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 The Dance of Tantra and a Satguru - Priyamvadha Murali e-mail: priyamvadhamurali24@gmail.com September 20, 2024 An intricate design of the natya yoga intertwined with the tantra philosophy, weaved by the insightful movements of a Satguru that locks and releases us in a state of pure Aananda - A sum up of the book, 'The Dance of Tantra and a Satguru' by Bharatanatyam dancer Dr Padmaja Suresh.   The book opens with the holy verses of His Holiness Sri Jayendra Saraswathi's composition - "Apara Karuna Sindhum Jnanatam Santa Rupinam, Sri Satguru Pranamami Mudanvaham". The author begins with her "outpourings", "praying fervently" to seek the ever enlightening "Guru Kataksham". This rightly sets the path for the rest of the treasure that unfolds guiding the rasika through the "pulsating domain" of tantra in relation to natya and connects the 'leela' of the Supreme through the lives of Mahapurushas. The foreword by Bheeshma Pitamaha of HRD (NHRDN and NDIM), Dr M.B. Athreya, PhD (Harvard) sums up the book most comprehensively. Says he, "The book answers several questions". "What makes natya a unique art?" He further adds that, "The latent energy and field forces in Tantra opens our eyes to the natya leela behind the life and practices of a Satguru." It truly opens not just our eyes but touches our heart and triggers the intellectual mind to wake up the sublime consciousness of "who we ought to be". The first chapter introduces Natya Shastra as a "Holistic therapy where one experiences Santham, Samatvam and ultimately the goal of Samadhi" if practiced defying the domain of rational brain and accepted at our "chit ambaram". The interplay of Natya Shastra and Tantra is presented with a reference from Panini's Nata Sutras of Sailalin which comes under the tantric tradition. The purvaranga ritual of Natya Shastra seems to have been influenced by the above sutra. Natya Shastra is presented as a complete "composite digest" with varying art forms emerging from this treatise that helps us to achieve the "goals of purusartha". A reference to the chapters of Natya Shastra detailing the varying bhavas, rasas, abhinaya, the natya dharmi and loka dharmi through dramatic presentations, various styles in prayoga in a specific "Ranga" supported by "gaana, musical instruments and percussions, gives rise to Manusi and Daivika Siddhi". A reference is also made here about origin of Nritya and Nritta from Dhananjaya's Dasarupakas and Sarangadeva's Sangeetha Ratnakara. Karanas, Thandava and Lasya are also mentioned alongside. The Natya experience with "inherent bhava and aesthetic rasas" and varying abhinaya portrayed by the nata (actor) gives rise to surreal experience for the spectator. The author quotes the eminent scholar Dr. V. Raghavan's attribute of the bhavas - "It is making up of our own hearts". Such "histrionic representation is not to portray stark realism but to attain the purpose of life through joyful means designed with a perfect structure," says the author. Natya Shastra opens chapter wise the world drama that unfolds through a natya yogi who should be a practitioner who is skillful, innovative, bold with no stage fear and who has good stamina. The resultant assimilation of natya leaves both the practitioner and the spectator in an intellectual realm paving the way for a spiritual ecstasy, ultimately leading to a confluence of jeevatma and paramatma, hints the author. The author thus explains that Natya is a "Theatre with a purpose". The author, intriguingly brings in the state of "Nirveda" here, mentioned by Abhinavagupta as "dispassionating disillusioned state" arising from Tattva Gnana. The author talks about Tantra, making us understand its gross and subtle Siddhantas that makes us realise our Nama Rupa or who we are. She states, "Tantra is a channel to connect to Gods and Goddesses (reference made to Devi Suktha and Sri Suktha). Similarly the dance of Nataraja is an 'Arohana' of realms. The Panchaboothas of our subtle body are controlled by the energy chakras. The author makes us understand the connection between Natya and Tantra by drawing inferences. She quotes Sage Vasugupta who says, "An individual is a Narthaka atma. His inner self is theatre. His indriyas or his senses are his spectators. He leads us to bliss through his artistic