Bharatanatyam artist Prakruti Prativadi recently published a book ‘Rasas in Bharatanatyam’. ICP’s daughter portal shared an interesting introductory article written by the author. I got a copy of the book from Amazon.com a couple of weeks ago and ended up reading it multiple times. The work is an outcome of several years of research and a first-person experience of living the tradition. The book is intended to be the first of a series.
The author states that the book is aimed at the serious Bharatanatyam artist and connoisseur, and is also beneficial to those who want to learn more about Indic art traditions. An in-depth discussion of the different elements of Bharatanatyam including Abhinaya, Rasa, and Bhava is provided. The book also presents a brief and well-researched history of Bharatanatyam and related traditions in Hinduism, a topic which has endured much distortion and confusion in recent years. The author goes deep into the ancient roots of natya, and succinctly explains the concepts relying on primary sources in Sanskrit and Indic languages. The clarity and authority required to write in a crisp question-answer format, the shraddha, the attention to technical detail, and the reinforcement of key learning points give the book a stamp of authenticitythat perhaps only a dedicated practitioner and teacher can produce.
Where to Buy
Readers can set up a discount code ($8.00 off) which is available only from the Createspace page (not the amazon.com page) by following these steps:
Add the Book to the Cart, this will take buyers to the checkout page
Add this discount code: PYTKY7GV in the ‘Discount Code’ field and click ‘Apply Discount’ to get a discount, the price of the book will be $28.99.
Please note: Users will have to sign up for a Createspace account (if they don’t have one). Createspace is owned by Amazon.
Bharatanatyam: Embodied Learning & Direct Experience
Poet, Indic scholar, and computer scientist Prof. Subhash Kak has said that the best way to understand India is through its art , and the book reaffirms this point. Why art? India is the land of Vedas, so can’t one read Vedic text?
The author discusses the worldview underlying Bharatanatyam and notes that direct experience is central to Hinduism. Through sadhana and shraddha, potentially anyone can transcend their ordinary level of consciousness . This is an amazing and powerful discovery by India’s ancient seers. The armchair-acharya (like the theoretical martial artist and air guitarist) tries to convince us otherwise, but Hinduism recognizes that textual knowledge is useful but it cannot fully delineate the scope of Dharma and Vedas, and we provide two independent explanations regarding this.
Prof. Kak quotes Yaaska , the author of the ancient Sanskrit treatise Nirukta: “One who reads the Veda but does not know its meaning is like a draught animal”, and explains that “the idea of knowing the Veda is not merely to read it, but to understand its meaning in one’s heart. This is paradoxical, since one cannot understand the text unless one has already had the experience of its deepest intuitions. The text of the Veda cannot in itself be used for instruction”. We have Bharata Muni’s Natya Sastra, revered as the fifth Veda, that has the wisdom of the four Vedas embedded within, which is available to all people, cutting through all barriers of social and economic status, gender, race, and geography.
In his book Indra’s Net , Rajiv Malhotra poses a related question: “How did the rishis ‘see’ the shruti in the first place? Unlike the Abrahamic religions, in which prophets hear from an external God, in the Vedas there is no external voice. There is no entity equivalent to Yahweh who speaks the Vedas to the rishis… Vedas are a-purusheya, i.e., beginningless and authorless. They existed before the rishis ‘saw’ them…Hinduism does not regard the rishis as inherently different in substance or essence from the rest of us…. each human has the same potential as the rishis, and that this potential is realized through disciplined sadhana (the inner sciences of adhyatma-vidya)”. In the Indian context, Rajiv Malhotra coined the term ‘embodied knowing’ to refer to adhyatma vidya, and Indic art forms that employ this inner science surely occupy a pride of place in India’s grand narrative . The deepest authentic ‘ideas of India’ are embedded in Bharatanatyam. We owe a debt of gratitude to dedicated artists who tirelessly practice, promote, and preserve India’s sacred art forms.
Bharatanatyam as Yajna
The book has a brief but insightful discussion of Bharatanatyam as Yajna, which has been explained as a sacred process that establishes links (bandhus) between the inner and the outer world . The material world is not considered separate and discarded but is harmoniously united with the spiritual within Bharatanatyam. Indic art forms are rooted in this Vedic view where consciousness is the basis of ultimate reality itself . Such a Bharatanatyam is unacceptable to the enticing “sweet-speech” Charvaka School  that totally rejects Yajna, Puja, Bandhus, and the transcendental domain since they believe that consciousness emerges from neural matter . Bharatanatyam is also incompatible with the irreconcilable duality of history-centric Abrahamic dogma that accepts the transcendental and the transactional domains but keeps their existence independent and infinitely apart .
Actively participating in Yajna leads to an internal transformation that is like undergoing a ‘rebirth’ . This leads us to a second, and equally remarkable observation that anysensitive and attuned viewer (Sahridaya) immersed in a Bharatanatyam performance  can also potentially attain a higher state of consciousness and transcendental bliss, and this communication is possible due to Rasa. The book explains this process in-depth.
Dharmic thought employs a finite and limited number of levels to manage quantities/qualities that may appear to be unlimited or huge in number, or even indivisible or continuous. How does it work?
On Rasa, Prof. Kak remarks : “An aesthetic attitude is a combination, in varying measures, of the different essences (rasas) of it. It is one of the great insights of the Indian tradition that these essences are supposed to be discrete, and perhaps this idea emerged from the Vaisesika atomic doctrine as well as the idea of Nyaya that mind operates sequentially”. Like Panini and his rules of grammar, Bharata, using only a finite number of sutras, covered the profound topics of Rasa and Bhava and spanned the virtually unlimited expanse of dance and drama.
