मानम्य तत्पृथुशिर:स्वधिरूढ आद्य: ।
पादाम्बुजोऽखिलकलादिगुरुर्ननर्त ॥ २६ ॥
ānamya tat-pṛthu-śiraḥsv adhirūḍha ādyaḥ
pādāmbujo ’khila-kalādi-gurur nanarta
evam — in this way; paribhrama — because of the Lord’s moving around him; hata — spoiled; ojasam — whose strength; unnata — raised high; aṁsam — whose shoulders; ānamya — making him bend down; tat — his; pṛthu-śiraḥsu — onto the broad heads; adhirūḍhaḥ — having climbed up; ādyaḥ — the ultimate origin of everything; tat — his; mūrdha — on the heads; ratna-nikara — the numerous jewels; sparśa — because of touching; ati-tāmra — very much reddened; pāda-ambujaḥ — whose lotus feet; akhila-kalā — of all arts; ādi-guruḥ — the original spiritual master; nanarta — began to dance.
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.
Śrī Hari-vaṁśa states, śiraḥ sa kṛṣṇo jagrāha sva-hastenāvanamya: “Kṛṣṇa grabbed Kāliya’s head with His hand and forced it to bow down.” Most people in this world are quite reluctant to bow down to the Supreme Person, the Absolute Truth. In the contaminated state called material consciousness, we conditioned souls become proud of our insignificant position and are thus reluctant to bow our heads before the Lord. Yet just as Lord Kṛṣṇa forcibly pushed Kāliya’s heads down and thus defeated him, the Supreme Lord’s energy in the form of irresistible time kills all conditioned souls and thus forces them to bow down their arrogant heads. We should therefore give up the artificial position of material life and become faithful servants of the Supreme Lord, enthusiastically bowing down at His lotus feet.
Śrīla Viśvanātha Cakravartī Ṭhākura explains that Lord Kṛṣṇa’s lotus feet became red like copper because of their contact with the numerous hard jewels upon the heads of Kāliya. Lord Kṛṣṇa, with those glowing reddish feet, then began to demonstrate His artistic skill by dancing on the unsteady, moving surface of the serpent’s hoods. This extraordinary demonstration of dancing skill was meant for the pleasure of the young women of Vṛndāvana, who at this phase of their relationship with Kṛṣṇa were seriously falling in love with Him.