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 Natya Shastra: The ancient text bridging music, dance and drama - Vasini Shyama Charan Jha e-mail: jhavasini@gmail.com July 23, 2024 The Natya Shastra, a foundational Indian treatise on performing arts, transcends the boundaries of a simple guide. Composed by the sage Bharata Muni between 200 BCE and 200 CE, it delves into the intricate connection between music, dance, and drama, elevating them to a sacred status in Indian culture. This remarkable text isn't just a manual for creating performances. It delves deeply into the aesthetics, techniques, and spiritual significance of each art form, weaving them together into a cohesive whole. The Natya Shastra's captivating origin story adds another layer of significance. According to the text, Brahma, the creator god, sought to bestow upon humanity a new form of artistic expression that transcended language and social barriers. He drew upon the Vedas, the ancient scriptures, and crafted the art of Natya, encompassing theater, dance, and music. He entrusted its teachings to Bharata Muni, signifying the divine and all-encompassing nature of performing arts in the Indian tradition. THE DIVINE ORIGIN OF NATYA SHASTRA While the exact date of the Natya Shastra's creation is debated (estimates range from 200 BCE to 200 CE), legend attributes its origin to divine inspiration. Brahma, the creator god, is said to have bestowed this knowledge upon Bharata Muni, or compiled it himself from the essence of the four Vedas, to elevate and enlighten humanity through the arts. This divinely inspired work aimed to not only entertain, but also educate and uplift the masses. The text begins with a conversation between Bharata and other sages: "Devānamidaṃ tanmune kathaṃ saṃbhūtamuttamam | Kena vā kāraṇenedaṃ sṛṣṭaṃ nāṭyaṃ tvayā vibho ||" (Natya Shastra 1.4) Translation: O sage, how did this supreme [art] of the gods come into being? For what reason, O lord, was this drama created by you?" Bharata replies: "Shrūyataṁ Mūnayaḥ Sarvē Nāṭyavedasya Saṃbhavaḥ | Yathā Ca Sṛṣṭo Bhagavān Svayaṃbhūr Brahmāṇā Purā ||" (Natya Shastra 1.7) Translation: Listen, all you sages, to the origin of the Natya Veda, and how it was created by the self-existent Lord Brahma in ancient times. This divine origin elevates the performing arts to a sacred status, emphasizing their potential for spiritual growth and enlightenment. The Natya Shastra with a benedictory shloka that emphasizes the divine nature of the arts: Praṇipatya Mahēśānaṃ Sa Vāgīśaṃ Vibhāvasam | Nāṭyaśāstraṃ Pravakṣyāmi Srōtṛṇāṃ Kāmadaṃ Sadā || Translation: "Having bowed to the great Lord Shiva and to the great Lord Brahma, I shall now expound the Natya Shastra, which always bestows the desired objects on its listeners." (Reference: Natya Shastra, Chapter 1, Verse 1) THE FOUNDATIONS OF NATYA The Natya Shastra is a true masterpiece, comprising over 6,000 verses spread across 36 (or 37, according to some scholars) comprehensive chapters. Within its pages, Bharata Muni lays out the fundamental principles and techniques governing the various facets of the performing arts, from the construction of the stage and the use of costumes and makeup, to the intricate nuances of acting, dance, and music. One of the text's most profound contributions is the articulation of the concept of Rasa, the essential emotional essence that lies at the heart of any great work of art. Bharata Muni identified eight primary Rasas - Shringara (love), Hasya (humor), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear), Bibhatsa (disgust), and Adbhuta (wonder) - and explained how the skilled performer, through the skillful deployment of bhava (emotional expression), could evoke these sentiments in the audience. THE INTERLINKING OF MUSIC AND DANCE The Natya Shastra, a foundational text on Indian performing arts, emphasizes the inseparable relationship between music and dance. This concept is beautifully captured by "Sangita," which combines vocal music, instrumental music, and dance. Dedicating entire chapters to both music (Gandharva Veda) and dance (Nritta and Nritya), the text reinforces their interconnectedness. Viewed as two sides of the same coin, music and dance enrich and elevate each other in Indian culture. Bharata Muni, the author of the Natya Shastra, delves deeply into this symbiotic relationship. He dedicates several chapters to exploring various aspects of music, including its integration with dance. The text meticulously details the four primary instrument categories (Tata, Avanaddha, Sushira, Ghana) and their construction. Furthermore, it explores the intricacies of vocal music, discussing the 22-note octave system and the organization of notes (swaras) into Jaatis and Murchanas, the precursors to the modern raga system. Importantly, Bharata Muni emphasizes the symbiotic relationship between music and dance, stating in Shloka 1.17: Sangeetam Nrittam Cha Ekam Bhavati Translation: Music and