Dancing (BG and SB)

Expressions researched:
"dance" |"danced" |"dances" |"dancing"

Notes from the compiler: VedaBase query: dance or danced or dances or dancing not chant*

BG Chapters 1 - 6

BG 3.24, Purport:

Without such power, one cannot imitate the īśvaras, who are superpowerful. Lord Śiva drank poison to the extent of swallowing an ocean, but if any common man tries to drink even a fragment of such poison, he will be killed. There are many pseudo devotees of Lord Śiva who want to indulge in smoking gañjā (marijuana) and similar intoxicating drugs, forgetting that by so imitating the acts of Lord Śiva they are calling death very near. Similarly, there are some pseudo devotees of Lord Kṛṣṇa who prefer to imitate the Lord in His rāsa-līlā, or dance of love, forgetting their inability to lift Govardhana Hill. It is best, therefore, that one not try to imitate the powerful, but simply follow their instructions; nor should one try to occupy their posts without qualification. There are so many "incarnations" of God without the power of the Supreme Godhead.

BG Chapters 7 - 12

BG 12.8, Purport:

A devotee does not live on the material plane—he lives in Kṛṣṇa. The holy name of the Lord and the Lord are nondifferent; therefore when a devotee chants Hare Kṛṣṇa, Kṛṣṇa and His internal potency are dancing on the tongue of the devotee. When he offers Kṛṣṇa food, Kṛṣṇa directly accepts these eatables, and the devotee becomes Kṛṣṇa-ized by eating the remnants. One who does not engage in such service cannot understand how this is so, although this is a process recommended in the Bhagavad-gītā and in other Vedic literatures.

SB Preface and Introduction

SB Introduction:

The Lord then embraced him, and out of transcendental ecstasy the Bhaṭṭācārya lost consciousness of the physical state of life. Tears, trembling, throbbing of the heart, perspiration, emotional waves, dancing, singing, crying and all the eight symptoms of trance were manifested in the body of the Bhaṭṭācārya. Śrī Gopīnātha Ācārya became very glad and astonished by this marvelous conversion of his brother-in-law by the grace of the Lord.

SB Introduction:

"So on the order of My spiritual master, I chant the holy name of Hari, and I am now mad after this holy name. Whenever I utter the holy name I forget Myself completely, and sometimes I laugh, cry and dance like a madman. I thought that I had actually gone mad by this process of chanting, and therefore I asked My spiritual master about it. He informed Me that this was the real effect of chanting the holy name, which produces a transcendental emotion that is a rare manifestation. It is the sign of love of God, which is the ultimate end of life. Love of God is transcendental to liberation (mukti), and thus it is called the fifth stage of spiritual realization, above the stage of liberation. By chanting the holy name of Kṛṣṇa one attains the stage of love of God, and it was good that fortunately I was favored with the blessing."

SB Introduction:

Some of the important places that were visited by the Lord in Vṛndāvana were Kāmyavana, Ādīśvara, Pāvana-sarovara, Khadiravana, Śeṣaśāyī, Khela-tīrtha, Bhāṇḍīravana, Bhadravana, Śrīvana, Lauhavana, Mahāvana, Gokula, Kāliya-hrada, Dvādaśāditya, Keśī-tīrtha, etc. When He saw the place where the rāsa dance took place, He at once fell down in trance. As long as He remained at Vṛndāvana, He made His headquarters at Akrūra-ghāṭa.

SB Canto 1

SB 1.1.1, Purport:

Unscrupulous persons go immediately to the Tenth Canto and especially to the five chapters which describe the Lord's rāsa dance. This portion of the Śrīmad-Bhāgavatam is the most confidential part of this great literature. Unless one is thoroughly accomplished in the transcendental knowledge of the Lord, one is sure to misunderstand the Lord's worshipable transcendental pastimes called rāsa dance and His love affairs with the gopīs.

SB 1.1.1, Purport:

This portion of the Śrīmad-Bhāgavatam is the most confidential part of this great literature. Unless one is thoroughly accomplished in the transcendental knowledge of the Lord, one is sure to misunderstand the Lord's worshipable transcendental pastimes called rāsa dance and His love affairs with the gopīs. This subject matter is highly spiritual, and only the liberated persons who have gradually attained to the stage of paramahaṁsa can transcendentally relish this rāsa dance. Śrīla Vyāsadeva therefore gives the reader the chance to gradually develop spiritual realization before actually relishing the essence of the pastimes of the Lord.

SB 1.1.3, Purport:

The ripened fruit is not dropped all of a sudden from the highest planet of Kṛṣṇaloka. Rather, it has come down carefully through the chain of disciplic succession without change or disturbance. Foolish people who are not in the transcendental disciplic succession commit great blunders by trying to understand the highest transcendental rasa known as the rāsa dance without following in the footsteps of Śukadeva Gosvāmī, who presents this fruit very carefully by stages of transcendental realization.

SB 1.1.3, Purport:

A professional man who makes a business out of reciting the Bhāgavatam illegally is certainly not a representative of Śukadeva Gosvāmī. Such a man's business is only to earn his livelihood. Therefore one should refrain from hearing the lectures of such professional men. Such men usually go to the most confidential part of the literature without undergoing the gradual process of understanding this grave subject. They usually plunge into the subject matter of the rāsa dance, which is misunderstood by the foolish class of men. Some of them take this to be immoral, while others try to cover it up by their own stupid interpretations. They have no desire to follow in the footsteps of Śrīla Śukadeva Gosvāmī.

SB 1.5.36, Purport:

Lord Caitanya has taught a very simple method in this connection. He has taught the lesson for preaching the transcendental message through singing, dancing and refreshment. As such, fifty percent of our income may be spent for this purpose. In this fallen age of quarrel and dissension, if only the leading and wealthy persons of society agree to spend fifty percent of their income in the service of the Lord, as it is taught by Lord Śrī Caitanya Mahāprabhu, there is absolute certainty of converting this hell of pandemonium to the transcendental abode of the Lord. No one will disagree to partake in a function where good singing, dancing and refreshment are administered.

SB 1.9.40, Translation:

Let my mind be fixed upon Lord Śrī Kṛṣṇa, whose motions and smiles of love attracted the damsels of Vrajadhāma (the gopīs). The damsels imitated the characteristic movements of the Lord (after His disappearance from the rāsa dance).

SB 1.9.40, Purport:

By intense ecstasy in loving service, the damsels of Vrajabhūmi attained qualitative oneness with the Lord by dancing with Him on an equal level, embracing Him in nuptial love, smiling at Him in joke, and looking at Him with a loving attitude.

SB 1.10.36, Purport:

The Lord in human society does what is the duty of everyone, but sometimes He does something extraordinary and not to be imitated by the living being. His acts of evening prayer as stated herein must be followed by the living being, but it is not possible to follow His mountain-lifting or dancing with the gopīs. One cannot imitate the sun, which can exhaust water even from a filthy place; the most powerful can do something which is all-good, but our imitation of such acts will put us into endless difficulty.

