1. The document discusses the origins and principles of Natya Veda, which was extracted from the four main Vedas by Lord Brahma and teaches about dance. 2. Key aspects of Natya Veda include using dance to achieve peace of body and mind, global peace, and self-realization. Dance is connected to the five elements and stimulates the five senses and nervous system. 3. The document outlines plans to research Natya Veda through collecting information from ancient texts and experts in dance, music, and Vedic traditions.

1. 1.Natya veda for peace of body and mind
2. Natya veda for Global peace
3. Natya veda for protect from negative elements.
4. Natya veda for Spiritual Powers.
5. Natya veda for Self realization
THE ROLE OF VEDA IN NATYA
By
Vedic and Scientific Research Foundation

2. Lord Bramha created a fifth veda known as the Natya
Veda, a veda about dance. While in meditation he
extracted various parts of the other four Vedas.
Rig Veda ………….. Pathyam/Recitation
Yajur Veda…………. Abhinaya/ Histrionic
Representation.
Sama Veda…………. Gitam/Melody
Atharva Veda ………. Rasa/Sentiments.

3. Lord Natraj, also known as Shiva, saw this dance
drama. Lord Shiva was very contented. Lord Shiva
and his beloved spouse Mother Parvati started to
teach their disciples dance. Shiva in the form of
Natraj is the Hindu God of Dance.
Natayam creates Vibrate the Body, Sensor, Nervous
Deep Connect and stimulate between Five Sensor and
Five Elements/Puncha bhoothas.

4. Plan of Action
 1. we make team of people those who really
interest in this above topic
 2. We give very higher spiritual vedic trainee for
increase their mind and spiritual powers
 3. we collect information from ancient text
 4. we collect information from many dancers,
music experts, vedic experts and etc.,
 5. We plan to take documentary film for each topic.
 6. Study about gene theory, family back ground and
etc.,


5. Science of Natya Veda
 . Natya is the science of micro/macro cosmology,
with the physical space of the theatre also
conceived as whole universe as one entity.
 Throughout the amazing understanding of the
human anatomy consisting of 72000 nadis of which
only 16500 nadis works dynamically, that this text
reveals, a constant relationship is established
between the Psychical, Physical and five
elements.nine planetary positioning in the body.

6. Science of Natya Veda
 Based on the world view which considers the
manifest and unmanifest as part of one unified
reality, there is acceptance of what you are seeing
not true yet true for that moment.
 multiple forms (rupa),
 formlessness (arupa)
 even going beyond form (pararupa).
 Bharata speaks of Natya as a discipline
synthesizing all other art forms, encompassing in
its totality the physical, the psychical and even the
metaphysical. The truth of the life as a nut shell.

7.  Smt. Padmaja Venkatesh a dancer/scholar
Department of Philosophy, University of Mysore,
1. “Science of Tantra and the Art of Natya”.
 2. Tantra — which unfortunately has come to be
associated in the popular mind more with specific
formulae of worship for attaining superhuman,
magical powers — has, like Natya.
 3. Vedic origin covering mantras and yantras and
“meditational aspects of the Tan-matras, and the
Cakras which are traced to, and to which initiation
is from a line of guru/shishya parampara, much like

8. Maheshwara sutras

9.  4. Symbolism plays a large role in both Tantra
Sastra and Natya Sastra.
 5. Natya has the human body as instrument or
yantra, while Tantra shakti uses many yantras —
even kritis or lyrics like Muttuswami Dikshitar's
Dhyana Kritis, and both need to be practiced by the
initiated ‘upasaka'. Both in their ultimate state,
progressively, aspire to go beyond the yantra or
instrument.

10.  6. If Natya aspires to a state of bodylessness with
dancer becoming the dance, Mind, which
contemplates through an instrument on a deity, is
transformed into that which it is meditating on.
 7. Hatha Yoga in Tantra, and mudras in Tantra
have their counterpart in hastabhinaya in Natya.
 8. The speaker referred to the Beejaakshara
recitation in Tantra Cakra worship working on
sound energy (which includes the important aspect
of silence) and traced how the nattuvangam sollus
in Natya are a manifestation of this practice.

11.  9. The Mantra, the kavutvams, which now on the
proscenium stage have taken on a more decorative
dimension, in their authentic practice in temple
ritual were derived from beejaakshara mantras.
 10. Speaking of the Kundalini Shakti being
energized through Tantra, the dancer referred to
distinct Natya forms like Koodiyattam which also
are based on the same principle.

12. Beejaksharas being moola for
mantra
 Importantly ome/aim/hreem/shreem/kleem
 Sa/re/ga/ma/pa/dha/ni/sa being the sounds that are
derived from the maheshwara sutra’s 14 sounds
which were translated to single sound.
 The frequency levels of the sounds verying from
5hz-108hz.
 Every sound having definite weightage not less or
more.

