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Dance is still used for this purpose by many cultures from the Brazilian rainforest to the Kalahari Desert. [2] An early manuscript describing dance is the Natya Shastra on which is based the modern interpretation of classical Indian dance (e.g. Bharathanatyam).
Mudras and postures of sculptures in ancient Indian temples are a mere depiction of spirituality (invoked spirit, the kundalini), which actually is supposed to occur in the person as a fruit of his practices. Shiva Tandava is described as a vigorous dance that is the source of the cycle of creation, preservation and dissolution.
Lasya (Sanskrit: लास्य, romanized: Lāsya) is a female dance form that originated in India. [1] In Hindu mythology, Lasya refers to the dance innovated and performed by the goddess Parvati, described to be gentle and graceful. [2]
Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics. [62]
Performer at a Kannur district school dance festival, 2009. Mohiniyattam is an Indian classical dance form originating from the state of Kerala. [1] [2] The dance gets its name from Mohini – the female enchantress avatar of the Hindu deity Vishnu, who helps the devas prevail over the asuras using her feminine charm.
Nritya is broadly categorized as one of three parts of Sangita, the other two being gita (vocal music, song) and vadya (instrumental music). [3] [4] [5] These ideas appear in the Vedic literature of Hinduism such as the Aitareya Brahmana, and in early post-Vedic era Sanskrit texts such as the Natya Shastra, Panchatantra, Malvikagnimitra and Kathasaritsagara.
Indian dance (nritta, नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in the aesthetics of Natyashastra. [ 1 ] [ 84 ] The text defines the basic dance unit to be a karana , which is a specific combination of the hands and feet integrated with specific body posture and gait ( sthana and chari respectively).
The Balinese Sacred Dance Sanghyang Dedari involves girls being possessed by hyang, Bali, Indonesia. The theologian W. O. E. Oesterley proposed in 1923 that sacred dance had several purposes, the most important being to honour supernatural powers; the other purposes were to "show off" before the powers; to unite the dancer with a supernatural power, as in the dances for the Greek goddesses ...