dance are one and the same. This profound insight underscores the inseparable nature of these two art forms, where the rhythmic and melodic elements of music are seamlessly woven into the choreographic expression of dance. "Gītaṃ vādyaṃ tathā nṛttaṃ trayaṃ saṃgītamucyate |" (Natya Shastra 28.1) Translation: Singing, playing of instruments, and dance - these three are called Sangita. This verse underscores the holistic approach to the performing arts in Indian tradition, where music and dance are seen as complementary expressions of the same artistic impulse. The text elaborates on the various aspects of music, including svaras (notes), ragas (melodic frameworks), and talas (rhythmic patterns), and how they relate to dance movements and expressions. For instance, it describes how certain musical phrases can evoke specific emotions or rasas, which are then portrayed through dance. "Raso vai saḥ | rasaṃ hyevāyaṃ labdhvānandī bhavati |" (Taittiriya Upanishad 2.7) Translation: He is indeed the essence. For truly, on obtaining the essence, one becomes blissful. This Upanishadic verse, while not directly from the Natya Shastra, reflects the philosophical underpinning of the rasa theory, which is central to both music and dance in Indian classical traditions. NATYA SHASTRA AND THE VEDIC TRADITION The Natya Shastra's deep roots in the Vedic tradition are evident throughout the text. Bharata Muni draws upon the rich tapestry of Hindu mythology, philosophy, and ritual to imbue the performing arts with a profound spiritual significance. Nāṭyaṃ Vedatrayād Bhinnāṃ Pañcamīṃ Veda Sādhanaḥ (Shloka 1.14-15) Translation: Let Natya (drama and dance) be the fifth Vedic scripture, combined with an epic story, tending to virtue, wealth, joy and spiritual freedom. It must contain the significance of every scripture, and forward every art. This powerful proclamation elevates the performing arts to the level of a sacred Veda, on par with the foundational texts of Hinduism. The text further asserts that Natya must encompass the essence of all the Vedas, serving as a conduit for the transmission of spiritual wisdom and the cultivation of virtue, prosperity, and liberation. Throughout the Natya Shastra, Bharata Muni draws upon numerous references and narratives from the Vedas, Puranas, and Upanishads, seamlessly integrating these rich cultural and philosophical traditions into the fabric of the performing arts. For instance, the text's discussion of the Tandava and Lasya dance styles is rooted in the mythological accounts of Lord Shiva's cosmic dance and the graceful movements of his consort, Goddess Parvati. MUSIC IN DANCE AND CHOREOGRAPHY The Natya Shastra delineates the concept of Rasa (aesthetic experience), which is central to both music and dance. Rasa is the emotional flavor or essence that a performance evokes in the audience. The nine primary Rasas are: 1. Shringara (Love) 2. Hasya (Humor) 3. Karuna (Compassion) 4. Raudra (Anger) 5. Veera (Courage) 6. Bhayanaka (Fear) 7. Bibhatsa (Disgust) 8. Adbhuta (Wonder) 9. Shanta (Peace) The creation of these Rasas relies heavily on the harmonious blend of music and dance. The tala (rhythmic cycles) and raga (melodic frameworks) in music set the tone and pace for the choreography, while the dance movements bring these rhythms and melodies to life through physical expression. The Natya Shastra provides detailed guidelines for choreography and musical composition, emphasizing their interdependence. It describes various types of dance movements (karanas) and their corresponding musical accompaniments. For example: "Tālāṅgahastapādānāṃ vinyāso yatra nṛtyate | Aṅgahārastu vijñeyo nṛttahastakriyānvitaḥ ||" (Natya Shastra 4.30) Translation: "Where there is an arrangement of tala (rhythm), anga (limbs), hasta (hand gestures), and pada (foot movements) in dance, know that to be angahara, accompanied by dance hand gestures." This verse illustrates how choreography is intricately linked to musical elements, particularly rhythm, creating a harmonious blend of sound and movement. Vibhāvānubhāvavyābhicārisaṃyogādrasaniṣpattiḥ** Translation: The creation of Rasa arises from the combination of determinants, consequents, and transitory states. (Reference: Natya Shastra, Chapter 6, Verse 36) THE LEGACY OF THE NATYA SHASTRA The Natya Shastra's enduring influence on the Indian performing arts is truly remarkable. This seminal text has served as the foundation for the development and preservation of classical dance forms such as Bharatanatyam, Kathak, Kathakali, and Odissi, as well as the rich traditions of Hindustani and Carnatic music. Generations of artists, scholars, and practitioners have studied and interpreted the Natya Shastra, expanding upon its teachings and adapting them to the evolving cultural landscape. Commentaries and treatises such as Abhinavagupta's Abhinavabharati have further elucidated the text's profound insights, ensuring its continued relevance and resonance in the modern