ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
DHVANI AND DANCE- CAN THERE BE A RELATIONSHIP? 1 Independent
Scholar, Artistic Director, Feet on Earth, India
1. INTRODUCTION The study of aesthetics or poetics, pertinent to Sanskrit literature, has been extensive in India. Many ideas have been proposed and advocated over the years with thorough and impassioned arguments put forth by different proponents advancing their case, but none could be more wide sweeping in its reach and scope and more, experienced, than the principle of rasa. The Natyashastra, although a treatise on drama, places a premium on rasa. One may recall the oft quoted rasasutra from the 6th chapter of the Naatyashastra: ‘Vibhavaanubhavavyabhicarisamyogad
rasanispattih’ The sutra essentially means that rasa or an aesthetic mood is created by the coming together of determinants (vibhavas), consequents (anubhavas) and the fleeting states of mind (vyabhicaribhavas) Vibhavas are factors that lead to the creation of rasa or mood. For example, in the case of sringara rasa, objective vibhavas would be the two lovers, in other words the key players responsible for the rasa being produced. Hence, it may be argued in drama for that is what the Natyashastra makes a case for, the creation of rasa is easily created with the enactment of the characters on stage. What creates rasa in poetry? In the absence of drama or enactment, rasa is evoked by the semantic power of the words. While all the other theoreticians concentrated on the Ps and Qs on what makes a verse more beautiful, each advancing an idea like alamkara Upadhyay (2010), guna, or riti which were focused more on the ‘sarira’ or the body of a verse, the theory of rasa, reigning like a monarch over all the rest of theories, aimed directly at the ultimate goal of poetry- its raison d’etre, that is its soul. As mentioned earlier while the Natyashastra dwells
on the idea of rasa with relevance to drama, Udbhata
is said to be one of the earliest literary critics to have given a lot of
importance to rasa in the context of poetry. However, it was Anandavardhana who made rasa, the chief goal of
poetry. Riding into the foray, representing the ‘navina’ school of poetics, Anandavardhana, with his Dhvanyaloka or Sahrdayaloka, posited something truly avante garde, as opposed to the theoreticians of the old guard such as Dandin, Vamana, Bhamaha etc. Although it is claimed that the idea of dhvani may not have been put forth by him but may have had some antecedents, he certainly makes a compelling and elaborate case for it and Abhinavagupta after him, roots for him in his Dhvanyalocana, a commentary on Dhvanyaloka. Both Anandavardhana and later Abhinavagupta, hail ‘rasa’ as the soul of poetry. The Natyashastra ostensibly predates the Dhvanyaloka. As mentioned, the former is about theatre and drama and has some portions of it dealing with dance Ingalls (1990); most of the current day Indian classical forms are based on the treatise. Rasa is stated as being the most integral aspect of a performance and is dependent on anubhavas, vibhavas and vyabhicharibhavas. These factors must be present in a performance as expostulated in the Natyashastra, for the right bhava or mood to be created so that then the corresponding rasa is produced in the rasika or the viewer who is simpatico with the performance. Anandavardhana agrees that the ultimate aim of any poetic work must be the evocation of rasa and that this experience of rasa can only be had through dhvani. It follows thus that dhvani is the cause as suggested by Anandavardhana and rasa is the effect. 2. SO, WHAT IS DHVANI? Simply put, it is the power of suggestion. Anandavardhana posits that a poetic work has three types of meanings other than dhvani: abhidha (denotative meaning), tatparya (meaning of the sentence based on syntax) and laksana (secondary meaning). When the ‘vyangatva’ predominates over the ‘abhidha’ or the denotative meaning, a piece of writing is proposed to have dhvani. Hiriyanna in his Art Experience speaks of dhvani as a method of art. He avers that the nature of art is not logical and the discovery of dhvani as a ‘method of art’ is significant since it may be extended to ‘other spheres of art’. Citing Anandavardhana’s work, Hiriyanna explains that when the subject of a poetic work is emotion, the resulting experience may be called ‘rasadhvani’; when the subject is an imaginative situation, the resulting experience is ‘alankaradhvani’; when the subject is just a ‘matter of fact’ representation, then the resulting experience is ‘vastudhvani’. Hiriyanna (1954) Of course, Anandavardhana goes to great lengths to silence his critics on why what he proposes is truly original and not to be confused with various other alternatives that may be construed to be dhvani. It is not obviously the scope of my paper to discuss the merits of his arguments but if we are agreed that ‘dhvani’ or ‘suggestion’ is critical to eliciting rasa, in poetry or in drama, then we have a basis to investigate if the theory of dhvani which is admittedly pertaining to poetry may also be applied to dance. Can dance be found benefitting from the principle of dhvani? 