13. Maheshwara sutra being the moola
 There were 14 sounds that were derived and
subsequently transformed to other various sounds.
 The frequencies were are already set by panini
during the medieval times.
 For everything that came from the damarooka.
 Maheshwara sutra with shakthi is half hence
without shakthi there is no shaktha and with
without shaktha there is no shakthi, they work hand
in hand

14. Prakrit lipi to sansarakrit lipi
 Initially there was only one language Prakrit lipi
which was like making sounds and giving the idea
which the miedival people so called gods whom we
are treating today.
 Nw for a common man to understand this would be
really difficult hence they came up with samsara
krit language language.
 Now for the dance form they further transformed
the words into saptha swaras with single word

15. Concept of ida/pingala/shishumna
 As per srividya sadhana there are three common
nadis that work which are ida/pingala/shishumna
 For activating the same these are further subdivided
into 3*3 that nine sections.
 Each section has three parts to activate through the
sadhana.
 This in turn helps the body to get that vital energy
force and keep you energetic all the life long.

16. Ardha narishwara roopa
 Our body is logically ardhanashiwara roopa
logically :
 A) We have both the characters of male and
female.
 B)We have all the nava rasas to express when it is
needed
 C)Our brain is the central point that has two sides
right and left which act according to our
instructions from the liver.

17. Source for the energy
 The 50 beejakshras out of which only five
ome/aim/hreem/sheem/kleem really come into
work.
 The primary source of the enrgy that a dancer gets
from is the 5 beejaksharas that constitute the shloka
generates certain energy which gets reflected to the
body while dancing and thus there is large energy
that is evolved which none of us can imagine.

18. Nava varana
 The nava varana of shrividya is nothing but the
nava gruhas that rule our life.
 The navavaranas are the sources which actually
controls our body/mind/soul as a whole.
 The only difference between normal person and
practicing srividya upasaka is that srividya upasaka
knows to control the nine avaranas who are the
predominantly termed as the nine planets as per
astrology.

19. Trantra Shastra/mantra shastra
 Dancer is practitioner of both tantra and mantra
Shastra.
 Dancer dances to the tunes of the rhythmic hyms
which evolved from beejamantras which again
form a mantra which is recited while dancing for
thirty minutes or one hour.
 This resulting in generating that positive energy
and same is felt by the audience who see. This can
be felt by the audience.

20. Veda/upanishads
 Logically during the vedas and Upanishads are the
translation of the scientific approach of an
individual which if told that there is scientific
reason, general public does not listen, so munis
converted the same texts into the stories which
entices the public, thus these epics are performed in
the classical dance form using the expressions/hasta
mudrikas as means for the presentation.

21. Hasta mudrikas
 The primary source for the energy to get emitted is
the hasta mudrikas. There are reasons for the same :
 A) Every human fingers have certain strength or
power.
 B)In music if you see sa/re/ga/ma/pa/dha/ni are
tapped with different fingers reason being, there is
some energy that is emitted through these fingers
while singing which gets connected to the nadis
that are there in our body.

22. Dancer performing hasta mudrikas
 As ther is some energy source that comes from the
fingers the dancer while using the mudrikas
generates certain energy from body which collides
with the energy that is emitted through the music
instruments that a percussionist plays.
 When bothe energies collide the positive energy
emmited is enormous.Thus hasta mudrikas play a
key role in one life.If you see a sree vidya upasak
speaking he or she normally used fingers, this is the
reason.

23. Bharat mahamuni’s natya Shastra
emergence
 During that time there was lot of chaos around the
people who were not knowing the true definition of
the life’s existence/basic understanding of the
morality meaning what is good and what is bad.
 Thus bharatmahamuni came up with an idea to
present in the dance form by which atleast one out
of hundreds will be benifitted with the positive note
of life, where by he will be transferring the same to
others in the public.

24. Bharat mahamuni’s natya Shastra
emergence
 Thus he had created a medium called dance.
 Here just dancing vaguely will create false
impression and from which public will get to learn
nothing.
 Thus he came up with a standard guideline which
in Sanskrit is called Shastra. Like it is done for
learning vedas and Upanishads.
 This was done covering all the aspects of an
individual.

25. Bharat mahamuni ‘s natya Shastra
emergence
 Natya Shastra is also a kind of bhagvat geetha that
is told to public by way of dance teaching the
various aspects of understanding the life in very
beautifull way.
 For this there has to be a medium like creating the
melodies meaning which sama veda as per vedic
terminology.
 The tunes cannot be modulated in any manner you
want, which will create negative energy in the
atmosphere

26. Bharat mahamuni ‘s natya Shastra
emergence
 Thus every music note of saptha swara has to have
some frequency level not less not more.
 In fact Late legend Mangalampally Baa Murali
Krishna sir was working on thillanas which had a
definite frequency levels which he was trying to do
a research on the music therapy.
 This was also one reason for bharatha mahamuni to
create a dance form to establish a connection with
the human ailments and there is research going on.

27. Bharat mahamuni ‘s natya Shastra
emergence
 There is still research going on for the same
subject.
 In today’s digitized world unfortunately we are not
able to show that invisible energy source which if
proved requires a hard core proof.
 Now for the proof if it is proved there is nothing
like it.

28. Focus
 1. Avoid distraction from Our Five Senses/ eye,
Nose, Ear, Mouth and Body.
 2. Find out the Root cause of distraction.
 3. Balancing Our Senses
 4. Strong connection between Five Senses and Five
Elements.
 5. Balancing thought Process.
 6. Steady mind and Spirituality.

29. Essential Qualities to Excel
1. Brain Power
2. Creativity
3. Intuition Power
4. Dedication
5. Effective Decision Making
6. Sustainability
7. Strong Body
8. Stable Mind.