Dancer

Expressions researched:
"dancer" |"dancers"

SB Canto 1

SB 1.11.20, Translation and Purport:

Expert dramatists, artists, dancers, singers, historians, genealogists and learned speakers all gave their respective contributions, being inspired by the superhuman pastimes of the Lord. Thus they proceeded on and on.

It appears that five thousand years ago the society also needed the services of the dramatists, artists, dancers, singers, historians, genealogists, public speakers, etc. Dancers, singers and dramatic artists mostly hailed from the śūdra community, whereas the learned historians, genealogists and public speakers hailed from the brāhmaṇa community. All of them belonged to a particular caste, and they became so trained in their respective families. Such dramatists, dancers, singers, historians, genealogists and public speakers would dwell on the subject of the Lord's superhuman activities in different ages and millenniums, and not on ordinary events. Nor were they in chronological order. All the Purāṇas are historical facts described only in relation with the Supreme Lord in different ages and times as well as on different planets also. Therefore, we do not find any chronological order. The modern historians, therefore, cannot catch up the link, and thus they unauthoritatively remark that the Purāṇas are all imaginary stories only.

SB Canto 5

SB 5.18.23, Purport:

"The gopīs received benedictions from the Lord that neither Lakṣmīdevī nor the most beautiful dancers in the heavenly planets could attain. In the rāsa dance, the Lord showed His favor to the most fortunate gopīs by placing His arms on their shoulders and dancing with each of them individually. No one can compare with the gopīs, who received the causeless mercy of the Lord."

In the Caitanya-caritāmṛta it is said that no one can receive the real favor of the Supreme Personality of Godhead without following in the footsteps of the gopīs. Even the goddess of fortune could not receive the same favor as the gopīs, although she underwent severe austerities and penances for many years. Lord Śrī Caitanya Mahāprabhu discusses this point with Vyeṅkaṭa Bhaṭṭa in Caitanya-caritāmṛta (Madhya 9.111-131): "The Lord inquired from Vyeṅkaṭa Bhaṭṭa, 'Your worshipable goddess of fortune, Lakṣmī, always remains on the chest of Nārāyaṇa, and she is certainly the most chaste woman in the creation.

SB Canto 7

SB 7.8.37-39, Translation:

My dear King Yudhiṣṭhira, the demigods then approached the Lord. They were headed by Lord Brahmā, King Indra and Lord Śiva and included great saintly persons and the residents of Pitṛloka, Siddhaloka, Vidyādhara-loka and the planet of the snakes. The Manus approached, and so did the chiefs of various other planets. The angelic dancers approached, as did the Gandharvas, the Cāraṇas, the Yakṣas, the inhabitants of Kinnaraloka, the Vetālas, the inhabitants of Kimpuruṣa-loka, and the personal servants of Viṣṇu like Sunanda and Kumuda. All of them came near the Lord, who glowed with intense light. They individually offered their obeisances and prayers, their hands folded at their heads.

SB Canto 8

SB 8.8.12, Translation:

The great sages performed the bathing ceremony of the goddess of fortune as directed in the authorized scriptures, the Gandharvas chanted all-auspicious Vedic mantras, and the professional women dancers very nicely danced and sang authorized songs prescribed in the Vedas.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.18.11, Translation:

O King, demigods disguised themselves as members of the cowherd community and, just as dramatic dancers praise another dancer, worshiped Kṛṣṇa and Balarāma, who were also appearing as cowherd boys.

SB 10.21.5, Translation:

Wearing a peacock-feather ornament upon His head, blue karṇikāra flowers on His ears, a yellow garment as brilliant as gold, and the Vaijayantī garland, Lord Kṛṣṇa exhibited His transcendental form as the greatest of dancers as He entered the forest of Vṛndāvana, beautifying it with the marks of His footprints. He filled the holes of His flute with the nectar of His lips, and the cowherd boys sang His glories.

SB 10.21.8, Translation:

Dressed in a charming variety of garments, upon which Their garlands rest, and decorating Themselves with peacock feathers, lotuses, lilies, newly grown mango sprouts and clusters of flower buds, Kṛṣṇa and Balarāma shine forth magnificently among the assembly of cowherd boys. They look just like the best of dancers appearing on a dramatic stage, and sometimes They sing.

SB 10.23.22, Translation:

His complexion was dark blue and His garment golden. Wearing a peacock feather, colored minerals, sprigs of flower buds, and a garland of forest flowers and leaves, He was dressed just like a dramatic dancer. He rested one hand upon the shoulder of a friend and with the other twirled a lotus. Lilies graced His ears, His hair hung down over His cheeks, and His lotuslike face was smiling.

SB 10.70.19, Translation:

And there, O King, jesters would entertain the Lord by displaying various comic moods, expert entertainers would perform for Him, and female dancers would dance energetically.

SB 10.75.10, Translation:

Female dancers danced with great joy, and choruses sang, while the loud vibrations of vīnās, flutes and hand cymbals reached all the way to the heavenly regions.

SB 10.84.46, Translation:

Mṛdaṅgas, paṭahas, conchshells, bherīs, ānakas and other instruments resounded, male and female dancers danced, and sūtas and māgadhas recited glorifications. Sweet-voiced Gandharvīs sang, accompanied by their husbands.

CC Adi-lila

CC Adi 4.125, Translation:

"O my beloved friend Vṛndā, where are you coming from?"

"I am coming from the feet of Śrī Hari."

"Where is He?"

"In the forest on the bank of Rādhā-kuṇḍa."

"What is He doing there?"

"He is learning dancing."

"Who is His master?"

"Your image, Rādhā, revealing itself in every tree and creeper in every direction, is roaming like a skillful dancer, making Him dance behind."

CC Adi 7.73, Purport:

Such a relationship certainly transcends the body and mind. When one realizes that the holy name of the Lord is identical with the Supreme Person, he becomes completely eligible to chant the holy name of the Lord. Such an ecstatic chanter and dancer must be considered to have a direct relationship with the Lord.

