Paper: 1
Detail Study Of Natyashastra, Specially Dance Related Chapters And Sangita Ratnakar
MODULE 30 Lasyanga Sangita Ratnakar
LASYANGA
‘Lasyanga’ is made of two words – ‘Lasya / ऱास्य’ and ‘Anga / अंग’. ‘Lasya’ means a tender or graceful dance. The main root of the word is ‘las’, ‘lasati’, ‘iti Lasya’. This means the one that is radiant, shining and feminine, that is lasya.
In Indian music, rhythm is given unmatched importance. Rhythm or tala is made of two parts – ‘ta’ meaning tandava and ‘la’ meaning lasya. This means that tala is parented by Lord Shiva-Parvati themselves. It is believed that Tandava is the dance performed by Lord Shiva while Lasya is the dance performed Goddess Parvati. When Lord Shiva performed the Tandav, he felt that it lacked lusciousness and delicateness. He thus asked Goddess Parvati to perform a dance. To this, Goddess Parvati performed a very captivatingly beautiful dance that full of delicateness and beauty. It is believed that Lord Shiva was extremely impressed with Goddess Parvati’s dance and gave it the name of ‘Lasya’.
The Natyotapti / नात्योत्ऩत्त्त also mentions a similar story. Goddess Parvati taught the dance that she had performed, to Usha, who was the daughter of the Great King Bana. Princess Usha then went on to teach the dance form to the gopis of Dwaraka Dwip. The gopis ended up teaching the dance to the entire Saurashtra. In this manner, the Lasya dance got spread in the entire India.
The meaning of the word ‘Lasya’ is taken in three different ways –
1. Lasya – an expression, a style, a kind 2. Lasyam tu sukumaashandgah makardhvajavrdhanam
/ ऱास्यम त ु सकु ु मार शंदग: मकरध्वजवधधमान Thus, the body movements of the women who entice Madana or Lord Kama, is known as Lasya.
3. Lasyanga – A feminine, luscious dance. It also used as an exhibition to the public, like Margam in Bharatnatyam. Thus, just the way margam is organized in Bharatanatyam, Lasyanga is also performed publicly in the form of one dance sequence after another. 4. Lasyanga – In this drama, the female performer is a friend in one time, and the lead in one time. The Shringaar theme of expression is of utmost importance here. Lasyanga is used in this performance.
From this we understand that when a dance is performed with lusciousness and delicateness, then it can be called as Lasya or Lasyanga. Lasya is a very delicate dance and yet it is very beautiful. The delicate movements of the female performers make the dance glamorous and elegant. It is also used in nritta, nritya and natya. The shringar rasa is principal in this.
The Natyashastra mentions 12 types of Lasyanga. The Dasharupaka mentions 10 types of Lasyanga, viz. Geyapad / गेयपाद, Sthit-paathay / त्स्थत-ऩा腍य, Aasin / आसीन, Pushpagandika / ऩष्ु ऩगंडिक, Prachhedak /
प्रछेदक, Trishul / त्रिशऱू , Saindhyavakhya / सैन्धध्यवाख्य, Dvighudhak
Uttamottak / 饍ववघधु क् उत्तमोत्तक , Ukt-prayukt / उक्त-प्रयक्ु त. Natyashastra mentions two more types apart from the above ten, viz. Vichitrapad and Bhavit. It also describes two types. Apart from this, in Nrityaratnavali Jaya Senapati mentions 12 types of Lasyanga. In Sangita Ratnakar, Sharangadeva mentions 10 types of Lasyanga and also calls them as Desi Lasyanga / देशी ऱास्यांग.
The seventh section of Sangit Ratnakar – Sangeet Ratnavali has 40 chapters, while in the 32nd section of Natyashastra has a detailed description of the application of Lasya.
First we will talk about the description of Lasyanga given by the writer of Natyashastra – Bharat muni.
