Estimated reading time: 8 minutes
Bhava! Ancient Sanskrit texts rarely trend on social media.
Yet the Natyashastra’s insights into human emotion have captivated performers, psychologists, and neuroscientists for over two millennia.
I first encountered these concepts while studying Bharatanatyam. They transformed my understanding of how emotions work – not just on stage, but in everyday life.
This intricate framework breaks down the anatomy of feelings into six core components.
- rasa (emotional essence)
- bhava (emotional states)
- vibhava (triggers)
- anubhava (physical expressions)
- sanchari (transitory emotions)
- sthayi bhava (dominant emotional state).
Together, they form a sophisticated map for understanding how emotions arise, manifest, and interact.
For me, Indian classical dance is more than just movement; it is a dynamic expression of emotion, culture, and spirituality.
Central to understanding Indian classical dance is the theory of Rasa and Bhava. The concepts that describe the emotional experience a dancer evokes in the audience. These emotions are meticulously cultivated through Vibhava, Anubhava, Sanchari Bhava, and Sthayi Bhava.
Come, let’s dive deep into these elements and examine how they contribute to the aesthetic experience of classical dance. Also, how they aim to give a more thorough, engaging, and useful resource for students, teachers, and enthusiasts.
Let’s Understand Rasa and Bhava in Indian Classical Dance
Rasa and Bhava form the foundation of aesthetics in Indian classical dance. Both these concepts originate from the Natya Shastra, an ancient Indian treatise on performing arts, attributed to sage Bharata Muni.
Rasa translates to the flavor or emotional essence, and it is the emotion experienced by the audience. On the other hand, Bhava refers to the emotion within the performer that gives rise to Rasa.
The relationship between these two is like that of a painter and a canvas. Bhava is the painter’s emotion, and Rasa is the artwork that resonates with the viewer.
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Rasa: Is the Essence of Emotion
In dance, Rasa is the culmination of emotions that the dancer seeks to invoke in the audience. There are traditionally nine Rasa-s, known as the Navarasa:
- Shringara (Love)
- Hasya (Humor)
- Karuna (Compassion)
- Roudra (Anger)
- Veera (Heroism)
- Bhayanaka (Fear)
- Bibhatsa (Disgust)
- Adbhuta (Wonder)
- Shanta (Peace)
Each Rasa requires specific expressions and gestures that make it possible for the audience to empathize.
Key Takeaway:
Yes, Rasa is about entertainment but is also a deeply spiritual experience for the audience. It helps them to transcend everyday emotions and experience something profound.
विभावेनाहृतो योऽर्थो ह्यनुभावैस्तु गम्यते ।
वागङ्गसत्त्वाभिनयैः स भाव इति संज्ञितः ॥ १॥
vibhāvenāhṛto yo'rtho hyanubhāvaistu gamyate |
vāgaṅgasattvābhinayaiḥ sa bhāva iti saṃjñitaḥ || 1||
Meaning:
The meaning (emotion) that is evoked by the determinants (vibhāvas) and is understood through consequent expressions (anubhāvas) — conveyed through speech, gestures, and inner sentiment — is termed as bhāva (emotion).
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Bhava: Is the Emotion Within the Dancer
Bhava is the root of Rasa, representing the emotion or mental state within the dancer. It can be understood as the “seed” that grows and blooms into the experience of Rasa for the viewer. In dance, a performer’s mastery of Bhava ensures that emotions are conveyed clearly and powerfully.
Types of Bhava:
There are four major types of Bhava in Indian classical dance:
- Sthayi Bhava (Permanent Emotion)
- Vibhava (Determinants)
- Anubhava (Consequents)
- Vyabhichari or Sanchari Bhava (Transient Emotions)
Each type adds a layer of emotional complexity, guiding the audience through a nuanced emotional journey.
वागङ्गमुखरागेण सत्त्वेनाभिनयेन च ।
कवेरन्तर्गतं भावं भावयन्भाव उच्यते ॥ २॥
vāgaṅgamukharāgeṇa sattvenābhinayena ca |
kaverantargataṃ bhāvaṃ bhāvayanbhāva ucyate || 2||
Meaning:
Bhāva (emotion) is that which conveys the inner sentiment of the poet/actor/dancer/presenter through speech, bodily gestures, facial expressions, and inner emotional expression.
Vibhava: Stimulus of Emotion
Vibhava is the cause or determinant of an emotion. In a dance performance, it can include:
- Alambana Vibhava: The main character that evokes the emotion.
- Uddipana Vibhava: Environmental or external factors that enhance the emotion.
For example, in portraying love (Shringara Rasa), the lover or beloved serves as Alambana Vibhava, while the moonlit night and fragrant flowers become Uddipana Vibhava.
Example:
When a dancer expresses love, the Alambana might be a beloved figure, while the Uddipana can be the atmosphere of a serene night. Together, they build a powerful emotional scene that resonates with the audience.
