Actually, dance forms an intrinsic part of worship in the temples. . . . India alone has a concept of a God who dances. Siva is Nataraja, Lord of dancers, who dances in the Hall of Consciousness and weaves into it the rhythm of the Universe. Within His Cosmic Dance are included the Divine prerogatives of Creation, Preservation, Regeneration, Veiling and Benediction . . . Dance in India has been so closely linked with religion, that today it is impossible to think of it divorced from this essential background.

In Hinduism, classical dance is conceived as an internalized spiritual practice: using movement, sound and emotion to internalize the cosmology and epistemology within the dancer's body. It is the only major world religion to have been successfully transmitted through such embodiment for so long. This is exemplified by the iconographic depiction of Shiva-Nataraja, which is a stylized projection of Shiva manifested as the ascetic master of sacred dance. Similarly, the narratives and iconography of Krishna dancing with his devotees exemplifies, evokes and reinforces the 'rasa' (inner emotional states) of the devotees as they attempt to unite inwardly with their 'ishta-devata' (personal deity). Such expressions are not reserved for use by a spiritual elite; rather, they inform and engage the entire culture and are part of the folk narratives known to every Hindu.

The image of Shiva as Nataraj is indelibly stitched into the Indian imagination. How many various dances of Shiva are known to His worshippers. I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of.

Shiva dances, creating the world and destroying it, his large rhythms conjure up vast aeons of time, and his movements have a relentless magical power of incantation. Our European allegories are banal and pointless by comparison with these profound works, devoid of the trappings of symbolism, concentrating on the essential, the essentially plastic.

It is the spirit of Purusha and Prakriti, an expression of evolution of movement, a truly creative force that is handed down the ages. This embodiment of sound and rhythm creating spiritual poetry is called dance or Natya. . . . The first glimpse of the dance comes to us from Siva Himself, a Yogi of Yogis. He shows us the Cosmic Dance and portrays to us he unity of Being. . . . The Cosmic Rhythm of His dance draws around Him ensouled matter, which manifests itself into the variety of this infinite and beautiful universe.

I see Christ as the incarnation of the piper who is calling us. He dances that shape and pattern which is at the heart of our reality. By Christ I mean not only Jesus; in other times and places, other planets, there may be other Lords of the Dance. But Jesus is the one I know of first and best. I sing of the dancing pattern in the life and words of Jesus. Whether Jesus ever leaped in Galilee to the rhythm of a pipe or drum I do not know. We are told that David danced (and as an act of worship too), so it is not impossible. The fact that many Christians have regarded dancing as a bit ungodly (in a church, at any rate) does not mean that Jesus did. The Shakers didn't...

Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The dance of Shiva is the dancing universe, the ceaseless flow of energy going through an infinite variety of patterns that melt into one another. For the modern physicists, then Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomenon. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our times, physicists have used the most advanced technology to portray the patterns of the cosmic dance.

“He had his own style. He could convey his thoughts through expressions. His eye movement was superb!” Birju Maharaj- great Kathak dancer, selecting him as one of the ten finest dancers he has known, 2000

They cut me down And I leapt up high; I am the life That'll never, never die; I'll live in you If you'll live in me — I am the Lord Of the Dance, said he.

I'm the Lord of the Dance! Fuck Michael Flatley, it's me! ...Who has the balls to call themselves the lord of anything, huh? C'mon, last time somebody called themself lord on this planet, they got CRUCIFIED, Michael! And we know where the hammer and the nails are! We could put you up in a couple of minutes!

Dance, then, wherever you may be, I am the Lord of the Dance, said he, And I'll lead you all, wherever you may be, And I'll lead you all in the Dance, said he.

The vast and tranquil metaphysics of India is unfolded; her conception of the universe, her social organization, perfect in its day and still capable of adaptation to the demands of modern times; the solution which she offers for the feminist problem, for the problems of the family, of love, of marriage; and lastly, the magnificent revelation of her art. The whole vast soul of India proclaims from end to end of its crowded and well ordered edifice the same domination of a sovereign synthesis." There is no negation. All is harmonized. All the forces of life are grouped like a forest, whose thousand waving arms are led by Nataraja, the master of the Dance. Everything has its place, every being has its function, and all take part in the divine concert, their different voices, and their very dissonances, creating, in the phrase of Heraclitus, a most beautiful harmony. Whereas in the West, cold, hard logic isolates the unusual, shutting it off from the rest of life into a definite and distinct compartment of the spirit. India, ever mindful of the natural differences in souls and in philosophies, endeavors to blend them into each other, so as to recreate in its fullest perfection the complete unity. The matching of opposites produces the true rhythm of life.

Oh you the creator, you the destroyer, you who sustain and make an end,
Who in sunlight dance among the birds and the children at their play,
Who at midnight dance among corpses in the burning grounds,
You Shiva, you dark and terrible Bhairava,
You Suchness and Illusion, the Void and All Things,
You are the lord of life, and therefore I have brought you flowers;
You are the lord of death, and therefore I have brought you my heart — This heart that is now your burning ground.
Ignorance there and self shall be consumed with fire.
That you may dance, Bhairava, among the ashes.
That you may dance, Lord Shiva, in a place of flowers,
And I dance with you.

To be human is to be born into a dance in which every animate or inanimate, visible or invisible being is also dancing. Every step of this dance is printed in light; its energy is adoration, its rhythm is praise. Pain, desolution, and destruction in this full and unified sacred vision are not separate from the dance, but are instead essential energies of its transformative unfolding. Death itself cannot shatter the dance, because death is the lifespring of its fertility, the mother of all its changing splendor. If we could bring ourselves to open to this vision, we would undergo a revolution of the heart.