Learn the lingo
Photo: M.A. Sriram
Grace abounding The Manipuri Raas, depicting Krishna and the gopis, is predominated by lasya
Dance
Tandava, lasya: These are terms that have come to be associated with the concept of the feminine and the masculine. Although these concepts are common to literature, painting and other arts as well, one finds tandava and lasya inextricably woven into the theory and philosophy of Indian dance. Tandava movements are those which exude power. They are vigorous and might be fast-paced, though they might also be slow. Lasya movements are characterised by softness and delicate grace.
Mythologically, the Tandava dance is associated with Lord Shiva, while Lasya is attributed to Parvati.
It would not be right, however, to say that tandava is danced only by men or male characters, and lasya by women or female characters. Women’s movements can be characterised by tandava — say, Goddess Meenakshi facing the demons — just as a man’s may be by lasya.
A dance form that contains a predominance of lasya is the Manipuri Raas. The Pung Cholam, the drum dance that is also part of Manipuri, with the drummers taking vigorous leaps and spinning movements, could be characterised as tandava.
A dancer might use tandava movements to depict Krishna battling with the serpent Kaliya, but in portraying Krishna with Radha in the bower, lasya might predominate.
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