According to the Vedic principles, there are three stages of spiritual advancement, namely, sambandha-jñāna, abhidheya and prayojana. Sambandha-jñāna refers to establishing one's original relationship with the Supreme Personality of Godhead, abhidheya refers to acting according to that constitutional relationship, and prayojana is the ultimate goal of life, which is to develop love of Godhead (premā pum-artho mahān). If one adheres to the regulative principles under the order of the spiritual master, he very easily achieves the ultimate goal of his life.

CC Adi 10.17, Purport:

In the Gaura-gaṇoddeśa-dīpikā (71) it is stated that Vakreśvara Paṇḍita was an incarnation of Aniruddha, one of the quadruple expansions of Viṣṇu (Vāsudeva, Saṅkarṣaṇa, Aniruddha and Pradyumna). He could dance wonderfully for seventy-two continuous hours. When Lord Caitanya Mahāprabhu played in dramatic performances in the house of Śrīvāsa Paṇḍita, Vakreśvara Paṇḍita was one of the chief dancers, and he danced continuously for that length of time. Śrī Govinda dāsa, an Oriyā devotee of Lord Caitanya Mahāprabhu, has described the life of Vakreśvara Paṇḍita in his book Gaura-kṛṣṇodaya. There are many disciples of Vakreśvara Paṇḍita in Orissa, and they are known as Gauḍīya Vaiṣṇavas although they are Oriyās. Among these disciples are Śrī Gopālaguru and his disciple Śrī Dhyānacandra Gosvāmī.

CC Adi 10.70, Purport:

Jagadīśa Paṇḍita was formerly a great dancer in kṛṣṇa-līlā and was known as Candrahāsa. Regarding Hiraṇya Paṇḍita, it is said that once when Lord Nityānanda, decorated with valuable jewels, was staying at his home, all night long a great thief attempted to plunder these jewels but was unsuccessful. Later he came to Nityānanda Prabhu and surrendered unto Him.

CC Adi 10.115, Purport:

The three brothers Govinda, Mādhava and Vāsudeva Ghoṣa all belonged to a kāyastha family. Govinda established the Gopīnātha temple in Agradvīpa, where he resided. Mādhava Ghoṣa was expert in performing kīrtana. No one within this world could compete with him. He was known as the singer of Vṛndāvana and was very dear to Śrī Nityānanda Prabhu. It is said that when the three brothers performed saṅkīrtana, immediately Lord Caitanya and Nityānanda would dance in ecstasy. According to the Gaura-gaṇoddeśa-dīpikā (188), the three brothers were formerly Kalāvatī, Rasollāsā and Guṇatuṅgā, who recited the songs composed by Śrī Viśākhā-gopī. The three brothers were among one of the seven parties that performed kīrtana when Lord Śrī Caitanya Mahāprabhu attended the Ratha-yātrā festival at Jagannātha Purī. Vakreśvara Paṇḍita was the chief dancer in their party. This is vividly described in the Madhya-līlā, Chapter Thirteen, verses 42 and 43.

CC Adi 11.53, Translation:

The dancer Gopāla was the seventy-first, Rāmabhadra the seventy-second, Gaurāṅga dāsa the seventy-third, Nṛsiṁha-caitanya the seventy-fourth and Mīnaketana Rāmadāsa the seventy-fifth.

CC Adi 13.106, Translation and Purport:

In outer space all the demigods, including the inhabitants of Gandharvaloka, Siddhaloka and Cāraṇaloka, offered their prayers and danced to the accompaniment of music, songs and the beating of drums. Similarly, in Navadvīpa city all the professional dancers, musicians and blessers gathered together, dancing in great jubilation.

As there are professional singers, dancers and reciters of prayers in the heavenly planets, so in India still there are professional dancers, blessers and singers, all of whom assemble together during householder ceremonies, especially marriages and birth ceremonies. These professional men earn their livelihood by taking charity on such occasions from the homes of the Hindus. Eunuchs also take advantage of such ceremonies to receive charity. That is their means of livelihood.

CC Adi 13.109, Translation:

Whatever riches Jagannātha Miśra collected in the form of gifts and presentations, and whatever he had in his house, he distributed among the brāhmaṇas, professional singers, dancers, bhāṭas and the poor. He honored them all by giving them riches in charity.

CC Madhya-lila

CC Madhya 7.18, Translation:

The Lord replied, “I am simply a dancer, and You are the wire-puller. However You pull the wires to make Me dance, I shall dance in that way.

CC Madhya 11.230, Translation:

Śrī Caitanya Mahāprabhu stood in the middle of the dancers, and all the dancers in all directions perceived that Śrī Caitanya Mahāprabhu was looking at them.

CC Madhya 13.38, Purport:

In the first group, Dāmodara Svarūpa was appointed chief singer, and the responding singers were Dāmodara Paṇḍita, Nārāyaṇa, Govinda Datta, Rāghava Paṇḍita and Govindānanda. Śrī Advaita Ācārya was appointed as a dancer. The next group was formed, and the chief singer was Śrīvāsa Ṭhākura.

CC Madhya 13.39, Translation:

The five singers who responded to the singing of Śrīvāsa Ṭhākura were Gaṅgādāsa, Haridāsa, Śrīmān, Śubhānanda and Śrī Rāma Paṇḍita. Śrī Nityānanda Prabhu was appointed as a dancer.

CC Madhya 13.41, Translation and Purport:

Another two persons, Śrīkānta and Vallabha Sena, joined as responsive singers. In this group, the senior Haridāsa (Haridāsa Ṭhākura) was the dancer.

In the third group, Mukunda was appointed the chief singer. This party was composed of Vāsudeva, Gopīnātha, Murāri, Śrīkānta and Vallabha Sena. The senior Haridāsa (Haridāsa Ṭhākura) was the dancer.

