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 http://lyricstranslationproject.blogspot.com/2017/06/banallu-neene-bayalu-daari-1976.html

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http://lyricstranslationproject.blogspot.com/2017/06/banallu-neene-bayalu-daari-1976.html

    From "A Dancer on Dance"

written by V.P. Dhananjayan, published by Bharata Kalanjali

Natya The Essence of Hyndhava - Dharma

We find the instinct to dance in the savages as in the cultured. When dance transcends the physical, it becomes art giving pleasure to all. Dance is a sacred art cherished and preserved in our country for more than 2000 years. Dancing in India is not merely a spontaneous emotion or idea translated into movement but a long thought out and carefully fashioned ritual that needs concentrated study and constant effort.

Mythological Significance of Dance

The ideals of India through ages have retained a remarkable continuity clearly recognising between the concept of activity, the relationship between the concept of God & Man. The Upanishads quote "DEVAM BHUTVA DEVAM YAJET' - 'become a God to worship God'. This signifies the basic idea, to identify oneself with truth, before offering prayers to God. Various methods of attaining this sanctity have been propounded in the Vedas and Upanishads and the most sanctified way of worship is Sangitha.

Gitam Vadyam Tatha Nrityam Trayam Sangitam Uchyate

Dance or Nritya is the one in which all these aspects of creation are unified, that is Geetham-the sound, Vadyam-the rhythm or time and Nrittam-the movement. Brahma says, For the welfare of the generations to come I create the fifth veda. Therefore natya is the essence of all the vedas. The knowledge of the world from Rig Veda, music from Sama Veda, expression from Yajur Veda and rasa or enjoyment from Atharvana Veda. Bharata says, There is no wisdom nor knowledge, no art, no craft, no device or action that is not to be found in Natya and in ancient India, Natyam was a synonym for dance, drama and music.

The term BHA-RA-THA

The name Bharata Natyam is actually a general term for all Indian dances but has become synonymous with the South Indian dance which was previously known as Sadir/ Chinnamelam or Dasiattam. There are a few attributes to the Bha-ra-tha.

1. That the sage Bharatha created it.

2. That the word is the Anagram from the first letters of Bhava, Raga and Tala.

3. That which banishes distress. BHARAM TARAYATI ITI BHARATHA.

4. The dance of India or Bharata Desa.

The purpose of Dance

Apart from spirituality or spiritual quality of dance there is a definite purpose in dance. The purpose is to educate the illiterates, to enlighten the literate and entertain the enlightened ones. According to gradations of the mind, Uttama (the great one ), Madhyama (ordinary) and Adhama (the lesser one), Natya generates morality and an awareness of well being. It instructs and gives motivation to achieve perfection in every action. It relaxes the mind of sick persons, distressed ones, tired souls, bereaved family members and also the Tapaswi (sages) after their meditation. Natya gives dharmopadesa (the path of righteousness) to happy ones, instructs the way to praise the worthy and also to live long. Natya sharpens the mind, increases the intellect. As such Natya gives all things needed for the well being of the people.

Dance is also considered to be a Yagna (sacrifice). The effect of conducting a dance performance is shared by the audience, the sponsor and the dancer. It is said, any auspicious occasion like child birth, marriage, rituals, festivals and celebrations must either begin with a dance performance or conclude with it. It has the effect of performing a hundred yagnas.

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Mayadariw https://www.facebook.com/share/p/17fix2hNkU/

  Music--such words as this make me sing limitless, 

madhya  

but we have --mandra, taara sapthak as well-what for?

and then we also exceed to athi mandra, ati thaara sapthak -----not for nothing 

then we have one drone, shruthi box or thanpura ---mono tone ,as a back ground --is it monotony? Definitely not 

and then we have raagas------how many?

and we have nava rasas , and ragas to convey the rightly each rasa 

and moods vary seasonal
and with the movement of day into night 

where is the limit for music 

om the pranav naad fills the universe , unending continuum 

and music makes one to dance in exhilaration, 
makes one to move into melancholy tears rolling

where is it excess

if it does not do its intended purpose, by limiting itself, then where is the creativity in music where is the joy of nonchalance?

i am dwelling on the topic, -is it excess

can you put a limit?

if you stop me , you will miss me 
and my music, though i continue to flow nonstop at every opportunity 

so limiting is humiliating oneself, i am a bit harsh, 

no limit is my theme 
going to extremes is my sport

  I wish every youngster must spend a little time with simple 

da ra da ra

and see how the creativity opens new worlds with little changes

da dir da ra, 

dir dir da ra,

da dir dir dir da ra da ra da ,

da ra da ra dir dir da ra 

and see in that, the process of ''one'' becoming many

unity of one sound om becoming the duality om om, and trinity om om om, 

becoming variety om om om om om .......endless

shadaj sa becoming deergha sa,,,,,,,,,,,,,,,,,,,,,,,,,,

and and how the sound gets modulated from one swar to another, and from one sapthak to another 

like how a point becomes a straight line

how a point moves jigjag, curved, sinusoidal wave, and some times vanishing, some times repeating 

like dha dhin dhin da changing as tir kit dhin dha, and the importance of ''sam '' and ''tihayee;;, ''thali ''khali''

and thus raise their vision from sthoola to sukshma, from dull routine to sharp and intricate penetration

and see he possibility , prospect of oneself becoming a great artist, a great of life 

by seeing how his being unites and vibrates with the sound of raag and thal, 

the implication of learning music are profound