energy for a pining union at our 'chit' that culminates at the mystical chakra, the Bindu. It is here where the Shiva-Shakti energies combine"; he becomes a Natya Yogi through this "Hridaya Samvadha." Further strengthening the Natya Tantra complex, the author draws in the Trika philosophy from the Tantra school that is also seen in Natya Shastra. She quotes dramatist Bhavabhuti who calls Bharata muni as the "Tauryatrikasutrakara"-- One who gave knowledge of Gitam, Vadhyam, Nrtyam with Natyam. Trika's three abiding forces - the Agama (rituals), the Spanda (vibrations) and the Pratyabhijna (self) reflect in Natya Shastra as the actor sets himself on the world stage through a plot with a beginning and end. The Natya Shastra's 36 chapters are 36 tattvas, says Abhinavagupta. Hence the art based on Trika gives rise to supreme bliss. The spiritual dimension of this treatise is dealt upon with usage of mudras to activate the underlying chakras. Initiating the wake up of Mooladhara chakra through invoking Lord Ganesha, coiled energy (earth) in an ascend to the Svadhistana chakra (water), Manipura chakra (fire), Anahata chakra (water), Vishuddhi (space) and finally soaring into Sahasrara..the supreme consciousness. The energy (spanda) culminating at this state of consciousness is where we realize our Jiva Naada - The confluence of Shiva-Shakti energies. The Pindis (Yantra) of Natya Shastra and Pindibhanda is referred here as a median to connect and bring a deity to form and worship through Mudras and Hastas. The cryptic code of mudras accompanied by Bheejakshara have a power and is discreet, and instills the divine forces for worship and related bliss arising out of the articulated mantras in a private space or restricted gathering of learned scholars well versed in Vedas. The hastas in contrast are very evocative and straightforward in its disclosure of the bhava/rasa in a public space. The author brilliantly mentions here that one should know the mudras of Natya Shastra to understand the rahasya mudras in tantra. An intriguing relationship is restored through both mudras of Tantra and hastas of Natya Shastra that are significant in arousing an "Enlightened Consciousness". To understand this dance of Tantra, one needs to be guided by a spiritual guru who can "channelise these different energies to realize our kundalini shakti". The author authenticates through lines from Yagnavalkya Smriti - "One who is well versed in Vina, Sruti and Tala attain salvation". The second chapter thus reveals the importance of being guided by a Satguru. The "dancing leelas of a Satguru" takes a form from here. The author humbly brings in the various facets of a Guru. Lines from Guru Gita are brought out that say, "A Guru is a supreme Brahman. He is the manifestation of the trinity of gods. He enables spiritual advancement." The author says, "The bridge of the ocean is impossible, but a Guru can bridge the impossible to possible." Guru is also described beautifully as a Yogasampanna, a Sthithaprajna, a Yogin, a Karana Sarira beyond indriyas. The Gurus mentioned in the book are all who belong to the 19th century. Gurus who chose to advocate bhajans (Shirdi Saibaba), sadhana or give mantra dheeksha as cases may be. Lord Dakshinamurthy holding the mudras of knowledge and bliss, Lord Dattareya, the Tantrik deity are foremost invoked upon. The Tripura Rahasya is said to be an abbreviated version of the Datta Samhita, says the author, taking references from Puranas and Upanishads. Gurus who are immortal for the welfare of the world include Swami Ragavendra, Paramahamsa Yogananda, Meher Baba, Yogi Ramsuratkumar and many in line who came in this order of service. Gurus who worked through mutt and missions include Ramakrishna Paramahamsa, Sarada Devi and Chandrashekara Saraswathi; all worked for spirit of service to mankind, propagation and understanding of Vedas and shastras and above all Sanatana Dharma, the jewel in the crown of our Bharatha Sampradaya. The author says that the vibration of the cosmos with the Shiva-Shakthi union can be seen in the Guru's life and that the path shown by him will ever take us to bliss in the stage of world drama. The mudras used by Shirdi Saibaba and Kanchi Mahaperiva that directs a disciple to experience divinity and grace are discussed in detail. Episodes and instances are