SB 1.12.21, Purport:

Arjuna is therefore a plenary part of the heavenly King Indra. He was born in the month of Phalguna (February-March), and therefore he is also called Phalguni. When he appeared as the son of Kuntī, his future greatness was proclaimed by air messages, and all the important personalities from different parts of the universe, such as the demigods, the Gandharvas, the Ādityas (from the sun globe), the Rudras, the Vasus, the Nāgas, the different ṛṣis (sages) of importance, and the Apsarās (the society girls of heaven), all attended the ceremony. The Apsarās pleased everyone by their heavenly dances and songs.

SB Canto 2

SB 2.2.13, Purport:

According to the Bhāgavata school, the Lord's rāsa dancing is the smiling face of the Lord. Since it is recommended in this verse that one should gradually progress from the lotus feet up to the smiling face, we shall not jump at once to understand the Lord's pastimes in the rāsa dance. It is better to practice concentrating our attention by offering flowers and tulasi to the lotus feet of the Lord. In this way, we gradually become purified by the arcanā process.

SB 2.2.13, Purport:

We dress the Lord, bathe Him, etc., and all these transcendental activities help us purify our existence. When we reach the higher standard of purification, if we see the smiling face of the Lord or hear the rāsa dance pastimes of the Lord, then we can relish His activities. In the Śrīmad-Bhāgavatam, therefore, the rāsa dance pastimes are delineated in the Tenth Canto (Chapters 29-34).

SB 2.4.24, Purport:

Śrīla Jīva Gosvāmī has agreed to this, but Śrīla Viśvanātha Cakravartī Ṭhākura has made a further advance, namely that the nectar from the mouth of Lord Kṛṣṇa is transferred to His different consorts, and thus they learn the finer arts of music, dance, dressing, decorations and all such things which are relished by the Lord. Such music, dance and decorations enjoyed by the Lord are certainly not anything mundane, because the Lord is addressed in the very beginning as para, or transcendental.

SB 2.4.24, Purport:

One should therefore try to understand the Vedic scriptures, or the nectar transferred by the Lord to His consorts in the conjugal humor, from the lotuslike mouth of Vyāsadeva or Śukadeva. By gradual development of transcendental knowledge, one can rise to the stage of the transcendental arts of music and dance displayed by the Lord in His rāsa-līlā. But without having the Vedic knowledge one can hardly understand the transcendental nature of the Lord's rāsa dance and music. The pure devotees of the Lord, however, can equally relish the nectar in the form of the profound philosophical discourses and in the form of kissing by the Lord in the rāsa dance, as there is no mundane distinction between the two.

SB 2.7.33, Translation:

When the Lord was engaged in His pastimes of the rāsa dance in the forest of Vṛndāvana, enlivening the sexual desires of the wives of the inhabitants of Vṛndāvana by sweet and melodious songs, a demon of the name Śaṅkhacūḍa, a rich follower of the treasurer of heaven (Kuvera), kidnapped the damsels, and the Lord severed his head from his trunk.

SB 2.7.33, Purport:

In the previous verses we have seen also that the Lord's engagement in the affairs of the forest fire was described along with His pastimes of punishing the Kāliya snake, and similarly the pastimes of the rāsa dance and the killing of Śaṅkhacūḍa are also described herein. The adjustment is that all these incidents would take place in the future, after the time when it was being foretold by Brahmājī to Nārada. The demon Śaṅkhacūḍa was killed by the Lord during His pastimes at Horikā in the month of Phālguna, and the same ceremony is still observed in India by the burning of the effigy of Śaṅkhacūḍa one day prior to the Lord's pastimes at Horikā, generally known as Holi.

SB Canto 3

SB 3.9.14, Purport:

The Supreme Lord is eternally distinguished from the living entities by His internal potency, although He is also understood in His impersonal feature by self-realized intelligence. Devotees of the Lord, therefore, offer all respectful obeisances unto the impersonal feature of the Lord. The word rāsa is significant herein. The rāsa dance is performed by Lord Kṛṣṇa in the company of the cowherd damsels at Vṛndāvana, and the Personality of Godhead Garbhodakaśāyī Viṣṇu is also engaged in rāsa enjoyment with His external potency, by which He creates, maintains and dissolves the entire material manifestation.

SB 3.9.25, Purport:

The gopīs are predominated expansions of the internal potency, and therefore the Lord's participation in the rāsa-līlā dance is never to be considered like the mundane relationship of man and woman. It is, rather, the highest perfectional stage of the exchange of feelings between the Lord and the living entities. The Lord gives the fallen souls the chance for this highest perfection of life. Lord Brahmā is entrusted with the management of the complete cosmic show, and therefore he prays that the Lord bestow His blessings upon him so that he may execute its purpose.

SB 3.20.38, Purport:

The musicians in the upper planetary systems are called Gandharvas, and the dancing girls are called Apsarās. After being attacked by the demons and evolving a form of a beautiful woman in the twilight, Brahmā next created Gandharvas and Apsarās. Music and dancing employed in sense gratification are to be accepted as demoniac, but the same music and dancing, when employed in glorifying the Supreme Lord as kīrtana, are transcendental, and they bring about a life completely fit for spiritual enjoyment.

SB 3.21.41, Translation:

The area resounded with the notes of overjoyed birds. Intoxicated bees wandered there, intoxicated peacocks proudly danced, and merry cuckoos called one another.

SB 3.21.41, Purport:

The beauty of the pleasant sounds heard in the area surrounding Lake Bindu-sarovara is described here. After drinking honey, the black bees became maddened, and they hummed in intoxication. Merry peacocks danced just like actors and actresses, and merry cuckoos called their mates very nicely.

SB 3.24.7, Translation:

At the time of His descent on earth, demigods in the form of raining clouds sounded musical instruments in the sky. The celestial musicians, the Gandharvas, sang the glories of the Lord, while celestial dancing girls known as Apsarās danced in joyful ecstasy.

SB 3.28.30, Translation:

The yogi then meditates upon the beautiful face of the Lord, which is adorned with curly hair and decorated by lotuslike eyes and dancing eyebrows. A lotus surrounded by swarming bees and a pair of swimming fish would be put to shame by its elegance.

SB 3.31.34, Translation:

One should not associate with a coarse fool who is bereft of the knowledge of self-realization and who is no more than a dancing dog in the hands of a woman.

SB 3.31.34, Purport:

Advancement in Kṛṣṇa consciousness involves developing the qualities of truthfulness, cleanliness, mercy, gravity, intelligence in spiritual knowledge, simplicity, material opulence, fame, forgiveness, and control of the mind and the senses. All these qualities are to be manifested with the progress of Kṛṣṇa consciousness, but if one associates with a śūdra, a foolish person who is like a dancing dog in the hands of a woman, then he cannot make any progress.

SB Canto 4

SB 4.1.54-55, Translation:

In the heavenly planets, bands began to play, and they showered flowers from the sky. The pacified sages chanted Vedic prayers, the denizens of heaven known as the Gandharvas and Kinnaras sang, the beautiful damsels of the heavenly planets danced, and in this way, at the time of the appearance of Nara-Nārāyaṇa, all signs of good fortune were visible. Just at that time, great demigods like Brahmā also offered their respectful prayers.

SB 4.3.23, Purport:

The devotee never commands, "My dear Lord, please come here so that I can see You." It is not the position of the devotee to command the Supreme Personality of Godhead to come before him or to dance before him. There are many so-called devotees who command the Lord to come before them dancing. The Lord, however, is not subject to anyone's command, but if He is satisfied by one's pure devotional activities, He reveals Himself.