Paanini has been credited for a grand unified theory of language, and Bharata too can be credited for a similar theory of aesthetics thousands of years ago. The author notes how a danseuse can skillfully conjugate various dance elements such as movements, gestures, etc. mentioned in the Natya Sastra to generate innumerable permutations and combinations to artistically express the myriad emotions and situations that has occurred, or will occur in the future, and convey that meaning to the audience. Bharatanatyam does not limit but encourages unselfish self-expression.
Rasa Awakening in the Audience
In her book, Prakruti ji takes us on a fascinating journey through the Rasa awakening process in Bharatanatyam. The idea of Rasa is ancient and present in the Upanishads . According to the author “Rasa is the supreme aesthetic experience and absolute aesthetic relish that the audience feels when witnessing an artistic performance… Rasa is a heightened state of consciousness and bliss… This experience is called Rasasvada, which is akin to Brahmasvada, a supreme knowledge… Rasa is a Sanskrit word that no equivalent word in English”. A simplified arrow-diagram view of the Rasa awakening sequence/combination given in the book can be described as follows (the interested reader should refer to the book to obtain a complete and correct picture).
(Author dancing selected Paasurams from the Vaarinam Aayiram)
In Bharatanatyam, for example, the process can be triggered by witnessing the Abhinaya of the skillful artist, and given the right conditions, culminate in a heightened state of consciousness within a receptive audience. In an interview, Dr. Ramachandran Nagaswamy confirms this important point about Rasa while correcting the mistaken conclusion of a western Indologist.
Another crucial point made by the author is that the generation of Rasa in a performance is not guaranteedand it requires the harmonious integration of multiple inter-connected factors. The author likens it to a complex and rich recipe. Rasa is not awakened by sensory stimuli such as personal sadness experienced in mundane life, or by artists using the stage to make purely political and social statements. And even if the performance is of the highest caliber, it still requires an attuned viewer (Sahridaya)  within whom the ‘aesthetic vibes’ of the performance can resonate. The author quotes Bharata “without Rasa, there can be no meaningful communication”.
Engineering Design Example
Natya Sastra ideas can find applications in diverse fields, including entertainment, advertising, public-service messaging, etc. Given its integral view, teaching Natya Sastra concepts authentically in schools and colleges will benefit not only young artists, but also engineers and scientists. As an analogy and example, modern highway design relies on the PIEV theory of driver response to visual stimuli:
PIEV is used to measure the perception-reaction time of a driver. Triggered by observing an event, the driver first perceives (something happened), grasps the implications (danger to self/others), and this triggers one or more emotions (what to do?), before converging on a final, stable action (brake, steer, or accelerate). PIEV duration differs for a distracted versus fully conscious driver. When deciding where and how to install and calibrate a traffic light, one has to evaluate the combination of all inter-related factors – PIEV, visibility, topography, traffic conditions, etc., in order to maximize the percentage of drivers that will have sufficient time to go through PIEV and make the right decision. PIEV and Rasa may be two different things (although when in danger, even the most materialistic passenger and driver will invoke the divine transcendent charioteer to ensure fast PIEV so they can remain in their transactional world); however, there appear to be similarities – the importance of an integral perspective, a scientific approach, and understanding the roles of emotional states, cognition, and consciousness.
Bharatanatyam & Artificial Intelligence
Today, Artificial Intelligence (AI) systems can generate cooking recipes, write mournful poetry, and has even started writing musical scores. Can machine-generated artistic performances evoke Rasa?Can it replicate the transcendental leap  that is possible through a Yajna? These are interesting questions to be answered by experts. Machines are not conscious because they cannot have Bandhus , and their art output appears to be generated by algorithms using preset rules distilled from prior art, which were created by highly skilled human artists, not machines. The book has clearly established that the Rasa awakening process and the dance elements of Bharatanatyam are not mechanical.
While machine art may match humans and eventually do better in terms of purely materialist aesthetics, the sacred Indic art-as-Yajna rooted in an integral unity via bandhus that bind the inner and outer worlds, will not only survive, but thrive and give humanity a sense of hope and a glimpse of divinity. This makes it all the more important that Bharatanatyam and classic Indian art be preserved and taught in their authentic form and context. Prakruti Prativadi’s book is a welcome step in this direction.
The following Post was composed by P.N. Namboodiri ji. You can follow him on twitter.
TiruNrittam — When the Gods Dance in Our Midst
Every year, sometime in March, I make a pilgrimage to my ancestral village to attend the annual festival of the village temple. I am not alone in such a pilgrimage. There are many others, people who are displaced from their ancestral roots like me, who do the same. Elders say that this is important for migrants to undertake, to maintain their links with their cultural roots. It can be said that temples are an integral part of Bharatiya culture and they are the bedrock of its evolution and maintenance.
Kerala can be considered to be a collection of villages, as villages are present across the length and breadth of the state. All these villages are dotted with temples and many villages have more than one temple. This blog is a fond reflection of my thoughts after my recent visit to my ancestral village for this year’s Utsavam (festival) and the impact of such events on the religious, cultural, and family bonds of the life in a typical Kerala village. I have also included brief information on Nrittam, a unique temple ritual in this part of Kerala for the benefit of readers. The description of festival and Nrittam is with respect to our family village diety Chuzhali Bhagavati or Goddess Durgalocated in village Chuzhali of Kannur District of Kerala.
“अग्निर्देवो द्विजादीनां मुनीनां हृदि दैवतम् ।
प्रतिमा स्वल्पबुद्धीनां सर्वत्र समदर्शिनाम् ॥
God is Agni for the Brahmins,
In the heart for the Sages,
Idol for the less wise
Omnipresent for the Enlightened.