बहवोऽर्था विभाव्यन्ते वागङ्गाभिनयाश्रयाः ।
अनेन यस्मात्तेनायं विभाव इति संज्ञितः ॥ ४॥
bahavo'rthā vibhāvyante vāgaṅgābhinayāśrayāḥ |
anena yasmāttenāyaṃ vibhāva iti saṃjñitaḥ || 4||
Meaning:
Many meanings (or emotions) are expressed through speech, bodily gestures, and expressions; hence, these are called vibhāvas.
Anubhava: The Manifestation of Emotion
Anubhava is the physical expression or manifestation of Bhava. It includes gestures, facial expressions, and body movements that convey the emotional state to the audience.
Anubhava brings the inner feelings of the dancer to the surface, allowing the viewer to see and feel those emotions. Mastery of Anubhava is what makes a performance immersive, as it translates subtle emotions into something tangible.
वागङ्गाभिनयेनेह यतस्त्वर्थोऽनुभाव्यते ।
शाखाङ्गोपाङ्गसंयुक्तस्त्वनुभावस्ततः स्मृतः ॥ ५ ॥
vāgaṅgābhinayeneha yatastvartho'nubhāvyate |
śākhāṅgopāṅgasaṃyuktastvanubhāvastataḥ smṛtaḥ || 5 ||
Meaning:
Through speech, bodily gestures, and expressions, meaning is conveyed; when combined with limbs, subsidiary limbs, and minor gestures, it is known as an anubhāva.
Sanchari Bhava: The Transient Emotions
Sanchari Bhavas or Vyabhichari Bhavas are the fleeting emotions that accompany the primary emotion (Sthayi Bhava). These transient emotions enrich the performance by adding depth and complexity, giving the audience a fuller experience.
Examples include feelings of doubt, anticipation, or jealousy that enhance the primary emotion without overshadowing it. In the portrayal of Veera Rasa (Heroism), a hint of fear or determination can be introduced as Sanchari Bhava to add realism.
Sthayi Bhava: The Dominant Emotion
Sthayi Bhava is the core, enduring emotion in a performance. Each Rasa corresponds to a Sthayi Bhava that anchors the entire emotional arc. The dancer focuses on this main emotion, allowing it to guide the flow of the performance.
For example:
- Shringara Rasa (Romantic/Love) – Linked to Rati (Love)
- Hasya Rasa (Humor) – Linked to Hasa (Mirth or Laughter)
- Karuna Rasa (Compassion/Sorrow) – Linked to Shoka (Sorrow)
- Raudra Rasa (Anger) – Linked to Krodha (Anger)
- Veera Rasa (Heroism/Courage) – Linked to Utsaha (Enthusiasm or Energy)
- Bhayanaka Rasa (Fear) – Linked to Bhaya (Fear)
- Bibhatsa Rasa (Disgust) – Linked to Jugupsa (Disgust or Aversion)
- Adbhuta Rasa (Wonder) – Linked to Vismaya (Astonishment or Wonder)
- Shanta Rasa (Peace) – Linked to Shama (Tranquility or Peace)
Each of these Sthayi Bhavas acts as the anchor for the Rasa. They give a stable foundation for the entire emotional journey within a performance. Through the focused portrayal of the Sthayi Bhava, the dancer can guide the audience’s experience. They also evoke a profound emotional response.
The Sthayi Bhava remains constant, providing a foundation upon which other emotions build and develop.
How Rasa and Bhava Interact in Performance?
In every classical dance, the ultimate goal is to evoke Rasa in the audience through the dancer’s Bhava. The dancer draws upon their own emotions, using Vibhava, Anubhava, and Sanchari Bhava to give life to Sthayi Bhava. This creates an intricate tapestry of feeling and expression.
This interaction can be compared to storytelling, where characters (Vibhava), expressions (Anubhava), and secondary plot points (Sanchari Bhava) all build towards the climax (Rasa).
Commonly Asked Questions about Rasa and Bhava
Yes, a dancer can transition between different Rasa-s, provided they are skilled at shifting Bhava seamlessly.
Observing seasoned dancers, practicing emotional recall, and studying the Natya Shastra can deepen your understanding.
Bhava provides the seed of emotion that blossoms into Rasa, enabling a performance that is not only beautiful but also emotionally moving.
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Conclusion: The Heartbeat of Classical Dance
The Natyashastra’s emotional framework isn’t just ancient theory – it’s a practical tool for modern life.
Understanding these six elements helps us recognize emotional patterns in ourselves and others, enriching our relationships and creative expression.
I’ve seen performers use these concepts to bring characters to life, therapists apply them to understand emotional states, and leaders leverage them for better emotional intelligence.
While the Sanskrit terms are complex at first, but they illuminate something profoundly simple: the universal language of human feeling.
Master these elements, and you’ll gain deeper insight into the emotional currents that shape our lives. The wisdom of the Natyashastra reminds us that some truths about human nature truly are timeless.
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At Natya-Shastra.in, our mission is to serve as a gateway to the illustrious world of the NāṭyaŚāstra. We offer insights, resources, and a platform to delve deeper into the nuances of Indian performing arts.
Also,we aim to bring forth the richness of this ancient text, shedding light on the profound wisdom it holds and its everlasting influence on various artistic traditions.
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