SB 4.5.10, Translation:

At the time of dissolution, Lord Śiva's hair is scattered, and he pierces the rulers of the different directions with his trident. He laughs and dances proudly, scattering their hands like flags, as thunder scatters the clouds all over the world.

SB 4.5.10, Purport:

Prasūti, who appreciated the power and strength of her son-in-law, Lord Śiva, is describing what he does at the time of dissolution. This description indicates that the strength of Lord Śiva is so great that Dakṣa's power could not be set in comparison to it. At the time of dissolution, Lord Śiva, with his trident in hand, dances over the rulers of the different planets, and his hair is scattered, just as the clouds are scattered over all directions in order to plunge the different planets into incessant torrents of rain.

SB 4.5.10, Purport:

In the last phase of dissolution, all the planets become inundated with water, and that inundation is caused by the dancing of Lord Śiva. This dance is called the pralaya dance, or dance of dissolution. Prasūti could understand that the dangers ahead resulted not only from Dakṣa's having neglected her daughter, but also because of his neglecting the prestige and honor of Lord Śiva.

SB 4.9.16, Purport:

When, however, he comes still nearer, he sees the domes and flags. But as soon as he enters the city, he sees various paths, gardens, lakes, and marketplaces with shops, and persons buying. He sees varieties of cinema houses, and he sees dancing and jubilation. When a person actually enters the city and personally sees the activities of the city, he becomes satisfied.

SB 4.12.44, Purport:

Neophyte devotees simply try to understand the pastimes of the Lord and are not very interested in hearing about the activities of His devotees, but such discrimination should not be indulged in by any real devotee. Sometimes less intelligent men try to hear about the rāsa dance of Kṛṣṇa and do not take care to hear about other portions of Śrīmad-Bhāgavatam, which they completely avoid.

SB 4.15.7, Translation:

The great sage Maitreya continued: My dear Vidurajī, at that time all the brāhmaṇas highly praised and glorified King Pṛthu, and the best singers of Gandharvaloka chanted his glories. The inhabitants of Siddhaloka showered flowers, and the beautiful women in the heavenly planets danced in ecstasy.

SB 4.23.8, Purport:

The conclusion is that unless the karmīs, jñānīs and yogīs come to the point of devotional service to Lord Kṛṣṇa, their so-called austerities and yoga have no value. Nārādhitaḥ: if Hari, the Supreme Personality of Godhead, is not worshiped, there is no point in practicing meditational yoga, performing karma-yoga or culturing empiric knowledge. As far as prāṇāyāma is concerned, chanting of the holy name of the Lord and dancing in ecstasy are also considered prāṇāyāma.

SB 4.25.62, Translation:

In this way, King Purañjana was captivated by his nice wife and was thus cheated. Indeed, he became cheated in his whole existence in the material world. Even against that poor foolish King's desire, he remained under the control of his wife, just like a pet animal that dances according to the order of its master.

SB 4.25.62, Purport:

The word vipralabdhaḥ is very significant in this verse. Vi means "specifically," and pralabdha means "obtained." Just to satisfy his desires, the King got the Queen, and thus he became cheated by material existence. Although he was not willing to do so, he remained a pet animal under the control of material intelligence. Just as a pet monkey dances according to the desires of its master, the King danced according to the desires of the Queen.

SB 4.29.63, Purport:

When it is expressed through the leg, there is kicking. There are so many ways in which the subtle activities of the mind are expressed through the various senses. The mind of a person in Kṛṣṇa consciousness also acts in a similar way. The tongue chants Hare Kṛṣṇa, the mahā-mantra, the hands are raised in ecstasy, and the legs dance in Kṛṣṇa consciousness. These symptoms are technically called aṣṭa-sāttvika-vikāra (CC Antya 14.99). Sāttvika-vikāra is transformation of the mental condition in goodness or sometimes transcendental ecstasy.

SB Canto 5

SB 5.1.37, Translation:

The King thus began criticizing himself: Alas, how condemned I have become because of my sense gratification! I have now fallen into material enjoyment, which is exactly like a covered well. I have had enough! I am not going to enjoy any more. Just see how I have become like a dancing monkey in the hands of my wife. Because of this, I am condemned.

SB 5.1.37, Purport:

Mahārāja Priyavrata acted very wonderfully in the material field of activities, but because he was dealing in sense gratification—ruling his kingdom and dancing to the indications of his beautiful wife—he personally condemned himself. When we think about this example of Mahārāja Priyavrata, we can just consider how degraded is the modern civilization of materialistic advancement.

SB 5.2.3, Translation:

Understanding King Āgnīdhra's desire, the first and most powerful created being of this universe, Lord Brahmā, selected the best of the dancing girls in his assembly, whose name was Pūrvacitti, and sent her to the King.

SB 5.9.18, Translation:

Intolerant of the offenses committed, the infuriated goddess Kālī flashed her eyes and displayed her fierce, curved teeth. Her reddish eyes glowed, and she displayed her fearsome features. She assumed a frightening body, as if she were prepared to destroy the entire creation. Leaping violently from the altar, she immediately decapitated all the rogues and thieves with the very sword with which they had intended to kill Jaḍa Bharata. She then began to drink the hot blood that flowed from the necks of the beheaded rogues and thieves, as if this blood were liquor. Indeed, she drank this intoxicant with her associates, who were witches and female demons. Becoming intoxicated with this blood, they all began to sing very loudly and dance as though prepared to annihilate the entire universe. At the same time, they began to play with the heads of the rogues and thieves, tossing them about as if they were balls.

SB 5.18.19, Purport:

Kṛṣṇa is the original master or husband of everyone, and all other living entities, having taken the form of so-called husbands, or wives, are dancing according to His desire. A so-called husband may unite with his wife for sense gratification, but his senses are conducted by Hṛṣīkeśa, the master of the senses, who is therefore the actual husband.

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."

SB 5.18.23, Purport:

"Vyeṅkaṭa Bhaṭṭa replied, 'Lord Kṛṣṇa and Lord Nārāyaṇa are one and the same, but the pastimes of Kṛṣṇa are more relishable due to their sportive nature. They are very pleasing for Kṛṣṇa's śaktis. Since Kṛṣṇa and Nārāyaṇa are both the same personality, Lakṣmī's association with Kṛṣṇa did not break her vow of chastity. Rather, it was in great fun that the goddess of fortune wanted to associate with Lord Kṛṣṇa. The goddess of fortune considered that her vow of chastity would not be damaged by her relationship with Kṛṣṇa. Rather, by associating with Kṛṣṇa she could enjoy the benefit of the rāsa dance.

SB 5.18.23, Purport:

"Lord Caitanya Mahāprabhu replied, 'I know that there is no fault in the goddess of fortune, but still she could not enter into the rāsa dance. We hear this from revealed scriptures. The authorities of Vedic knowledge met Lord Rāmacandra in Daṇḍakāraṇya, and by their penances and austerities, they were allowed to enter into the rāsa dance.

SB 5.18.26, Translation:

My dear Lord, just as a puppeteer controls his dancing dolls and a husband controls his wife, Your Lordship controls all the living entities in the universe, such as the brāhmaṇas, kṣatriyas, vaiśyas and śūdras. Although You are in everyone's heart as the supreme witness and commander and are outside everyone as well, the so-called leaders of societies, communities and countries cannot realize You. Only those who hear the vibration of the Vedic mantras can appreciate You.

