spiritual identity and relevance towards devotion. Feminine beauty also played a significant role in Kathak during the Moghul period. Until that time, Kathak had been strictly for men. The role of the dancer changed; the woman was to stimulate aesthetic pleasures in the king or wealthy lord, not portray the life of a god. Later, during the British era, Victorian chastity gave the nautch (dancing) girls an impure role in society. In reality, many of noble courtesans preserved some of the dances still prevalent today.


Different families also kept traditions through oral transmission. In the courts of Lucknow, Nawab Wajid Ali Shah sponsored and cultivated both Kalka and Bindadin Maharaj, their family and their dance. Beginning with their father, Thakur Prasad Misra, Bindadin codified and transcribed Kathak as it is known today. As a lover of Krishna, he designed and composed entire repertoires of music and dance dedicated to Krishna and his life. Founding the Lucknow Gharana or family, he fathered three sons: Achan Maharaj, Lachu Maharaj, and Shambu Maharaj. Achan Mahraj is considered to have truly inherited some of his father's genius, being multitalented at tabla, (a pair of Indian drums), bhava (mood) and expression. Pundit Birju Maharaj is the heir to this renowned and formidable family. He has elaborated and embellished Kathak with his multitude of choreography, composition, and creativity.

Today, Kathak can be used to tell any story. It can be performed with the virtuosity of one dancer or a collective symphony of dancers. Owing its versatility to the splendors of ancient Hindu science and tradition, Kathak paints a magical tapestry of music, rhythm, dance, expression, spirituality, and communication. Requiring dedication and authentic perseverance, Kathak takes decades to master. An attitude of respect and humility can only be rewarded with the gift of grace and understanding towards an elevated art form. Preserving the source of intent towards the story of temple dancing, Kathak moves forward with style and nobility, creating wonder in its footsteps.

Notes for essay pictures:
1. Ras Lila: Krishna playing with Radha and her friends along the Yamuna River (Courtesy Bhaktivedenta, A.C. : Krishna: The supreme Personality of Godhead)
2. Ras Lila: Krishna as Natwari, the great dancer, upon the head of the snake demon Kaliya Daman. (Courtesy Bhaktivedenta, A.C. : Krishna: The supreme Personality of Godhead)
3. Kathak dancers. Court Scene.19th century A.D. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art).
4. A painting of a tawaif (courtesan) of a court. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art).
5. Bindandin Maharaj
6 and 7. Pundit Birju Maharj. (Courtesy Kotari, Sunil. Kathak: Indian Classical Dance Art).

End Notes:
1. Ambrose, Kay. Classical Dances and Costumes of India. 1950. A&C Black: London.
2. His Divine Grace : Bhaktivedanta, A.C.: Swami Prabhupada. Krsna: The Supreme Personality ofGodhead. Volume 1.1970. The Bhaktivedenta Book Trust: Bombay.
3.Kothari, Sunil. Kathak: Indian Classical Dance. 1989. Abhinav Publications: New Delhi.
4. Muni, Bharata, translated by A Board of Scholars. The Natya Shastra. Sri Satguru Publications: New Delhi.
5. Unknown Author; Unknown Title; Unknown Publication


Kathak and the path of tea

The origins of tea are in China where it was developed and ritualized for many centuries. The Silk Road was responsible for the transportation of tea to the remaining Asian and European countries. Tea entered India, Turkey and Russia around 618-906AD with the T’ang Dynasty. India began to cultivate its own tea in Assam and Darjeeling between 1835-1856. Ornamenting Himalayan society with aesthetic flavor and devotional ritual, tea became a pillar for gathering together and preserving the important function of storytelling in India, Asia and Eastern Europe. Tea serves as an important form of ritualized devotion. Hospitality and respect find expression in the act of preparing a good cup of tea. It is also warm and digestive after a meal, inspiring tales and legends to be shared. It is served on the streets, in chai (tea)shops, royal courts and humble homes.


Kathak, a classical dance from Northern India, means storytelling. Also traveling on the Silk Road gypsies and troubadors danced with passion and revelation, infused with richly flavored teas. Offering tea symbolizes a kind gesture providing a graceful and elegant way to share knowledge and pass down heritage. Cultural developments around tea have accompanied the Silk Road Arts, creating a tapestry of meaning and appreciation to exotic tastes and refined pleasures.

Tea and dance join in union to provide an atmosphere of devotion, reverence and commitment to the presence of divinity. Both are symbolic and actual offerings, satisfying inner and outer levels of perception. The stage is the dance of luminous awareness. The celestial dancers offer sacred amrita or elixir to the Guru, the naturally pure nature; compassionate and sublime. Fusion of diverse ethnic flavors is ancient history. Alchemical combinations source creativity; combining two elements creates a new and different third. Sharing a sacred ritual, tea ceremony and ancient temple dance embrace noetic and interactive experiences.

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