3. THIS NATURALLY BEGS THE QUESTION, WHAT IS THE NECESSITY TO LOOK AT DANCE THROUGH THE PRISM OF DHVANI? It is my submission that if this approach is found applicable, it may enhance our appreciation of dance and the performance of it too, in other words both the dancer and the spectator may benefit from this exercise. Growing commercialisation of dance over the last few years has resulted in dance, and here I restrict myself to Indian classical dance, becoming increasingly jaded and lacking in substance, content and meaning. I use the term commercialisation broadly, wherein the word includes in its sway a certain widespread expectation of dance being entertaining over and above any other function that it may be designed to serve. This is my observation as a dancer and someone who has been writing on dance for a few years. It is my hope that by retraining our eyes to a framework that is rooted in a long enduring tradition of aesthetics, we will be able to renew our quest for rasotpatti through dance rather than leaving it to languish as a vehicle for visual gratification. Therefore, coming back to the question: can dance, particularly, Indian classical dance forms, be studied under the lens of dhvani? I am emboldened to say yes, even though I am still admittedly, only scratching the surface of this rather complex and virgin territory that throws up more questions than answers. I am hoping however to lay a groundwork for further exploration, however patchy or rough-hewn. 4. MY TWO CENTS I place my assertion that yes, dance may benefit through the application of dhvani on the strength of the following: 1)
Kavyas are broadly divided into two types-
sravya and drisya. Kavya
or poetry which is merely meant to be heard is sravya
and Kavya which is to be seen as a performance is drisya
kavya. This indicates clearly that some poetic compositions are expressly
designed for visual presentation. 2) Drisya Kavya as performance can either be dramatic in nature or it could be in the form of dance as nritya or natya where kavya, in its diversity, is an essential part of its presentation. Just as music is dependent on a textual or lyrical component, so is dance. 3)
Since the principle of dhvani
is relevant to kavya, it’s my proposition that since kavyas may
have the potential for a stage presentation in the form of dance, the principle
of dhvani may stand good with respect
to nritya and natya as well where nritya
may be regarded as representational dance and natya
as dramatic dance. 5. NOW, THE LEGITIMATE QUESTION THAT ARISES IS, HOW CAN THIS PRINCIPLE OF ‘DHVANI’ BE APPLIED TO DANCE? Dance, particularly Indian classical dance has been classified into nritta, nritya and natya. Dhanika who wrote a commentary on Dhananjaya’s Dasarupaka speaks of natya and nritya as being representational but according to him, while natya leads to rasa, nritya leads to bhava. Nritta on the other hand, is abhinayasunya, that is without any abhinaya. However, nritta has angaviksepa which is common to nritya as well. Angaviksepa means throwing of limbs. Dhanika states that nrtta serves as something that pleases the eye- ‘sobhahetutva’ Varma (1957). However, immortalised through the famous invocatory shloka, Yatho hastasthato drishti, yatho drishtistatho manah, in the Abhinayadarpana, we have been told of the four types of abhinaya- Chaturvidha Abhinaya- angika, vachika, aharya and satvika. Placed right at the top of the list, angika abhinaya therefore has a place of pre-eminence in emoting. The various bhavas displayed through gestures, body inflections and flexions etc, and facial contortions as delineated in a detailed manner in the form of bhedas of the upangas and pratyangas, lead to rasa through their application in nritya and natya. Thus, the role of the body, from head to toe, and its many applications in a stylised manner plays an important in expression of a bhava, thus making it a critical instrument of dance for the production of rasa. Indian dance being a composite form of performance, cannot be independent of music, literature, and drama. The many variants of presentations in the category of nritya and natya which rely on a literary composition for expression (these vary depending on the dance form, of course) include pieces that are following in nature: 1) Depictive 2) Narrative 3) Attributive 4) Reflective 5) Philosophical 6) Romantic The above list is by no means exhaustive but covers the myriad formats in which the dancer engages with her audience and without a lyric or literary composition these would be ineffectual. Dance in these cases is dependent on the semantic power of the verses, lyric or play being depicted. Communication of the idea or the story or the emotion as the case might be being portrayed by the words through medium of dance is key. There are many kinds of compositions that populate a dancer’s repertoire (again depending on the dance form) such as shloka (an invocatory piece to a deity), keertana (usually addressed to a deity), padam and javalis (love lyrics) and even dramatic material like kalapams. On the other hand, nritta
or pure dance, has no literary base, no words except syllables or melodic
notes, imitating the rhythmic patterns being played by the accompanying