SB 5.18.26, Purport:

Everyone is under the control of the Supreme Personality of Godhead, exactly like dancing dolls controlled by a puppeteer or a woman controlled by her husband. A woman is compared to a doll (dārumayī) because she has no independence. She should always be controlled by a man. Still, due to false prestige, a class of women wants to remain independent. What to speak of women, all living entities are prakṛti (female) and therefore dependent on the Supreme Lord, as Kṛṣṇa Himself explains in Bhagavad-gītā (apareyam itas tv anyāṁ prakṛtiṁ viddhi me parām (BG 7.5)).

SB 5.21.18, Purport:

Worshiping the most powerful demigod Sūrya, the Gandharvas sing in front of him, the Apsarās dance before the chariot, the Niśācaras follow the chariot, the Pannagas decorate the chariot, the Yakṣas guard the chariot, and the saints called the Vālikhilyas surround the sun-god and offer prayers. The seven groups of fourteen associates arrange the proper times for regular snow, heat and rain throughout the universe.

SB 5.26.31, Translation:

There are men and women in this world who sacrifice human beings to Bhairava or Bhadra Kālī and then eat their victims' flesh. Those who perform such sacrifices are taken after death to the abode of Yamarāja, where their victims, having taken the form of Rākṣasas, cut them to pieces with sharpened swords. Just as in this world the man-eaters drank their victims' blood, dancing and singing in jubilation, their victims now enjoy drinking the blood of the sacrificers and celebrating in the same way.

SB Canto 6

SB 6.2.11, Purport:

Śrīla Viśvanātha Cakravartī Ṭhākura explains that this is all possible simply by chanting the Lord's holy name because of the Lord's omnipotence. What cannot be achieved through the performance of Vedic rituals can be easily achieved through the chanting of the Lord's holy name. To chant the holy name and dance in ecstasy is so easy and sublime that one can achieve all the benefits of spiritual life simply by following this process. Therefore Śrī Caitanya Mahāprabhu declares, paraṁ vijayate śrī-kṛṣṇa-saṅkīrtanam: "All glories to Śrī Kṛṣṇa saṅkīrtana!" The saṅkīrtana movement we have started offers the best process for becoming purified of all sinful reactions and coming immediately to the platform of spiritual life.

SB 6.2.36-37, Translation:

Because of identifying oneself with the body, one is subjected to desires for sense gratification, and thus one engages in many different types of pious and impious action. This is what constitutes material bondage. Now I shall disentangle myself from my material bondage, which has been caused by the Supreme Personality of Godhead's illusory energy in the form of a woman. Being a most fallen soul, I was victimized by the illusory energy and have become like a dancing dog led around by a woman's hand. Now I shall give up all lusty desires and free myself from this illusion. I shall become a merciful, well-wishing friend to all living entities and always absorb myself in Kṛṣṇa consciousness.

SB 6.3.22, Purport:

The Bhāgavatam further says, sa vai puṁsāṁ paro dharmo yato bhaktir adhokṣaje: (SB 1.2.6) the supreme religion is that which teaches its followers how to love the Supreme Personality of Godhead, who is beyond the reach of experimental knowledge. Such a religious system begins with tan-nāma-grahaṇa, chanting of the holy name of the Lord (śravaṇaṁ kīrtanaṁ viṣṇoḥ smaraṇaṁ pāda-sevanam (SB 7.5.23)). After chanting the holy name of the Lord and dancing in ecstasy, one gradually sees the form of the Lord, the pastimes of the Lord and the transcendental qualities of the Lord.

SB 6.5.22, Purport:

As soon as he strokes the strings, all the devotees begin responding, making a very beautiful vibration. Accompanied by the stringed instrument, the singing seems like a shower of nectar, and all the devotees dance in ecstasy to the fullest extent of their satisfaction. While dancing, they appear madly intoxicated with ecstasy, as if drinking the beverage called mādhurī-pūra. Some of them cry, some of them dance, and some of them, although unable to dance publicly, dance within their hearts. Lord Śiva embraces Nārada Muni and begins talking in an ecstatic voice, and seeing Lord Śiva dancing with Nārada, Lord Brahmā also joins, saying, "All of you kindly chant 'Hari bol! Hari bol!' " The King of heaven, Indra, also gradually joins with great satisfaction and begins dancing and chanting "Hari bol! Hari bol!" In this way, by the influence of the transcendental vibration of the holy name of God, the whole universe becomes ecstatic. Bhaktivinoda Ṭhākura says, "When the universe becomes ecstatic, my desire is satisfied. I therefore pray unto the lotus feet of Rūpa Gosvāmī that this chanting of harer nāma (CC Adi 17.21) may go on nicely like this."

SB 6.7.2-8, Translation:

Śukadeva Gosvāmī said: O King, once upon a time, the King of heaven, Indra, being extremely proud because of his great opulence of the three worlds, transgressed the law of Vedic etiquette. Seated on his throne, he was surrounded by the Maruts, Vasus, Rudras, Ādityas, Ṛbhus, Viśvadevas, Sādhyas, Aśvinī-kumāras, Siddhas, Cāraṇas and Gandharvas and by great saintly persons. Also surrounding him were the Vidyādharas, Apsarās, Kinnaras, Patagas (birds) and Uragas (snakes). All of them were offering Indra their respects and services, and the Apsarās and Gandharvas were dancing and singing with very sweet musical instruments. Over Indra's head was a white umbrella as effulgent as the full moon. Fanned by yak-tail whisks and served with all the paraphernalia of a great king, Indra was sitting with his wife, Śacīdevī, who occupied half the throne, when the great sage Bṛhaspati appeared in that assembly. Bṛhaspati, the best of the sages, was the spiritual master of Indra and the demigods and was respected by the demigods and demons alike. Nevertheless, although Indra saw his spiritual master before him, he did not rise from his own seat or offer a seat to his spiritual master, nor did Indra offer him a respectful welcome. Indra did nothing to show him respect.

SB 6.9.13-17, Translation:

Like arrows released in the four directions, the demon's body grew, day after day. Tall and blackish, he appeared like a burnt hill and was as lustrous as a bright array of clouds in the evening. The hair on the demon's body and his beard and moustache were the color of melted copper, and his eyes were piercing like the midday sun. He appeared unconquerable, as if holding the three worlds on the points of his blazing trident. Dancing and shouting with a loud voice, he made the entire surface of the earth tremble as if from an earthquake. As he yawned again and again, he seemed to be trying to swallow the whole sky with his mouth, which was as deep as a cave. He seemed to be licking up all the stars in the sky with his tongue and eating the entire universe with his long, sharp teeth. Seeing this gigantic demon, everyone, in great fear, ran here and there in all directions.

SB 6.12.10, Translation:

O King Indra, as a wooden doll that looks like a woman or as an animal made of grass and leaves cannot move or dance independently, but depends fully on the person who handles it, all of us dance according to the desire of the supreme controller, the Personality of Godhead. No one is independent.

SB 6.12.10, Purport:

"Lord Kṛṣṇa alone is the supreme controller, and all others are His servants. They dance as He makes them do so." We are all servants of Kṛṣṇa; we have no independence. We are dancing according to the desire of the Supreme Personality of Godhead, but out of ignorance and illusion we think we are independent of the supreme will.

