[This is the second in a three part series on therapeutic benefits of yogic dances. The first part dealt with kaoś́ikii dance, which was invented by Shrii Shrii Anandamurtijii on September 6, 1978. In the second part, we discuss another yogic dance exercise called Táń́dava.]

Táń́dava Revisited

History
Táń́dava was originally invented and taught about 7000 years ago by the great Indian Yogi Shivá. That is why He is called Nat́arája: Nádatanunát́eshaḿ [“The One whose very body is made out of the náda – the primordial sound – is the Lord of the Dance.”]. In September 1971, Bábá Shrii Shrii Anandamurtijii began to teach it to his followers and revived it as a daily dance-exercise for men. This revival is also not a small achievement. The revised Táń́dava has its own beauty due to incorporation of siddha-mantra and other simplifications that have been made. Historically, Shivá’s Táń́dava is understood as a vigorous dance that represents the cycle of creation, preservation and dissolution. Due to the power of Táń́dava dance, Shivá has been sometimes known as the Lord of Destruction.

Meaning
In Sanskrit, tańd́u means “of jumping habit”. For example, when rice is prepared from paddy [in the traditional rural way] the paddy and rice jump. Because of this, rice is called tańd́ulam in Sanskrit. Tańd́u plus the suffix sna makes táńd́ava, the dance where jumping is the main thing. Táń́dava is the fundamental step, “the primordial pace”, of all oriental dances. It may be done individually or collectively.

Characteristics of Táń́dava Dance
According to scholars, “Characteristics of the Táń́dava Dance” have been described in the fourth chapter of Bharat Muni’s Nát́ya Shastra, which is referred to as the fifth Veda and an expression of Lord Shivá’s eternal dance - Táń́dava. It says that Shivá’s Táń́dava is embellished with 108 káranás and the 32 anghaharas – the composite parts of the dance. Bharat Muni further says that Mahayogi Shivá conceived the dance, as he was very much fond of dancing every evening. Shivá further mentioned that 108 kárnás included in Táń́dava could be employed in the course of dance, fight, and personal combats and in other special movements like strolling. Types of Táń́dava
Some scholars believe that there are seven different types of Táń́dava. The Táń́dava performed with joy is called Ananda Táń́dava and that which is performed in violent mood is called Rudra Táń́dava. The other types of táń́dava identified are Tripura Táń́dava, Sandhya Táń́dava, Samara Táń́dava, Kaali Táń́dava, Uma Táń́dava and Gauri Táń́dava. However, there are few people who believe that there are 16 types of Táń́dava. Anandamurtijii has prescribed three types of Táń́dava for a common man. “In Ta’n’d’ava, the knees must cross the navel. When they cross the navel it is called Brahma ta´n´d´ava. When they cross the ana’hata [mid-point of the chest] it is called Vis’n’u Ta´n´d´ava. When they cross this portion [indicates
the throat], it is called Rudra Ta´n´d´ava. It is very difficult to dance Rudra ta´n´d´ava.”

Significance of Shivá's Táń́dava Nritya
According to religious scholars, the cosmic dance of Shivá, called Anandatandava, meaning, “The Dance of Bliss” symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death. The dance is a pictorial allegory of the five principle manifestations of eternal energy – creation, destruction, preservation, salvation, and illusion. According to learned scholar, Coomerswamy, the dance of Shivá also represents his five activities namely, Shrishti - creation, evolution; Sthiti - preservation, support; Samhara - destruction, evolution; Tirobhava – illusion; Anugraha - release, emancipation, grace.The overall temper of the image is paradoxical, uniting the inner tranquility, and outside activity of Shivá.

System of Performing Táń́dava as Taught by Anandamurtiiji

The dance is performed by vigorous jumping from one foot to the other, the knee of the raised leg crossing one of three selected points-the navel, the heart, or the throat. Steps:

1. Caller says: Ready: Stand on the ball of the foot, arms stretched out to the sides holding the symbols.
2. Caller says: 1,2,3 Jump: Jump and while doing so, bump the chest with the knees, landing on the ball of the foot in squatting position, your thighs pointing in a way to create a wide V angle.
3. Caller says: Tá, Tá Dhiin Tá: Jump on “dhiin”; land on ball of the foot not touching heels to floor.
4. Caller says: Tá, Tá, Dhiin, Tá: On the last Tá, jump up and cock your right foot up to the left and begin the dance on the next call.
5. Caller says: Tá, Tá, Dhiin, Tá: On the first Tá, you jump to your right foot and bring the left foot up; on the second “Tá, you bring your left knee higher as you hop on your right foot (your knee should go above your waist). For the Dhiin Tá Tá, you repeat the process of jumping to your left leg. Hop once and swing the leg to each side.
6. The dance is in three phases of constant acceleration:
   tá, tá, dhiin, tá…tá, tá, dhiin dhiin…dhiin, dhiin dhiin, dhiin
   Chant Bábá Nám Kevalam in harmony with the rhythm and speed of dance.
7. To end the dance, the caller yells: “Stop” and the dancer comes to a halt, standing straight on the ball of the foot.
8. Caller says: Final Pose 1,2,3: Jump and the dancer makes a final jump first, into a squatting position resting on the ball of the foot and then standing up while bringing the arms down to the sides and heels down.
9. Store or remove the symbols used and do Namaska’r or if possible, sing or keep ideation of Ba’ba’ Nam Kevalam.

Note: “The heel of the foot is related to the sound tá, the ball of the foot to the sound dhiin.”