“Puja”, or ritual worship of “Ishta Devata” is the most common and most simple method of being one with the divine. Thus, we have Puja rooms in our homes though household Pujas have become rare due to various reasons. Many are unable to maintain the prescribed discipline at home to perform Pujas. This is one of the reasons we have temples where the public worship the Ishta Devata through an Archaka. The Archaka is the agent here between the deity and devotee, who maintains the prescribed discipline and has the authority to perform Pujas.
There two types of rituals in a temple – “Nityam”, the daily rituals like pujas performed everyday and “Naimittikam”, special rituals like Utsavam and other celebrations on important occasions every year. The practices of a temple under both categories are believed to be followed from the time the temple has been in existence in accordance with an unwritten understanding between the priests and the temple owners at the time of original installation. Thus, the rituals and celebrations of a particular temple are more or less in line with those being traditionally followed from the very beginning, acting as a direct link to the cultural roots of the population.
Annual festivals in temples are occasions for celebration for the entire village. This is the time when the deity moves out of the sanctum sanctorum. Special rituals like Sribhutabali /Sheeveli (Ritual Offerings to the Devaganas in the temple premises), Pallivetta (Divine hunting ritual), Gramabali (Offering to the devaganas of the Village), Aarattu (ritual bath of the deity), etc. involve majestic processions accompanied by percussion instruments within and outside the temple premises to different locations within the village. In many such processions, the idol or murti is carried on an elelphant, sometimes accompanied by more elephants as part of the divine entourage. There is active participation of the local population in these celebrations. As against the devotee visiting the temple and praying to the Ishta devata, confined within the inner sanctorum, the local people consider it their good fortune to have the deity in their midst during such special processions. It is common to see villages festively decked up for such occasions and each family, en route to the procession, makes it a point to accord ceremonial reception to the deity.
All processions outside the sanctum sanctorum uses the Thidambu, a replica of the original diety which is made of Panchaloha, Silver or Gold (Photo 1, Thidambu).
The murti is carried by a priest, sometimes seated on an elephant, and the accompaniments include traditional oil lamp, percussion instruments in the front followed by someone holding a traditional umbrella at the back. See Video 1 to see these accompaniments.
Tiru Nrittam or Divine Dance
The art of Thidambu Nrittam has been prevalent for at least over 600-700 years in many temples of north Kerala. It is believed that Tulu Brahmins, who migrated from nearby locations of Karnataka to the northern part of Kerala were responsible for introducing this unique temple art, which is also prevalent in that part of Karnataka. Nrittam abides by the principles of dance which has its root in Natya Sastra.
“Tiru Nrittam” (Divine dance) also called “Thidambu Nrittam” is a part of annual temple festivals in many temples of northern Kerala. It is considered divine, as it is a part of a ritual performance with the artist carrying the temple murti on his head. That is the reason why it is also popularly known as “Thidambu Nrittam”, thidambu being the Malayalam word for representation of the temple murti outside the sanctum sanctorum.
Namboodiris are the specially trained artists who perform this dance. They are specialists with rigorous training under the tutelage of a guru. A percussion player has an important role during the training with the guru and Marars, a traditional group (families) play the percussion instruments for the performance. The same is the case with the persons who carry traditional oil lamps in the procession. They have traditionally been the ones entrusted with the task of carrying the sacred lamp and they continue to do it to this day. The dance is performed with the thidambu of the temple murti carried on the head by the priest. Foot work is most important and this is executed to the rhythm of drums and other percussion instruments. As the dance progresses, the tempo picks up momentum to the delight of the viewers and there are many stages and variations of the rhythm of the dance.
The thidambu is decorated with garlands, flowers and ornaments, all beautifully arranged on a circular frame made of bamboo strips. The artist himself does the complex decoration on the concentric frame, first with the garlands of fresh flowers, then with the silver or gold flowers and finally with the ornaments as seen in the picture. This decorated frame is then fixed on the thidambu. The artist then carries the decorated thidambu for the divine dance in the temple forecourt. See the decorated frame and the thidambu ready for the dance in the pictures below. See Photos 2 and 3.
thidambu decoration (Photo 2 & 3) and Artist Costume (Photo 4)
The artists also wear a striking costume and ornaments – White dhoti with bright borders worn in traditional style with pleats, Uttariyam (diagonal vest) of bright silk, necklaces, bangles, earrings and nicely decorated turban known as ‘Ushnipeetham’ form the impressive attire of the Nrittam artist. SeeVideo 2.
Nrittam at Chuzhali Bhagavati (Durga Devi) Temple
Nrittam is performed on three days during the annual festival. The main performance extends to over two hours in the evenings and there is a mini event in the nights which is of a much shorter duration.
The artists come out of the Sanctorum clad in conventional attire to the forecourt of the temple. Standing under the kodimaram (flag mast) facing the deity, they ritually place the thidambu on their head at the start of the performance or procession. During the main event, the procession covers four parikramas or circum-ambulations of the temple, each regulated by a different Thaalam (rhythm) by the percussion artists. The artists move from one end to the other and then backwards and this repeats for a while. The dancers make rhythmic footwork based on the music of the drums and this is the Divine dance giving a unique artistic and spiritual experience to the viewers. Here’s a video which takes a fuller look at the dance. However, this is not from my temple but another one in another village of northern Kerala. It so happens that the artist is the same.
There are many stages in which the performance unfolds with unique Thalam for each Parikrama. It starts with a special item called ‘Kotti Urayal’, or the summoning of the deity into the performer, and starts from the northern end of the temple forecourt. The artists, standing still are awakened by the percussion artists who play the drums and other instruments in a gradually increasing rhythm. This induces rhythmic movements in the artists and they start the dance in line with music tempo. This is an enjoyable experience for the viewers filling the entire courtyard as they stand most of them with folded hands, observing the ritual with total devotion.