SB Canto 7

SB 7.4.40, Translation:

Sometimes, upon seeing the Supreme Personality of Godhead, Prahlāda Mahārāja would loudly call in full anxiety. He sometimes lost his shyness in jubilation and began dancing in ecstasy, and sometimes, being fully absorbed in thoughts of Kṛṣṇa, he felt oneness and imitated the pastimes of the Lord.

SB 7.4.40, Purport:

As a child cries when left by his mother, when Prahlāda Mahārāja felt that the Lord was away from him he began to cry (nadati). Again, a devotee like Prahlāda sometimes sees that the Lord is coming from a long distance to pacify him, like a mother responding to a child, saying, "My dear child, do not cry. I am coming." Then the devotee, without being ashamed due to his surroundings and circumstances, begins to dance, thinking, "Here is my Lord! My Lord is coming!" Thus the devotee, in full ecstasy, sometimes imitates the pastimes of the Lord, just as the cowherd boys used to imitate the behavior of the jungle animals.

SB 7.7.34, Translation:

One who is situated in devotional service is certainly the controller of his senses, and thus he is a liberated person. When such a liberated person, the pure devotee, hears of the transcendental qualities and activities of the Lord's incarnations for the performance of various pastimes, his hair stands on end on his body, tears fall from his eyes, and in his spiritual realization his voice falters. Sometimes he very openly dances, sometimes he sings loudly, and sometimes he cries. Thus he expresses his transcendental jubilation.

SB 7.7.34, Purport:

Fools and rascals, who are not in the transcendental position, consider these uncommon activities of the Lord to be mythological, but when the pure devotee, the liberated person, hears about these uncommon activities of the Lord, he immediately becomes ecstatic and exhibits the symptoms of chanting, dancing, and crying very loudly and jubilantly. This is the difference between a devotee and a nondevotee.

SB 7.7.36, Purport:

The ecstatic condition of devotional service was completely exhibited by Śrī Caitanya Mahāprabhu, who sometimes danced, sometimes cried, sometimes sang, sometimes remained silent, and sometimes chanted the holy name of the Lord. That is perfect spiritual existence.

SB 7.8.36, Translation:

At that time, the airplanes of the demigods, who desired to see the activities of the Supreme Lord, Nārāyaṇa, crowded the sky. The demigods began beating drums and kettledrums, and upon hearing them the angelic women began to dance, while the chiefs of the Gandharvas sang sweetly.

SB 7.8.50, Translation:

The inhabitants of Gandharvaloka prayed: Your Lordship, we ever engage in Your service by dancing and singing in dramatic performances, but this Hiraṇyakaśipu, by the influence of his bodily strength and valor, brought us under his subjugation. Now he has been brought to this low condition by Your Lordship.

SB 7.10.68, Translation:

Seated in their airplanes in the sky, the inhabitants of the higher planetary systems beat many kettledrums. The demigods, saints, Pitās, Siddhas and various great personalities showered flowers on the head of Lord Śiva, wishing him all victory, and the Apsarās began to chant and dance with great pleasure.

SB Canto 8

SB 8.3.6, Translation:

An artist onstage, being covered by attractive dresses and dancing with different movements, is not understood by his audience; similarly, the activities and features of the supreme artist cannot be understood even by the demigods or great sages, and certainly not by those who are unintelligent like animals. Neither the demigods and sages nor the unintelligent can understand the features of the Lord, nor can they express in words His actual position. May that Supreme Personality of Godhead give me protection.

SB 8.3.20-21, Purport:

Unless one is a completely pure devotee, one cannot enjoy the transcendental bliss derived from chanting and dancing in the ecstasy of the saṅkīrtana movement. Such ecstasy is not possible for an ordinary devotee. Lord Śrī Caitanya Mahāprabhu showed us how one can enjoy transcendental bliss simply by chanting, hearing and dancing in ecstasy. This is bhakti-yoga. Therefore the King of the elephants, Gajendra, said, ādhyātmika-yoga-gamyam, indicating that unless one is situated on this transcendental platform, one cannot approach the Supreme Lord.

SB 8.4.2, Translation:

There was a beating of kettledrums in the heavenly planets, the inhabitants of Gandharvaloka began to dance and sing, while great sages and the inhabitants of Cāraṇaloka and Siddhaloka offered prayers to the Supreme Personality of Godhead, Puruṣottama.

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 8.8.26, Translation:

The inhabitants of Gandharvaloka and Cāraṇaloka then took the opportunity to play their musical instruments, such as conchshells, bugles and drums. They began dancing and singing along with their wives.

SB 8.11.41, Translation:

Viśvāvasu and Parāvasu, the two chiefs of the Gandharvas, sang in great happiness. The kettledrums of the demigods sounded, and the Apsarās danced in jubilation.

SB 8.15.21, Translation:

The city was filled with the sounds of mṛdaṅgas, conchshells, kettledrums, flutes and well-tuned stringed instruments all playing in concert. There was constant dancing and the Gandharvas sang. The combined beauty of Indrapurī defeated beauty personified.

SB 8.16.57, Translation:

Every day from pratipat to trayodaśī, one should continue the ceremony, to the accompaniment of dancing, singing, the beating of a drum, the chanting of prayers and all-auspicious mantras, and recitation of Śrīmad-Bhāgavatam. In this way, one should worship the Supreme Personality of Godhead.

SB 8.18.8, Translation:

Being very pleased, the celestial dancing girls (Apsarās) danced in jubilation, the best of the Gandharvas sang songs, and the great sages, demigods, Manus, Pitās and fire—gods offered prayers to satisfy the Lord.

SB 8.18.9-10, Translation:

The Siddhas, Vidyādharas, Kimpuruṣas, Kinnaras, Cāraṇas, Yakṣas, Rākṣasas, Suparṇas, the best of serpents, and the followers of the demigods all showered flowers on Aditi's residence, covering the entire house, while glorifying and praising the Lord and dancing.

SB 8.21.6-7, Translation:

They worshiped the Lord by offering fragrant flowers, water, pādya and arghya, sandalwood pulp and aguru pulp, incense, lamps, fused rice, unbroken grains, fruits, roots and sprouts. While so doing, they offered prayers indicating the glorious activities of the Lord and shouted "Jaya! Jaya!" They also danced, played instruments, sang, sounded conchshells and beat kettledrums, in this way worshiping the Lord.

SB 8.24.51, Purport:

The Lord lives in the spiritual world in His original personality, and a devotee who follows the instructions of the Lord approaches Him (mām eti). As a spiritual person, such a devotee returns to the Personality of Godhead and plays and dances with Him. That is the ultimate goal of life.

SB 8.24.52, Purport:

By mental speculation one can understand that one is not the body but a spirit soul, but unless one engages in devotional service, the real purpose of life is never fulfilled. The real purpose of life is to go back home, back to Godhead, and live with the Supreme Personality of Godhead, play with the Supreme Personality of Godhead, dance with the Supreme Personality of Godhead and eat with the Supreme Personality of Godhead.

SB Canto 9

SB 9.10.41, Translation:

The citizens of Ayodhyā, upon seeing their King return after a long absence, offered Him flower garlands, waved their upper cloths, and danced in great jubilation.

