Pristine Hinduism Indeed Saw God as The Divine Chorus Director
By Sumit Paul, New Age
Islam
15 July
2024
The Gestures of the
Dance Represent Shiva’s Five Activities (Panchakritya):
Creation (Symbolized by The Drum), Protection (By The “Fear-Not” Pose of The
Hand), Destruction (By The Fire), Embodiment (By The Foot Planted On the
Ground), And Release (By The Foot Held Aloft).
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Why not use
the triumvirate of "Myth, theology, and politics " to describe religion
or, alternately, "Poetry, Music and Dance", which sits well with
imagining God as the Divine Chorus Director?
There seems
to be a subtle sarcasm in Mr Naseer's aforementioned comment. A mind, rigidly
schooled in only Islamic thought processes, cannot understand the alternative
ideas of god and divinity in other faiths, cultures and communities. Here lies
the importance of embracing otherness and sharing the wisdom in order to
acquire a universal vision. Eastern faiths, esp.
Hinduism,
indeed saw god as the Divine Chorus Director: Iish Pratipannam Jagatasti Nritya-Sangeet Abhirangam (Shaivite
belief of god, Shiva, as the Supreme Master of Dance and Music). Nataraja, the
Hindu god Shiva in his form as the cosmic dancer, is a popular concept in
Hinduism and its mythology.
Sandhya Tandava
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In the
Nataraja sculpture, Shiva is shown as the source of all movement within the
cosmos and as the god whose doomsday dance, represented by the arch of flames,
accompanies the dissolution of the universe at the end of an eon. His dance of
creation is said to have been performed in Chidambaram (an important Shaiva
centre in South India), a place that is identified with both the centre of the
universe and the human heart.
The
gestures of the dance represent Shiva’s five activities (Panchakritya): creation (symbolized by the drum), protection (by
the “fear-not” pose of the hand), destruction (by the fire), embodiment (by the
foot planted on the ground), and release (by the foot held aloft).
Other
dances of Shiva seen in sculpture and painting are the wild Tandava, which he performs on cremation
grounds in the company of his consort Devi, and the graceful lasya, an evening
dance performed on Mount Kailas before the assembly of gods, some of whom
accompany him on various instruments.
Twelfth-century
Sanskrit, Maithili and Odia poet Jayadeva described Krishna as a divine
philanderer and flutist who would woo Radha and Gopis with his music, poetry,
sweet talk (Charu Vaak) and
nimble-footed dance movements in Geet Govindam. Eastern gods have been depicted
as playful deities, whereas the monotheistic god of all three Semitic faiths is
projected as a permanently sullen and sombre being who dislikes dance, music
and poetry. We need empathy of faith to accept the diverse traditions in
different religions. Mind you, I'm not a Hindu who's defining and defending
Hinduism's religious symbolism. I've no faith in all these symbols, projections
and interpretations in all-man made faiths. Nor do I believe in any damn god.
But looking at all faiths from a purely academic perspective sans a scintilla of
prejudice can help dissolve many doubts and differences. Mr Naseer will not
disagree with me.
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A regular columnist for New Age Islam, Sumit
Paul is a researcher in comparative religions, with special reference to Islam.
He has contributed articles to the world's premier publications in several
languages including Persian.
New Age Islam, Islam Online, Islamic Website, African Muslim News, Arab World News, South Asia News, Indian Muslim News, World Muslim News, Women in Islam, Islamic Feminism, Arab Women, Women In Arab, Islamophobia in America, Muslim Women in West, Islam Women and Feminism