After the Kotti Urayal, the dance slowly moves towards the kodimaram in front of the diety and this marks the beginning of a special occasion where the devotees get an opportunity to make their offerings to the diety directly. The artists with the thidambu on their head are now considered to be transformed into the temple diety with the Kotti Urayal ritual, and when they stand under the kodimaram they are considered to be Bhagavathy herself standing right in the midst of her devotees. Starting with the temple priest, practically all of them make their offerings personally to deity, into the hands of the artist. This goes on for almost half an hour in the first Parikrama with the artists moving from north to south and backwards many times all the time accompanied by the entourage.
This is then followed by the main dance performance which continues for half an hour before the Parikrama and the action repeats under a different Thala for the next three Parikramas. Finally, standing under the kodimaram, the thidambus are taken off their heads with loud chantings of “Amme, Amme, Govinda, Govinda” …. from the crowd, marking the end of Nrittam.
I go every year for the Utsavam and the rituals are the same. However, the joy and rejuvenation I feel each year is fresh and new and this is what makes me want to go back to my sacred janma bhoomi again and again. Bhagavathy helps me deepen my bonds with my janmabhoomi and also gives me Shakti, the strength to resume my worldly duties. I come back refreshed and grateful to have witnessed yet another Utsavam. I wait for the next one to come along with the same enthusiasm I have had for it all these years, and I hope that Bhagavathy will bless me with her Shakti until next year, when it is time for a recharge.
About the author:PN Namboodiri is a retired Chemical Engineer, a Sanskrit enthusiast and volunteer with Samskrita Bharati. He is very interested in Bharatiya culture, traditions and customs and has been teaching Sanskrit for 5 years. He is also involved in vedic documentation projects.
Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Indic Civilizational Portal. The Author is responsible for ensuring the factual veracity of the content, herein.
With a bow to Brahma and Siva I shall expound the Canons of Drama, as these were uttered by Brahma.
While the soul of our culture and civilization is Dharma, the body of it verily is the arts—the alankara of culture. Perhaps no extant text more deserves the title of “Fountain of the Arts” than that masterpiece by Bharata Mahamuni: Natya Sastra. This article is, therefore, a proper introduction to both it, and its composer.
Natya Sastra is an expansive text that deals with a variety of topics such as Nrtya (Dance), Chitra (Painting ), Silpa (Sculpture), Vaastu (Architecture), Kavya (Poetry ) all under the umbrella of Natya (Performance Arts or Histrionics). Due to its originations of such concepts as Rasa, it is referred to as a work on Aesthetics and Beauty as well. Those of you who are long time readers would recall our articles on Classical Indic Literature. We previously dealt with Literary Theory (Saahithyalochana) and Poetics (Alankara Sastra or Kavya Sastra). This article will continue that series started over at Andhra Cultural Portal with Classical Indic Literature III: Dramatics (Nataka Sastra). It will focus more on the literary aspects of the illustrious work as well as its direct applications for literature (drama in particular), leaving performance aspects for another time.
It is said that ” No activity in a Society can remain unaffected by the Philosophy of that Society, be it a literary, or social or cultural or scientific activity.” [3, 1] The elite Literature of Bharat, Saastriya Saahitya, is no different. An important note: “the recent use of the term sastra as adjective, sastriya nrtya or sangita, it suggests quality of performance, sometimes genre, with an implied translation of the term ‘classical’ in English, as a qualitivative and not historical period category.” [1,43] Thus, our heritage is very old, but very much alive, and rather than secular, is sacred in nature. While our tradition maintains that Dharmic Civilization’s musical and theatrical canons originatewith the Saama Veda (the fourth of the Vedas–the other three being the Rig, Yajur, and Atharva), and “[a] re-reading of the Upanisads is convincing proof of the concrete imagery of the senses, the sense perceptions and sense objects of these highly abstract metaphysical texts”[1, 54], India’s first great known treatise specifically on these canons is the Natya Sastra.
The origin of Classical Indian literary theory, as such, is traced to the Sanskrit treatise of Rishi Bharata. Natya translates to the performance arts (Histrionics). Conservatively dated to 200 B.C.E, but very likely much earlier,”[i]ts comprehensive treatment of artistic experience, expression and communication, content and form emerges from an integral vision which flowers as a many-branched tree of all the Indian arts”. 
Considered the earliest extant work on Dramaturgy, Natya Sastra is most famous for Bharata Muni’s rasa theory, and its pervasiveness in not only dance and music, but literature as well. He has sanctioned the use of all the rasas without reservation (NS, 19.147).
Not much is known about the author himself. There are several legends associated with him. There is strong reason to believe, however, that Bharata Muni hailed from Kashmir.
The Natya Sastra in fact touches on the life of the great Sage ever so briefly. It mentions that he had 100 sons. They are said to have misused their skills and capacities to ridicule sages and other such dharmic personages (something very common even today). They are therefore cursed by rishis who say, ‘as due to pride in your knowledge (jnana) you have taken to arrogance (avinaya), your ill knowledge (kujnana) will be destroyed’ [1,9]. This is an appropriate warning not only to those who take interest in learning the fine arts, but also those today who have grown arrogant of their knowledge, and are misusing it for their own ends.