SB 9.23.7-10, Translation:

From Diviratha came a son named Dharmaratha, and his son was Citraratha, who was celebrated as Romapāda. Romapāda, however, was without issue, and therefore his friend Mahārāja Daśaratha gave him his own daughter, named Śāntā. Romapāda accepted her as his daughter, and thereafter she married Ṛṣyaśṛṅga. When the demigods from the heavenly planets failed to shower rain, Ṛṣyaśṛṅga was appointed the priest for performing a sacrifice, after being brought from the forest by the allurement of prostitutes, who danced, staged theatrical performances accompanied by music, and embraced and worshiped him. After Ṛṣyaśṛṅga came, the rain fell. Thereafter, Ṛṣyaśṛṅga performed a son-giving sacrifice on behalf of Mahārāja Daśaratha, who had no issue, and then Mahārāja Daśaratha had sons. From Romapāda, by the mercy of Ṛṣyaśṛṅga, Caturaṅga was born, and from Caturaṅga came Pṛthulākṣa.

SB Canto 10.1 to 10.13

SB 10.3.6, Translation:

The Kinnaras and Gandharvas began to sing auspicious songs, the Siddhas and Cāraṇas offered auspicious prayers, and the Vidyādharīs, along with the Apsarās, began to dance in jubilation.

SB 10.8.19, Purport:

If you can protect this child very cautiously, as Nārāyaṇa always protects you, the child will be as good as Nārāyaṇa." Gargamuni also indicated that although the child was exaltedly qualified like Nārāyaṇa, He would enjoy more than Nārāyaṇa as rāsa-vihārī, the central enjoyer of the rāsa dance. As stated in the Brahma-saṁhitā, lakṣmī-sahasra-śata-sambhrama-sevyamānam: (Bs. 5.29) He would be served by many gopīs, who would all be as good as the goddess of fortune.

SB 10.8.31, Purport:

When caught by the master of the house, Kṛṣṇa would chastise him, saying, "You are a thief." Aside from being a thief in His childhood affairs, Kṛṣṇa acted as an expert thief when He was young by attracting young girls and enjoying them in the rāsa dance. This is Kṛṣṇa's business. He is also violent, as the killer of many demons. Although mundane people like nonviolence and other such brilliant qualities, God, the Absolute Truth, being always the same, is good in any activities, even so-called immoral activities like stealing, killing and violence.

SB 10.9.21, Purport:

As it is said, vṛndāvanaṁ parityajya padam ekaṁ na gacchati: Kṛṣṇa does not leave Vṛndāvana even for a moment. The vṛndāvana-vāsīs—mother Yaśodā, Kṛṣṇa's friends and Kṛṣṇa's conjugal lovers, the younger gopīs with whom He dances—have very intimate relationships with Kṛṣṇa, and if one follows in the footsteps of these devotees, Kṛṣṇa is available. Although the nitya-siddha expansions of Kṛṣṇa always remain with Kṛṣṇa, if those engaged in sādhana-siddhi follow in the footsteps of Kṛṣṇa's nitya-siddha associates, such sādhana-siddhas also can easily attain Kṛṣṇa without difficulty.

SB 10.11.7, Translation:

The gopīs would say, "If You dance, my dear Kṛṣṇa, then I shall give You half a sweetmeat." By saying these words or by clapping their hands, all the gopīs encouraged Kṛṣṇa in different ways. At such times, although He was the supremely powerful Personality of Godhead, He would smile and dance according to their desire, as if He were a wooden doll in their hands. Sometimes He would sing very loudly, at their bidding. In this way, Kṛṣṇa came completely under the control of the gopīs.

SB 10.12.7-11, Translation:

All the boys would be differently engaged. Some boys blew their flutes, and others blew bugles made of horn. Some imitated the buzzing of the bumblebees, and others imitated the voice of the cuckoo. Some boys imitated flying birds by running after the birds' shadows on the ground, some imitated the beautiful movements and attractive postures of the swans, some sat down with the ducks, sitting silently, and others imitated the dancing of the peacocks.

SB 10.12.34, Translation:

Thereafter, everyone being pleased, the demigods began to shower flowers from Nandana-kānana, the celestial dancing girls began to dance, and the Gandharvas, who are famous for singing, offered songs of prayer. The drummers began to beat their kettledrums, and the brāhmaṇas offered Vedic hymns. In this way, both in the heavens and on earth, everyone began to perform his own duties, glorifying the Lord.

SB 10.13.51, Translation:

All beings, both moving and nonmoving, from the four-headed Lord Brahmā down to the most insignificant living entity, had taken forms and were differently worshiping those viṣṇu-mūrtis, according to their respective capacities, with various means of worship, such as dancing and singing.

SB 10.13.51, Purport:

"Only Kṛṣṇa is the supreme master, and all others are His servants. As Kṛṣṇa desires, everyone dances according to His tune.' (CC Adi 5.142) There are two kinds of living entities-the moving and the nonmoving. Trees, for example, stand in one place, whereas ants move. Brahmā saw that all of them, down to the smallest creatures, had assumed different forms and were accordingly engaged in the service of Lord Viṣṇu.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.15.7, Translation:

O worshipable one, these peacocks are dancing before You out of joy, these doe are pleasing You with affectionate glances, just as the gopīs do, and these cuckoos are honoring You with Vedic prayers. All these residents of the forest are most fortunate, and their behavior toward You certainly befits great souls receiving another great soul at home.

SB 10.15.10-12, Translation:

Sometimes the honeybees in Vṛndāvana became so mad with ecstasy that they closed their eyes and began to sing. Lord Kṛṣṇa, moving along the forest path with His cowherd boyfriends and Baladeva, would then respond to the bees by imitating their singing while His friends sang about His pastimes. Sometimes Lord Kṛṣṇa would imitate the chattering of a parrot, sometimes, with a sweet voice, the call of a cuckoo, and sometimes the cooing of swans. Sometimes He vigorously imitated the dancing of a peacock, making His cowherd boyfriends laugh. Sometimes, with a voice as deep as the rumbling of clouds, He would call out with great affection the names of the animals who had wandered far from the herd, thus enchanting the cows and the cowherd boys.

SB 10.15.15, Translation:

Sometimes, as the cowherd boys danced, sang, moved about and playfully fought with each other, Kṛṣṇa and Balarāma, standing nearby hand in hand, would glorify Their friends' activities and laugh.

SB 10.16.26, Translation:

Having severely depleted the serpent's strength with His relentless circling, Śrī Kṛṣṇa, the origin of everything, pushed down Kāliya's raised shoulders and mounted his broad serpentine heads. Thus Lord Śrī Kṛṣṇa, the original master of all fine arts, began to dance, His lotus feet deeply reddened by the touch of the numerous jewels upon the serpent's heads.

SB 10.16.27, Translation:

Seeing the Lord dancing, His servants in the heavenly planets—the Gandharvas, Siddhas, sages, Cāraṇas and wives of the demigods—immediately arrived there. With great pleasure they began accompanying the Lord's dancing by playing drums such as mṛdaṅgas, paṇavas and ānakas. They also made offerings of songs, flowers and prayers.