CC Madhya 13.43, Translation:

Two brothers named Mādhava Ghoṣa and Vāsudeva Ghoṣa also joined this group as responsive singers. Vakreśvara Paṇḍita was the dancer.

CC Madhya 13.44, Translation:

There was a saṅkīrtana party from the village known as Kulīna-grāma, and Rāmānanda and Satyarāja were appointed the dancers in this group.

CC Madhya 13.45, Translation:

There was another party that came from Śāntipura and was formed by Advaita Ācārya. Acyutānanda was the dancer, and the rest of the men were singers.

CC Madhya 13.60, Purport:

The mystery of the Lord's activities is described by Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura. Lord Jagannātha was astonished to see the transcendental dancing and chanting of Śrī Caitanya Mahāprabhu, and He stopped His car just to see the dancing. Lord Caitanya Mahāprabhu then danced in such a mystical way that He pleased Lord Jagannātha. The seer and the dancer were one and the same Supreme Person, but the Lord, being one and many at the same time, was exhibiting the variegatedness of His pastimes. This is the meaning behind His mysterious exhibition. By the mercy of Śrī Caitanya Mahāprabhu, the King could understand how the two of Them were enjoying each other's activities. Another mysterious exhibition was Śrī Caitanya Mahāprabhu's simultaneous presence in seven groups. By the mercy of Śrī Caitanya Mahāprabhu, the King could understand that also.

CC Madhya 21.101, Translation:

“Lord Kṛṣṇa has many pastimes, of which His pastimes as a human being are the best. His form as a human being is the supreme transcendental form. In this form He is a cowherd boy. He carries a flute in His hand, and His youth is new. He is also an expert dancer. All this is just suitable for His pastimes as a human being.

CC Madhya 21.104, Purport:

When we consider impartially all the unlimited pastimes of the Lord, we find that His pastimes as a human being on this planet—wherein He sports as a cowherd boy with a flute in His hands and appears youthful and fresh like a ballet dancer—are pastimes and features that are never subjected to material laws and inebrieties. The wonderful beauty of Kṛṣṇa is presented in the supreme planet, Gokula (Goloka Vṛndāvana). Inferior to that is His representation in the spiritual sky, and inferior to that is His representation in the external energy (Devī-dhāma). A mere drop of Kṛṣṇa's sweetness can drown these three worlds—Goloka Vṛndāvana, Hari-dhāma (Vaikuṇṭhaloka) and Devī-dhāma (the material world). Everywhere, Kṛṣṇa's beauty merges everyone in the ecstasy of transcendental bliss. Actually the activities of yogamāyā are absent in the spiritual sky and the Vaikuṇṭha planets. She simply works in the supreme planet, Goloka Vṛndāvana, and she works to manifest the activities of Kṛṣṇa when He descends to the material universe to please His innumerable devotees within the material world.

CC Antya-lila

CC Antya 5.20, Purport:

Śrīla Bhaktivinoda Ṭhākura writes in his Amṛta-pravāha-bhāṣya: "Śrīla Rāmānanda Rāya composed a drama named Jagannātha-vallabha-nāṭaka, and he engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dāsīs, are still employed in the temple of Jagannātha, where they are called māhārīs. Śrī Rāmānanda Rāya engaged two such girls, and because they were meant to play the parts of gopīs, he taught them how to awaken thoughts like those of the gopīs. Because the gopīs are worshipable personalities, Rāmānanda Rāya, who considered the two girls gopīs and himself their maidservant, engaged in their service by massaging their bodies with oil to cleanse them completely. Because Rāmānanda Rāya always placed himself in the position of a maidservant of the gopīs, his rehearsal with the girls was actually on the spiritual platform."

CC Antya 7.75, Translation:

Fourteen mṛdaṅgas resounded with the loud congregational chanting, and in each group was a dancer whose dance of ecstatic love inundated the entire world.

CC Antya 10.59, Translation:

In each of the seven groups was a principal dancer, such as Advaita Ācārya or Lord Nityānanda.

CC Antya 10.60, Translation:

The dancers in the other groups were Vakreśvara Paṇḍita, Acyutānanda, Paṇḍita Śrīvāsa, Satyarāja Khān and Narahari dāsa.

CC Antya 10.79, Translation:

When there was no longer a tumultuous sound, Śrī Caitanya Mahāprabhu returned to external consciousness. Then Nityānanda Prabhu informed Him of the fatigue of the chanters and dancers.

CC Antya 11.48, Translation:

Upon hearing this, Śrī Caitanya Mahāprabhu immediately began great congregational chanting in the courtyard. Vakreśvara Paṇḍita was the chief dancer.

Nectar of Devotion

Nectar of Devotion 22:

The beautiful women residing within the palaces of Kṛṣṇa were so much whiter than Gaurī that they were compared to the moonshine, and they were constantly visible to Kṛṣṇa. Therefore, no one can be enjoying more than Kṛṣṇa. The conception of enjoyment is beautiful women, ornaments and riches. And all of these were fabulously present in the palaces of Kṛṣṇa, defeating even the imagination of Kuvera, Lord Indra or Lord Śiva.

Not even a slight distress can touch Kṛṣṇa. Once some of the gopīs went to the place where the brāhmaṇas were performing sacrifices and said, "Dear wives of the brāhmaṇas, you must know that not even a slight smell of distress can touch Kṛṣṇa. He knows no loss, He knows no defamation, He has no fear, He has no anxiety, and He does not know calamity. He is simply encircled by the dancers of Vraja and is enjoying their company in the rāsa dance."

Nectar of Devotion 26:

This kaiśora age can be translated as adolescence. At the end of this period all the gopīs said, "Kṛṣṇa is the killer of the attraction of Cupid, and as such He disturbs the patience of all newly married girls. Kṛṣṇa's bodily features have become so exquisite—it is as if they were all manifesting an artistic sense of the highest sort. His dancing eyes have dimmed the brilliance of the most expert dancer, and so there is no longer any comparison to the beauty of Kṛṣṇa." Learned scholars therefore describe the features of His body at this time as nava-yauvana, newly invented youthfulness. At this stage of Kṛṣṇa's bodily features, the conjugal love affairs with the gopīs and similar pastimes become very prominent.

