divine dance --what how why when where happens
dance is a great subject, great in depth, intricate in detail, great in tradition, great artists flourished, great gharanas, lines like bharath,kuchipudi, kathak, ..countless, including the folk dances evolved.
requires rigorous discipline and sustained practice
an able artist sways the audience spell bound
blessed are the dancers and dance masters
however, routinely, dancing expertly, the best dance artist on the stage, entertains audience, his mind with concern on the accuracy, to some extent the response, the claps, and also justifiably on the awards rewards, also some publicity...one deserves
this all is good, welcome , this being on the earth plane
but some thing more,,,,,,,
what is divine dance
it's not action or inaction
it's silence in action
.In the high state of purity, one gains the ability to express things cognized in other lokas, which can not be expressed and communicated fully in words--but need the accurate body language abhinaya, mudra, bhangima,
supposing one enters vishnu loka and experiences the presence of lakshmi, that experience is a cognition --
how she is , her face, her standing, her sitting, her hands, her palms, her movements---all these requires a much higher vocabulary of body language ,
it can be conveyed thru body language only -
and the state of divinity in which lakshmi is can be conveyed only in that state thru energies activating the relevant nerves to express those details
divine dance ----differs from usual dance forms including classical/traditional/modern----
differs from drill / exercise/ physical fitness movements/ routine day to day movements of limbs, organs
not necessarily in conformity with natya shasthras or suthras ,
it goes beyond the usual definition of granthas
nor result of rigorous practice of dance lessons
if it appears to conform to any rules, it is incidental, but in its manifestation, the rules of dance are cognized and they become the guide
where it happens
essentially divine dance is an experience of existence in higher lokas, while one may be in any loka, including manava loka
supreme is his audience, his reward
how
we should understand most fundamental of how achara becomes chara, how non moving starts moving
how silence manifests as activity, where is its starting point
consciousness has infinite potential --potential energy--sath---has possibility to express in infinite ways in infinite channels
human , being a product of that creative intelligence, has infinite potential to receive and express the creativity.
due to non use or limited use / not knowing how to use the full potential, that energy gets displayed only in routine, but very few channels.
to enable full flow, the channels of the system, ie the system of body mind nervous system has to be pure.
as the system gains purity, more channels get opened up and new expressions come out
why it happens
divine dance is a result of purification , the expression flowing in novel ways thru new channels, creative intelligence expressing itself in the best possible way, with least effort and no resistance, from imposition
the contact with source never lost, the silence , the nonaction pervading the action, dance continues
when
key condition being the purity of the system, it happens at any stage, but manifesting in beauty, novelty, intensity in proportionate to the potential energy gained in purity
at any time in the day/night in any season but in tune with nature, creating some times its own environ
did you witness
1 recalling one ''balanjaneya'' in kasapuram, guntakal, ap known for anjaneya temple---a young man in twenties--with long hair wearing a just a langoti, --used to stray around, attends harathi , takes little prasad and vanishes---appears during night bhajans --dances , does not know what when how he does it--as if hanuman is dancing with ecstasy--mind in the other world----not all----suddenly he jumps like a monkey to the temple roof top --ordinary man cannot do that---even he cannot when on earth plane ---goes up on the gopuram dances there comes down --now goes to a nearby tree swiftly climbs up and on the top branch sits and swings to the tune, comes down --again is in the bhajan his eyes semi closed appearing as if a perverted--evokes awe respect
during his normal state he just smiles, does not talk much and is sober like any
2 not in such intensity, yet a little nearer to this , is what dances devotees do in bhjans in sathsangs
3 nearer experience one gains as part of training in the courses, dancing along with the participants
4 typically, in our ssy/amc, at ravirala, hyd, a participant attracted attention for his graceful walk in doing his normal movements . one asked '' are you a dancer?'' he surprised and said’ no'' and went about his work, with the same charming movements, innocently . i remember even now,
late i came to know that he is a long time meditator
5 full import is possible in the state of transcendence in the advanced stage of sadhana, when system is in unruffled silence in the vigorous activity, freed from inhibitions
the system when becomes refined to a great degree, it becomes ready to explore devaloka or any such higher lokas depending on the level of refinement.
in other words, gods will visit , his system has become a holy / worthy for their entry and presence
it can also be understood as --- that he is ready to do/ in a state to do aavaahan / invocation to devi devathas
corollary is---in this state, he takes the name /manthra/ sthothra of a devatha---which are live links, in fact, and gains access to that loka and to the presence of devatha, devatha is pleased, gives a few of his powers/ qualities to him , his personality is charged with those qualities, and now , ---he has become that devatha in human form--but not in the same mahima, but with say 0.001% of the total mahima
6 in our spiritually rich country, one must have witnessed several examples of such ---including in our homes or in villages, in festivals / pujas,/ drum beats --some one starts behaving peculiarly, moving, shaking, talking illegibly, but surely he is under the spell of some devatha
unknowing the science behind , one grossly undervalues such things, --it is a pity---and we do every thing in the name of spirituality--pooja etc, but devatha is ignored ritual only is cared.
we are good at modern science and are convinced on being rational--not knowing the true rationality behind such phenomena
whereas every ritual pooja, vratha, theertha, yathra, sravan, manan, --all aimed rising to higher lokas and get the grace of devathas, ---it all demands the basis of purity of the system, ---and we do everything except attending to how to raise the purity level.
hence the reality of devi devathas is not really comprehended--hence a world is lost---and things have become mechanical including the dances--with only entertainment value , arts serving commercialism, for name fame, wealth, losing pitiably the noble track of leading to the entry in to higher lokas,
and lokas are non existing for many, remaining mythology myth worth reading and watching in the tv/movie/media
7 i recall one bhaktha, male, he was in the state of radha and was after kishan like radha, his gestures, his words his prayer all in the bliss of radha experiencing the love for krishna some might have seen this in tv long back
can any one do
key is purity
meditation is the shortest way to gain
meditate, things follow
no matter, one is illiterate
or an expert pandit,
not necessary to know great scriptures
or detailed procedures,
irrespective of biodata or label, everyone has opportunity to grow in purity and thus be eligible to enter the world of gods and angels, and be singing and dancing with them
but let's remember , devalok is only an intermediate station for break-journey on the way to the eternal abode the parandham
as sadhana matures, one gains the ability , to easily go to the ultimate and come back to the earth plane easily, and to be in any loka in between for just the pleasure and fun of it, as per one's wish, like an expert artist , a musician for eg to play any raga once he knows the full range of swaras and practices on the keys initially
ultimate
all this write up is to say my one favorite point----
in the highest state of sadhana every movement is divine dance, every posture a divine mudra, every utterence a kaavya, every tune a raga, every step a thaala exuding grace , filling the environ with bliss