discussed to show their love for art and culture in maintaining one's knowledge in the greatness of our traditions and instilling adherence to our ritualistic practices. The Yantra of Sri Tantra is the Sri Chakra with Sri Vidya mantras put together by Jagadguru Adi Shankaracharya. It is the reign of Sri Lalitha Tripurasundari. She represents the cause of the universe and the human being. The "Suksama Sarira" of the Sri Yantra mandalas are compared to a human body. The yantra is the self. The flower is the goddess. The lotus petals varying in number with respective bheeja mantras are seated in the ascendence of chakras. The numbers 4,6,10,12,16, 2 and a thousand petal form lowest to the highest chakras in the body. The author says that if the lotus is inverted, energy gets blocked and leads to failure of harmony within our body systems. A blossoming lotus as it ascends to the highest chakra vibrates divinity and gives rise to an artistic expression. The yantra is thus compared to a dance form. Invoking lord Vigneshwara at the Bhupura chakra (square gates) of the Yantra, the creative pursuits initiated goes up to Svadhistana chakra (16 petalled lotus) where the creative impulse manifests. It moves up to the Ashtadhalapadma (8 petalled lotus) governed by the Manipura chakra. The sustaining power unites here to create a sound, a naadha that reflects in the kanta / throat. The Chaturdasa (14 triangles at center), Anahata chakra covering the heart finds an expression from the sound created. The Bahir dasa (outer 10 circles), the spot of Visuddha chakra in the neck region triggers speech and hearing. The Antar dasa (outer 10 triangles) is the Ajna chakra between the eyebrows, where the mind turns inward for a supreme speech. The Astara (8 triangles) is the forehead depicting the intellectual mind, in Trikona (single triangle) at mastaka strikes a divine resonance at this point. Bindu, the central dot, becomes the voice of one rasa. One attains siddhi by practicing this sanctified mode of natya ritual. Hints the author, "Choose grace, not glamour. If you choose the latter, you may not tap the supreme grace"… Lines in the book that instills a discipline to follow. The book emphasizes the significance of Yantra worship through symbols and motifs that elevates our mind, body and soul to an intellectual high. Natya is an easy gateway for the same if practiced with strict austerities. Episodes of divine interventions leading to such spiritual revelations are mentioned through life and times of Mahaperiva and Ramana Maharshi. " Let come what comes, let go what goes. See what remains," says Ramana Maharishi as quoted in the book. The guru sishya relationship is an indispensable part of tantrik and Vedic practice. It is brought out in its pristine form by quoting the example of how Swami Vivekananda attained realization through Ramakrishna Paramahamsa. The author quotes from Kulanarva tantra where Lord Shiva tells Parvathy that he takes the form of a guru to "annihilate transmigration". The most intriguing section was the 'Advaita -The Satya and the Tantra'. One has to read and experience these pages that throw light on the realization of the cosmic supreme spirit or the Brahman. Does Natya bring about those truths? Yes, it does, says the author. The Nitya leela of Ramakrishna Paramahamsa is discussed at this point, who immerses himself in a "Bhajananadha" for his devotees. What is Ojas, what are the three powerful naadis that can make you a "Parama Yogi", what does Krishna to Kali convey - are all discussed in detail. The episode of Ramakrishna facing the sanyasi Totapuri when the saint was devoted to Krishna and Kali is brought out in a moving anecdote. "You believe there are two, so there are two. Drop that belief". The author talks about the dance of tantra, Kali to Krishna to reinforce the above tattva. The satguru in Tantra has the place of a "Sushumna Nadi, the most vital energy current," says the author. The classification of gurus from the 'Ogha tradition' says Divya Ogha is Lord Shiva himself, Siddhaugha or the Jivan mukthas and lastly the Manavagurus. The parameshti guru Guru remains in the highest order manifesting the chitanandha anubhava, the paramaguru remains in the middle order trying to direct siddhavidya. The Sriguru transforms the disciple through initiating an intellectual quest