Bharata Muni
Nata Yoga
- Nata jóga -
Nata Yoga is the expression of Lord Shiva’s eternal dance, often referred to as the Shiva Tandava or Shiva’s vigorous dance which is the source of the cycle of creation, preservation and dissolution. According to the Puranas, Shiva dances a wild and vigorous (tandava) dance in the cremation grounds at night but dances a soft and graceful (lasya) dance in the tranquillity of the twilight. The nata Shastra of Bharata Muni is referred to as the fifth veda. The fourth chapter is titled ‘The Characteristics of the Tandava dance’. At the beginning of this chapter Lord Shiva declares:
‘I have conceived a dance since I am fond of dancing every evening. It is embellished with different karanas and angaharas.’
He goes on to describe the 108 karanas and the 32 angaharas - the composite parts of the dance - and then states:
‘…. the aforementioned 108 karanas enumerated by me may be employed in the course of dance, fight, personal combats and in other special movements like strolling.’
In this reference to “special” strolling there is a hidden confirmation of the existence of soft martial arts – like tai chi and chi gong in ancient India. These practices have always been utilized in the building of inner power through natural and unimposed movements; these serve to prepare the practitioner for the seated meditative practices (asanas)
The most common representations of Lord Shiva are the Nataraja (the cosmic dancer) and the Mahadeva (the eternal ascetic meditating in padmasana). This suggests that the karanas were used in slow rhythmic movements to gain mastery over the opposing aspects of sthiti (static) and ghati (dynamic) which are the basis of all life. Action and inaction are interwoven; motion is resolved in stillness and stillness dissolves into motion. Mastery of the karanas brings the reward of voluntary control over the hitherto involuntary functions of the body. This is a fundamental requirement for beginning the absorption practices of yogasana.
What are karanas? Karana is defined in Bharata Muni’s Nata Shastra;
’Hasta-pada-samayogah nrttasya karanam bhavet’
This states that “a combined movement of hands and feet in dance is karana”. In chapter one of the Hatha Pradipika, Swatmarama says;
The asanas, the different khumbakas and the excellent karanas are all in the course of Hatha Yoga to be practised till the fruits of Raja Yoga are obtained. (I.67)
The first time that present day yoga practitioners are likely to come across the term karana is when the practice of viparita karani mudra is introduced (nowadays referred to as sirsasana).
In essence karana is a combination of three elements;
Nrtta Hasta – movement of the hands.
Sthana – posture of the body
Cari - movement of the feet
The angaharas (garlands of limbs) are merely sequential arrangements of different karanas used to gain mastery over the mind, body and life-force.
Another definition of karana is ‘Atma kaya samayogah nrttasya karanam bhavet,’ – the combination of the body and soul in dance is called karana. This is achieved in nata by the fusion of rasa, bhava and angikabhinaya. Rasa is the aesthetic bliss derived through experiential witnessing, while bhava is the feeling that is awakened and contained through the art of physical expression which is angikabhinaya.
The often quoted phrase ’satyam sivam sundaram’ – truth is perceived through the beauty of Shiva has been paraphrased by Dr. Ananda Coomaraswamy in the words of Saint Thomas.
‘Beauty relates to the cognitive faculty. Since god is the cause of all things by his knowledge, it is knowledge that makes the work beautiful. For knowledge in its broader sense is awareness.
Shandor Remete (Zhander) had the good fortune through the blessing of Lord Shiva to be taught the slow and rhythmic “lasya” movements of the 108 karanas at the Chidambaram temple in Tamil Nadu by a saddhu (wandering ascetic). Shandor has made several extended visits to the Chidambaram (ether of knowledge) temple because the sculptures on the entry gates of the temple constitute the finest and most complete portrayal of the karanas in India.
He now teaches Nata Yoga through his Shadow Yoga school as a completely separate system from the other three prelude forms of Shadow Yoga. Nata Yoga has its own preparatory movements and is a complete practice in itself that leads the practitioner of the art to the desired goal of meditative practices. This enables students of all levels to enter into the practice of Nata Yoga.
[Source: Shadow Yoga ]