The types of Lasyanga as mentioned by Bharat muni are as below –
1. Geyapad: The performer sits and sings a song while playing the veena 2. Sthitapathya: The performer reads as well as acts 3. Aasin: In this Lasyanga, the performer expresses the emotion of separation from a loved one. Instruments are not used in this performance. The song thus lacks an instrumental rhythm. 4. Pushpagandika: Here, the actress acts like a man and converses with her friend. This Lasyanga involves application of chari, angahaar, etc. 5. Prachhed: This is the song of separation. This Lasyanga describes the night scene. In the night, the actress feels sad and dejected, looking at the moon and the stars, this emotion is depicted in the performance. 6. Strigudh: In this Lasyanga performance, the actress praises the actor’s bravery and courage. Sometimes, this Lasyanga depicts anger too. 7. Saindhavakhya: This Lasyanga shows the betrayal of the actress. In this, the actor calls the actress at a point of rendezvous; however, he does not himself turn up at the same. This disappoints the actress as the actor does not keep his word that he had given to her. In this way, the actress feels betrayed and sad at being insulted and cheated, and this situation as well as her emotions is depicted in the Lasyanga. 8. Dvigudhak: This Lasyanga describes different auspicious occasions in a very detailed and interesting manner. 9. Uttamottama: In this Lasyanga, the actress sings a love song that describes Kama dev. This Lasyanga depicts the expressions of the different shades of love. 10. Vichitrapad: Here, the actress paints a picture of the actor, and feels sad looking at it. This expression is depicted in the vichitra pad Lasyanga. 11. Uttaprayukt: In this Lasyanga, the actor and the actress ask questions of each other and answer them. It is like a question-answer session. This Lasyanga expresses multiple emotions like joy, anger, argument, love, etc. 12. Bhaavit pad: The actress sees the actor in her dreams, and she tells the entire story to her friend. This entire situation is depicted in the Bhaavit pad. The role of the friend is essential in this Lasyanga. In Nrityashastra of Ashokmall / अशोकम쥍ऱ describes Lasyanga in a lot of detail. According to him, there are 12 Maargasthit Lasyanga / मागाधत्स्थत ऱास्यांग and 37 Desi Lasyanga / देशी ऱास्यांग.
Types of MAARGASTHIT LASYANGA are described below:
1. Sthitpathya / त्स्थत्ऩाथ्य: When a sad actress stands up and speaks out the prose, expressing her feelings of sadness and disappointment, it is sthithpathya Lasyanga. 2. Aasin / आसीन: Here, the actress is broken with worry and dejection, and is devoid of any words and expressions. The intellectuals call this as aasin Lasyanga. 3. Saindhav / सधℂ व: Here the characters are unaware of the time, or acting and even words, and the language used is of Sindhu region. This Lasyanga is thus called Saindhav Lasyanga. 4. Pushpamandika / ऩष्ु ऩमंिीक: Here, the performers are devoid of any bodily, oral or any other organized movements; and their songs, instruments and dance is very strange. This is called pushpamandika. 5. Prachhedak / प्रछेदक: The dance performed to depict the women, give up all shame and go to their criminal beloveds in the bright moonlight, is called as prachhedak. 6. Sheshpad / शेशऩद: The Lasyanga in which the performers extremely good with instruments like the veena, sarangi, etc., sit in peace and sing, is called as Sheshpad. 7. Dvimudh / 饍ववमधु : When a sentence comprises of words with multiple meanings as well as much and pratimukh sandhi /
प्रततमखु शंधध, it is called as dvimudh Lasyanga. 8. Trimudh / त्रिमधु : The one that is tied with ramniya and alphabets, and has a lot of expressions in it, completed with alankars / अऱंकार, and has the same vritti all over; is called as Trimudh Lasyanga. 9. Vaibhaavik / वैभाववक: When the actress sees her beloved in her dreams, and feels sexually aroused; and expresses a wide range of emotions, it is called as vaibhaavik Lasyanga. 10. Chitrapadh / धििऩध: Here, the actress sees her beloved in a picture and feels attracted to him, and breaks down in arousal. This Lasyanga is called as chitrapadh. 11. Uktaprayukt / उक्तप्रयक्ु त: When intellectuals use words that consist of alleging words that have multiple meanings, it is called as uktaprayukt Lasyanga. 12. Uttamottam / उत्तमोतम: The sequences that are full of different raasas and emotions, beauty and different types of expressions is called as uttamottam Lasyanga. It includes looking at each other with joy, embracing in fear, speaking in anger and breaking down into tears and crying; these are all expressions expressed in uttamottam Lasyanga.
