Showing posts with label Shiva. Show all posts
Showing posts with label Shiva. Show all posts

Sunday, 3 March 2019

THE POTENTIAL AND THE SPARK



Of the little that I can presume to know about Shiva, one representation has always intrigued me. It is the androgynous form, more popularly known as the Ardhanarishvara.

On the auspicious occasion of Shivaratri, I would love to start my blogging journey by explaining my understanding of the significance of this unique deity – not the religious legends but how it reflects the futuristic, scientific nature of the Indian school of thought.

Among its numerous interpretations, the word ‘shiva’ can also be split into three parts:

Sha - shareeram (body)
Ee - eeshwari (life-giving/creative force)
Va - vayu (motion)

Shiva is, therefore, body that has life and motion. Reinforcing this, we can simply remove the ee when shiva becomes shava or body without life and motion. Shiva is thus life, and in an extended understanding, all-embracing universal consciousness and potential.

Now let’s ponder over what sparks this potential, the source that causes it to spring into life. What turns the magnificent abstinent yogi into the householder – the supreme force of creation, procreation, and re-creation?

The answer is Shakti. We may call her Parvati, Devi, or Uma.

When Shiva and Shakti unite, we see Srishti, or creation.

The Ardha-Nari represents this idea perfectly.

From the Westerners, we have learnt that there is a woman behind every successful man. Ancient Indian wisdom, however, has given the woman a position of equality. Shakti doesn’t hide in Shiva’s shadow propelling him to glory. She stands shoulder to shoulder with him as his complement, saha dharmini. Joined indivisibly, Shiva is Shakti and Shakti is Shiva.

The idea of the two entwined entities giving life is also evident in the double-helical structure of the DNA! It’s notable that a child inherits 50% of DNA from each parent. And have some of us not seen childless couples praying to stone tablets embossed with double-helical snakes enshrined under trees in many regions of India?

Another interesting fact about the deity is that most representations show Shiva on the right and Shakti on the left. Some sects believe this is because the right ‘dominates’ the left and the male principle is depicted as more powerful. It may not be so. It may be a simple representation of human biology.

Scientifically, we know the right brain controls the left side of the body and vice-versa. Those who practice yoga know that breathing through the left (Chandra Nadi) slows metabolism, soothing and cooling the body – calm implying the female. Conversely, breathing through the right (Surya Nadi) increases pranic/physical energy and produces heat - activity implying the male. Scientific studies have also proven that a female brain is equally stimulated on both sides while processing information but the right side is more active in men in similar contexts. On the left also resides the heart! In sum, the so-called female qualities are contained on the left and the male qualities on the right, and they are ultimately equal and interdependent.

Thus, whether you follow the Shaiva tradition when Parvati merges with Shiva, making the basically male god, half female; or follow the Shakta tradition when the female god divides into two halves, the end result is the same. The all-pervasive God – Ardha-Nari - representing the seamless union of the dual forces of the universe - the ascetic, passive, quintessentially masculine Shiva (Purusha) and the homely, active, supremely feminine Parvati (Prakriti). One is the foundation, the other the spring. Without their union, there is no creation, no growth.

Going beyond the gender connotations, it is only when an individual – woman or man- discovers and nurtures within herself/himself both the heart and the brain, compassion and action, the subtle and the elemental, the soul and the body can she/he hope to evolve into a complete human being. In our social structure too, it is the harmonizing of these apparently contrasting principles and values that can bring balance.

It is unfortunate that the patriarchal forces of today’s ‘progressive’ civilizations have relegated the Ardha-Nari to merely an iconography in Shiva temples. There are only a few temples where this deity is worshipped. The real strengths of the female principle are now seen as undesirable ‘weaknesses.’ No wonder, therefore, that most of our social evils and personal discontentment stem from this lack of balance between the fundamental energies of nature that were meant to reside in unison both within and outside us.

On this day, today, let’s go back to what our ancestors taught us – find the totality in the duality. Let’s all nurture the Shiva and the Shakti within us and extend it to the world around us.


The Nataraja Dances to Apna Time Aayega


On this Shivaratri, come trace with me the common thread that runs through Nataraja, the rasa theory, Apna Time Aayega and Bharat Natyam. 

‘Nataraja’ is a Sanskrit term translated as Lord of Dance or King of Dancers. According to some scholars, the name is related to Shiva's fame as the "Lord of Dancers" or "King of Actors". He is sometimes also referred to as Nateshvara (from Nata which means "stage performer", and Ishvara or "lord")
‘Nataraja’ symbolises the connection between religion and the arts, and it represents Shiva as the lord of dance performing the Ananda Tandava or the dance of bliss. The purpose of this dance is to focus on self-realisation, releasing the soul from maya or illusion. This dance is said to be performed within his heart.

It is a fearless celebration while being surrounded by fire, the matted locks of his hair flying in wild, ecstatic energy. Whenever I look at Shiva in the Natraja pose, I always feel he is immersed in rasa, an emotion or feeling that moves the heart but cannot be described.

According to the Rasa theory of the Natya Shastra (the Book of Performance Arts written by Bharat Muni, wherein he gave us Bharat Natyam) entertainment is a desired effect of performance arts, but not the primary goal. The primary goal is to transport the individual in the audience into another parallel reality, full of wonder and bliss, where he experiences the essence of his own consciousness, realises who he is, plumbs the depths of his feelings that help him to understand his own reality better. 
Listen to the rap in Apna Time Aayega…..at once you understand what rasa is all about, how ageless yet contemporary it is.



Rasas are created through a wide range of means, and the ancient Indian texts discuss many such means. For example, one way is through the use of gestures and facial expressions of the actors. Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya.

The theory of rasas forms the aesthetic base of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam and others
Watch a young contestant and her guru give expression to Apna Time Aayega in Bharat Natyam on the sets of a popular reality show. (0:59:25 to 1:02:16)

https://www.sonyliv.com/…/Ep.14---Please-Welcome-Ranveer-An… 
My apologies if you cannot stand Ranveer or Alia or both of them. But I am sure at the end of it, you will be quite speechless, and moved “into another parallel reality, full of wonder and bliss.” 

This Shivaratri take a few minutes off your routine and think -- We must be the only people in the world to have concepts and beliefs, forms of expression like this …. that take the shape of our heart, whatever is deep within………..that refuse to grow old, that are just as we are!
(Image credits: Wikipedia) 
Links courtesy youtube and www.sonyliv.com (my live-in partner)