percussionist. Yet, there is some communication albeit without words. Undoubtedly, in both cases, to varying degrees, there is experience of rasa. The inalienable component of Indian dance that makes this experience possible thus is abhinaya. Abhinaya is emotive expression as a means of communication with the audience that the dancer uses with incredible ease and felicity. As discussed above dance employs angika, the body; aharya or attire; vachika, speech, recitation, singing of words or lyric; and lastly, satvika or instinctive spontaneous expression to express or emote. The most important factors which aid in the production of rasa in a performance are vibhavas, the determinants as discussed above. Alambana vibhavas are the key causal players i.e the main characters that evoke the corresponding rasa. In a performance, the actors or the dancers become the alambana vibhavas who portray the ideas being presented in the poetic work. The uddipana vibhavas or supporting elements that lend themselves to the creation of the mood are just as important. These can easily be recreated in a performance. Citing P.S.R Appa Rao in her scholarly work, An Indian Analysis of Aesthetics, Madhavi Puranam explains how abhivyakti or the process of how rasa is created, with the use of vibhavas in a dance or dramatic presentation. The vibhavas appeal to the senses of the spectator, both visually and aurally, traveling to the heart causing an emotional response coupled with a journey of imagination. This process leads the spectator to experience profoundly the vibhavas which may be the primary characters, feelings, events, or circumstances being sung or depicted. Puranam (2015) In the Dhvanyaloka, while
discussing the origins of rasa, it is suggested that rasa lies in the conglomeration
of vibhavas, anubhavas,
sthayibhava and vyabhichari
bhavas. Further, the rasa arising from dramatic presentation is
called natyad rasah.
In this connection, it is advanced that vibhavas
and anubhavas are presented with
dramatic aids such as music, acting and dialogue. It is clearly mentioned here
that the rasa in poetry is similar to the rasa
in drama and that although the perception of the rasa in both mediums is
different by virtue of their employment of different means, the same ‘sarani’ or scheme holds for both art forms. Ingalls (1990)
One would be emboldened by this statement and include dance in this purview as well as dance employs the same means- vibhavas, anubhavas to elicit rasa. The question being explored in this essay is, can dance as an independent carrier of meaning, a performing art, have the power of suggestion, or dhvanyatva to evoke rasa? It follows thus that for dance to elicit rasa by the means of dhvanyatva or vyangatva, where suggestion brings about rasa, the following possibilities present themselves: 6. VACHIKA ABHINAYA As mentioned, the repertoire of dance performance comprises of many kinds of literary compositions that are sung as per the demands of the theme and nature of performance. Vachikabhinaya would means that the dancer also sings the words out herself which is increasingly rare these days. It also means that the dancer emotes through the miming of these words. In pieces like a keertana, a shloka or a shabdam, the purpose or function of the dancer is to dutifully depict the intent of the composition being sung which is usually a straightforward description, eulogy or tribute to the king or deity. However, a composition like padam or javali usually directed at eliciting sringara rasa, has ample scope for exploration through ideas with the aid of vibhavas. While these may be ‘depicted’ through dance, would it be accurate to assert that dhvani has been created through dance? In the truest sense, it wouldn’t be accurate to say in such a case that dance has created dhvani because the suggestion or vyangatva is emanating from the words or the lyric being danced to. For us to claim that dance as a medium of expression is capable of eliciting dhvani, then mere vachikaabhinaya no matter how creative, cannot be proffered as an example of an instrument through which dance has been used to create the effect of dhvani. 7. ANGIKA ABHINAYA For dance to have its own inherent potential for suggestion or vyangatva other than words, it must rely on a tool or instrument that is unique only to it. Angika abhinaya, or in other words, the use of the body as a tool to express or emote through gestures, gesticulations, and other physical adaptations of different parts of the body is an aspect of dance that is not to be found in any other performing art. It may not be wrong to argue that angika abhinaya be counted as one of the means, which is truly central to dance, by which suggestion or dhvani can be created thus leading to rasa. The question that arises here is that for dhvani to operate, some kind of meaning or indication of a meaning must be created other than what is apparent or literal. This apparent meaning may emanate from the lyric being danced to. It follows therefore that dance can create dhvani when the angika abhinaya being employed by the dancer indicates a meaning or an interpretation that suggests at something other than what is literally being stated through the lyric or the words being sung. Mere word by word depiction through the physical application of the body cannot be established as dhvani. The use of gestures, eye movements and the body would have to be such that it creates a design that leads to establishing ideas being presented in the lyric without the enactment being literal. In fact, while speaking of angika abhinaya, the Nartananirnaya, a text on dance from the 16th century, much later than the Dhvanyaloka, speaks of cittavritti-arpika, enactment which is referential in treatment while alluding to a particular bhava. Sathyanarayana (1998) Cittavritti-arpika is depiction through symbolic, not literal actions of the body. This may be the idea we are looking for- the evoking of dhvani through angika abhinaya in dance. My proposition is in accordance with what is argued in the