era. In the words of the renowned scholar Kapila Vatsyayan, "The Natya Shastra is not merely a treatise on the art of theatre, but a comprehensive work on the theory and practice of all the performing arts in India." Its holistic approach to the performing arts, grounded in the spiritual and philosophical traditions of Hinduism, has made it an invaluable resource for artists, scholars, and enthusiasts alike. As we delve into the rich tapestry of the Natya Shastra, we are reminded of the timeless wisdom it holds, and the profound ways in which it has shaped the artistic and cultural landscape of India. This ancient text stands as a testament to the enduring power of the performing arts to transcend boundaries, evoke the deepest human emotions, and connect us to the divine. MYTHOLOGICAL NARRATIVES AND SACRED BONDS Indian culture has a long-standing connection between music and dance, with roots tracing back to the Vedic period. The Sama Veda, a collection of musical hymns used in rituals, laid the foundation for classical Indian music. This musical development, in turn, influenced the evolution of dance forms. This deep connection is further reflected in Indian mythology, where music and dance are portrayed as divine forces. Gods themselves are associated with specific instruments and melodies, highlighting the sacred nature of these art forms. The Puranas also contain numerous references to the divine origins of music and dance. For instance, the Vishnu Purana describes the creation of music by Lord Shiva: "Nādotpattistathā tasya śabdabrahmamayī parā | Tasmādviśvamidaṃ jātaṃ nādabrahmamayaṃ jagat ||" (Vishnu Purana 1.8.23) Translation: "The origin of sound is thus from Him, the supreme manifestation of Shabda Brahman (the eternal sound). From that, this universe is born; the world is made of Nada Brahman (the cosmic sound)." This concept of Nada Brahman, or the primordial sound, is fundamental to both Indian music and dance, emphasizing their spiritual and cosmic dimensions. THE IMPORTANCE OF MUSIC IN DANCE Music plays a crucial role in Indian classical dance, providing not just accompaniment but also serving as the very foundation of movement and expression. The Natya Shastra emphasizes this relationship: "Gītānugā bhavennṛtyaṃ pātrāṇāṃ raṃgamadhyagam | Gītaṃ vādyānugaṃ caiva tālaścobhayasaṃśrayaḥ ||" (Natya Shastra 4.298) Translation: The dance of the characters on stage should follow the song, the song should follow the instrumental music, and the tala (rhythm) should support both. This verse highlights the intricate interplay between dance, vocal music, instrumental music, and rhythm, suggesting a harmonious synthesis rather than a hierarchy. The music in Indian classical dance serves multiple functions: LORD KRISHNA AND THE FLUTE Lord Krishna, one of the most beloved deities in Hindu mythology, is often depicted playing the flute. His divine music has the power to enchant not only humans but also animals and nature itself. The Raas Leela, a famous dance drama featuring Krishna and the Gopis (milkmaids), exemplifies the perfect union of music and dance. The Gopis, drawn by the melodious strains of Krishna's flute, engage in a dance of divine love and ecstasy. Vedāntasāraṃ śivadaṃ paramaṃ pavitram | Śrīkṛṣṇaveṇuśaraṇaṃ mama dehi śambho || Translation: O Lord Shiva, grant me the refuge of the flute of Lord Krishna, which is the essence of the Vedas, bestows auspiciousness, and is supremely pure. (Reference: Puranic Texts) LORD SHIVA AND THE DAMRU Lord Shiva, the cosmic dancer, is associated with the damru, a small drum. His dance, the Tandava, is a powerful performance symbolizing the cosmic cycles of creation and destruction. The rhythm of the damru provides the beat for Shiva's dynamic movements, illustrating the deep connection between music and dance. Shivāya Namastubhyam Pralayaavṛttihetave. Sarvalokanāthāya Mahādevāya Shamave || Translation: Salutations to Shiva, the cause of dissolution and recreation, the lord of all worlds, the great god, and the auspicious one. (Reference: Shiva Purana) HISTORICAL INTERCONNECTIONS Historically, music and dance in India have evolved through a close-knit relationship. The Natya Shastra not only laid the foundation for classical forms but also influenced various folk traditions. Over centuries, different regions developed their own styles, but the core principles of integration between music and dance remained intact. UNIQUE YET INTERDEPENDENT While music and dance in Indian classical traditions are deeply intertwined, each art form retains its unique characteristics and can be appreciated independently. The Natya Shastra recognizes this by dedicating separate chapters to music (gana) and dance (nrtya), while also exploring their synthesis. "Gānaṃ vādyaṃ tathā nṛtyaṃ trayaṃ nāṭyaṃ prakīrtitam | Gānaṃ tu pāṭhyasaṃyuktaṃ vijñeyaṃ nṛtyameva ca ||" (Natya Shastra 28.8) Translation: Singing, instrumental music, and dance - these three are proclaimed as