Duration
To be danced at least twice a day at the end of meditation or asanas, for a period of five minutes. If possible, it can be practiced for a longer period also. During competitions, it may be practiced as long as possible without compromising the posture of dancing. Táń́dava is not necessarily an easy exercise for everyone to do. According to Anandamurtiiji, as many people as possible should practice Táń́dava. Those who are a bit old should practice it twice a day at the time of their spiritual practices. As far as young people are concerned, they may practice it as much as they can. Táń́dava competitions could be organized for young and old separately.

Symbols & Dress
While dancing Táń́dava, the left hand holds a snake, skull or fire (mashála or a torch). A skull is held facing straight forward with the middle finger extended into the cranium, from below. A torch is held straight out as an extension of the arm. And as per the rule, during the day, if one so desires, one may use a live snake in place of the skull; and at night one may use a fire mashála [torch] or a d́amaru [small drum]. The right hand holds a sword, knife, trishula (trident), lathi (staff) or pinaka (small drum). A sword or trident is held perpendicular to the arm as if ready to throw. Ideally, a dancer wears an orange lungii (a six-foot piece of cloth tied around the waist) and often ankle-bells tied to ankles.

Symbolism
Táń́dava is a heroic dance, showing the fight between life and death. Wherever there is want of fight, whenever one surrenders before an evil force, one is sentimentally dead. The knife represents life, represents our vital stamina, and the skull is a symbol of death, decay and waning. We fight with a weapon represented by a knife, a trishula (trident) etc. So Táń́dava represents the eternal fight, the fight for survival, the fight to maintain existence, the fight to establish oneself as a man in this world. The right hand holds things which are symbols representing the life force of the sharpened and vigilant mind; aesthetic and discriminative sense. The left hands hold things that represent the fear of death. When fighting darkness, shall we carry darkness in our pockets, or carry a torch? Certainly a torch. This is the significance of inner spirit of Táń́dava.The spirit of Táń́dava is expressed in the sentiment “I will face the fear of death, which surrounds me on all sides, and overcome it with the power of the life force of my mind. No force will deter me from the goal. No evil tendency, no enemy, no bondage can shake my determination to be victorious.” In the words of Shrii Shrii Anandamurtiiji, the inner motivation of Táń́dava is the following: “Destruction is inevitable, but I will continue to fight against destruction through struggle. So there is a skull in one hand and a dagger in the other. The skull represents destruction, and the dagger represents fight. The underlying feeling is “I will not surrender to destruction or death. I will continue the struggle with this dagger.” Hands placed at 90° indicate the strength of the arms of the dancer. Táń́dava expresses the spirit of strength and vigour. They are straight, meaning thereby that they are ready to fight death. One hand, holding a skull or fire or a snake, represents death, while the other hand is holding a dagger, which represents the spirit to fight death. Now this dance was invented by Sadáshivá to help yogiis maintain their physical and psychic purity.

Cautions
1. Men must wear a lungota (tight underwear).2. This dance is prohibited for women due to certain physiological constraints. (As for benefits, Kaośikii is as beneficial for women).3. Táń́dava is a mandatory dance for all spiritual functions and public processions.

Science behind Táń́dava

Táń́dava has a masculinizing effect. It stimulates the adrenal cortex, which secretes male hormones. These hormones in turn stimulate the testes to produce testosterone, the hormone responsible for “maleness”’, i.e., secondary male characteristics; in comparison to women, more bodily hair, lower voice, enhanced development of skeletal muscles and bones, and a greater degree of aggressiveness. Táń́dava also stimulates the entire circulatory system, the heart, and lungs and the muscles of the feet, lower leg, thigh, pelvis, back, neck and arms. Its regular practice reduces the possibility of heart attack, high blood pressure and lung atrophy. Most importantly, Táń́dava is a therapeutic aid for developing virility, vitality and courage. Táń́dava can grant clarity of mind and inner peace. It may contribute to longevity also. Táń́dava is an all-corporal exercise, an exercise for the entire body, including the brain. There are intellectual exercises for the brain, but hardly any physical exercise. In fact, Táń́dava is the only physical exercise for the brain by which nerve cells become strengthened. And among all dances, it is the best.

Significance of Bábá Nám Kevalam Mantra
The spiritual idea behind Yoga is that there is only One Noumenal (primordial) Entity and this creation is the phenomenal effect. Whatever happens in the material stratum, abstract or astral stratum or in the causal stratum, the singular source is One and that is the dearest entity for all created beings. Dearest in Saḿskrta is Bábá. That is why; it may be called Bábá of the universe. Bábá also means Father, Supreme Father. Within the scope of infinite space, and without the scope of infinite space, Supreme Consciousness is the Singular entity. So nothing is outside of Him. So that alone is the only goal, only Desideratum, and for That Entity we can say, “Bábá Nám Kevalam”. That is, “I am taking the name of that Singular Entity. Love is All there is.” Kevalam means only; so, only the name of that Noumenal Entity because that consciousness is the only Noumenal entity and there is no second Entity. So there is no alternative but to move and dance and sing around That Entity. We may call it our Cosmic Father, Cosmic Progenitor. Just as the earth, Saturn and Mars are moving and dancing around the sun, we also can dance to the tune of that Supreme Father. In the words of Shrii Shrii Anandamurtiiji, “This is a very sweet subject. For “matter”, the Saḿskrta term is Jad́a, and for “abstract” the Saḿskrta term is Bháva, and for “astral” the Saḿskrta term is Sámánya, and for “noumenal” it is Múlakárańa. Bábá Nám Kevalam relates to that Múlakárańa – the primordial causal entity”. In Yogic dances as taught by Shrii Shrii Anandamurtiiji, this mantra has been incorporated for bestowing spiritual benefits of the dance to the practitioners.

Compiled by: Acharya Shambhushivananda Avadhuta

Prashiksana Matha, Ydrefors, 59081 Gullringen, Sweden. September 25, 2006.