Many believe that the essence of the human condition is to seek the union of its individual soul and being, with the cosmic soul and infinite existence. In order for this union to sparkle, moods of great passion and ecstatic emotion have to be brought into play. Faith and culture matter greatly to most people and to have the benefits of dance as a fundamental dimension of worship and devotion is a great blessing. It is the unifying force of dance that non dancing faith lacks. Dance in faith would also shake off the seriousness with which people follow faith. Without dance as an essential element and meditation as it core, faiths are rendered less than whole
When men and women engage in powerful forms of art or devotion, some of the Ras/sap that can connect them with the divine awakens and flows. This is why religion exerts such a powerful hold on the human condition and imagination. It is a means to awaken this union. Also why Art, despite, perhaps because of, its abstract forms, also grips the imagination so deeply
Garba and Raas were brought into existence and developed in order that the majority of people would have a simpler way of seeking this union with the divine, to have their Ras flowing and glowing. And the flow of Rasa had to be handled with care, it being a powerful potion of emotion. Sensibly care was expanded to ensure that the many emotions and longings awakened through Garba and Raas, did not so enchant and excite the people that the Ras overflowed and made them too wildly ecstatic, too much out of control
After all when you have the devices to awaken such profound and deep desires, some element of restraint has to be put in place, hence some pattern and some form was instilled, to keep the rasa in check and control. Or to let it loose as well, depending on the mood to be encouraged, the morals to maintain, the purposes to be served
At Garba and Raas dances, some rare few will flow into ecstatic trance and lose control and appear possessed. They will dance and move as if they are no longer themselves, as if some mysterious thing has happened to them and they can no longer be held accountable for their actions and movements. Of course the majority of the people will not ascend into trance, but it shows the power of dance, that but for the lack of a little more Ras, many more would float and fly in trance.The path of Bhakti is very much the awakening of the Ras within you and allowing your being to connect and play in togetherness with divinity. This is the reason for its endurance and expansion
Hinduism has changed several times over many thousands of years and this is now an age when our thoughts should turn to our beliefs and traditions and how we can enhance and embrace and have them more fitting to blend in gracefully with our contemporary age. This is even more important when the current state of knowledge and wisdom of humanity is more extensive than ever in the past. In order to do this it is best to start by learning more about the beauty and grace of what we already have and then seek to improve and enhance and make it better. Hence the presentation of this work so that dance, as an important aspect of faith, may be better experienced and understood
The benefits of most religions are those of community, socialising and motivation; practices which can be found in most good self help books. The goodness and decency propagated by most faiths is simply a matter of reasonable sense rather than anything greatly spiritual or profound
There is beauty, there is grace, there is worship, there is devotion in Garba and Raas. It allows us to transcend the confusions and contradictions in the holy books and the ‘holy’ men.
Many Faiths Exploit Art In The Promotion Of Their Faith And Great Art Despite Its Beauty Has Been Much Abused And Misused By Mostly The Men In Charge Of Religion
Including The Misuse Of Dance In Hinduism
The Time Has Come For Great Art And Craft Of Dance And Music
To Inspire The Great Thoughts And Deeds Of The Future Free Of The Shackles Of The Fanatically Faithful
In Hinduism Goddess Durga is considered to be the greatest goddess and was created by the gods to defeat the demon Mahishasur and his army who were ravaging the world; the gods being powerless to fight the demon, as Mahishasur had been granted his powers by the gods themselves. Goddess Durga is the mother of the universe and is believed to be the power behind the work of creation, preservation, and destruction of the world. Since time immemorial she has been worshipped as the supreme power of the Supreme Being
Lakshmi is the embodiment of the superior feminine energy of the divine and is worshipped as the goddess of wealth, prosperity and love ( both material and spiritual ) as well as the embodiment of beauty. Lakshmi is a domestic household goddess and is worshipped daily but especially at full moon in October and on Diwal
Since earliest times Saraswati has been identified with the Vedic Saraswati river and she is generally portrayed in white sitting on the banks of a river, with a peacock by her side. Saraswati has four hands. In one hand she holds a book representing the Vedas. In another hand she holds a Mala of crystals representing the power of meditation and spirituality. Saraswati holds a Veena ( a musical instrument ) and a pot of sacred water in the other hands. The sacred water represents creative and purification powers and the Veena represents the arts and sciences. Saraswati is adorned with simple jewels and gold representing her preference of knowledge over worldly material things
Ganesh is venerated as the remover of spiritual and material obstacles and he is the patron of the arts and sciences, intellect and wisdom. In his role as the god of new beginnings Ganesh is invariably called upon and worshipped at the start of any hindu rituals and ceremonies, including weddings
According to Hindu legend the world was created by Lord Shiva in a dancing mood. With a divine dance Shiva annihilated his monster enemies . Ever since then the gods have danced. With the principle in mind, that what delights the gods must delight man, dance was conceived of as coming from the gods as their great gift to man.This cosmic dance of Shiva is called 'Anandatandava,' meaning the Dance of Bliss, and 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 principal manifestations of eternal energy — creation, destruction, preservation, salvation, and illusion
On hearing of the preparations, Krishn was pleased, and, taking with him the young women of Braj,the Gopis, went to the bank of the Yamuna. Having arrived there, they saw that the brilliance of the circular terrace erected for the circular dance, was four times more beautiful than that of the moon's orb, and on all sides of it the sand was spread out like the moonbeams. A cool, sweet, fragrant breeze, continued blowing, and on one side the verdure of the dense forest derived increased loveliness from the night. " On beholding this scene, all the Gopis were much delighted
Near that spot was a lake named Man Sarowar to the banks of which they went and put on clean robes and ornaments, such as their minds desired, and having adorned themselves from head to foot, returned, playing in harmony on fine instruments, such as the lute and timbrel. Then, intoxicated with love, they laid aside all care and diffidence, and, in company with the divine Krishn, began to play on instruments, to sing and dance. At that time the divine Govind, in the midst of the circle of Gopis, appeared as beautiful as the moon in a circlet of stars."
Eventually the circular dance ends thus;
“ Such was the concert of musical modes (the Ragas of which there are six ), and airs ( the Raginis of which are thirty ), that hearing them, even the winds and waters ceased to move, and the moon, with the circle of stars, being fascinated, was pouring down nectar with its rays. Meanwhile,the night advanced, and six months passed away, and no one was aware of it.”You need a broad mind and good philosophical understanding to appreciate the next few passages in the Puran