SB 10.16.29, Translation:

Exuding poisonous waste from his eyes, Kāliya, would occasionally dare to raise up one of his heads, which would breathe heavily with anger. Then the Lord would dance on it and subdue it, forcing it to bow down with His foot. The demigods took each of these exhibitions as an opportunity to worship Him, the primeval Personality of Godhead, with showers of flowers.

SB 10.16.30, Translation:

My dear King Parīkṣit, Lord Kṛṣṇa's wonderful, powerful dancing trampled and broke all of Kāliya's one thousand hoods. Then the serpent, profusely vomiting blood from his mouths, finally recognized Śrī Kṛṣṇa to be the eternal Personality of Godhead, the supreme master of all moving and nonmoving beings, Śrī Nārāyaṇa. Thus within his mind Kāliya took shelter of the Lord.

SB 10.18.9, Translation:

Decorating themselves with newly grown leaves, along with peacock feathers, garlands, clusters of flower buds, and colored minerals, Balarāma, Kṛṣṇa and Their cowherd friends danced, wrestled and sang.

SB 10.18.10, Translation:

As Kṛṣṇa danced, some of the boys accompanied Him by singing, and others by playing flutes, hand cymbals and buffalo horns, while still others praised His dancing.

SB 10.18.13, Translation:

While the other boys were dancing, O King, Kṛṣṇa and Balarāma would sometimes accompany them with song and instrumental music, and sometimes the two Lords would praise the boys, saying, "Very good! Very good!"

SB 10.18.13, Translation:

While the other boys were dancing, O King, Kṛṣṇa and Balarāma would sometimes accompany them with song and instrumental music, and sometimes the two Lords would praise the boys, saying, "Very good! Very good!"

SB 10.27.24, Translation:

Tumburu, Nārada and other Gandharvas, along with the Vidyādharas, Siddhas and Cāraṇas, came there to sing the glories of Lord Hari, which purify the entire world. And the wives of the demigods, filled with joy, danced together in the Lord's honor.

SB 10.33.2, Translation:

There on the Yamunā's banks Lord Govinda then began the pastime of the rāsa dance in the company of those jewels among women, the faithful gopīs, who joyfully linked their arms together.

SB 10.33.3, Translation:

The festive rāsa dance commenced, with the gopīs arrayed in a circle. Lord Kṛṣṇa expanded Himself and entered between each pair of gopīs, and as that master of mystic power placed His arms around their necks, each girl thought He was standing next to her alone. The demigods and their wives were overwhelmed with eagerness to witness the rāsa dance, and they soon crowded the sky with their hundreds of celestial airplanes.

SB 10.33.5, Translation:

A tumultuous sound arose from the armlets, ankle bells and waist bells of the gopīs as they sported with their beloved Kṛṣṇa in the circle of the rāsa dance.

SB 10.33.6, Translation:

In the midst of the dancing gopīs, Lord Kṛṣṇa appeared most brilliant, like an exquisite sapphire in the midst of golden ornaments.

SB 10.33.7, Translation:

As the gopīs sang in praise of Kṛṣṇa, their feet danced, their hands gestured, and their eyebrows moved with playful smiles. With their braids and belts tied tight, their waists bending, their faces perspiring, the garments on their breasts moving this way and that, and their earrings swinging on their cheeks, Lord Kṛṣṇa's young consorts shone like streaks of lightning in a mass of clouds.

SB 10.33.8, Translation:

Eager to enjoy conjugal love, their throats colored with various pigments, the gopīs sang loudly and danced. They were overjoyed by Kṛṣṇa's touch, and they sang songs that filled the entire universe.

SB 10.33.10, Translation:

When one gopī grew tired from the rāsa dance, She turned to Kṛṣṇa, standing at Her side holding a baton, and grasped His shoulder with Her arm. The dancing had loosened Her bracelets and the flowers in Her hair.

SB 10.33.12, Translation:

Next to Kṛṣṇa's cheek one gopī put her own, beautified by the effulgence of her earrings, which glittered as she danced. Kṛṣṇa then carefully gave her the betel nut He was chewing.

SB 10.33.13, Translation:

Another gopī became fatigued as she danced and sang, the bells on her ankles and waist tinkling. So she placed upon her breasts the comforting lotus hand of Lord Acyuta, who was standing by her side.

SB 10.33.15, Translation:

Enhancing the beauty of the gopīs' faces were the lotus flowers behind their ears, the locks of hair decorating their cheeks, and drops of perspiration. The reverberation of their armlets and ankle bells made a loud musical sound, and their chaplets scattered. Thus the gopīs danced with the Supreme Lord in the arena of the rāsa dance as swarms of bees sang in accompaniment.

SB 10.35.2-3, Translation:

The gopīs said: When Mukunda vibrates the flute He has placed to His lips, stopping its holes with His tender fingers, He rests His left cheek on His left arm and makes His eyebrows dance. At that time the demigoddesses traveling in the sky with their husbands, the Siddhas, become amazed. As those ladies listen, they are embarrassed to find their minds yielding to the pursuit of lusty desires, and in their distress they are unaware that the belts of their garments are loosening.

SB 10.35.2-3, Translation:

The gopīs said: When Mukunda vibrates the flute He has placed to His lips, stopping its holes with His tender fingers, He rests His left cheek on His left arm and makes His eyebrows dance. At that time the demigoddesses traveling in the sky with their husbands, the Siddhas, become amazed. As those ladies listen, they are embarrassed to find their minds yielding to the pursuit of lusty desires, and in their distress they are unaware that the belts of their garments are loosening.

SB 10.39.29, Translation:

When He brought us to the assembly of the rāsa dance, where we enjoyed His affectionate and charming smiles, His delightful secret talks, His playful glances and His embraces, we passed many nights as if they were a single moment. O gopīs, how can we possibly cross over the insurmountable darkness of His absence?

SB 10.44.29, Translation:

Kṛṣṇa and Balarāma then called Their young cowherd boyfriends to join Them, and in their company the Lords danced about and sported, Their ankle bells resounding as musical instruments played.

SB 10.44.42, Translation:

Kettledrums resounded in the sky as Brahmā, Śiva and other demigods, the Lord's expansions, rained down flowers upon Him with pleasure. They chanted His praises, and their wives danced.

SB 10.47.37, Translation:

Although some gopīs had to remain in the cowherd village and so could not join the rāsa dance to sport with Me at night in the forest, they were nonetheless fortunate. Indeed, they attained Me by thinking of My potent pastimes.

SB 10.47.43, Translation:

Does He recall those nights in the Vṛndāvana forest, lovely with lotus, jasmine and the bright moon? As we glorified His charming pastimes, He enjoyed with us, His beloved girlfriends, in the circle of the rāsa dance, which resounded with the music of ankle bells.

SB 10.47.60, Translation:

When Lord Śrī Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced by the arms of the Lord. This transcendental favor was never bestowed upon the goddess of fortune or other consorts in the spiritual world. Indeed, never was such a thing even imagined by the most beautiful girls in the heavenly planets, whose bodily luster and aroma resemble the lotus flower. And what to speak of worldly women who are very beautiful according to material estimation?

SB 10.47.62, Translation:

The goddess of fortune herself, along with Lord Brahmā and all the other demigods, who are masters of yogic perfection, can worship the lotus feet of Kṛṣṇa only within her mind. But during the rāsa dance Lord Kṛṣṇa placed His feet upon these gopīs' breasts, and by embracing those feet the gopīs gave up all distress.

