TÁŃD́AVA Dance Rhythm audio :  click here for audio


1) Calls: Dancers ready, 123 jump, (3 times) ta ta din ta (the first time they jump up), (3 times) ta ta din din, (3 times) din din din din, BA’BA’ NAM KEVALAM …BNK, dancers halt, final position, 123 jump, Param Pita Baba Ki – Jai.

2) First 2 jumps, and last jump should all be trying for knees to hit the chest (not feet to kick the buttocks).

3) Technically ta is on the heel, din is on the ball of the foot. But that’s a pretty sophisticated touch.

4) Keep arms straight, not flapping up and down like a bird.

5) Kicking should be high as possible, while also to the side.

6) (As can be easily understood when one reads relevant portion in the “Namah Shiváya Shántáya – chapter – Shivology:) The maximum benefit is accrued when the dancer spends more time completely off the ground. And that benefit is assimilated when he touches the ground. It means the best dancing will be such that both feet are simultaneously off the ground for the longest possible time.
I think all other points you know just fine.
About seven thousand years ago, Sadáshiva first introduced the táńd́ava dance, and so far as the kaośikii dance is concerned, I first introduced it on September 6, 1978. Actually, both táńd́ava and kaośikii are more physical exercises, useful to the body, than they are forms of dance. Kaośikii serves as a medicine for twenty-two diseases – it is a panacea.
The Táńd́ava dance is an all-body exercise, by which even the brain and its nerve cells become strengthened.

Táńd́ava is a very vigorous exercise. The Sanskrit word tańd́u means “upward jump”, and hence the dance which involves a lot of jumping is called táńd́ava. You know that rice is called tańd́ula in Sanskrit, because while husking the rice with a traditional wooden husking machine the rice grains leap from the paddy husks and scatter all around. Lord Sadáshiva invented táńd́ava as a valuable tool for dharma pracára [the propagation of spirituality], but that does not mean that táńd́ava is easy for everyone to do.

Párvatii lent her cooperation to Shiva in many ways in propagating spirituality. Shiva introduced the táńd́ava dance, and Párvatii introduced the lalita mármika dance. Ananda Marga has accepted the system of combining the lalita mármika dance with kiirtana. Now to create a link between the táńd́ava invented by Shiva and the lalita mármika invented by Párvatii, certain rhythms were invented or discovered. The common term for all these rhythms is tála: the tá of táńd́ava and the la of Lalita. —18 October 1979, Sambalpur, INDIA