The Music and Musical Instruments of Southern India and the Deccan c10.35

c10.35

The Hindu art of dancing is treated of at great length in the Sanskrit work "Bhârata S'astra." Its origin is ascribed to the god Brahma. The science of dancing is usually considered under three heads—viz., nritta, vatya, and nrittya. Of these nrittya is what is understood by dancing as seen at a Nautch; nritta comprises only rhythmical movements without gestures; vatya has to do with stage action only. The masculine and feminine aspects of each of these three heads are fully treated of, and are styled Tandava and Lasya. There are rules for numerous motions of the head, eye, brow, and neck, to say nothing of those of the body, arms, and feet, that have to be carefully attended to. Each movement or look is described with an exactness that is almost incredible. All these various gestures and expressions are regulated by the tâla or rhythm of the dance, and are centred in the stamp of the feet upon the ground at intervals, or in the tinkling of the bells worn by the dancer. Indian dancing, like that of most Oriental nations, consists of gestures, slow, and more or less dignified, in time to the music, rather than actual dancing as understood by a ballet. To an Englishman a Nautch is therefore apt to be a rather disappointing entertainment, there being little real grace or symmetry of movement about the performance.