Baba was still in Bankipur jail, when Didis Vanii & Niruttara asked about Tandava for sisters, Didi Vanii asked, "Can sisters do Tandava"? BABA answered, "You see, biology does not want. I want but biology does not want." Later Baba replied to another sister that when HE comes out, HE will teach a dance for sisters that will have all the good effects of Tandava but not its bad effects.
It was the night of September 6th,'78 at Baba's quarters. Immediately after HE bid us Namaskar after evening darshan and just as HIS wheel chair was going to be moved, Aincala said, "Baba, when will you teach us the sisters' dance?" I chimed in, "Baba, we really need it." With a wave of HIS hand has HIS chair was moved into the house, BABA said, "It is under consideration." We found out next day that as soon as the margiis went home, BABA called some VSS workers on duty at HIS quarters and directed them how to dance it, so that they may teach it to us WTs & LFTs the next day.
That morning, BABA sent word that a group of sisters from India and other countries should learn it very well and be prepared to demonstrate it in HIS presence. Needless to say we practised & perspired and practised still more in the sweltering Patna heat.
BABA said that its name is 'Kaoshikii Nrtya', the dance of Kaoshikii.
BABA asked, "What does Kaoshikii mean? I blurted out, BABA, Shivanii", HE waved HIS hand and said, "No, not philosophy", Kaoshikii means expansion of the mind. Kaoshik is the male and Kaoshikii is female."Kaoshikii Nrtya has all the positive effects of Tandava minus its negative effects on the female physique and psyche. BABA said that brothers can also dance Kaoshikii Nrtya but as it benefits women to a greater extent, "It can be called a sisters' dance." He said this with a twinkle in HIS eye and a playful smile. Brothers who are advised to do it are those who are forbidden to do Tandava due to spinal pain, hydrocele, piles, nerve pains, kidney trouble, gall bladder trouble, 'gastro-enteritis and other such digestive problems.
We asked BABA 2 specific questions:
(1) "If 'Kaoshikii' is female while 'Kaoshik' is male, then why can brothers also do it?' BABA asked us to picture a bud in its initial stage and when it has bloomed. HE said that Tandava is most suitable for brothers but it has harmful effects on sisters. Kaoshikii Nrtya remains primarily the dance of sisters and Tandava for brothers.
(2) "If brothers do Kaoshikii Nrtya will they become soft?" (While I asked this I kept thinking, "BABA, I do not mean effeminate, but softer within like a woman." BABA's mind became serious but soft, as HE answered, "It helps in self-expression. All over the world, the ladies are subdued; they are the second grade citizens in every country. If they do this dance, they will not remain slaves anymore. This is not the inner secret of the dance but it is my inner motive."
It's benefit
BABA said that Kaoshikii Nrtya was evolved considering its impact on the different glands and tissues of the body. Pointing to HIS head and feet, BABA said that it was good for the body from the head to the toes, from the toes to the head. This exercise for the entire body was the best physical exercise. It possesses all the attributes of Tandava. Likewise, it increases longevity, makes child delivery very easy ("She will feel no pain!") and it makes the spinal column flexible. If the spinal column is stiff this signals advancing old age.
During the first week of daily practice the body will feel very stiff and painful in many parts. Many changes are happening at this stage. The 2 forceful steps of TA-TA strengthen the knees and the hip joints. It also lessens unnecessary body fat. Generally after 35 years old, women in hot countries gain much weight, in cold countries after 39 years old.
After the first day when we learned it and spent many hours teaching other sisters how to do it, we were quite tired as if we had done rather extensive sports the day before-tired and achy but feeling tight and strong.
Its Ideation
BABA expounded on the ideation of Kaoshikii Nrtya. "One ideates on the link between the microcosm and the macrocosm. Tandava has a different ideation. In Kaoshikii Nrtya the Microcosm is trying its best to find the relationship between the Self and the Macrocosm. This process is commonly known as mysticism. "Kaoshikii" pertains to the innermost self of the individual. The self of the individual is hidden within the innermost kosas-the innermost layers of existence. Kaoshikii Nrtya is like blossoming. First comes Kaoshikii then Bhaeravii, then Bhavanii."
Ready Position: Arms down at the sides of the body. Feet must be in natural stance. On "Ready" arms come up as in Diirgha Pranam and join in Namah mudra. (Thumbs side by side and not crossed)
Side Movements: To Right 5 dins On Ist din, bend from the waist and move arms down. At the same time cross right foot at the back of the left foot, i.e. right big toe as in Lalit kiirtan, then step right foot to the right.
On 2nd din bend farther down. At the same time cross left foot at the back of the right foot, as in Lalit kiirtan, then step left foot to the left
On the 3rd din, bend farther. At the same time, cross right foot at the back of left foot. as in Lalit then step right foot to the right. (continues up to 16th din). On the 4th din move back tip (half of the full angle) while feet continue Lalit steps ......
