Rasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-…
Read moreRasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-representational dance (nṛtta) using three overarching canons of Indian Aesthetics – Rasa, Aucitya, and Dhvani. We present a significant advancement in the field of Indian dance aesthetics by offering a refined definition of non-representational dance or nṛtta by aligning it within the framework of the rasa sūtra (dictum on rasa). The definition is substantiated by a nuanced analysis and interpretation of Bharata’s delineation of nṛtta, and cross-examination with related concepts in the Nāṭyaśāstra. Furthermore, we explore non-representational dance within the frameworks of aucitya and dhvani, enhancing fundamental concepts established by this definition.