Types of DESI LASYANGA:
Ashokmall discusses another 37 Desi Lasyangas in nrityaadhyaya. These are as below:
1. Chaali / िाऱी: When the arm, waist, thigh and foot are moved at the same time in a slow, not very fast speed with sweetness, expression, smoothness and irritation; then Ashokmall calls it as chaali Lasyanga. 2. Chaalivat / िालऱवत: Shaihyrahsaanmukhyabahuta saiv chaligate
yatah / शह्ै यरह्सान्धमख्ु यबहुत सवै िलऱगत यत् When chaali Lasyanga incorporates speed and straightforwardness, then it became chaalivat Lasyanga. 3. Trik / ट्रिक: Drut mandavibhaaven chaalanam haavapurvakam | द्रतू माण्िवीभवेन िाऱनम हावऩवु कध म | Lalavantsamutamoh karnasostaka kamiritam || ऱा쥍वंत्समतु ामोह कनाधसोस्तक कलमररत ं || When the ears are devoid of all the ornaments obtained for the leela, and moved in a fast as well as a low pace, it is called as trika Lasyanga. 4. Mann / मन: When some incomplete element of the shringar rasa, which is extremely small but capable of being acted out, and be second only from the point of view of natyang, then the intellectuals have called it as man Lasyanga. 5. Lodhi / ऱोढ़ी: The synchronization of the arms and the waist, which is soft, sweet, slanted but full of expressions then it is called as the Lodhi lasyaang. Another set of experts are of the opinion that the one that is complete of the weight of beauty, which is vyutpann / व्यतु ऩन्धन from the sangeet sanyong, while being devoid of excessive happiness is known as lodhi lasyaang. 6. Urokann / उरोकन्धन: If the shoulders and chest are moved sequentially or at the same time or with specific time gaps, in rhythmic up and down movements, then it is called as urokann Lasyanga. The vigna nartak abhihit / ववग्न नतधक अलभट्रहत it forms the word trang. Some experts believe that the horses of chest and the shoulders, when beautifully slanted and moved with stops or in a speedy fashion, it is called as uronkann. Some experts believe that it is the rhythmic fast shaking of the body by the performer which is called as uronkann Lasyanga. The natya community calls this as acharya rachna. 7. Trikali / त्रिकाऱी: When the performer delights the audiences by using the five mudras, viz. vidyut, aakampita aadyut, parivahit and kampit / वव饍यतु , आकात्पऩत, आ饍यतु , ऩररवाट्रहत तथा कत्पऩत during a chaari or a sthanak, it is called as trikali Lasyanga. 8. Kintu / ककन्धत:ु When the arms, chest and kati are moved in synchronized manner in rhythm with the ramani song, it is called as Kintu Lasyanga. 9. Nijapan / तनजाऩन: When the actor performs a nritta in a very beautiful manner and is looked at while he has a beautiful lady in his arms who is capable of captivating the audience, then it is called as the nijapan Lasyanga. 10. Desikaar / देलसकार: Different from the village setting, and per the tattak country, involves the practices of different kinds, then it is called as Desikaar Lasyanga. 11. Ullas / उ쥍ऱास: When the rhythms of the characters being depicted get shown at a faster pace or get doubled or tripled while indicating expressions including the minutest one of the body expressing joy are shown appropriately, then Veersingh’s son calls it as Ullas Lasyanga. 12. Bhasak / भासक: Lalitam syatkuchaghstaannyanam
bhasako matah / ऱलऱतं स्यत्कू िाघ्सस्तान्धयनम भासको मत् | When the lalit hand is taken below the chest, then it is called as bhasak Lasyanga. 13. Bhaav / भाव: When the dance is followed by the song, and the song is perfect in the rhythm, and the joy obtained from performing is shared with everyone and expressed with sweetness and danced, is called as Bhaav Lasyanga. 14. Sukalaas / सकु ऱास: If the Lasyanga comprises chari, feet, etc. are also moved and the words of the narrator are spaced between the song and instruments, and all are mixed together; then the experts in the field of art have called it sukalaayaa Lasyanga. Another set of experts call the coming together of song, instruments and rhythm with sthan, chari and hands in one sequence, as sukalaas Lasyanga. 15. Laya / ऱय: When during a dance different rhythms are mixed into an ongoing rhythm, while the performer stands astonished, it is called as a laya Lasyanga. 16. Dhaal / ढाऱ: When the body is moved in a very delicate manner like the moving of a drop of water on the petals of a lotus, it is called as a dhaal Lasyanga. 17. Chheva / छेवा: When the corners of the eyes of the actress are swathavatah, bhaavgarthit and restless, then the experts call it as chheva Lasyanga. 