“Bharata’s initial statement that ‘I am creating a theory and text of performance, of practice and experimentation’ acquires crucial importance.The composer of the text consciously creates a fluid text. He calls it a sastra of prayoga i.e. a theory of praxis.”[1,38]
An important point is that “sastra is distinguished in literature and the arts as being a category distinct from the creative. While in the English language, we can easily use the terms ‘creative and critical literature’, ‘creative and technical literature’, when the terms are transferred to the sphere of the Indian, for that matter, the Asia arts, there is difficulty. “[1,40]
What’s more, artificial separateness does not characterise Bharata or the Indic tradition. There is a clear interrelationship between all the various artforms. “The themes which the Indian dancer portrays are not only the raw material of literature, but are also the finished products of literary creation; the music which seems to accompany the dance is actually the life-breath of its structure and, indeed, dance interprets in movement what music interprets in sound; the postures and the stances it attains are the poses which the sculptor models; all these the dancer imbues with a living spirit of movement in a composition of form which is both sensuous and spiritual. The body is the medium to transcend the ‘body’. [1,112]
As such, teleology again becomes important. The sophisticated audience or refined reader (sahrdaya) recognises that each movement, each word, even each omission is filled with meaning and symbology. Therefore, merely dividing and subdividing to attempt to fathom is merely learning more and more about less and less. To gain a proper understanding, an holistic and systemic approach is required to understand what is very clearly an intentional methodology. All this was done with a specific design. It was not art for the sake of art or poetry for the sake of debauchery, but a system of aesthetics designed to not only be transcendant, but to transcend.
“Bharata had inherited a ‘vision’; he gave it form as concepts and framework. The creative artist, in turn, internalized the vision of the inner and outer life he had experienced. The principles of structure enumerated by Bharata were inherited directly or assimilated as part of a larger ambience, gave the artist the tools for creating a variegated world of ‘forms’ and multiple forms only to evoke the beyond form (pararupa).”[1,112]
How old exactly is Bharata Mahamuni and his Great Tradition? According to Manomohan Ghosh, the Sage of Natya doesn’t mention the Arthasastra of Kautilya, but rather that of Brihaspati. This, therefore, leads to the logical inference that Bharata pre-dates the Maurya Empire, which puts him before the 3rd Century B.C.E, and some would say even earlier than the 5th. 
Per our Pauranic accounts, the origin of Natya is attributed to Narada muni. In fact, it is he who is said to have brought music and the arts from Brahma to the world of men. Nevertheless, this Sastra itself is a product of the intense Tapas of the present Muni, who refers to other authorities.
“To return to the inheritance the lineage of Bharata, as also those who inherited from him—we have already referred to Bharata’s indebtedness to the Vedas, the Upanisads and Brahmanical yajna practices. He incorporates the system of puja later codified in the agamas, draws freely from contemporary practice, and considers loka, the ‘people’, as the final authority.” [1,113]
There were other attempts of course. Even a certain celebrated grammarian touched on the topic and how there were other such treatises.“The Natasutras referred to by Paanini have been cited as examples. The Astadhyayi (IV.3.110-111) refers to them and the schools of Silaalin and Krsasva. Although the works are possible irretrievably lost, perhaps, this was the first attempt to codify some rules of dramaturgy.” [1,114]
The key takeaway however is that while Bharata may be the greatest in our present era, he may in fact not have been the first.“The fact that there was a flourishing tradition of poetry, dance and music, even of architecture, sculpture and painting, is evident from innumerable references in the Vedas and epics. Patanjali’s Mahabhaasya and Arthasastras, the Ramayana and the Mahabharata provide interesting details of theatre halls, recitals, social status and training, but of the works of writers Acaryas or rsis of the arts we learn little. Bharata provides a list of his gurus (teachers) and contemporaries. Apart from Pitamaha Siva and Mahesa, he mentions Kohala, Dhurtila (Dattila), Salikarn, Baadaraayana (Badari) and others.” [1,114]
Nevertheless, whatever his biography and lineage, Bharata Mahamuni managed what others have not:
“From amongs those that have received attention of scholars from the fields of literature, poetrics and dramaturgy, music, dance, architecture, sculpture and painting, it is possible to surmise that Bharata’s text provided the single unified source for a theory of art.”[1,115]
It is therefore, a complete theory of Aesthetics and provides an Adhyatmik approach to Beauty.
As seen above the Natya Sastra commences with a salutation to Siva and Brahma, and it credits knowledge behind the work to the Supreme. Bharata tells the munis of Brahman’s state of yoga, that is his concentration, and determination (sankalpa) which produced the fifth veda, or Natya Sastra. [1,8]
“Obviously the authority of the Vedas was recognized at this stage. This alone could enable Bharata to cull out a theory of aesthetic and a structure of drama from the Vedas. Important is the fact that he identifies paathya, the arti-culated spoken word, not just the word (sabda) with the Rgveda.”[1, 13] It explicitly cites the traditional four aims of life, or Purusharthas of Dharma, Artha, Kama, Moksha as ends of literature.