in the mind, body and soul of the disciple. The mudras used by these gurus starting with "Shankara Bhagavat Pada's chin mudra denotes highest knowledge". Hence Natya is a "divine Tantra" with bhava, raga and tala that soaking its essence is equivalent to performing thousand other rituals. The third chapter discusses Bharatantayam as a ritual. The author says the "Adi sabdha Tath Dhi Thom Nam leads towards Tat tvam asi. Natya yoga follows the Tantra marga of integration. The festival of Lai Haraoba with 364 hand gestures symbolising the union of male and female energies in Manipuri tradition adds to the core principle of this book. The relevance of agamic scriptures in natya, the related works of Thirumoolar and other Saiva siddhanta authors talk about the satchidanandha experience one derives through kaavyam, smaranam, shravanam, gitam and vadhyam, as one describes the Lord of Chidambaram's dance of Paramaanandham (joy). Natya Shastra follows the purvaranga as mentioned in the agamic shastras including the Antaryavanikanga and Bhahiryavanikangas. A similar mode of initiation is found in Tantra with yantra and mantra, says the author. The performance space of natya is made sacred by adhering to the agamic puja. Literary sources are discussed upon appraising the origin and evolution of Bharatanatyam along with other dance forms . The title of Talai Kol Aasan earned by Madhavi, the dancer of Silappadhikaram, and the display of kaikottum murai through hand gestures were an invigorating read. So where is Yantra in dance? "The movements in Bharatanatyam merge into triangular motifs like a flame. The dancer gets energized in movement. The connection between the dancer and the Chakra on a micro-cosmic level integrates meditation in dance that culminates in Anandha," says the author. The author draws the entire margam of natyam into the ascent of the chakras starting from Alarippu to Mangalam that concludes in a blissful union with the supreme at the Bindu. She describes the need to practice the art forms with ritualistic approach as is the need of the hour. She brings to life gurus through frozen stills, who have come from illustrious Guru Parampara, who have transformed lives of their disciples or inspired them to a Paramanandha Gati through their lessons and teachings. To this reviewer, this book has been an experience. Ever since I held it in my hand, it has been answering questions that pounded me for the last four years. It helped me understand my father and Guru Melattur S Natarajan's life and last days. Based on the book, he has lived the life of a Natya yogi. He chose his end through the Panchabootha realms, his chit was dancing with joy as he articulated the names of Vinayaka, Narayana, Shanmuga, Rudra, Shakti and finally the Aum, gestured mudras through Hamsasyam, Mushti and the Alapadmam through the resonance of "Stambha Stuthi". I now comprehend he was on a blissful journey for the ultimate union with the Supreme. I am sure this "internalizing book" will be a revelation to many artistes as it was to me. Does it help a lay man as it belongs to the faculty of art and culture? Well, yes, the book is a generic one with the universal truth. It guides us to function with artistic sensibilities to attain the dormant Aananda in ourselves. It is befitting to complete the summary of 'The Dance of Tantra and a Satguru' with these concluding versus from Apara Karuna Sindhum. Loka kshema hitharthaya gurubhir bahu thath krutham Smarantham vandanam kurvan janma saaphalya maapnuyath. This book is published by Shubi Publications, Gurugram, Haryana and priced at Rs. 1495. It is available on Amazon.  Priyamvadha Murali is the daughter/disciple of Bhagavata Mela exponent Guru Melattur Late S Natarajan and senior disciple of Guru Chitra Visweswaran. Based in Bangalore, she currently is the director of the Bhagavata Mela Vidyalaya at Melattur, a brainchild of Guru S Natarajan. Vidyalaya is now a socio-cultural impactful school in the surrounding hamlets. About 200 children are enrolled for free in this project in and around villages of Melattur, Thiruvaiyaru and Thirumanoor. bhagavatamelavidyalaya.org Post your comment Please provide your name / email id when you use the Anonymous / blog profile to post a comment. All appropriate comments posted in the blog will also be featured in the site. |
