Swami Vivekananda Cultural Centre

Embassy of India
Hanoi

KUCHIPUDI DANCE
WORKSHOP
on
Tadavam and Lasyam
(Vigorous and Graceful Movements)
By Ms. Kiranmai Bonala

Saturday, 23rd November 2019

Swami Vivekananda Culture Centre,

63 Tran Hung Dao, Hoan Kiem, Hanoi

  

(84)-24363 32083
info.svcchanoi@gmail.com
 Nat (नाट)
Indian classical dance = Shastriya Nritya
- Act

- Represent
NATYA
SHASTRA
Shastra (शास्त्र)

- Precept
- Rules
- Manual
- Compendium
- Book
- Treatise
• “RAS” = AN ESTATE OF THE SPIRIT CREATED BY THE DANCER IN FRONT
OF THE VIEWER’S ACCORDING TO THE EXPRESSION.
INDIAN CLASSICAL DANCE FORMS
 KUCHIPUDI
- This ancient dance form finds place in
the 10th century copper inscriptions
and in 15th century texts like
‘Machupalli Kaifat’

South India

Photos:
https://www.culturalindia.net/indian-dance/classical/kuchipudi.html
https://en.wikipedia.org/wiki/South_India
Siddhendra Yogi

Photo:
https://bit.ly/2vah3Fx
Kuchipudi is named after the village in Krishna district of
Andhra Pradesh named Kuchipudi.

Sh Siddhendra Yogi Temple at

Kuchipudi Village

Photo:
https://www.outlookindia.com/magazine/story/where-the-gods-dance/294267
https://www.inditales.com/kuchipudi-village-andhra-pradesh/
 "traveling bard, dancer”

KUCHIPUDI = K U S I L A V A - P U R A M (SANSKRIT)

“the village of actors"

Lasya: “Pumnrityam tandavam, prahu: stree nrityam lasyamuchyate”

Dance

Tandava Lasya
(Masculine) (Feminine)
• The feminine form of dance, Lasya, is believed to have been introduced by
Goddess Parvati. Lasya aspect of dance strengthened the spiritual fervor of
Shiva’s Tandava. It comprises of delicate karanas, poses and body
movements. Lasya is the dance form said to be performed by Apsaras, the
celestial nymphs in the Hindu mythology.
Sangeet Ratnaakar defines Lasya as a dance form consisting of delicate movements that awaken
erotic sentiments. It gives description of 10 lasyanga which belong to the desi category.
Chaali: The simultaneous movement of feet, hip, thighs and arms. It should be evenly rhythmic,
adhering to tala, soft, graceful and beautiful to be performed in various degrees of speed.(slow walk)
Chaalibada: Chaali performed with quick, straight body movements.(fast walk)
Urongana: Oblique, graceful movements of the shoulders and the neck.
Ladhi: soft, graceful simultaneous oblique movements of the hips and the arms.(kaulinchu kovadam
nadumu tipputhu)
Suka: A rhythmic movement to be performed slowly or fast.
Dhasaka: Lower the breasts gracefully and slowly adhering to rhythm.
Angahara: Graceful bending of the body like a bow.
Oyaraka: Slightly oblique and downward movement of the head.
Vihasa: Sringara smile to be performed in sthaya tala.
Mana: To be performed in sthaya laya.
Lasya is known to be mainly of four types:
1. Pindi (पऩण्डी) – It is a basic type of pindibadha. It means the formations done to
depict a God . That’s why it is called as a Pindi.
2. Shrunkhalika (श्रुन्खशऱका) - Shrinkhalika is
holding together like a cluster. When nartaki
performs in a group by holding each other’s
hands like a chain, it is known as
Shrunkhalika.
3. Latabandha (ऱताबंध)- Latabandha is holding together like a cluster
of creepers. Lata means creeper so when nartaki performs in a group
by holding each other’s arms, like a creeper, it is known as
Latabandha.
4. Bhedhhyaka (भेद्यक) - Bhedhyaka is the
separate dance by a single person. When the
nartaki performs in a group but is separated and
dances in a distinct way, then it is Bhedyaka.
Tandava and Lasya aspect of natya depicts the personification of the feminine
and masculine form of dance. Lasyangas were employed mainly for
depicting the soft and gentle expressions and is meant to be danced by
females.
 

“Ethathrayam dwidha bhinnam lasya – tandava soujnakam

Sukumaram thu lasyam – uddhatham tandavam viduh “
 

This style of dance was taught to Parvathi by Lord Shiva himself. Hence,
mostly this style of dance is performed by women. In Lasya, the movements
of limbs are graceful (Sukumaram) and it develops a feeling of love in
viewer’s mind. In a literal sense, Lasya means beauty, happiness and grace.
1. Geyapada: Here the heroine is seated in midst of her musical instruments
but the singers go on singing the song without playing on the instruments.
The women sing in praise of their beloved, in the sitting posture and with
the various gestures of limbs.

2. Sthitapathya: This woman is separated from her lover and she recites a
composition in Prakruta (nature) while seated on her seat, then it is the
sthitapathya.

3. Asina: The lover sits with anxiety and sorrow without caring for any
make-up and in disarray. This is the example of Asina.
4. Pushpagandika: If a woman is dressed like a man, recites a simple poem in
Sanskrit for amusing her female friends, then this is pushpagandika.

5. Procchedaka: Where the moon-struck woman prepares to hasten to the side of

her lover even if he has committed infidelity and done her wrong, the lasyanga is
known as Pracchedaka.

6. Trimudhaka: A play composed of sama-vritta, neither harsh nor large in

number, is called Trimudhaka.

7. Saindhava : When a lover fails to keep his trust and expresses the feelings in
Prakrutta through well performed karanas then it is Saindhava.
8. Dvimudhaka: Describing a song of chaturastra type with auspicious meaning, and
clear Bhavas and Rasas.

