Hari Aum.
Of the many spiritual paths that exist in the world, the yogic tradition gives devotional music and dance a very special place.
In the Srimad Bhagavatam, the well-known scripture praising Narayana, the great sage, Shuka, famously said to King Parikshit:
"Kaler dosha nidhe Rajan, asti hyeko mahan gunah,
Kirtanadeva Krishnasya muktah sangah param vrajet"
Meaning:
"The age of quarrels (the present one that we live in) is indeed an ocean of wrongs (defects) O King,
However, it has one supreme virtue (or benefit), which is that the mere singing of the names of Krishna, grants one the supreme destination (spiritual wisdom/liberation).
It is for this reason that virtually every yoga tradition of ancient and modern times adores devotional music, particularly singing the names of God.
One can sing the names without any musical instrument and without any accompanying dance. That is perfectly effective for spiritual seekers-- the key of course is devotion. One can sing in any way one pleases in order to connect with God; there are no rules or restrictions at all.
However, the ancient sages of the yogic tradition also taught a specific type of music and dance to their disciples to help them develop and express their devotion to God. Just like there are ancient teachings and books on yogic philosophy (Upanishads, Puranas and so on), architecture (Vastu) and medicine (Ayurveda), there are ancient teachings on music and dance.
It is said that God Himself is the Lord of music and dance. Hence the reason why Shiva is famously known as 'Nataraja', the King of dance. Similarly Krishna is known as Murali dhara, or one who holds the flute. And He also is known for being a lover of dance (including in the famous Lila with the gopis of Vrindavana). Similarly Sarasvati is known as Veenavani, the Goddess who plays the beautiful veena. She is known as Kaladhara, the patron of the arts, and is regarded as one who excels in music and dance.
Music, as we all know, has great power over the human mind. An unpleasant, harsh, grating sound immediately sets our nerves on edge; we feel distressed, upset and feel we need to get away as soon as possible. In contrast, a melodious, sweet, charming sound, be it a voice or an instrument, is pleasing to the ear. We want to hear more. Music powerfully influences our emotions. It can generate happiness, sadness, fear, energy, relaxation and so on. Within moments of starting to listen to a particular type of music, many of us begin to feel different-- our mood reflects the emotion expressed by the sounds we hear.
Dance also plays a key role in yoga and devotion. Just as the human voice can be used to express devotion to God (by chanting, singing and so on), the movements of the human body can also do the same.
This is, in fact, the basis of most of the famous classical dance traditions of India. These dance forms are thought to be thousands of years old, and a number of them are said to have originated from the teachings of a sage known as Bharata muni. His teachings are known today as 'Natya shastra', the art and science of music (including singing and playing of instruments) and devotional dance.
Over time, the music and dance of the Natya shastra evolved and there are numerous, beautiful and elaborate musical traditions in India. One way of categorising the musical traditions of India is Hindustani (North Indian) and Carnatic (South Indian). In terms of dance forms, there are some well-known ones, including Kathak, Kuchupudi, Bharatanatyam, Mohini Attam and Orissi. All of these traditions of music and dance require several years of rigorous training and practice with a suitable guru. They require a high level of physical fitness and mental discipline. And traditionally, these dances have been performed in temples all over India as a sacred art, a form of dance designed to please the Divine.
In these dance traditions, the dancer often performs to the accompaniment of vocal and instrumental music. As the singer sings a devotional song (often narrating a story about, or praising, the Divine in various forms such as Shiva, Narayana or the Goddess), the dancer attempts to bring the words being sung to life. She/he moves face, hands and body to convey the meaning of the song to the audience and to portray the emotions being sung about. Just as music can transport the audience into a different divine world, so also, the dancer attempts to bring the Divine to life before our eyes and transport us there too.
Many children in India take up classical music and dance when they are young (around age 5-6) and study these for varying lengths of time. Due to Indian society placing a significant emphasis on the importance of good academic performance, music and dance unfortunately tend to be abandoned at some stage or another. When I was growing up in India, I recall a mathematics teacher telling the entire class, as we approached the first major set of examinations aged around 15, that we must now give up all hobbies and interests and apply our minds exclusively to our studies and academic performance. There was no time, she said, for things such as music and dance, if we wanted to excel in our studies. There may have been some truth in her words but it does sound a bit extreme.
I grew up in a family of professionals who were all very focussed on academic performance and therefore, music and dance were regarded as a nice hobby, but not something to be taken too seriously. I therefore learnt Carnatic vocal music and Bharatanatyam dance for a few years as a child/teenager, but then stopped these as I grew older and had to focus more on my studies. I remember enjoying this music/dance greatly and fragments of what I learnt stayed with me for years long after I abandoned my formal learning of these subjects.
Anyway, a couple of years ago, during the pandemic, I decided to take up formal learning of classical vocal (Carnatic) music once again (via online lessons due to restrictions on social mixing!). I found this did wonders for my sanity during lockdowns and the strange times that we were living in. And, I feel that there is a special joy in singing the devotional songs composed by the great poet-saints of this tradition (Purandara dasa, Thyagaraja and others) now that I have developed an interest in spirituality (which I did not have when I learned some of this material as a child).
