The objective of this final paper was to analyze dance in Bhakti Yoga, through my experiences
as a Bhakti yogi vaisnava artist-researcher and yoga teacher. As a theoretical and methodological
support, I used the studies of Ethnoscenology, according to Pradier (1995) and Bião (1998), in
order to base the spectacularity of dance in the Bhakti Yoga Movement, under the
epistemological view of spectacular human practices and behaviors. Theorists and researchers
such as Valera (2015) and Silveira (2000), who are practitioners of dance in the spiritual context
of Bhakti Yoga, Hari Nama Sankirtana and dance in the Vaisnava temple, and contribute to the
understanding of eastern cultures, were the bibliographical support. The research approach is
qualitative-descriptive and, for this, I bring my experiences and observations of Bhakti Yogi. As
a result, I present my experiences in the field of dance, through the research group in Modern
Dance, from the Theater and Dance School of the Federal University of Pará, presenting Tunga
Vidya Natya Yoga, that is, my look-perceiving-doing on the practice of dance and its connection
with the Divine and the sacred. Thus, the experiences reported in dance practices are like a
spiritual and artistic path, with regard to both research and artistic production, as well as the
preservation of a millenary ancestral knowledge, which is the knowledge of Bhakti Yoga in its
essence, the prema bhakti, pure love for Krishna.
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