SB 10.54.12, Translation:

Just as a puppet in the form of a woman dances by the desire of the puppeteer, so this world, controlled by the Supreme Lord, struggles in both happiness and misery.

SB 10.62.2, Translation:

Śukadeva Gosvāmī said: Bāṇa was the oldest of the hundred sons fathered by the great saint Bali Mahārāja, who gave the whole earth in charity to Lord Hari when He appeared as Vāmanadeva. Bāṇāsura, born from Bali's semen, became a great devotee of Lord Śiva. His behavior was always respectable, and he was generous, intelligent, truthful and firm in his vows. The beautiful city of Śoṇitapura was under his dominion. Because Lord Śiva had favored him, the very demigods waited on Bāṇāsura like menial servants. Once, when Śiva was dancing his tāṇḍava-nṛtya, Bāṇa especially satisfied the lord by playing a musical accompaniment with his one thousand arms.

SB 10.69.9-12, Translation:

Supporting the palace were coral pillars decoratively inlaid with vaidūrya gems. Sapphires bedecked the walls, and the floors glowed with perpetual brilliance. In that palace Tvaṣṭā had arranged canopies with hanging strands of pearls; there were also seats and beds fashioned of ivory and precious jewels. In attendance were many well-dressed maidservants bearing lockets on their necks, and also armor-clad guards with turbans, fine uniforms and jeweled earrings. The glow of numerous jewel-studded lamps dispelled all darkness in the palace. My dear King, on the ornate ridges of the roof danced loudly crying peacocks, who saw the fragrant aguru incense escaping through the holes of the latticed windows and mistook it for a cloud.

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 10.70.20, Translation:

These performers would dance and sing to the sounds of mṛdaṅgas, vīṇās, murajas, flutes, cymbals and conchshells, while professional poets, chroniclers and panegyrists would recite the Lord's glories.

SB 10.71.29, Translation:

Sūtas, Māgadhas, Gandharvas, Vandīs, jesters and brāhmaṇas all glorified the lotus-eyed Lord—some reciting prayers, some dancing and singing—as mṛdaṅgas, conchshells, kettledrums, vīṇās, paṇavas and gomukhas resounded.

SB 10.72.35, Translation:

As they skillfully circled left and right, like actors dancing on a stage, the fight presented a magnificent spectacle.

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 10.83.30, Translation:

Just then there were loud sounds of conchshells and mṛdaṅga, paṭaha, bherī and ānaka drums, as well as other instruments. Men and women began to dance, and singers began to sing.

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.

SB 10.86.38, Translation:

Śrutadeva received Lord Acyuta into his home with as much enthusiasm as that shown by King Bahulāśva. After bowing down to the Lord and the sages, Śrutadeva began to dance with great joy, waving his shawl.

SB 11.2.40, Translation:

By chanting the holy name of the Supreme Lord, one comes to the stage of love of Godhead. Then the devotee is fixed in his vow as an eternal servant of the Lord, and he gradually becomes very much attached to a particular name and form of the Supreme Personality of Godhead. As his heart melts with ecstatic love, he laughs very loudly or cries or shouts. Sometimes he sings and dances like a madman, for he is indifferent to public opinion.

SB 11.3.32, Translation:

Having achieved love of Godhead, the devotees sometimes cry out loud, absorbed in thought of the infallible Lord. Sometimes they laugh, feel great pleasure, speak out loud to the Lord, dance or sing. Such devotees, having transcended material, conditioned life, sometimes imitate the unborn Supreme by acting out His pastimes. And sometimes, achieving His personal audience, they remain peaceful and silent.

SB 11.8.18, Translation:

Becoming attracted to the worldly singing, dancing and musical entertainment of beautiful women, even the great sage Ṛṣyaśṛṅga, the son of Mṛgī, fell totally under their control, just like a pet animal.

SB 11.11.34-41, Translation:

One may purify oneself by seeing, touching, worshiping, serving, and offering prayers of glorification and obeisances to My form as the Deity and to My pure devotees. One should also glorify My transcendental qualities and activities, hear with love and faith the narrations of My glories and constantly meditate on Me. One should offer to Me whatever one acquires, and accepting oneself as My eternal servant, one should give oneself completely to Me. One should always discuss My birth and activities and enjoy life by participating in festivals, such as Janmāṣṭamī, which glorify My pastimes. In My temple, one should also participate in festivals and ceremonies by singing, dancing, playing musical instruments and discussing Me with other Vaiṣṇavas. One should observe all the regularly celebrated annual festivals by attending ceremonies, pilgrimages and making offerings. One should also observe religious vows such as Ekādaśī and take initiation by the procedures mentioned in the Vedas, Pañcarātra and other, similar literatures.

SB 11.14.24, Translation:

A devotee whose speech is sometimes choked up, whose heart melts, who cries continually and sometimes laughs, who feels ashamed and cries out loudly and then dances—a devotee thus fixed in loving service to Me purifies the entire universe.

SB 11.22.53, Translation:

Just as one may imitate persons whom one sees dancing and singing, similarly the soul, although never the doer of material activities, becomes captivated by material intelligence and is thus forced to imitate its qualities.

SB 11.27.35, Translation:

On special occasions, and daily if possible, the Deity should be massaged with ointment, shown a mirror, offered a eucalyptus stick for brushing His teeth, bathed with the five kinds of nectar, offered all kinds of opulent foods, and entertained with singing and dancing.

SB 11.27.44, Translation:

Singing along with others, chanting loudly and dancing, acting out My transcendental pastimes, and hearing and telling stories about Me, the devotee should for some time absorb himself in such festivity.

SB 11.29.11, Translation:

Either alone or in public gatherings, with singing, dancing and other exhibitions of royal opulence, one should arrange to celebrate those holy days, ceremonies and festivals set aside specially for My worship.

SB 12.8.16, Translation:

To ruin the sage's spiritual practice, Lord Indra sent Cupid, beautiful celestial singers, dancing girls, the season of spring and the sandalwood-scented breeze from the Malaya Hills, along with greed and intoxication personified.

SB 12.8.18-20, Translation:

Groves of pious trees decorated the holy āśrama of Mārkaṇḍeya Ṛṣi, and many saintly brāhmaṇas lived there, enjoying the abundant pure, sacred ponds. The āśrama resounded with the buzzing of intoxicated bees and the cooing of excited cuckoos, while jubilant peacocks danced about. Indeed, many families of maddened birds crowded that hermitage. The springtime breeze sent by Lord Indra entered there, carrying cooling drops of spray from nearby waterfalls. Fragrant from the embrace of forest flowers, that breeze entered the hermitage and began evoking the lusty spirit of Cupid.

SB 12.8.24, Translation:

The women danced before the sage, and the celestial singers sang to the charming accompaniment of drums, cymbals and vīṇās.

SB 12.11.47-48, Translation:

While the sages glorify the sun-god with the hymns of the Sāma, Ṛg and Yajur Vedas, which reveal his identity, the Gandharvas also sing his praises and the Apsarās dance before his chariot. The Nāgas arrange the chariot ropes and the Yakṣas harness the horses to the chariot, while the powerful Rākṣasas push from behind.