Nectar of Devotion 37:

One of the devotees of Lord Kṛṣṇa once addressed Him in this manner: "My dear Lord, although You are not a professional dancer, by Your dancing You have so astonished us that we can understand that You are personally the master of all dancing. Certainly You must have learned this dancing art directly from the goddess of love." When a devotee dances in ecstatic love, there are manifestations of symptoms which are called sāttvika. Sāttvika means that they are from the transcendental platform. They are not symptoms of material emotion; they come from the soul proper.

In Śrīmad-Bhāgavatam, Tenth Canto, Eighty-fifth Chapter, verse 38, Śukadeva Gosvāmī tells Mahārāja Parīkṣit that after surrendering everything unto the lotus feet of Vāmanadeva, Bali Mahārāja immediately caught hold of the lotus feet of the Lord and pressed them to his heart. Being overwhelmed with joy, he manifested all the symptoms of ecstatic love, with tears in his eyes and a faltering voice.

Krsna, The Supreme Personality of Godhead

Krsna Book 33:

The Gandharvas and Kinnaras began to sing, and, accompanied by their respective wives, all the Gandharvas began to shower flowers on the dancers.

As the gopīs and Kṛṣṇa danced together, a very blissful musical sound was produced from the tinkling of their bells, ornaments and bangles. It appeared that Kṛṣṇa was a greenish sapphire locket in the midst of a golden necklace decorated with valuable stones. While Kṛṣṇa and the gopīs danced, they displayed extraordinary bodily features. The movements of their legs, their placing their hands on one another, the movements of their eyebrows, their smiling, the movements of the gopīs' breasts, clothes and earrings, their cheeks, their hair with flowers—as Kṛṣṇa and the gopīs sang and danced these combined to appear like clouds, thunder, snow and lightning. Kṛṣṇa's bodily features appeared just like a group of clouds, the gopīs' songs were like thunder, their beauty appeared to be just like lightning in the sky, and the drops of perspiration visible on their faces appeared like falling snow. In this way, the gopīs and Kṛṣṇa fully engaged in dancing.

Krsna Book 33:

Kṛṣṇa is dancing, and every living entity is also dancing, but there is a difference between the dancing in the spiritual world and that in the material world. This is expressed by the author of the Caitanya-caritāmṛta, who says that the master dancer is Kṛṣṇa and everyone else is His servant. Everyone is trying to imitate Kṛṣṇa's dancing. Those who are actually in Kṛṣṇa consciousness respond rightly to the dancing of Kṛṣṇa: they do not try to dance independently. But those in the material world try to imitate Kṛṣṇa as the Supreme Personality of Godhead. The living entities are dancing under the direction of Kṛṣṇa's māyā and are thinking that they are equal to Kṛṣṇa. But this is not a fact. In Kṛṣṇa consciousness, this misconception is absent, for a person in Kṛṣṇa consciousness knows that Kṛṣṇa is the supreme master and everyone else is His servant. One has to dance to please Kṛṣṇa, not to imitate or attempt to become equal to the Supreme Personality of Godhead.

Krsna Book 70:

After entering the assembly house, He used to sit on the exalted royal throne and would be seen to emanate glaring rays of transcendental effulgence. In the midst of all the great heroes of the Yadu dynasty, Kṛṣṇa resembled the full moon in the sky surrounded by multiluminaries. In the assembly house were professional jokers, dancers, musicians and ballet girls, and as soon as the Lord sat on His throne they would begin their respective functions to please the Lord and put Him in a happy mood. First of all the jokers would talk in such a way that the Lord and His associates would enjoy their humor, which would refresh the morning mood. The dramatic actors would then play their parts, and the dancing ballet girls would separately display their artistic movements. All these functions would be accompanied by the beating of mṛdaṅga drums and the sounds of the vīṇā, flutes and bells, followed by the sound of the muraja, another type of drum. To these musical vibrations, the auspicious sound of the conchshell would be added.

Krsna Book 83:

As soon as I placed my garland on the neck of the Lord, there sounded immediately the combined vibration of mṛdaṅgas, paṭaha and ānaka drums, conchshells, kettledrums and other instruments, causing a tumultuous sound, and while the music played, expert male and female dancers began to dance, and singers began to sing sweetly.

“My dear Draupadī, when I accepted Lord Kṛṣṇa as my worshipable husband and He accepted me as His maidservant, there was a tumultuous roaring among the disappointed princes. All of them were very agitated because of their lusty desires, but without caring for them, my husband, in His form as the four-handed Nārāyaṇa, immediately took me on His chariot, which was drawn by four excellent horses. Expecting opposition from the princes, He armored Himself and took up His bow, named Śārṅga, and then our celebrated driver, Dāruka, drove the beautiful chariot, without a moment's delay, toward the city of Dvārakā.

Krsna Book 84:

When everything was complete, there was heard the vibration of mṛdaṅgas, conchshells, kettledrums and other musical instruments. Professional dancers, both male and female, began to dance. The sūtas and māgadhas, who were professional singers, began to offer prayers by singing. And the Gandharvas and their wives, whose voices were very sweet, began to sing many auspicious songs. Vasudeva anointed his eyes with black cosmetic, smeared butter over his body and then, along with his eighteen wives, headed by Devakī, sat before the priests to be purified by the abhiṣeka ceremony. While the ceremony was being observed strictly according to the principles of the scriptures, Vasudeva resembled the moon encircled by stars. Because he was being initiated for the sacrifice, he was dressed in a deerskin, but all his wives were dressed with very nice saris, bangles, necklaces, ankle bells, earrings and many other ornaments. Vasudeva looked very beautiful surrounded by his wives, exactly like the King of heaven when he performs such sacrifices.

