NATYA YOGA (Dance)

7 day program (7 Days 6 Nights)

Total Package Expense : USD 350

Early bird price : USD 300


"Yoato hastastato drishtihi".... "Where the hand is,the eyes follow".... "Yato drishtistato manaha".... "Where the eyes go, the mind follows".... "Yato manastato bhavaha".... "Where the mind is, there is the feeling".... "Yato bhavastato rasaha".... "Where there is feeling, there is mood/flavour, sweetness (i.e., appreciation of art; aesthetic bliss)...."

Natya Shastra

The Natya Sastra(Sanskrit:Natyasastra) is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The Natya Sastrias notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions. The text further inspired
secondary literature such as the Abhinavabharati–an example of a classic Sanskrit bhasya ("reviews and commentaries")–written by the 10th century Abhinavagupta.

Rasa (aesthetics)

In Indian aesthetics, a rasa  literally means "nectar, essence or taste". It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling .in the reader or audience but cannot be described. It refers to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' orsahrdaya,literally one who "has heart", and can connect to the work with emotion, without dryness Rasas are created by bhavas: the state of mind. The rasa theory has a dedicated section (Chapter 6) in the Sanskrit textNatya Shastra, an ancient text on the arts from the 1st millennium BCE attributed to Bharata Muni. However, its most complete exposition in drama, songs and other performance arts is found in the works of the Kashmiri Shaivite philosopher Abhinavagupta (c. 1000 CE), demonstrating the persistence of a long-standing aesthetic tradition of ancient India. According to the Rasa theory of the Natya Shastra, entertainment is a desired effect of performance arts but not the primary goal, and the primary goal is to transport the audience into another parallel reality, full of wonder and bliss, where they experience the essence of their own
consciousness, and reflect on spiritual and moral questions. Although the concept of rasa is fundamental to many forms of Indian arts including dance, music, theatre, painting, sculpture, and literature, the interpretation and implementation of a particular rasa differs between different styles and schools.The Indian theory of rasa is also found in the Hindu arts and Ramayana musical productions in Bali and Java (Indonesia), but with regional creative evolution.

Elements

Bharata Muni enunciated the eight Rasas in theNatyasastra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 AD. In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. Each rasa, according to Natyasastra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance,Hasyaarises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following:

  • Srngarah : Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green
  • Hasyam :Laughter, mirth, comedy. Presiding deity: Shiva. Colour: white
  • Raudhram :Fury. Presiding deity: Shiva. Colour: red
  • Karunyam :Compassion, mercy. Presiding deity: Yama. Colour: grey
  • Bibhatsam : Disgust, aversion. Presiding deity: Shiva. Colour: blue
  • Bhayanakam :Horror, terror. Presiding deity: Yama. Colour: black
  • Veeram :Heroism. Presiding deity: Indra. Colour: saffron
  • Adbhutam :Wonder, amazement. Presiding deity: Brahma. Colour: yellow

List of bhavas

According to the Natyashastra, bhavas are of three types: sthayi, sanchari, sattvika based on how they are developed or enacted during the aesthetic experience. This is seen in the following passage:
Sthayee
The Natyasastra lists eightSthayibhavaswith eight corresponding rasas:

  • Rati (Love)
  • Hasya (Mirth)
  • Soka (Sorrow)
  • Krodha (Anger)
  • Utsaha (Energy)
  • Bhaya (Terror)
  • Jugupsa (Disgust)
  • Vismaya (Astonishment)

Rasa Abhinaya

The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others. In Indian classical music, eachragais an inspired creation for a specific mood, where the musician or ensemble creates the rasa in the listener.However, predominantly all ragas and musical performances in Hindu traditions aim at one of six rasa, wherein music is a form of painting "love, compassion, peace, heroism, comic or the feeling of  wonder" within the listener. Anger, disgust, fear and such emotions are not the subject of rasa, but they are part of Indian theories on dramatic arts. Of the six rasa that are aimed at in Indian music, each has sub-categories. For example, love rasa in Hindu imagination has many musical flavors, such as erotic love (sringar) and spiritual devotional love (bhakti).]In the theories of Indian poetics, ancient scholars state that the effectiveness of a literary composition depends both on what is stated and how it is stated (words,grammar, rhythm), that is the suggested meaning and the experience of rasa.Among the most celebrated in Hindu traditions on the theory of poetics and literary works, are 5th-century Bhartrhari and the 9th-century Anandavardhana, but the theoretical tradition on integrating rasa into literary artworks likely goes back to a more ancient period. This is generally discussed under the Indian concepts of Dhvani, Sabdatattva and Sphota. The literary workBhagavata Puranadeploys rasa, presenting Bhakti of Krishna in aesthetic terms. The rasa it presents is as an emotional relish, a mood, which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are ancillary to a mood. Later scholars added more emotional states such as the Saatvika Bhavas. In the Indian theories on sculpture and architecture (Shilpa Shastras), the rasa theories, in part, drive the forms, shapes, arrangements and expressions in images and structures. Some Indian texts on Shilpa on image carving and making, suggest nine rasas.

NATYA YOGA IMAGES

Dance

Dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself.
 

Why is dance so important?

Dance burns calories, strengthens muscles, improves balance, increases flexibility, and gives the heart a good workout. Dance has also been proven to increase cognitive development.
 

Why do dancers meditate?

Meditaion helps dancers tap into their parasympathetic nervous system, making it easier for them to take on more information.
 

Why dance is important in our life essay?

Dance teaches us the significance of movement and fitness in a variety of ways through a selection of disciplines. It helps us learn to coordinate muscles to move through proper positions. Moreover, it is a great activity to pursue at almost any age.
 

How can dance be the hidden language of the soul?

When you dance, you “should” try to express what the music makes you feel. By expressing your feelings, others can see what you feel in the music. Some would call this your soul. I would not, but others do. It is by expressing your inner feelings without words that creates the sense that dance is the hidden language of the soul.
 

what are the benifits of yoga for dancers ?

5 benefits of practicing yoga for a dancer

  • Yoga improves strength and flexibility. ...
  • Yoga helps you improve your breathing. ...
  • Yoga boosts your energy. ...
  • Yoga enhances your balance. ...
  • Yoga helps manage stress.

Bharatnatyam :

  • Bharatnatyam is one of the eight classical dances of our country.
  • Bharatnatyam originated from the southern state of India, Tamil Nadu.
  • The dance is almost 2000 years old.
  • Bharatnatyam is practiced by both male and female dancers.
  • Bharatnatyam has movements that resemble those of a dancing flame.

OUR DANCE TEACHERS

Kumari Parvati

kala nopura

Gayatri bhat

Danya Ramachandran

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