natya (dramatic art). Singing combined with recitation, and dance as well, should be understood [as components of natya]. This verse acknowledges the distinct nature of music and dance while also recognizing their collective contribution to the broader art of natya. TEMPLE DANCES AND DEVADASIS In ancient times, temple dances performed by Devadasis (servants of the deity) were integral to religious rituals. These dances were accompanied by music specifically composed to enhance the spiritual ambiance. The compositions, known as Varnams and Keertanams, emphasized both lyrical beauty and rhythmic complexity, allowing the dancer to express devotion through intricate movements and expressions. Nṛtyagānakathādānaṃ saṃkīrtanaṃ hareḥ sadā। Kuryādevaṃ sadā bhaktayā paramaṃ prāpyate padam॥ Translation: "One should always engage in dancing, singing, and storytelling in the praise of Hari (Vishnu) with devotion, thus attaining the supreme state." (Reference: Bhagavata Purana) CONVERSATIONS AND EVENTS FROM SCRIPTURES - Dialogue from the Mahabharata In the Mahabharata, the conversation between Arjuna and Krishna in the Bhagavad Gita also touches upon the arts. Krishna explains the importance of performing one's duty with dedication, which can be extended to the arts as well. The discipline and devotion required for mastering music and dance are akin to the dedication required in fulfilling one's Dharma. - Verse from Bhagavad Gita: Yogasthaḥ kuru karmāṇi saṅgaṃ tyaktvā dhanañjaya| Siddhyasiddhyoḥ samo bhūtvā samatvaṃ yoga ucyate|| Translation: Perform your duty equipoised, O Arjuna, abandoning all attachment to success or failure. Such equanimity is called Yoga. (Reference: Bhagavad Gita, Chapter 2, Verse 48) - The Interdependence of Music and Dance The Natya Shastra emphasizes that music and dance, while unique in their own right, are most powerful when combined. Dance without music is like a body without a soul, and music without dance lacks the visual element that brings it to life. This interdependence is beautifully illustrated in various classical dance forms like Bharatanatyam, Kathak, Odissi, and Kuchipudi, where the choreography is meticulously designed to align with the musical composition. Gītaṃ vādyaṃ tathā nṛtyaṃ trayaṃ saṃgītamucyate| Etanmūlaṃ trayaṃ proktaṃ san maṃge paripālakam|| Translation: Singing, instrumental music, and dancing together constitute the performance of music. This triad is said to be the root of all auspiciousness and well-being. (Reference: Natya Shastra, Chapter 28, Verse 45) DIVINE SYMPHONY The Natya Shastra stands as a monumental work, intricately weaving together music, dance, and drama. This reflects the rich cultural and spiritual heritage of India, but the text goes beyond mere description. By exploring the divine origins, mythological narratives, and historical contexts of these art forms, the Natya Shastra reveals their inherent interdependence. We gain a deeper appreciation for how music and dance, with their unique qualities, work together to enchant, educate, and elevate audiences. This profound connection is a testament to the enduring legacy of the text. The Natya Shastra's comprehensive approach reflects the holistic vision of Indian classical arts. By interweaving these elements, it creates a rich tapestry of artistic expression that transcends individual disciplines. The text's enduring influence is a testament to its profound insights into the nature of art and human expression. As we delve deeper, we discover a worldview where music and dance are not merely forms of entertainment. The Natya Shastra and related Indian scriptures, reveal them as pathways to spiritual realization and cosmic harmony. This ancient wisdom continues to inspire artists, scholars, and enthusiasts, ensuring that the sacred bond between music and dance remains vibrant in Indian culture. In embracing both the uniqueness and interdependence of music and dance, the Natya Shastra offers a timeless model. It's a model for artistic integration and spiritual elevation, reminding us that each element plays a vital role in the grand symphony of Indian classical arts. The result is a harmonious whole that is greater than the sum of its parts.  Vasini Shyama Charan Jha is a distinguished authority in Maithili folk music with a steadfast dedication to tradition and a passion for cultural expression. Response * I am a Kathak dance practitioner, educator and train students for Masters and allied exams. I was skeptical at first but having read the article, liked the different approach to understanding this humongous work. The writer has tried to bring forth a philosophical indic thinking rather than an analysis of the NS as a lakshana Grantha. Commendable and an interesting read. Congratulations to both the writer and publisher. - Paullomi B Mukherjee (July 25, 2024) Post your comments Pl provide your name and email id along with your comment. 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