Krsna Book 90:

After enjoying fully amongst themselves, the queens and Lord Kṛṣṇa would come out of the water, and they would give up their wet garments, which were very valuable, to be taken away by the professional singers and dancers. These singers and dancers had no means of subsistence other than the rewards of valuable garments and ornaments left by the queens and kings on such occasions. The whole system of society was so well planned that all the members of society in their different positions as brāhmaṇas, kṣatriyas, vaiśyas and śūdras had no difficulty in earning their livelihood. There was no competition among the divisions of society. The original conception of the caste system was so planned that one group of men engaged in a particular type of occupation would not compete with another group of men engaged in a different occupation.

Srimad-Bhagavatam Lectures

Lecture on SB 1.8.35 -- Mayapura, October 15, 1974:

If we are always engaged in thinking of Kṛṣṇa, then there is chance at the end of life—ante nārāyaṇa-smṛtiḥ (SB 2.1.6). Then there is chance. Everything has to be practiced. Just like if you want to dance in the stage, so you have to perform many rehearsal, how to dance, how to dance, how to dance. Then, if you become expert dancer, then when you dance on the stage, you get acclaim: "Ah." (makes sound of applause:) "Phut, phut, phut, phut." "Very good dancer." But that "very good dancer," you cannot say, "I go immediately to the stage, and I become a good dancer." That is not possible. If one says, "No, no, no, I don't... I shall not attend the rehearsal. You give me the stage. I shall..." No, no. No director will allow him. He's a rascal. He's a rascal. You cannot become all of a..., a nice dancer without practicing it.

Lecture on SB 3.22.21 -- Tehran, August 10, 1976:

Sa vai manaḥ kṛṣṇa-padāravindayor vacāṁsi vaikuṇṭha-guṇānuvarṇane (SB 9.4.18). There is one instance of Kṛṣṇa consciousness, how the devotee does not lose a single moment without thinking of Kṛṣṇa. Satataṁ kīrtayanto mām (BG 9.14). Kīrtaniyaḥ sadā hariḥ (CC Adi 17.31). This instruction we get. So, sadā tad bhāva-bhāvitaḥ (BG 8.6). If you practice like that, then there is chance of being transferred to Kṛṣṇa just after leaving this body. So somehow or other you should be absorbed in the thought of Kṛṣṇa. We get all these examples from authorities. Just like Ambarīṣa Mahārāja, he was emperor, very responsible man. But sa vai manaḥ kṛṣṇa-padāravindayor: he kept his mind always on the lotus feet of Kṛṣṇa. Sa vai manaḥ kṛṣṇa-padāravindayor (SB 9.4.18). So although great emperor, so responsibility, still it was possible for him to keep his mind on the lotus feet of Kṛṣṇa. In South India there is a class of professional dancer. They take a big jug on the head and without any, what is called? Bira?

Nectar of Devotion Lectures

The Nectar of Devotion -- Bombay, January 8, 1973:

When there is kṛṣṇa-kīrtana, people, all classes of people, become very much pleased, and they join. As soon as your kīrtana will be pure saṅkīrtana, not artificial, not professional... There are many professional dancer. That will not attract. But, even if you do not know the art of dancing, if you simply dance in ecstasy for Kṛṣṇa's love, that will be appreciated by everyone. That will be appreciated by everyone. Kṛṣṇot-kīrtana-gāna-nartana-parau. These are the art. One does not require to become a Vedāntist. Simply if one chants Kṛṣṇa's name, holy name, and in ecstasy dances, he's more than a Vedāntist. Actually vedānti means one who knows the ultimate knowledge, veda. Veda means knowledge. And anta means ultimate, vedānta. Then what is that ultimate knowledge? Kṛṣṇa. Vedaiś ca sarvair aham eva vedyam (BG 15.15). That is ultimate knowledge. So one who has understood Kṛṣṇa and Kṛṣṇa's love, he's dancing, then what more vedānta can do? That is the first class realization of vedānta.

Festival Lectures

Six Gosvamis Lecture, Sri Sri Sad-govamy-astaka -- Los Angeles, November 18, 1968:

And they were chanting and dancing, not dry. Premāmṛtāmbho-nidhi, dipped into the ocean of love of Kṛṣṇa. You cannot chant and dance for a long time unless you are dipped into the ocean of love of Kṛṣṇa. That is the specific qualification of the dancer and chanter. If you ask somebody to chant and dance for one hour, he'll get tired. But this chanting and dancing is so nice that these Gosvāmīs, they can go on chanting and dancing for twenty-four hours. Premāmṛtāmbho-nidhi. Because they were dipped into the ocean of love of Kṛṣṇa. Kṛṣṇotkīrtana-gāna-nartana-parau premāmṛtāmbho-nidhi dhīrādhīra-jana-priyau. Dhīra, dhīra means gentle, and adhīra means ruffians, not gentle. So they were affectionate and popular both to the gentle as well as ruffians, these Gosvāmīs. Everyone liked them. Kṛṣṇa consciousness is so nice that unless one is a staunch atheist, everyone will like this Kṛṣṇa conscious movement.

General Lectures

Lecture at Art Gallery -- Auckland, April 16, 1972:

Ladies and Gentlemen, I thank you very much for your coming here and giving us a chance to speak about the absolute artist. Kṛṣṇa's name is Naṭabara, Naṭabara. Naṭabara means the greatest dramatic dancer. And another, His name, is Naṭo nāṭyadharo yathā. He is dancing in such a nice way that He (is) attracting everyone. So in the Vedas it is said about Kṛṣṇa how great artist He is. Na tasya kāryaṁ kāraṇaṁ ca vidyate. The Absolute Personality of Godhead, He has nothing to do personally. Na tasya kāryaṁ kāraṇaṁ ca vidyate. Kāryam means work. He hasn't got to perform any work, although He is the greatest worker. Na tasya kāryaṁ kāraṇaṁ ca vidyate na tasya samaḥ adhikaś ca dṛśyate. And nobody is found greater than Him or equal to Him. In this world every one of us, we know that "Somebody is lower than me, somebody is greater than me, and somebody is equal to me." That is our experience. We cannot say that I am or you are absolute. Nobody is absolute. However you may be great in the estimation of others, you will find somebody is greater than you, and somebody is lower than you, and somebody is equal to you. But so far the greatest Absolute Personality of Godhead is concerned, na tasya samaḥ adhikaś ca dṛśyate.