On the 5th din arms are back to overhead Diirgha Prana’m position while feet ,continue Lalit steps. There is no pause with the movements of the feet.
Side Movements: To Left 5 dins
Repeat the same process to the left for 1 then 6th to 10th dins.
Front Movement: 3 dins
On the 11th din arms move down to waist level. Keep the back straight. Feet continue as in Lalit
On the 12th din bend from the waist forward and touch the tips of the middle fingers of the foot (or toe). Feet movements continue as in Lalita dance
On 13th din, arms come up over head as in Diirgha Pranam.
Back Movements : 3 dins
On 14th din bend backward carrying, arms likewise
On 15th din bend back more carrying back arms likewise.
On 16th din straighten up with arms overhead in Diirgha Pranam.
Mark Time Stamps: TA-TA
Keeping arms overhead, bring right foot down emphatically on the first 'TA' then the left on TA. (Left foot equally emphatically on 2nd TA.)
(Note: On TA-TA the flat of the foot should be parallel to the ground, not the heel or ball of the foot first.
Do 2, 3 or more courses of 16 'Dins'& 2 'TAs' each, as you please. When the speed accelerates, then the calling 'Baba Nam Kevalam' begins. The movements remain the same but the calling 'Baba Nam Kevalam' is different:
Ist 5 'dins' to the right ; then to left
1 Baba 2 Nam 3 Baba 4 -Kev 5 alam
6 7 8 9 10
3 dins to the front, to back
11-Baba 12 -Nam 13 Baba
14 15 16
TA-TA becomes kev-alam.
According to Baba the word Kevalam is rightly divided as Kev+alam, not Ke+ valam*.
[In Shabda Cayanika,however, we find a different explanation about the derivative of the word kevala as ke+vala. Ke means expressed universe and vala means that covers, so kevala means that which is omnipresent. Another meaning is Only]
Baba said that HE has given only 1 Mudra (Namah Mudra) in this dance. Touching the tips of HIS 2 middle fingers together, HE told us that both tips should be together touching the floor when one bends forward and down on the 12th din.
All arm movements and stops should be pronounced and not in one flow. For example when one bends 10 degrees to the right, then 10 degrees further down cut the movement at 10 degrees, then 20 degrees with a slight jerk. The farthest down one bends to the sides and the back is 30 degrees.
Baba emphasized that on the TA-TA, the entire flat of the feet should be parallel with the ground. This is similar to the-"Mark time" of marching. So that we do not miss the point HE flexed HIS foot to show us how the foot is in Tandava, i e. how it is not like this in Kaoshikii Nrtya. Neither does the ball of the foot land first followed by the heel, nor vice-versa. The right foot comes down first, not left first, because generally right is the stronger of the two. Baba then asked us to note that most of the movements in one course of 16 dins and 2 Ta's occur above the waist and only the 2 Ta's are below the waist.
Depending on the sister's corporal condition, she can dance Kaoshikii Nrtya as much as she so desires. If one feels comfortable dancing during menstruation, then one may do so. Pregnant women may also dance up to an advanced stage of pregnancy, again depending on the physical condition of the individual, if the dance does not cause discomfort. It can even ease the delivery and prevent the feeling of pain.
Very small children can dance Kaoshikii Nrtya and ladies who do this dance regularly will remain fit and healthy until the age of eighty.So for two days sisters danced and danced and taught Kaoshikii Nrtya to the other sisters who also danced and danced. Then a group of sisters from different countries danced it before BABA.
Asha from Sweden writes on that Special Day
We were standing outside BABA's room, myself. Aincala, from Switzerland and two Indian sisters, Diipika and Chaya Devii. After a short while Dada Ramanandaji came out from the room and told us that now we could go inside. We all went in and did Pranam in front of BABA who was half lying on His bed. He sat up, did Namaskar and BABA told us to come closer. I and Aincala sat down next to His bed, the Indian sisters behind us.
BABA smiled then He becoming serious started to explain some more things, about Kaoshikii Nrtya. He started to compare Tandava and Kaoshikii and also a short explanation about the ideation. When BABA had finished, we stood up and Aincala commanded, "Ready", We started to dance "BABA NAM BABA KEV ALAM". Then Dada Ramanandaji stopped us saying that one should always start with "Din Din" and then go over to "BABA NAM KEVALAM".
So we started again. This time with 'Din, Din', BABA was looking at us very seriously. We danced for some time and stopped. We did Pranam and were ready to leave when Baba started to talk. We came closer to Him and sat down. He started to explain why we should start with 'Din, Din' and not 'Baba Nam Kevalam', and said that our movements were correct.
Then He asked Dada Ramananda about our names and for every name, Baba was smiling and making some small comment. Baba did Namaskar and we all answered, did Pranam and went out from His room.
Outside we all just embraced each other laughing. Now we had done our duty, for all sisters in the world. We had performed the dance in front of Baba. May we were not completely correct, but we realized that to find out the right thing one has to make mistakes. So now we sisters have a most beautiful dance to perform ideating that we all the time are dancing in front of our dearest Baba.
