Shall We Dance - Chapter 11 - Namaskar

Narrated by Shantha Lakshmi.

This chapter explores the foundational elements of Bharatanatyam, focusing on Namaskar and Adavus as vital components.

Namaskar, a salutation rooted in tradition, signifies reverence to the divine, the guru, and the audience through symbolic gestures and spiritual consciousness. Adavus, the basic dance units, integrate posture, rhythm, and hand gestures, fostering technical skill and artistic coordination.

Various types of Adavus, such as Tatta, Natta, and Mettu, are described with their unique rhythmic patterns and movements. The importance of Anga Shuddha (body alignment) and Tala Shuddha (rhythmic precision) is emphasized.

Postures like Samapadam, Araimandi, and Muzhumandi provide balance and visual appeal. Stylized walking movements (Charis) and expressive hand gestures (Hasta Mudras) enrich the dance vocabulary. Overall, the chapter establishes a strong foundation for understanding Bharatanatyam's technical and expressive nuances.

Narrated by Shantha Lakshmi

Chapter 10 of Shall We Dance explores the intricate art of Bharatanatyam, emphasizing its synthesis of various fine arts, including music, poetry, drama, painting, and sculpture.

The chapter begins with a quote by Constanze Mozart, "Dancing is like dreaming with your feet," highlighting the expressive nature of dance. It discusses the universal instinct for dancing and how Bharatanatyam, rooted in the Natya Shastra, has achieved unparalleled technical excellence in India.

The chapter delves into the fundamental aspects of Indian dance—Nrittya, Nritya, and Natya—along with the vigorous Tandavam and graceful Lasya styles. It emphasizes the importance of Abhinaya (gesticulatory expression) in conveying the dance's meaning, dividing it into four types: Angika, Vachika, Aharya, and Satvika.

The traditional structure of a Bharatanatyam performance, including Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana, is also outlined. The chapter concludes by highlighting the goal of evoking rasotpatti (aesthetic emotion) in the audience, achieved through the dancer's deep connection with the character and emotions portrayed.

Narrated by Shantha Lakshmi

Chapter 9 of Shall We Dance explores the profound connection between the Brihadeshwara Temple in Thanjavur and the rise of Bharatanatyam in South India. The chapter delves into the symbolism of the temple's vimana (tower over the inner sanctum) and gopuram (entrance tower), emphasizing their spiritual significance.

The vimana represents a cosmic mountain, symbolizing spiritual ascent, while the gopuram marks the transition from the material to the spiritual realm. The chapter highlights the deliberate placement of the 108 karanas (dance postures) in temple iconography, symbolizing Shiva's cosmic dance and yogic energy. It underscores the integration of these architectural elements into Bharatanatyam, preserving cultural and spiritual traditions.

The chapter also draws from various scholarly sources to provide a comprehensive understanding of the cultural significance of the Brihadeshwara Temple's architecture and its deep connection to Bharatanatyam, illustrating the intertwined nature of South Indian dance, spirituality, and cultural heritage.

Narrated by Shantha Lakshmi

Chapter 8 of Shall We Dance explores the theoretical framework of Bharatanatyam, emphasizing the importance of understanding fundamental elements such as space, time, force, body, and form. These elements are crucial for mastering the art of Bharatanatyam, as outlined in A.G. Gilbert's Brain-Compatible Dance Education.

The chapter delves into the Natya Shastra, an ancient Indian text attributed to Sage Bharata Muni, which serves as the primary guide for Bharatanatyam, covering drama, music, dance, and gestures.

Key concepts include Adavus (basic dance units), Hastas (hand gestures), Abhinaya (expression), Nritta (pure dance), Nritya (expressive dance), and Natya (storytelling through dance). The chapter also discusses the traditions within Bharatanatyam, such as the Margi tradition, which adheres to classical practices, and the Desi tradition, which incorporates regional and folk elements.

The chapter underscores the significance of these theoretical principles in preserving Bharatanatyam’s cultural heritage and enabling dancers to convey its profound beauty and cultural essence.

Narrated by Shantha Lakshmi

Narrated by Shantha Lakshmi

The Cosmic Dance at CERN beautifully symbolizes the intersection of ancient mythology and modern science, particularly in the discovery of the Higgs boson, often referred to as the "God Particle." On July 4, 2012, CERN's groundbreaking announcement confirmed the Standard Model of particle physics, explaining how particles acquire mass.

At the entrance of CERN stands a statue of Nataraja, the dancing form of Lord Shiva, gifted by India. This statue embodies the cosmic dance of creation and destruction, reflecting the dynamic activity of subatomic particles. Fritjof Capra, in "The Tao of Physics," first highlighted the parallel between Shiva’s dance and the behavior of subatomic particles.

The statue at CERN serves as a reminder of the profound connection between spirituality and science, symbolizing the rhythmic cycles that govern the universe. This confluence of ancient wisdom and cutting-edge physics underscores the timeless quest for understanding that transcends cultures and epochs.

Narrated by Shantha Lakshmi

Chapter 5 of Shall We Dance reveals the profound connection between Nataraja, Apasmara, and astronomy, showcasing the deep understanding ancient Indian scholars had of the cosmos. The chapter explores how Nataraja's cosmic dance is intricately linked to astronomical events, reflecting advanced knowledge in Vedic sciences.

Key concepts include the Panchang and Nakshatras, which form the foundation of Vedic astrology, and Earth’s precession, which affects the positioning of celestial poles over millennia. The chapter also delves into ancient texts like the Surya Siddhanta and Parashara Tantra, which reference stars like Agastya and their historical significance. The visibility of Agastya, traced from 26,000 BCE to 9,000 BCE, highlights its importance in Vedic astronomy.

Arudra Darshan, celebrated in Chidambaram during the Tamil month of Margazhi, honors Lord Shiva’s cosmic dance, emphasizing the alignment between celestial events and cultural practices. The chapter also discusses the symbolism of Tripundra and the Mrigasheersha Mudra, linking them to Vedic rituals. Through these connections, the chapter illustrates how spirituality and science were intertwined in ancient Indian heritage, with cultural festivals celebrating astronomical phenomena and preserving this legacy for future generations.

Narrated by Shantha Lakshmi

Chapter 4 of Shall We Dance explores the profound journey of Shiva as Nataraja, the Cosmic Dancer, embodying the cycles of creation and destruction through his dance. The chapter delves into India's rich oral tradition, emphasizing how cultural knowledge has been preserved through storytelling, songs, and chants.

It explains the concept of Shiva in three states—Arupa (Formless), Rupa-Arupa (Formless Form), and Sarupa (With Form)—and how his dance as Nataraja aligns with cosmic phenomena, particularly the Orion constellation.

The chapter also highlights the celebration of Mahashivratri and the intersection of cosmology, science, and spirituality in understanding Shiva's cosmic role.