Tuesday, March 16, 2010
The Dancing Duo
It is believed that the word 'tandava' has its etymological origins in the word 'tandu' which means 'to jump' using alternate feet. Another interpretation for this word rests in the history of Kailasa, where 'tandu' was one of the disciples of Shiva who passed on the principles of Natya and Nritya to Bharata, who in turn authored the Natya Shastra. There are many kinds of tandava and Lord Shiva is considered unequivocally the master of this form of dance. It is not too difficult to visualize the mesmerizing magic of Shiva's dancing feet after one has had an opportunity to behold him in the form of Nataraja - the king of the art of dance. When I observe Lord Nataraja it seems to me that the tandava must be a dynamic and energetic presentation filled with sweeping movements and flamboyant poses that bring out the essence of being. Nataraja carries himself with utmost elegance and supreme confidence on one foot (eka pada) and presents himself performing the Ananda tandava. I tend to become lost in the presence of Nataraja because I have so many infinite aspects to see and take them in, so I feel the need to be connected with him in totality. At first, I see his raised left foot revealing beautifully curved toes and decorated with 'nupura' or 'anklets'. This sight immediately plays the sound of his anklets in my ears -- like the primordial sound which evolved first in his creation. Then I see him standing with his right foot firmly and aggressively pressed down on a little demon - the asura - 'apasmara' or 'muyalagan'. This little demon is literally crushed under Nataraja's feet and is twisted in eight different parts of his body and bears a contorted look on his face. His hands are raised as though trying to plead for release. I recoil in shock and awe at this sight because beneath such a graceful and beautiful posture of Shiva, little does one expect something as unsettling as this. Why would this Lord performing the happy dance be crushing this little demon under his foot? I put that thought on hold, and move again to his raised foot, get some comfort, and move on to observe the angle in which both his legs are bent at the knee. I try to imitate this posture and find out that it is surpisingly challenging to maintain that stance although Nataraja does it effortlessly. His whole form is an architect's delight I feel. His two back arms are stretched out each carrying fire and 'dumroo' respectively. His two front arms are brought inward to depict some divine 'mudras' or 'signs'. The right hand portrays the 'abhaya' mudra by which he conveys to the souls of the world that he offers his 'protection'. The left hand points downward to his raised foot to indicate that the route map to liberation is via an attitude of 'surrender'. Amidst all this neural synapses running in my mind, when I look up and behold his divine face, I am totally hypnotized by those chiselled features. A face that could launch you into a thousand trances! The three-eyed lord whose breath is the very source of our existence! A smile that reflects the deep resonating vibrations of his divine contemplative silence (mounam) and infinite peace and profound wisdom -- all at once. I feel as though I am sucked into a vortex involuntarily. I give myself to this experience completely. Presently, I zoom out of this view and take a good look of Nataraja in his entirety. Surrounded by a ring of fire and water Nataraja is dancing the Ananda tandava -- his matted locks are rhythmically swaying along in empty space, just like the cyclical movement of time eon after eon. He is obviously enjoying this dance because it gives him the most pleasure and happiness. He is delighted to sustain, nourish and care for his creation. He is readily willing to protect his children from 'muyalagan' the little demon who symbolizes our mental and physical aberrations. The mind is prone to becoming vulnerable to deceit, falsehood, fear, ignorance, jealousy, doubt and other emotional imbalances. the body also is in turn vulnerable to aging, disease, deformation and sensory indulgence. I live in this world surrounded not just by others but also by my own limiting beliefs. Who can protect me from myself better than he? Who can release me from the bondage of my own mental creations than he? Who can cure me of incurable diseases than he? Who can hold my hand, lift me up and take me through a guided tour of life than he? When I bow down my head in surrender to this extreme compassion he exudes constantly, I am humbled and moved. My heart aches when I feel his sense of sacrifice and generosity of spirit. As I turn away, I notice that there is someone standing quietly closeby. I shift my glance and I am cheered to find a coy and kind look radiating from a lady adorning glittering earrings and nosering, and other beautiful ornaments. She is also wearing the divine 'mangalyam' or 'wedding locket' and is draped in a customary outfit. She is holding one hand close to her chest in a mudra as if to beckon you to come towards her. The other hand is held hanging down. When I take a closer look I suspect that there is a secret conversation going on between this goddess and Nataraja. This radiant one is none other than Nataraja's divine consort Goddess Shivakamasundari -- one who has an infectious smile and true to her name is much loved by and in love with Shiva. She radiates a thousand-fold more grace, poise and compassion than her lord because that is her nature -- to offer even before being asked. And she is the lucky one because she is bestowed with divine eyes to behold the Ananda tandava of the lord which is not perceptible to our senses. And, in turn she performs her complementary feminine version of the dance along with the lord. If the face of Nataraja can push me into eternal trance, Shivakamasundari's face hurtles me into limitless bliss and completeness. She is the 'Ananda' aspect of his tandava, I begin to feel. And together this dancing duo open the floodgates of joy and love in my ironheart, and I find my heart is leaping -- performing a mini series of 'ananda tandava'!
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