His assertion that he is creating a fifth Veda which will be accessible to all castes and classes at the same time likening it to the Vedas (i.e. creating a fifth Veda and the analogy of a ritual) transcends the accepted boundaries of hierarchy as also norms of inclusion and exclusion.[1,21]
Bharata emphasized the synthesising role of drama with respect to all spheres of knowledge from the sacred scriptures to arts and crafts to geography. This is what makes it open to all. Indeed, its written versions were a matter of history as well, as between 1900-1926 a hunt was on for more manuscripts. As a result, there was a sizeable find of 40 manuscripts and two recensions. This is fascinating as the Natya Sastra, like much of real Indic literature, was transmitted via the oral tradition. To have such an expansive written reach demonstrates its influence, both North and South.[1, 34]
Kapila Vatsyayan, noted authority on the Natya Sastra, had this to say on the matter:
“the division of many manuscripts into southern and northern recensions has been in many cases a superimposition of a tacit acceptance of marked differences in northern and southern recensions. In this case, the fact of the matter is that Abhinavagupta was a northerner but the closest approximation to his text is a manuscript in the Trivandrum collection. Other instances can be given. The more pertinent question to be asked is as to the manner and mode of transmission of a single text to different parts of India—ranging from Nepal, Almora to Ujjain, Darbhanga, Maharashtra, Bengal, Andhra, Tamilnadu and Kerala. All these manuscripts can be dated roughly between the twelfth and the eighteenth centuries with the exception of those of the commentator—Udbhata. One of his works was found in the Gilgit manuscript (tenth to eleventh century), now edited by Gnoli. The earliest manuscripts come from Nepal in Newari script. The text is available in many scripts—Newari, Devanagari, Grantha, Tamil, Telugu and Malayalam.”[1, p. 36]
Perhaps the single most interesting aspect about the Natya Sastra is that it is in fact one of many. Much like there were Arthasastras before Kautilya there were Natya Sastras before Bharata Muni. “Previous authors reputed to have written on Natya Sastra as a discipline include Kohala, Dattila, Tandu, and Salikarna.“ [1,8]
The Natya Sastra itself is of expansive structure. It consists of 6,000 slokas (verses) spread among 36 chapters. As with all else in the Indic tradition, this number too is rife with symbology. According to Subhash Kak, the 36 chapters are said to correspond to the 36 tattvas of Kashmiri Shaivism.  What’s more, “The thirty-six chapter of the Natyasastra can be grouped from the point of view of (i) artistic experience, (ii) the artistic content or states of being, the modes of expression through word, sound, gesture, dress, decorations and methods of establishing correspondences between physical movement, speech and psychical states, as also communication and reception by the audience, readers and (iii) structure of the dramatic form, popularly translated as ‘plot’. The itivrtta is, however, a more comprehensive term for structure and phasing.”[1, 58]
While 5 chapters are dedicated to music, certain key chapters give us insight into his dramatic methodology.
In chapters I and II, Bharata appears to lay a conceptual and physical foundation that is nevertheless redolent in the sacred. The origin of drama is attributed Brahman with various actors such as Vishnu, Shiva, Sarasvati, the Daityas and Bhutas, and Yakshas, all as actors–either protagonist or as agitators . In some ways, Indra can be conceived of as the hero, as his dhvaja or pole (jarjara) provides the fulcrum of the stage. Sarasvati is the heroine, as she is the embodiment of speech, and Shiva is the energizer.
“Two statements by Bharata at the end of chapter XXI are clear indication of his approach to all that he has suggested. After describing the characteristics and components of the dramatic form, called nataka, he emphasizes the fact that drama presents, re-narrates (anucaritam) through abhinaya (expression), but its success is possible only when the actor has overcome, suppressed, his personal self (svabhaavas tajyate: chapter XXI, v.12-1234).” [1,80] As one can see, the spiritual is very much immanent in this, the most dramatic of artforms.
The spiritual is therefore not only intertwined with the psychological and the conceptual, but even the sensual. We find that true the highly sophisticated use of various ornaments or devices or archetypes, specific reactions are catalysed.
“Pertinently, it is in this context that he describes the different types of graces (alamkaara) or women, namely, feeling (bhaava), emotion (haava) and passion (hela). These are not autonomous categories: they are psychic states with their emotional and involuntary reflect physical response co-ordinates in relation to the opposite sex (XXIV, verses 6-11) and in the sphere of kaama (normally, most inadequately translated as erotic). The underlying foundation of the entire chapter is thus kama and sense, body, mind and consciousness relationship. Logically, at the level of perception and expression, these are either inner or outer (aabhyantara and baahya) or indirect, implicit or invisible (paroksa) and direct and explicit (pratyaksa). Another group of terms, namely, suci (pointing needle), ankura (sprouting), saakha(branches) indicate the feeling, body and word-gesture relationship in different sequential order or concurrency, suggested or proliferated. It is on these foundations of perception and insight, that Bharata narrows down his concern from the generic character and personality types of women to the categories of heroines (naayika).”[1, 85]
Perhaps it is not for nothing that he is referred to by some as the first neuromarketer.
Na tajjaana na tacchilpa na sa vidya na sakala|
Na sa yogo na tatkarma yanna tyesminna drsyate || NS 1.116.
There is no wise maxim, no learning, no art or craft, no device, no action that is not found/reflected in the drama.
“Only India believed that literature is efficacious in ‘sivetara-ksati’ or countering inauspiciousness”. [2, 7] The notion of mangalam, is a constant throughout the Dharmic tradition, and even drama is supposed to contribute to this idea of auspiciousness.
In Indian dramatics there is also a formal rule against tragedy (likely on account of the inauspiciousness of the genre). The celebrated dramatist Bhasa, however, set this rule aside in his famous Urubhanga, a one act play on the episode of the shattering of Duryodhana’s thigh.
Nevertheless, one thing is clear: “Bharata wants drama to not only enterain, but to teach and ennoble. The fruit which the hero desires being difficult to attain, the final success of the hero is an inspiration and exhortation to the spectators”. [2,205]
While lakshana(secondary meaning) is discussed by some as the most important concept to stem from the Natya Sastra, an interesting point is that tattastha seems to be the most underlying one. Literally meaning “spacing”, it becomes apparent that in poetry, music, dance, and the visual arts, the unsaid is frequently as important as the said. In fact, there is a legend that while Manavas prefer the direct, the Devas prefer the indirect. Lakshana and tattastha are both interrelated concepts that not only emphasise the importance of the idea but demonstrate the sophistication of Bharatavarsha’s Natya.