1967 Conversations and Morning Walks

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Prabhupāda: Fifth scene, Lord Caitanya's mother, Śacīdevī, is sitting underneath a tree, a nim tree. It is called nim tree. And the little child on her lap and the visitors, so many visitors are coming, and they are offering some presentation. Somebody is offering gold necklace, somebody offering some bangles, some cloth, some money, and his father, he...what is called...Jagannātha Miśra. Jagannātha Miśra is there? Yes. Jagannātha Miśra, His father. He was, whatever money and clothes and gold and silver, they were coming, he was also distributing to poor men, some dancers. In India there is a system... What you call the eunuchs? Those who are neither male or female. What do you call? What is their name?

Hayagrīva: A combination of both, male and female? A hermaphrodite. A hermaphrodite.

Prabhupāda: Eunuch, what is that eunuch?

Hayagrīva: A eunuch is...

1969 Conversations and Morning Walks

Lord Caitanya Play Told to Tamala Krsna -- August 4, 1969, Los Angeles:

Prabhupāda: One scene you have to show that in the Ganges water people are taking bath, and there is on the sky beginning of the moon eclipse, lunar eclipse. And they are all chanting Hare Kṛṣṇa and taking bath. And exactly at that time Caitanya Mahāprabhu appeared. This is one scene. And the appearance of Caitanya Mahāprabhu should be underneath a tree. Under this scene, this scene, one... Advaita Prabhu's wife, Śrīvāsa's wife, they were elderly, and all other women of the village, they immediately came with presentation. And some of the demigods, they also came, I mean to say, disguising themselves as ordinary men, with presentation. And His father got so many valuable presentations. And then again, some of the professional dancers, they came. So he distributed charity to them. In this way, that function... Try to...

Tamāla Kṛṣṇa: Was Nārada there? Did Nārada Muni come?

1971 Conversations and Morning Walks

Room Conversation with Mayor -- November 10, 1971, New Delhi:

Prabhupāda: At least four khols you want to have. Four khols and sixteen men, that is party. Yes. And one leading singer and one dancer. That makes complete party. Twenty, twenty-two men. So where is Śyāmasundara?

Devotee: I didn't find him.

Prabhupāda: Huh?

Devotee: I didn't find him anywhere.

Prabhupāda: He is not here? Huh? Resting? (background discussion among devotees) He went to bed very late last night?

Devotee (2): (indistinct)

Prabhupāda: Hm.

Devotee (2): He was trying to finish the Māyāpur thing.

Prabhupāda: Oh, oh, that's all right. Let him remain. So you can speak some discussion from our books? You can see he is very great speaker, Viṣala prabhu.

1973 Conversations and Morning Walks

Room Conversation with Dr. Christian Hauser, Psychiatrist -- September 10, 1973, Stockholm:

Prabhupāda: They have no brain. The same thing, the crows. So therefore they have to be enlightened to Kṛṣṇa consciousness then they will be able to find out some big leader, nice leader for them. There are so many things. You are educated. You should try to understand our philosophy. There are so many things to be learned from our... They're not sentimentally dancers only. They've got logic, philosophy, science, everything. Otherwise how we are writing so many books? Just see, ancient word, how they are nicely, these two verses we have read. How full of meaning. Na yad vacaś citra-padaṁ harer yaśo. Harer, pragṛṇīta karhicit, tad vāyasaṁ tīrtham (SB 1.5.10), each word has volumes of meanings. There are 18,000 verses in Śrīmad-Bhāgavatam. And each word you'll find enlivening. Each word. It's such a nice literature. One verse contains actually sixteen words. So 18,000 multiplied by sixteen, how much?

Dr. Hauser: 18,000...

Prabhupāda: 18,000 verses multiplied by sixteen. How many words?

1975 Conversations and Morning Walks

Morning Walk Through the BBT Warehouse -- February 10, 1975, Los Angeles:

Prabhupāda: Jagatāriṇī.

Jayatīrtha: She can come here?

Prabhupāda: Oh, yes. She is expert dancer. She was very popular actress before joining. Very, very popular actress. You know?

Viśākhā: I've heard the name, yes.

Prabhupāda: Yes. There was a newspaper, big, big..., that "This girl has given up everything, now has joined Kṛṣṇa."

Gurudāsa: Yesterday one professional skydiver, one who parachutes from a plane for money, I talked to her. She's joining the dance company. Yesterday. Thirty-four years old, professional parachuter woman, she is joining the dance company. (laughter)

Prabhupāda: Our dance company?

Gurudāsa: Yes, our dance company. She saw the dance, and I preached to her. She's joining.

Morning Walk -- May 13, 1975, Perth:

Amogha: In the newspaper there was an article about two weeks ago about a Christian church in America where they have a naked dancer come.

Prabhupāda: Hmm?

Amogha: They had a lady who dances, taking off her clothes, so the people will come to church. (laughter)

Prabhupāda: Ācchā?

Amogha: Yes. I was very surprised, but they showed a picture. And they said this is a Methodist... I think it was Methodist. Some church... I am not sure which. But anyhow, it was a church...

Amogha: That's the only way to get people to come to church.

Gaṇeśa: That's why they are called Methodists because they use different methods.

Amogha: We saw one church, the church that they got in Montreal for the temple. They, right before the devotees took over the church, they were having rock musicians playing music every night. And in this way they were trying to get people to come to church. And they would sing songs sometimes about religion, using all electrical instruments and everything.