The same applies to dance. As I approach the next decade of my life (turning forty years of age this month!), I thought I really must do some form of regular exercise that is also enjoyable (I find going to the gym rather dull and brisk walking is ok but really not much fun when it's cold and rainy as it often is in winter). Over the years, whenever I've watched a dancer performing Bharatanatyam, I have wished that I had never given it up. I find it so sublime, so very beautiful.
A few weeks ago, I saw a Bharatanatyam performance at a local cultural centre of Indian dance and music and found it amazing as always. Afterwards, I thought, may be this is just what I need to ensure some fitness for the next decade! There are a number of 'mature students' of this subject today so I thought I might not be the only one looking to learn this at my stage in life. I therefore approached a few local teachers (all of whom reassured me that they do indeed have students of my age!) and have been accepted by one Bharatanatyam guru as her disciple!
So, I now have a weekly class and 'dance homework' along with my Carnatic vocal class and 'singing homework'. My three year old looks at me with some bemusement as I sing and dance around the house (my teachers tell me she is very likely to absorb at least some of this by mere observation and listening. I hope to introduce her to these subjects when she is a little older in case she enjoys them and wants to take up formal learning).
When I attend my dance teacher's home for my weekly class, I find myself standing facing a large brass statue of Lord Shiva dancing-- in His form as Nataraja. True to the devotional tradition, my lesson begins with an invocation to the Divine, with seeking the blessings of the Goddess (in the form of the Earth, upon whom we dance). And as I tap my feet and move to the rhythm being played by my teacher, I feel that I am dancing in front of Shiva, dancing for Shiva. It is actually quite a nice, devotional feeling! (It is again quite different to when I learnt the subject as a child without any special spirtual interest; the dancing means more to me now that it did at that time).
My teacher also tells me that the practice of yoga is a valuable aid in dancing. This form of dance requires a fairly high level of general fitness but also flexibility to perform it well (particularly in the more advanced stages). As a beginner, taking this up after a break of decades, I am going slow and steady. This has inspired me to take up a bit of yoga again (despite training as a yoga teacher years ago, I've been a bit sporadic with my practice in recent years). So, as I approach the next decade, (God-willing) I'm hoping that music, dance and yoga will have an important place in my life once again.
I would highly recommend these subjects to anyone with an interest (particularly if you are a 'mature student' who would like to try but are just a bit shy!). My teachers tell me there is no upper limit to the age when one can learn (as long as one is reasonably physically healthy of course). The oldest student of my dance teacher was actually in her 60s when she began and she went all the way to a very advanced level-- I therefore feel there may be some hope for me! I'm not aiming to be an advanced professional of course, but I would love to develop enough skill to be able to perform to a decent level particularly to some of the lovely devotional songs that are my favourites.
So, with that message to consider taking up music and dancing too (if you are so minded), I will leave you with some links highlighting the beauty of Bharatanatyam (please see below). (There are many beautiful examples online; I just happened to like these).
The first link (below) highlights what I was saying earlier about the dancers portraying a divine story. The singer is singing a famous classical song by a poet-saint about the glorious wedding of Lord Rama to Goddess Sita. The dancers (who are sisters) are enacting the song.
One dancer acts as Rama, and the other as Sita. You see them exchanging flower garlands, walking around the sacred fire, Rama placing the wedding necklace around the neck of Sita, them showing each other a mirror (some of the classical wedding rituals) and so on. The dance beautifully expresses the love between Sita and Rama, and their beauty and glory.
As you watch, you might feel that you can see, in your mind's eye, the actual wedding of Rama and Sita. And if you do, well then you are effectively meditating on God in this form (thinking about God is a form of meditation, whether you do it with eyes open or closed, while looking at a picture or at a dancer).
Dance in praise of Sita and Rama:
This link (below) is a playful performance by a talented group of young dancers. They are mainly displaying some of the classical dance moves and techniques of this tradition (rather than portraying an elaborate divine Lila though they praise Lord Shiva as Nataraja).
The final link (below) is a famous classical song (Swagatham Krishna) in praise of Lord Krishna, describing His divine nature and qualities:
Om Natarajaya Namah. Om salutations to the Cosmic Dancer.
Om Namo Narayanaya.
Hari Aum Tat Sat.
P.S. Just want to add three more favourite Bharatanatyam performances that are very beautiful:
1. In praise of Goddess Durga, a dance set to the great hymn composed by Adi Shankaracharya known as the Mahishasura Mardini (She who slays our inner demons and gets rid of the outer ones too):
Om Sri Durgayai Namah
2. In praise of Goddess Sarasvati, patron of the arts:
Om Sri Sarasvatyai Namah
3. In praise of Lord Shiva:
Om Namah Shivaya
Hari Aum Tat Sat