18. Angahaar / अंगहार: When the two halves of the body, are bent like a bow in a rhythmic beautiful manner, then it is called as angahaar Lasyanga. 19. Langhit / ऱंतघत: When the performer violates the words of the instruments repeatedly and dances with frequent pauses, then it is called as langhit Lasyanga. 20. Vihasi / ववहासी: When the dance is performed with a beautiful smile, it is called as vihasi Lasyanga. 21. Niki / तनकी: When the actress during the dance, does not find any faults in the song, instruments, rhythm and pace while captivating the minds of the audience, then it is called as a niki Lasyanga. 22. Namanika / नमतनक: When in a very difficult experiment, without any trials, the performers body bows down, then it enhances the pleasure of the onlookers, and the experts call it as namanika Lasyanga. 23. Shanka / शंका: When the actress moves purposefully in a joyful manner, while moving the body forward and synchronizing the movement of the sides, dancing in a manner as if she is robbing everyone, then it is called as Shanka Lasyanga. 24. Vitad / ववति: When chari, karan, etc. are even tougher than the strength of the person and yet performed with ease and naturally in a very beautiful manner, then it is called as vitad Lasyanga. 25. Geetvadyata / गीतवादयत: When the actress dances appropriate to the song and the instruments, while also being accompanied by the words and the rhythm, then it is called as Geetvadyata Lasyanga. 26. Vivartan / वववतधन: When the performer performs explaining the meaning of the instruments and the song with his hands, chaari, karan and bhramari while dancing; it is called as vivartan Lasyanga. 27. Sthapana / स्थाऩन: In the exact middle of the performance, then the body is settled onto the earth in such a manner that the colours of the face as well the entire line can be seen clearly; then it is called as sthapana Lasyanga. 28. Tharahar / थरहर: When the actress during the performance, spreads the very fast shaking of her chest to her arms and uses it in her performance, then it is called as tharhar Lasyanga. 29. Saushthav / सौष्ठव: The Sausthav mentioned previously is shortened by four, eight or twelve finger-lengths per the customs of the region or per the wishes of the king, then it is called as Saushthav Lasyanga. 30. Struva / स्िवु : Just like the gentle breeze keeps the lamp’s flame moving, when the body is kept moving, it is called as Struva Lasyanga. 31. Mansannta / मंसंन्धत: When the hands of the performer during the dance are followed by the mugdh, stighdha look and is spread, then it is called as masannta Lasyanga. 32. Upaar / ऊऩर: When the initially started dance’s ornamental elements are in pieces and then go on to form a whole, while going forward in the rhythm in a very able manner; then it is called as upaar Lasyanga. 33. Anga-ang / अंगा-अंग: Ang is called as Lasyanga, while anang is called as tandav. When both of these are incorporated in the dance, it is called as anga-ang Lasyanga. 34. Abhinaya / अलभनय: When the performer with his or her body expresses and creates the karan etc in a very good manner, then it is called as abhinaya Lasyanga. 35. Komalika / कोमलऱका: When the actresses perform of a valan of their body with different movements, and beauty and elegance is born out of it, it is called as komalika Lasyanga. 36. Mukhar / मखु र: When the performer with his face expresses the tattat rasa while changing the words, it is called as Mukhar Lasyanga. 37. Dhillai / ट्रढ쥍ऱाइ: When in the dance, the actress with a good heart, uses her expressions, while also expressing joy and sweetness, and also the expressions indicating the shringaar rasa exhibiting the beauty of her body and spreading it, it is called as Dhillai Lasyanga.
There were the Desi Lasyanga.
Ashok Mall has claimed there are 12 Maargi Lasyanga / मागी ऱास्यांग and 37 Desi Lasyanga / देशी ऱास्यांग.
In Sangita Ratnakar, Sharangadev has said there are 10 Lasyanga.
Sharangadev’s 10 Lasyanga / ऱास्यांग types come from among the 12 types listed in the Natyashastra and the 47 listed by Ashok Mall in
Nrityaadhyaya / नत्ृ याध्याय. Some of them come from the Natyashastra, while some of them come from the Nrityashastra.
Now we will see the ten Lasyanga, as listed by Sharangadev. These are as below:
Chaali / िाऱी, Chaalivad / िलऱवाद, Ladhi / ऱाधी, suk / सकु , uroingann /
उरांगन, dhasak / धसक, angahaar / अंगहार, othaar / ओथर, vihasi / विहसी and mann / मꅍन; these are the ten types of Lasyanga as listed by Sharangadev. We are already familiar with the name of the Desi Lasyanga.