 9. Uttamottamaka: It is composed of diverse kinds of Shloka including many Rasas and
adorned with the Bhava of Hela (Sportive passion).

 10. Vichitrapada: If any woman burning with the fire of love consoles herself by
looking at the portrait of the lover then it is said as Vichitrapada.

 11. Uktaprayuka: This is the set of music with diverse kinds of ideas implemented. It is
combination of speeches arising from anger or eagerness. It contains words of censure
and rebuke.

12. Bhavita: If a woman in separation dreams about her lover and expresses her feelings
and emotional sentiments in dreams, then it is Bhavita.
 Tandavam

Tandava is the divine dance performed by Lord Shiva. It is considered to be the

source of the cosmic cycle of creation, preservation and dissolution. The word
Tandava comes from Tandu, the attendant of Lord Shiva, who at Lord Shiva’s
orders, instructed Bharat muni, the author of Natya Shastra, the usage of
Angaharas and Karanas, which together constitute this cosmic dance.
Tandava refers to vigorous movement in dance that is experienced in nature as
violent hurricanes and earthquakes and volcanic eruptions. Where as lasya is the
graceful movements in dance corresponding to gentle breeze, and gently flowing
rivers.
“Pumnrityam tandavam, prahu: stree nrityam lasyamuchyate”

Tandava the masculine form of dance is attributed to Lord Shiva which is

forceful and full of vigour often manifesting anger and fear while lasya anga
attributed to Godess Parvathi is the feminine form where the movements are
gentle and graceful often depicting love and affection.

According to book “Bharata Senapatiyam”,Apart from the widely known count

of 108 karanas, there is a mention of 1000’s of karanas created by shiva, and
about 250 karanas danced by him. Of which only 108 kkaranas are humasnly
possible to perform. Of thses 108 karanas, shiva danced for himself, 36 with
Parvati, 9 with maayon, 3 for Muruga, and 12 for devathas.
The deep significance underlying this dance form is the personification of
Lord Shiva as Nataraja or Nritya Murti. His dance is supposed to represent
the five manifestations of

• Eternal energy- Srishti (creation)

• Sthiti (preservation)
• Samhara (destruction)
• Tirobhava (illusion)
• Anugraha (emancipation).
In the Bhavaprakash five forms of Tandava are described

 Ucchanda: This includes the forceful and quick Angaharas,

Akaashacharis and Bhramaris. Raudra, Bhibhatsa and Bhayanaka are
the rasa associated with this.
 Chanda: This is represented by Bhumichari karanas and angaharas and
evokes Veera and Raudra rasa.
 Prachanda: This tandava involves jumping forceful karanas and
bhramari. Rasas associated with this are Raudra and Bibhatsa.
 Prerana and Prapana: These two are considered to be of tepid and are
less forceful and masculine.
Nandikeswara in his Abhinaya
Darpanam describes seven types of
Tandava which are believed to have been
performed by Lord Shiva.
Sandhya Tandava: A form of tandava
performed by Lord Shiva at the time when
the world was poised between lingering day
and the oncoming darkness of the night. It
was the dance of creation and scriptures. It
is believed that Sandhya Tandava protects
one and all.
Ananda Tandava: This form of Tandava was
performed by Lord Shiva for protecting his
disciples. In Chidambaram temple, the deity is
represented in this pose. The image is depicted
with four hands holding the drum, fire, the right
hand in the Abhaya Hasta, the left hand with the
Danda Hasta bestowing boons. The left leg is in
Kunchita pada and the right tramples upon the
sole. This posture is also known as the Sada
Tandava.
Kali or Shakti Tandava: This Tandava is the
type performed by Shiva and Kali. It is believed
that Kali or Shakti is the energy that cannot be
separated from Shiva. Shiva has the power to
create only when he is united with Shakti.
Tripura Tandava: This is the Tandava
performed by Shiva after killing the three
rakshasas, Tarakakasha, Kamalaksha and
Vidyun mali. He fought the rakshasas
driving the earth as his chariot, Meru as the
bow, Sun and Moon as the wheels,
Adishesha as the rope, Lord Vishnu as the
arrows, four vedas as horses and Lord
Brahma as the charioteer. By destroying
these rakshasas he freed the three worlds
from evil.
Sati and Shiva Tandava: This
Tandava is believed to have been
performed by Shiva and Sati. This
represents the eternal dance of the
Man and Woman, depicting the unity
of Purush and Prakriti. This item also
depicts both forms of dancing,
Tandava as well as Lasya.
Ardhanaari Tandava: This type of
Tandava was performed to show the unity
between Nature and God. Shiva took
Parvati as a part of himself and assumed
the form of Ardhanareeswara – one half
man the other half woman.
Samhara tandava: This is the dance of
annihilation and release. Shiva is believed to
have performed this when Sati burned herself
in ashes. Shiva in anger danced so vigorously
that lords feared destruction of the three
worlds. Only when Lord Bramha, Lord
Vishnu and Devas appealed to him did he
return to normalcy.
https://www.youtube.com/watch?v=DlfprSrsrCo
The dance performed by Lord Shiva (Uddhatham) is known as Tandavam.
Tandavam is performed by vigorous and brisk movements of limbs without any
bhava. This cultivates enjoyment in the minds of viewers.
Tandava is considered the source of the cycle of creation, preservation and
dissolution.
 Conclusion :
The qualities of tandava and lasya can be experienced as rythym and melody, the
first essentially male and the second is female in a very elementary sense. The
word “TALA” is said to be acronym of (TA)ndava and (LA)sya which is the
important aspect of music and dance.
 Lord if I dream, let it be to dance before you
To dance is my passion, my life, my
everything.
Let every step I take be towards you and in
your praise.