The History of Kaoshikii by Cittabodhananda
On 6 September, at 11:00 pm, Baba called four of us security guards, including one Filipino, Suresh. Baba explained that He wanted to teach us a new dance called Kaoshikii. He showed us how to do it with His hand and asked us to do it in front of Him. Then He said, “Go out with Shankarananda and Ramananda and practice.” So we went out to the verandah and practiced for 10 or 15 minutes until He called us back. Together we started dancing in front of Him.
Baba instructed that we should bend our bodies 45 degrees to each side, and a maximum of 15 degrees to the back. The fingers should touch the ground when bending forward. When doing the last two steps, “ta, ta”, the feet should come a little high off the ground and then hit the ground flat. Baba taught Shankarananda how to give the commands correctly, which should be “Baba-Nam-Baba-Ke-valam.”
Amongst the four of us, He selected me as having the best performance. He told the other boys to leave the room. Then Baba said, “Now I want you to make a practical demonstration of this dance for sisters. Ramananda, bring a sari. No, wait; he is a man, he cannot wear a sari, so bring a dhoti instead.” So Dada did, and then Baba said, “You are from Bihar, so put the cloth on like a sari in the Bihari style.” I didn’t have the slightest idea how to wear a sari, but as Baba insisted, I vainly tried wrapping the cloth around me. Baba stopped me and called me beside Him. Then He perfectly tied the cloth around me in the Bihari style. “Now dance Kaoshikii,” He said.
But every time I bent forward, the end of fell off my shoulder. After dancing, He asked, “How did you feel?” I said, “It’s always falling off, Baba.”
“OK, come here.” Then He dressed me in the Maharastra style. In that style, one end goes back through the legs and is tucked in the waist at the back. After dancing, I said, “Baba, I’m not feeling comfortable when I bend to the left and right.”
Then He tied the cloth like a South Indian sari, and finally in the Bengali style. At the end He said, “The Bengali style seems the best for this dance.” I agreed, “Yes, Baba, it is the most comfortable for Kaoshikii.” (A few days later He announced that the official kaoshikii uniform for women should be a maroon sari tied in the Bengali style with a green shirt.)
“Ramananda, I’m very happy. I want to give something to this boy! Do you have something for him?” So Dada brought some sweets from the kitchen. Then Baba asked me to sit on His lap and with His own hand He fed me the sweets. He also gave sweets to Dada Shankarananda for giving the commands correctly. I cannot describe the happiness and bliss I felt sitting in His lap, laughing with Him and eating the sweets.
The next morning He again called me to His room and said, “Yesterday, I fed you sweets, but I was not satisfied. You are a historical man. So I would like to give you something more. Here is one of my dhotis.” I was very happy and inspired.
“OK, from now on, you are the trainer and you will teach everybody. I am giving you permission for just one day to teach some sisters and to choose the best one as a trainer who, from then on, will teach the other sisters.” I taught a few Margii sisters who were there. One young sister from Patna, the sister of the wife of advocate Sood in South India, was the best, so I appointed her to be the trainer of the sisters.
From that day, Baba demanded that everyone who went to His room must demonstrate Kaoshikii. If they couldn’t do it correctly, Baba scolded them and ordered them to learn from me. So every day, from morning till night, I had to teach different dadas and brothers. That was my regular duty.
One day Baba asked a boy from Assam to demonstrate Kaoshikii. After finishing, Baba asked Dada Dasarath to see the boy’s past life. Dada closed his eyes, and Baba touched him, then Dada touched the boy. He said, “Baba, in his last life he was a snake. Somebody killed him while repeating the name of Krsna. So after that he got a human body.” The boy was very inspired and later decided to go to WT training.
On another day, after finishing kaoshikii, Baba asked one dancer, “You have pain in the stomach?” He said, “Yes, Baba.” Baba said, “This dance is medicine for you.”
Then Baba went on tour by plane to the four major cities of India: Calcutta, Delhi, Bombay and Madras. He asked me to accompany Him by train to each city with the duty to teach everyone how to dance Kaoshikii.
In Madras, DMC was held in a Hindu temple. The priest there asked me, “Who taught you this dance?” I said, “Why do you ask?” He said, “Because you are doing it with such perfect action and rhythm and giving such clear commands, so I want to know who is your teacher.” I said, “Baba, my Master, taught me this.” He was very amazed.
During that tour, many brothers went into samadhi after dancing kaoshikii and tandava at my command in front of Baba.
When the tour was over, I went back to Benares Training Center where I finished my training in only one week. I was then posted as a Dit Secretary, but only a week later Baba promoted me to be a supervisory Circle level worker. During several RDS reporting sessions, Baba would say, “You are a historical man, so you have to do more work!”
-- "The basic ingredient for building a healthy society is simply genuine love" -- Baba __._,_.___
