'Relevance of Natyashastra to Indian Classical Dance'

We all know that India is a unique nation which has a legecy of eight classical dance styles viz.Bharata Natyam, Kathak, Kathakali, Kuchpudi, Manipuri, Mohini Attam, Oddisi and Sattariya.

All dancers strongly believe that the technique and content of these performing styles have roots in the text called the Natya Shastra. Natya Shastra is believed to be written sometime between 2nd C.A.D.and 4th C.B.C.by Bharata. However it is unbelievable that a single author could include and compile such vast amount of information and analyse and make authoritative comments on it. Hence there is also a belief that the text was written by many authors called the sons of a sage called Bharata.

Looking at the history and development of our classical dance styles, there are two streams:-

1.The performances evolving through the temple rituals

2.The performances going parrallel with the technique mentioned in Natya Shastra.

Temples and Image or Icon worship did not exist during NatyaShastra time. Hence dance as a form of a temple ritual must have evolved much later. Dance or dancing ,in Natya Shastra ,is mentioned as a part of a Natya or a Play.Dance was performed during a play whenever it was required to enhance a particular situation or to add beauty and musicality to the theme to add variety to the presentation. Today when we talk about classical dance as an independent performing art ,the rules and code of conduct mentioned in the text should not hamper or limit the creative urge of the dancer but should provide a very strong and logical foundation for her. The ritualistic dances mentioned in the fourth chapter of the text have given way to the compositions like Pushpnjali, Mangala Charan, Kavitta, Vandana etc performed today. There is a description in the text about tuning various instruments, playing all kind of string or wind instruments together,singing opening Alapana by the singer,and singing glory of the gods and praying for the success of the performance.

Today before commencing any classical dance recital all these procedures are followed sequentially. The concept of Pindi Bandha in Natya Shastra clearly indicates group dancing and creating a variety of composite visuals by the dancers on stage. The text mentions those situations where dancing should be performed.e.g. during amorous situations,coronation ceremony etc.It also prescribes the situations where dance is prohibited.In general according to the text dance is a manifestation of happiness,energy of any human being. The text mentions two aspects or modes of the body movement i.e.Tandava or Udhatta the energetic or vigorous and  Lasya or the delicate.We can clearly observe these two aspects in all our dance styles.

The language of hand gestures is a unique feature of Natya Shastra and subsequently of our classical dance styles.The single and double hand gestures and their Viniyogas are usages given in the text provide ample vocabulary to dancers to express.The text gives purely decorative hand gestures which only beautify the actions of the dancer and do not really convey any meaning. Using all the major and minor limbs of the body and create visuals and convey a theme,portrayal of various characters by a single dancer,minimum and suggestive use of property and costumes,colour symbolism,Imaginary divisions of the stage to depict different places or venues are just a few of the many things mentioned in Natya Shastra which are cohesive to the dance performed today. Speciality of this great text is in spite of prescribing many rules and regulations for the presentation there is ample scope and openness in the text for a creative and imaginative dancer.

Hence Natya Shastra is an all encompassing text about the art of dramatics and eventually of dance and music,which provides a solid base to any classical dancer of today and gives a guideline to her creative and imaginative process.

Mrs. Smita Mahajan

Mrs. Smita Mahajan is a versatile  Bharatanatyam artist from Pune. 

She is trained under Guru Dr. Sucheta Chapekar for more than 2 decades and attended master classes for Abhinaya from Guru Kalanidhi Narayanan. Her versatile ranges from composing music, choreographing dance dramas to organizing competitions and teaching notes universities. Having performed in noted festivals. She also has released a book and CD 'Margam Unmesh' which has Bharatanatyam compositions by herself.