Gaṇeśa: This man who is coming to see you today, he also has done this in Perth.

Morning Walk -- May 31, 1975, Honolulu:

Prabhupāda: Yes, yes. Another example is given. In South India there are a class of dancer. They keep a waterpot on the head, and they will dance, but it will not fall down. Careful. (break) ...kṛṣṇa-padaravindayor kṣīṇa-tavābhrāṇi ca sākaṁ pramodaḥ. If we remember always Kṛṣṇa, then all our inauspicity is driven away, and prosperity increases. Sākaṁ pramodaḥ. (break) If you know a little Sanskrit, they will see the composition of Bhāgavatam so fine. It is not possible to be composed now.

Gurukṛpa: Sweet.

Prabhupāda: Five thousand years ago it was composed by Vyāsadeva. (break) ...only for the Juhu Beach so many hotels are being maintained. Even this Holiday Inn, they have also...

Gurukṛpa: Juhu Beach is a big beach.

Prabhupāda: Hm. Yes. (break) ...I told you, in my childhood I was consulting the time table, "What is the fare of Jagannātha Purī and Vṛndāvana?" (chuckles)

1976 Conversations and Morning Walks

Room Conversation -- May 3, 1976, Fiji:

Prabhupāda: His elder brother, Udar Shankar, he became very famous man as a dancer, all over the world. Udar Shankar. And by imitating his brother, the Ravi Shankar also tried to become first-class sitarist. So family.... (break) ...was a little famous for artistic.... So that Udar Shankar was dancing in the Indian way, and there are many sculpture of dancing. Like that. That was his art. So he became famous.

Guru-kṛpā: He's not living? He's dead?

Prabhupāda: No, he's dead means now he's old man. He's about my age or little older than me. Now his skin has become slackened and body is not so strong to dance. It requires exercise. Therefore he's retired, I think, maybe dead. But I don't hear his name. He was more or less known in Europe as Shankar. But he was so popular that one my doctor friend.... He was educated in London, a medical officer of Allahabad. So he told me that "I saw that in Paris, Udar Shankar's dancing was advertised, and hundreds and thousands of people from England going to Paris, crossing the Channel to see him dance." He showed me. He's so popular. And now nobody asks for him. (laughs)

Room Conversation -- July 10, 1976, New York:

Prabhupāda: No, no, that should not be an artificial.

Hari-śauri: We don't dance for show, we dance for the pleasure of the Deities.

Tamāla Kṛṣṇa: No, we're not professional dancers. "The service has become so frenetic that the almost folksy, matter of fact preaching of the Swami makes a stark contrast. 'Some people are against us because they say we teach children to smile. Well isn't that too bad. We make children smile—we are bad. We try to teach them that life should be a joyful thing, we're evil. Well that's too bad, isn't it? ' "

Devotees: Who's that? That's crazy.

Tamāla Kṛṣṇa: This is theory.(?) (laughter)

Prabhupāda: So he has not returned with the key?

Hari-śauri: Who? Puṣṭa Kṛṣṇa?

Prabhupāda: Hmm. Still more?

Room Conversation -- July 27, 1976, London:

Prabhupāda: Yes, they are all drunkards, all third-class men, fourth-class men, low-class men. In India, this naṭas, they are third class, fourth class. Naṭas means the artist class, singer, dancers. They are meant for the fourth-class, fifth-class men. It was never taken by the.... They are called, and they will expertly sing, dance, in some festival. The brāhmaṇas, kṣatriyas, vaiśyas, they were not doing. Still in India there is a class, very expert in dancing, singing, low class. Their hereditary business is like that.

Bhagavān: So you have given everything. You have given all the structure. We have to present it rightly.

Prabhupāda: Even, say, hundred years ago, that Girish Chandra Ghosh, he wanted to introduce theatrical performances, imitating the European theatrical performances, man and woman taking part. So he wanted to invite woman artist. Not a single woman joined. Who will go to public stage to dance, respectable girl? They'll never. That is hundred years. I am speaking, say, about forty years ago. In one of our Dayanika(?) men, the girl was to be married, and it is the custom in India—the bridegroom's party comes to see the girl, whether she is right. Similarly, the girl's party goes to see the.... So they came to see one of my friend's daughter, and the daughter is very beautiful, rich man's daughter.

Meeting With Member of Parliament, Mr. Krishna Modi -- August 31, 1976, Delhi:

Prabhupāda: Now who has converted so many of... This is one party. (refers to kīrtana going on nearby) Hundreds of parties like this, they are engaged in kīrtana. India government is sending so many professional dancers by paying them from the cultural department and what I am getting? Not a single farthing. And still I am bringing.

Krishna Modi: Ah, Indian culture is... You... Nobody has done these things.

Prabhupāda: The Ratha-yātrā festival, where is?

Gopāla Kṛṣṇa: Oh, the news of Ratha-yātrā. "New York Celebrates Festival of Chariots." Even at the U.N. conference we were there. They welcomed Vedic... We presented a Vedic reply to the U.N. conference.

Prabhupāda: Wherever possible we are presenting Vedic culture, Indian culture. And I have no support from the government.

Krishna Modi: Let us have.

Prabhupāda: And a professional dancer is going and the government is paying.

Room Conversation -- September 11, 1976, Vrndavana:

Hari-śauri: He says, "They say that he's Śiva and Pārvatī combined together. He certainly embodies both masculinity and femininity. Kṛṣṇa, as we read of Him in the scriptures, must have resembled Swamiji. His walk is that of a dancer floating in a graceful movement."

Prabhupāda: All right. I will take rest.

Hari-śauri: You want to keep this?

Prabhupāda: No, no. (break—moves to garden)

Hari-śauri: They're all Māyāvādīs. He was just...

Pradyumna: I was just underlining that thing and...

Prabhupāda: So you write. I've already told you. I cannot speak now. You write. I have given you already hints.