1. Chaali / िाऱी: Komal, vilasmuktam, madhur,
taalalaarayamuktam / कोमऱ ववऱासमक्ु तम मधरु , ताऱऱरयमक्ु तम ||1207|| Thus, not very fast and not very slow, but just medium and tryashrataaprachur / िश्रताऩरि ू feet, waist and biceps are moved altogether; then this is called as chaali. 2. Chaalivad / िालऱवाद: When the chaali Lasyanga is done at a faster pace and multiple times then it is called as chaalivad Lasyanga. 3. Ladhi / ऱढी: Sukumaram teerashrcheenam vilaasraasikam chayat सकु ु मरु म तीरश्र्िीनाम ववऱास्रालसकम ियत yugvatkatibaahunaam chaalanam sa ladhirmata || यग्ु वात्काततबाहुनाम िाऱनम स ऱधधमतध || Iti ladhiah| ऱती ऱधध् This means that the delicate dance performed with the joyful and elegant movements of the waist and the arms then it is called as ladhi Lasyanga. 4. Sukam / सकु म : Karnayohvibahulam lasallilavantamsayoah कनाधयोत्ह्वबहुऱम ऱासत्쥍ऱऱावंतापसयो् Vilambenavilamben sukam talla lochanam| ववऱापबेनाववऱंबन सकु म त쥍ऱा ऱोिन ं | Iti sukam| इतत सकु म | When the dance is performed wearing the karnabhushan /
कनाधभषु ण that are leelayukt / ऱीऱायक्ु त and shobhayman / शोभायमान, then it is called as suk. In the same manner, the dance with frequent pauses and yet fast in pace, and the movement of the ornaments worn in the years at this time is extremely captivating, and its value is held more than the shringaar bhaav and is very attractive. The advanced expressions of the nose, eyes and eyebrows as well the ideas of the mind are extremely captivating and are present in it. This is called as suk. 5. Urongann / उरⴂगन्धन: Vilambenaapi kuchayorbhujsheershayoah ववऱापबेनाऩी कु ियोभ煍ुध शीशयध ो् Lalitam chaalanamteeryatkajjahprahururoingannam| ऱलऱतं िऱनमतीयतध क煍जह्प्रहु셁रोइन्धगन्धनम | Iti uingannam| इतत उइन्धगन्धनम |
The dance performed with pauses and at fast pace with beautiful movements of the shoulders and the chest with slanting expressions, then it is called as uroingann.
6. Dhasaak / धासक: Dhasakah syastsulalitam stanadhonamanam layaat|| धसक: स्यस्तसऱु ालऱतम स्तानाधोनमनम ऱयात Iti dhasaakah इतत धसक: | Catching a very captivating pace, the chest movements hence done are called as dhasaak. 7. Aingahaar / ऐन्धगाहार: Sataalalalitopetaa kramaatkaayaardhayo neetiah|
सताऱालऱतोऩेता क्रमातकायारध्यो नीतत् | Dhanurvadaingahaar syaditi nihashaingabhaashitam|
धनवु दध ैन्धगाहार स्याट्रदतत तनहाशन्धै गाभावषत ं | Ityangahaar || इत्यांगाहार || The movements of half the body, full of rhythm and laalitya, in a sequential manner like dhatushya, is called as angahaar.
8. Othaar / ओथर: Keenchirttiyagadho murghno gatiroyashko matah| कीत्न्धित्त्तयध गधो मघ्सू नो गततरोयशको मत्
The organization done in the somewhat slow and slated movements of the head is called as othaar. 9. Mann / मन: Geetadeshagtah sthayashtallayaattumanoo matam| गीतादेशाग्त् स्थायाश्ता쥍ऱायात्तुमन ू मातम | Iti Manah|| इतत मन: ||
When a sthayi pace is got from the very start of the performance, and the dance is performed to match this pace, is called as mann. 10. Vihasi / ववहासी: Smitam Syadihasi yastu shtamingaarasanirbharah|| त्स्मतं स्यट्रदहासी यस्तु श्तालमन्धगारासतनरभार् || Abhyastaadanya evaatisukshmapratyagramingarmibhak | अभ्यास्ता饍न्धय एवात्सक्ष्ु मप्रयाग्रलमगं लमभध ाक | Iti vihasi|| इति विहासी || The acting and dance full of the shringaar rasa that captivates the minds, is called as vihasi Lasyanga.
These ten types of Lasyanga are listed and discussed in the Sangit Ratnakar.
If we study all the types of Lasyanga in detail, then we can come to the conclusion that it is a dance form that is performed by women. It is performed in sync with the rhythm and the pace with a unique delicateness. This dance form is extremely sweet, joyful, captivating and beautiful. The principal Rasas that are captured in Lasyanga are shringaar / शंगु ार, vatsalya / वात्स쥍य, hasya / हास्य, etc. The accompanying instruments are also extremely sweet and calm. It principally uses love songs and devotional songs. The Raas Nritya performed by Lord Krishna with his gopis can also be called as a Lasya.