Although musical theory obviously dates back to the Saama Veda, Subhash Kak asserts that acting and indeed elements of the theatre tradition can in fact be found in the Yajur. “Since the four Vedas come together in the dramatic performance, natya is the Fifth Veda”. As such, the sacred and sanskritic is very much a part of the Indic tradition of dramatics and histrionics.
He goes on to assert that the Natya Sastra took paathya (recitation) from the Rig Veda, abhinaya (acting ) from the Yajur, rasa (sentiment) from the Atharva, and sangeeta (music) from the Saama.
The Play or Nataka was a very sophisticated matter. Generally, a rupaka (dramatic composition)was recommended to consists of between 5 and 10 acts. It would begin with a Prastaavana (prologue) sanctified by a Svastivachana (benediction) which is part of the Naandi (introductory portion which suggests the plot). Acts were not to be too long, inauspicious events (such as wars) only indicated rather than portrayed, and the play was to end as it began, with another benediction. In this cause, it was fittingly named Bharatavakya. Typically, the vasthu (plot) was based on pauranic or historical events.
Chitra-abhinayaa (translated, special enactment, special representation, mixed pictorial, a category of different types of enacting through speech and movement) was a key aspect to stage craft itself.[1,p.86] Indeed, it lays the foundation for histrionics, which stems from the dramatic.
The sutradhara (stage-manager) would frequently introduce the play, along with a host of other characters. Other important figures/concepts include prayokta (producers), prayoga (dramatic production) and saadhaka (creator-artist with inner control and discipline). There were in fact a whole set of rituals including puja performed in what was called the purvanga (preliminaries).
“Bharata reminds us that the entire act of creation and presentation is a saadhana where impersonalization, de-personalization and detachment is primary.”[1, 91]
Slokas from the critical chapter XXVI discuss some of the specifics of natya.
The triple basis of drama is discussed in slokas 118-119 as being the people (loka), the Vedas, and the spiritual faculty (adhyatma). [1,88] Indeed sloka 124 goes on to state that “Whatever sastras, laws, arts and activities are connected with human conduct (lokadharma) may be produced (literally called) as a drama).”[1, 89]
The prekshaka, or audience, also had its own dharma.
“As for the audience and spectators, they too must be attuned, trained and initiated. The demand from them is no less exacting. Preparedness of both attitude and initation into some technicalities is an essential pre-requisite.”[1,91]
Bharata goes on to lay the criteria for critics (samalochakas) and judges, laying down the qualifications for the jury. The last, as typical with the sastras, is near exhaustive. Experts in ritual (yajnavit), in archery (isvastravit), in dance (nartaka), in prosody (chandovit), in grammar (sabdavit), in painting (chitravit), and music (gandharva) are all required. A king (rajan), king’s officer (rajasevaka), and interestingly even a courtesan (vesya) are all listed as well, likely due to their extensive training in The 64 Arts. [1,91]
Of course, no discussion of the Natya Sastra, indeed dramaturgy itself, is complete without mention of Rasa.
As a refresher on Rasa, here are some introductory concepts we discussed in previous articles. Rasa theory is the outstanding contribution of Classical India to World music, dance, and above all literature. This sentiment is the lasting impression or feeling of the author that he/she aims to impress upon the audience. These are nine in number (hence the term Nava Rasa): Sringara (Romantic), Vira (Heroic), Haasya (Comedic), Karuna (Pathos), Raudra (Furious), Bhayaanika (Frightful), Bibhatsa (Loathsome), Adhbuta (Marvelous), and finally Shaantha (Calming).
The Sthayibhaava is the leitmotif or permanent sentiment of a composition.There are generally eight in number, based on eight of the nine rasas. They are as follows: rati (erotic), haasa (comic), shoka (sorrowful), krodha(angering), utsaha (enlivening), bhaya (frightening), jugupsa (disgusting), and vismaya (amazing). A ninth, sama (tranquility), is associated with Shaantha.
Bhaava is the complete affecting of the heart by any emotion. Rasa means sentiment, sthayi bhava means dominant emotive state, and vyabhichari bhava means transitory or transferable stages.”They are the instrumentalities of conveying and communicating intangible but real states of mind.”[1,9]
Literature (Saahitya) in Sanskrit has typically been divided into drusya (what can be seen or exhibited on stage) and sravya (what can only be heard or read).
Dramatics falls into the first category. Nataka is the word for a play, while rupaka is the term applied to dramatic compositions. Minor or short dramas, such as the Ratnavali of Sri Harsa Deva (Emperor Harsha Vardhana of Kanyakubja (Kannauj), are called Natikas. While there are 17 other classes of these Uparupakas (minor dramas), they needn’t be examined for our purposes.
The 3 main aspects of a Rupaka are (1) The Plot (Vasthu) (2) The Hero (Neta) (3) The Sentiment (Rasa).
Bharata muni avers that literary artists should seek to use adhbuta rasa (sentiment of wonder) in the nirvahana samdhi (denouement). He gave highly sophisticated almost scientific sanction to dramaturgy. Indeed, so much care and preparation is allocated to the stage itself that modern (usually western/westernised) commentators wonder at how tenable its implementation was.
Bharata classifies drama into ten types. Each one has differing aims, length, and magnitude. “The structure of drama, according to Sanskrit dramatic theory, is the scheme of avasthas (Stages/phases) and samdhis (juncture) and samdhyangas (parts of junctures). These form the infrastructure of the drama.” [2,202]
Some hold that Lakshana (indirect expression or secondary meaning) is in fact the most important contribution of Bharata to literature in general and Poetics in particular. They believe that it is a “lost master-key which opens all the locked mansions of alankara [rhetorical device], guna [merit/quality], riti [diction], vrtti [mode of expression/style], chandas [metre], dhvani [resonance] and vakrokti [twist in expression] and aucitya [propriety]”. [2,5]
Whether via rasa or lakshana or tattastha (or all 3), the Natya Sastra is the conceptual foundation for the Indic Literary and Performance Arts.
