Natya, Nritya & Nritta
Mărgi - Desi
Tăndava and Lăsya
Tăndava and Lăsya are terms that we come across very often in dance parlance.
It is believed that Lăsya was first introduced by Goddess Părvati , the consort of Lord Shiva as a counterpart of Tăndava , the dance taught by him to his pupil Tăndu.
Tăndava movements can be described as more of virile movements which includes forceful and vigorous movements where as Lăsya comprises movements that are delicate, soft and graceful.
The sanskrit root 'Las' means to shine. So Lăsya relates to something beautiful, shining, decorating, etc and hence more referred to as a feminine type of dance. All the ancient treatise on Dance talk about Lăsya and Lăsyangas (another term for Lăsya mentioned in Natyashastra, Nrittaratnavali,etc) and have described them to be performed by the women that revolve around the emotion of love.
Every dance style in India in one way or the other finds its roots in the Lasyangas. Solo dance styles like , Bharatnatyam, Odissi, Mohiniattam and others resemble Lăsya in terms of the mode of presentation as well as themes portrayed.
Tăndava as mentioned earlier consists of the powerful and strong movements that include the jumps, whirls and leaps. Nătya Shăstra has one full chapter on Tăndava Lakshana - Description of Class Dance which consists the 108 Karanas, Angaharas, Rechakas, etc.
Tăndava immediately brings to our mind the exotic dance of Shiva. Nandikeshwara describes the dance of Shiva (the Cosmic Dancer) as being depicted in seven forms called the Tăndavas, the vigorous, masculine, eternal dance which depicts the creation, preservance and dissolution of the universe.
The seven Tăndavas are Sandhya Tăndava ,Ananda Tăndava, Kali or Shakti Tăndava, Tripura Tăndava, Sati and Shiva Tăndava, Ardhanari Tăndava and Samhara Tăndava.