Facts about shiv tandav

The Hindu scriptures narrate various occasions when Shiva or other gods have performed the Tandava. When Sati (first wife of Shiva, who was reborn as Parvati) jumped into the Agni Kunda (sacrificial fire) in Daksha's Yajna and gave up her life, Shiva is said to have performed the Rudra Tandava to express his grief and anger. The Shivapradosha stotra says when Shiva performs theSandhya Tandava, the other gods like Brahma, Vishnu, Sarasvati, Lakshmi and Indra play musical instruments and sing Shiva's praises. Ganesha, the son of Shiva, is depicted as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing the Tandava) in temple sculptures.The Bhagavata Purana talks of Krishna dancing his Tandava on the head of the serpent Kaliya.
Origin and meaning of Shiv Tandava
Shiva is believed to assume two states – the samadhi (Superconscious) state and the tandav or lasya dance state. The samadhi state is His nirgun (Non-materialised) and tandav or lasya dance state is His sagun (Materialised) state. Body movements performed to depict a particular event or issue is known as natan or natya. The one who performs this natan is a nat (Actor). Traditionally, it is believed that Nataraj is the promoter of dance. Since Shiva is the pioneer amongst actors, the title of Nataraj is accorded to Him. The universe is His dance school. Just as He is the dancer, He is its observer too. Nataraj plays the role of bringing about activity in the universe through the commencement of His dance and merging the visible and invisible Creation into Himself when He stops it. Thereafter, He remains alone, engrossed in Anand. In short, Nataraj is the manifest form of all activity of God. Nataraj’s dance is considered to represent the five actions of God, namely Creation, Sustenance, Dissolution, the covering of the Great Illusion and initiation (God’s grace to get liberated from the Great Illusion).

Different Types of shiv Tanda

Origin of the tandav dance is explained as follows

         प्रयोगमुद्धतं स्मृत्वा स्वप्रयुक्तं ततो हरः ।

         तण्डुना स्वगणाग्रण्या भरताय न्यदीदिशत् ।।

         लास्यमस्याग्रतः प्रीत्या पार्वत्या समदीदिशत् ।

         बुद्ध्वाऽथ ताण्डवं तण्डोः मत्र्येभ्यो मुनयोऽवदन् ।। – Sangitratnakar, Adhyaya 5, Shloka 5, 6

Meaning : Then Shiva remembered and showed the uddhat dance (that He had performed earlier) to Sage Bharat through the chief of His attendants (known as Tandu). He also made Parvati perform the lasya dance with great enthusiasm in front of Sage Bharat. Lasya is a dance performed by women, wherein the hands remain free. Realising that the dance performed by Tandu was tandav, Sage Bharat and others later taught these dances to mankind. The dance form in which the sound emitted by every cell in the body is Shivatattva-predominant, is known as the tandav dance. It is a dance performed by males and consists of mudras; for instance, the dnyanmudra is performed by touching the tip of the thumb to the index finger. As a result, the mounds of Jupiter and Venus get joined, meaning, the male and female unite.

This dance form has seven types –

1. Anandtandav,

2. Sandhyatandav (Pradosha dance),

3. Kalikatandav,

4. Tripuratandav,

5. Gouritandav,

6. Sanhartandav,

7. Umatandav.

Facts about Jaipur Kathak Gharana

The Jaipur Gharana developed in the courts of the 
Kachchwaha kings of Jaipur in Rajasthan. 
Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the pakhawaj, such as parans. The Jaipur gharana has many more branches and off-shoots than the Lucknow style and requires a detailed tree diagram to show these. However, in the last century, the work of the Jaipur gharana dancers Jai Lal, Sunder Prasad and Narayan Prasad, Kundanlal Gangani and Sunderlal Gangani and Durga Lal was instrumental in developing the gharana. Presently the prominent artist of this gharana is sangeet natak academy awardee Rajendra Gangani son of Kundanlal Gangani, sangeet natak academy awardee Gitanjali Lal wife of Renowned kathak dancer Devi Lal,Pt. Tirath Ram Azad ,Prerana shrimali & celebrity kathak dancer Pratishtha Sharma desciple of Rajendra gangani

Facts About Kirana Gharana

Much to the credit of Abdul Karim Khan, today most Hindustani musicians from Karnataka are exponents of Kirana Gharana and Kirana Gharana has imbibed many of the features of the Carnatic tradition. Particularly the culturally fecund border region between Karnataka and Maharashtra is famous for its tradition of the Kirana school of singing.

Another towering figure of this gharana in the early 20th century was Abdul Karim Khan’s cousin Abdul Wahid Khan (1871?-1949).

In the Kirana Gayaki, the individual swaras (notes) of the raga are considered not just random points in the scale but independent realms of music capable of horizontal expansion. Mind blowing, emotion drenched pukars in the higher octaves form a part of the musical experience. Another unique feature of this gharana is the highly intricate and ornate use of the sargam taan (weaving patterns with the notations themselves) which was improvised by Ustad Abdul Karim Khansahab as a direct influence of the Carnatic classical style.

Favorite ragas of performers from the Kirana gharana include Todi, Lalit, Multani, Patdeep, Puriya, Marwa, Shuddha Kalyan, Darbari Kanhara, and Komal-Rishabh Asavari. Noted Marathi thespian PuLa Deshpande has pointed out that performers from the Kirana gharana have had a "soft corner" for the Komal Rishabh note of the Indian Classical Music scale. The ragas mentioned above as Kirana favorites support this observation.

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