TA_LA

In this series, we at Nritarutya explore modern expressions of Shiva and Parvati’s ancient dances. Shiva’s Tandav - the beat of masculinity, and Parvati’s Lasya - the softness of grace, reminding us that life is about balance, and life is about equal energy. Together, Tandav and Lasya are Ta_La, or the rhythm of the universe.
Mentor, director of Nritarutya, Mayuri Upadhya has an innate love for mythology. In this series, she extended her thoughts, born from texts about these ancient dance forms, to the team. She inspired in us the evolution of these ancient stories as a relevant celebration in today’s times. She believes it is important to appreciate a contemporary take for contemporary times. We live in a time where we are evolved emotionally to understand that gender stereotypes and energies are transient. A man can exude feminine grace, a woman can command power through innate masculinity. In fact, gender itself is no longer a binary thought.
As we responded to her thoughts and visions, we learned to ponder, reflect, and respond to the grammar of ancient dance. As she so rightly put it, narratives evolve over time. But concepts remain timeless.
Goddess Parvati went on to teach Lasya to Princess Usha, the daughter of a great ruler Bana. From her, it traveled to the Gopis of Dwarka, and spread to other parts of India. One of the most important parts of this dance form is Sringar, or the art of beauty. Knowing how to paint ones eyes and hands, how to dress oneself in flowers and jewels, and to adorn oneself with elements of external beauty that reflect one's internal beauty are key ingredients of this dance form.
Lasya or Lasyanga can broadly be categorized into three forms. Vikata Lasya, the confluence of music, rhythm, and emotion. Visham Lasya, an expression of dexterity through movements that are lateral, circular, and slanted. And, Laghu Lasya, a response to the sounds made by the beating of one’s feet on earth, with anklets as the guiding beat. Lasya, unlike Tandav, has the added quality of the theatrical, or Abhinaya. This, perhaps is why, the focus on the emotion is as integral to the dance form.
Concept and Direction - Mayuri Upadhya
Classical choreography - Latha B.S
Dancer - Latha B.S
Video and Editing - Samuel Adams