Dhvanyaloka, if a dancer can create a
suggestion of a meaning through her angika
abhinaya other than what is being stated simply or literally in the words
being danced to. But even more importantly, if that depiction of a suggested
meaning leads to rasa, then we can assuredly claim that the principle of
dhvani may be applied to dance. 8. AHARYA ABHINAYA Uddipana Vibhavas are important constituents in the contribution towards creation of the corresponding anubhavas. These are usually suggested in the poetic work as mood enhancing elements such as a gentle breeze, a garden, the moon but may also be employed in a dramatic or dance presentation through the use of aharya i.e the costume of the actor or the dancer; through stage decor or the very design of the stage itself. Is there scope for this type of abhinaya to be suggestive? Can dhvani be a method for further inducement of rasa employing aharya abhinaya as a means in dance? I modestly offer that yes, the power of suggestion in the manner in which a dancer is portrayed through either her costume or make up in playing a part or a vibhava can have a powerful impact on the mind of the spectator. For dhvani to be applied as a principle in the use of the aharya of the dancer, one must take care that the aharya either in the form of the costume, attire, make up, stage design or decoration is suggestive and not literal in its implication of meaning. Hence, the uddipana vibhavas in the form of aharya which could be the manner in which the dancer is dressed either through the choice of color or fabric or pattern ‘suggests’ the mood she is intending to create in the spectator. To my mind, Kuddiyatam and Kathakali are two excellent examples of traditional performing arts that use dhvani in their use of aharya abhinaya as an integral part of their performance leading to rasa. 9. RHYTHM AND TALAM Rhythm or keeping time in a certain cycle of beats is inherent in music but it has much more scope for creativity in Indian dance. Most Indian dance forms play around with rhythmic patterns- therein lies the skill of the dancer to produce those patterns through intricate footwork, most conspicuously noticed in Kathak. It is my hypothesis that dhvani in dance may perhaps be sought in the world of rhythm as well. For rhythm too has a profound impact on the mind of the rasika. The rasa experienced may not be of an emotional nature but there is definitely a sense of catharsis, when the patterns fall in line with the time cycles. Hence, I propose that if rhythm has the potential to evoke rasa, then perhaps it has the potential to invoke dhvani. There is explicit rhythm and implicit rhythm in dance. Explicit rhythm is when the singer’s notes, syllables being played on the cymbals, the percussion and the footwork of the dancer are all aligned and in harmony. Implicit rhythm occurs the dancer’s rhythmic footwork is layered or hidden by music and melodic components. I am tempted to explore the terrain of implicit rhythm as a potential field for discovery of dhvani in dance. Here is a seed of an idea that may yield interesting results upon further research. 10. CONCLUSION Dance, as a performing art, anchored on the desire to communicate and communicate in a way that it can lead to the experience of rasa, can benefit greatly from the principle of dhvani. The power of suggestion within dance, as discussed above, lies in creative utilisation and application of angika abhinaya and aharya abhinaya. It would be worth one’s while to even explore how dhvani may be connected to rhythmic patterns in dance through the principle of sphota. As explained earlier, this is only a preliminary investigation of whether my hypothesis has any merit and my finding is that yes, there is grounds for further research through theory and praxis.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Hiriyanna, M. (1954). Art Experience. W.I.S.E Words & Prekshaa Pratishtana, 72-73. Ingalls, D.H.H. (1990). The Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta. Harvard University Press, 76, 224. Puranam, M. (2015). An Indian Analysis of Aesthetics : The Dance, the Dancer and the Spectator. Abhinav Publications, 79-80. Sathyanarayana, R. (1998). Nartananirnaya of Pandarika Vitthala. Motilal Banarsidass Publishers, 10-11. Upadhyay, A. (2010). A Handbook of the Indian Poetics and Aesthetics. Prakash Book Depot. Varma, K.M. (1957). Natya, nrtta and nrtya: Their meaning and relation. Orient Longman, 20-22.
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