“The arts provide both pleasure and education and are a vehicle of beauty, duty and conduct” [1, p .25]
The legacy of the Natya Sastra cannot be minimised. Scholars and commentators from Abhinavagupta to Manmohan Ghosh have all propounded its centrality not only to literature and the performance arts, but the Classical Indic Tradition itself.
“Natyasastra lays down the foundations of a theory and practice of the Indian arts which was adhered to by theoreticians and practicising arts” for thousands of years. This was done consistently throughout the subcontinent. [1,26]
And yet, despite the best efforts of many motivated men to muddle not only its importance but to limit it to Kashmir, the impact of it was not only pan-Indian but Pan-Asian as well. “It had validity and applicability outside the country, especially in Asia, and continues to have relevance today for articulating a theory of art which can be clearly distinguished from Aristotelian or subsequent theories of aesthetic and art in the post-Renaissance West.”[1,26]
Above all, above even rasa and lakshana, was the uniquely spiritual quality that the Rishi of Natya brought to dramatics and histrionics. As many artistes in disparate fields such as dance and art and music attest today, to perform based on the structures and tradition of India is not merely an experience of the senses, but an experience of the spirit:
“Bharata’s adherence and debt to this world-view is clear when he repeatedly speaks of the ‘eye’ and the ‘ear’ and purification. It is not only ritual purification; it is the constant endeavour to arrive at a greater and greater degree of subtlety and refinement.The theatrical universe is the world of the ‘audible’ and the visible’. The senses and sense-organs and perceptions play a crucial role in the evolution of the theory, as also the techniques of each of the four instrumentalities of expression—sound, word (vacika) and body language (angika), décor and dress (aahaarya) internal states (sattvika)”.[1,55]
The imprint of Bharata is felt, therefore not only in Classical Ancient India, but even in the medieval period and across regions. From the Manasollasa (Kannadigas) to the Dhvanyaloka (Kashmiris) to the Sangita Kaumudhi (Odias) to the Sangitaraja (Rajasthanis), the influence of his work is irreplaceable and undeniable, crossing centuries and corners of India. Even the Ain-e-akbari, Risala-i-Ragadarpana, Sangita Mallika, and Kitab e Nau Rasa all rely heavily on, and some would even say attempt to digest, the pioneering work of Bharata muni. Notably, however, this influence was neither regimented nor haphazard. [1,120]
“Jayasenapati’s Nrttaratnavali from Andhra (thirteenth century) also reflects both adherence to and departures from the Natyasastra. While it follows the basic principles it focuses much greater attention on training vyaayama and a full account of the desi type of karanas.We gather very important information from this text on many matters, including the basic techniques of training, including those on the bar. Unlike others, he includes a section on construction of theatres.”[1,122] True integral unity with diversity.The canon itself provided general principles which were adapted to the local style and needs of the region. Indeed, Jayasena’s text was instrumental in reviving not only Andhranatyam but Perini Siva Thandava as well.
The reverbations of the ancient and medieval period, therefore, can still be felt today. Most importantly, vrtti (style) and pravrtti (regional school) both had their place and space, as opposed to regimented standardisation. Perhaps that is what makes the Indic tradition so dynamic. Appropriate flexibility exists to not only provide for the civilizational and the regional, but also the material (laukika) and the spiritual (adhyatmika). The spirit of dharma, therefore, can seamlessly move from school to school, region to region, and artform to artform.
The British and their elite academic atlantic relatives have historically taken pro-pak positions, pretending a variety of falseties for propagandic purposes. One theory that was floating around was that there was no true performance music before turks came and took “vedic chants” from the temples to create Hindustani music. This ignorant (or self-serving) view has no historical basis, as even the most committed hinduphobe knows the Natya Sastra is dated to 200 BCE, if not earlier.
It is also one of the reasons why adarsh liberals have always given such step-brotherly treatment to south India, long before l’affaire Jallikattu. This is because foreign influences are difficult to divine or impose on Carnatic. Even recent additions like the European violin have been adapted to suit the Indic taste, much as Hindustani and Kathak were merely modified Indic artforms to suit the Turkic taste.
To bring things back full circle, however, perhaps the best rebuttal came from a scholar of literary theory himself:
In my opening remarks I referred to narrow nationalism as going against the spirit of Comparative Literature…Narrow nationalism, however, is not the problem here; rather its opposite is the problem; and its opposite is not wider nationalism; it is absence of national feeling. We Indians are often unnecessarily apologetic about ourselves and about our national heritage. We unnecessarily feel guilty of jingoism, of cultural expansionism in such matters. This peculiar feeling has its roots in respect of some students of literary not in the thorough knowledge of our heritage, but in its opposite, namely, complete ignorance of our heritage. [3,185]
Understanding the root helps us learn where all the branches are. That is the importance of the Natya Sastra to Indic—real Indic—music, art, poetry, dance, and drama.“The Mahamuni provided the basic framework and a pan-Indian vocabulary which was to guide the theory and practice of the Indian arts for two millennia”,and likely more .[1,100]
Bharata’s work influenced millions directly or indirectly. For these reasons alone, Natya Sastra is one of the most important books ever written [6,19]
Vatsyayan, Kapila. Bharata: The Natyasastra. Sahitya Akademi.2007
Kale, M.R. Dasakumaracarita of Dandin. New Delhi: MLBD. 2009
Pandey, Sudhakar and V.N.Jha.Glimpses of Ancient Indian Poetics.Satguru Publications: Delhi, 1993 .