Pradyumna: Avyaktaṁ vyaktim āpannam. He says, "I come from the formless." But Kṛṣṇa says anyone who says that is abuddhayaḥ.

1947 to 1965 Correspondence

Letter to Sumati Morarjee -- New York 27 October, 1965:

The only hope is that they are spiritually inclined and immense benefit can be done to them if the Cult of Srimad-Bhagavatam is preached here.

The American public also give reception to the Indian art and music. So many of them come and every one of them is given good reception. Recently one dancer from Madras came here (Balasaraswati) and just to see the mode of reception, I went to see the dance with a friend although for the last forty years I have never attended such dance ceremony. The dancer was successful in her demonstration. The music was in Indian classical tune mostly in sanskrit language and the American public appreciated them. So I was encouraged to see the favorable circumstances about my future preaching work.

1970 Correspondence

Letter to Himavati, Hamsaduta -- Los Angeles 13 June, 1970:

The arrangement is for seven kirtana parties, or if you do not have enough men, four parties. Each party must consist of seven men as follows: two mrdanga, four karatala, and one dancer. One of the karatala players is lead singer, and the dancer dances freely up and down between the two lines of players three on each side as in the drawing. If there are only four parties, the arrangement should be that one party is on each side, and in back and front of the Ratha:

So the dancer should dance very freely, you may distribute Prasadam and especially distribute our literatures from a table on wheels for the purpose.

Hope this will meet you in good health.

1971 Correspondence

Letter to Madhudvisa -- Nairobi 26 September, 1971:

I beg to acknowledge receipt of you letter dated 14th September, 1971 as well as the one of Tusta Krishna dated 9th September and have noted the contents.

Subha Laksmi is a very popular singer and dancer. I know in Delhi the Ramakrishna mission with the help of Subha Laksmi singing and Prime Minister Nehru presiding, in one day they raised fund 10 lakhs. So it requires good organization and selling of tickets, etc. I think alone Subha Laksmi can contribute 5 lakhs by her performance. So this is a good opportunity to take her help. I think you should not dictate the dates for her performance. Let her fix it up and do the needful according to her convenience.

1972 Correspondence

Letter to Prajapati -- Mayapur 25 February, 1972:

I have appreciated also the newsclipping from Boston "Globe," and I understand this is a very famous newspaper in your country.

Because your wife is fully trained as classical dancer, even she taught in such big university, so she can organize classical dancing to portray stories about Krishna and His Pastimes and that will be very nice proposal. Recently in Bombay we have held a benefit charity performance called "Hare Krishna Benefit" performed by the Javeri Sisters, a famous classical dancing group from Manipur. These dancers were depicting stories from Krishna's Pastimes, and the dancing was very nice. So this art of dancing, as any art, can be also employed in the service of glorifying the Supreme Lord. If she is expert dancer, your wife can organize a dancing group to depict very exquisitely stories from our Krishna Book.

Letter to Madhudvisa -- London 8 July, 1972:

Because they heard of our program in Bombay along with the Zavery sisters Manipuri Dancers, here in London they had arranged one program of lecturing by me along with a recital by one man playing on the vina just to attract attention to my speaking. I am not in approval of such arrangements, and it will be dangerous thing in future if we begin this type of program just to attract the masses. Already I see this happening practically all over the Society, so better we stop it now and get ourselves firmly on the track chalked out for us by Lord Caitanya. We are simply Sankirtana men, our program is chanting, dancing, distributing prasadam, and speaking high philosophy, that's all.

1973 Correspondence

Letter to Jagadisa -- Bombay 5 January, 1973:

Two sacred threads, duly chanted by me, along with two copies of Gayatri mantra, are enclosed herewith.

So far the concert of Indian musicians and dancers for raising funds for the new temple, yes you may do that, I have no objection. But the concert should be their own concert, not that we are holding our program and they are appearing on the same program, either as our guests or as our co-performers. No, we shall not appear to the public like performers, we are not performers or musicians or dancers. But if the concert is held as a benefit concert, just like in Bombay we have held one benefit concert, of the Zaveri Sisters, Manipuri Dancing Group and nearly Rs. 100,000 was raised for our Juhu scheme. That will be the proper arrangement. So if you hold the concert in the auditorium and advertise these singers and dancers, that it will be their program, and also that it will be a "Hare Krsna Benefit Show" or something like that, that will be best.

Letter to Jagadisa -- Bombay 5 January, 1973:

That will be the proper arrangement. So if you hold the concert in the auditorium and advertise these singers and dancers, that it will be their program, and also that it will be a "Hare Krsna Benefit Show" or something like that, that will be best. Of course, we may also appear and perform kirtana at the opening of the concert, and we will sell our books there, and if there is some opportunity to give also short lecture, that will be nice. But if you do all these other performances of aratrika, a drama, like that, perhaps it will appear like it is our program and not the program of the musicians. If there is confusion, if the public is thinking that we are something show or commercial performers, that will not be proper idea. But if the musicians and dancers want to give one concert and donate the proceeds to us, we shall gladly thank them.

Letter to Satsvarupa -- Los Angeles 19 April, 1973:

Regarding dancing, our dancing is ecstatic. We need not waste time 5 hours daily instead of chanting, for practicing. We are not professional dancers, neither we require it. These things should not be encouraged. In New York they have such activities, but they should not be going on in Gurukula.

1975 Correspondence

Letter to Prajapati -- Bombay 17 January, 1975:

I am in due receipt of your letter dated Jan. 8, 1975 and have noted the contents. You can come to the Mayapur festival and stay until the Vrndavana festival if possible. In between the two festival, we will be trying to arrange other large programs in South India (Madras and Hyderabad), so, there will be a nice program for all the devotees. You don't have to worry so much about recruiting new people. Just work nicely with the dancers you have now. Make full utilization of the facilities that you already have. Regarding your plane fare to India, it will be best if you can collect that money by selling some books on sankirtana. Then there will be no shortage.