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VIVEKANANDA KENDRA PATRIKA DANCES OF INDIA

DANCES OF INDIA

CONTENTS

1. Acknowledgements 1

2. Editorial Dr.Padma Subrahmaniam 3

3. The Dance of Shiva Ananda K. Coomaraswamy 15

4. The Gift of Tradition K. S. Ramaswami Sastri 20

5. The Spiritual Background of

Indian Dance Rukmini Devi 25


6. The Renaissance of Indian Dance and
its Consequences Mohan Khokar 30

7. The Art of Dance Dr. C. P. Ramaswami Iyer 35

8. The Place of Language in Dance Prof. C. V. Chandrasekhar 40

9. Waiting in the Wing Usha Jha 47


10. The Ramayana in Indian Dance
and Dance-Drama Mohan Khokar 54

11. The Art and The Artist K. S. Ramaswami Sastri 60

12. Kuchipudi Dance V. Patanjali 62

13. The Veedhi of Bhagavatam Andhra Dr. V. Raghavan 69

14. Bhagavata Mela - Dance-Drama S. Natarajan 72

15. Koodiyattom D. Appukuttan Nair 74

16. Origin and Development of Thullal P. K. Sivasankara Pillai 77

17. Kathakali-The Total Theatre M. K. K. Nayar 81

18. Mohiniaattam Dr. (Smt.) Kanak Rele 97

19. Bharatanatyam Smt.Chitra Visweswaran 102


VIVEKANANDA KENDRA PATRIKA DANCES OF INDIA

20. Dance can Play a Therapeutic Role Smt.Sudharani Raghupathy 105

21. Yakshagana Bayalata K. S. Upadhyaya 108

22. A Glimpse Into Odissi Dance Dr. Minati Mishra 115

23. Mayurabhanj Chhau Dr. (Mrs.) Kapila Vatsyayan 121

24. Kathak Dance as an Art -Form Dr. S. K. Saxena 132

25. Udayshankar Moni Bagchee 135

26. Temples as Patrons of Dance Dr. K. V. Raman 138


27. Therukkoothu-The Folk-Theatre of
Tamilnad Smt. Shyamala Balakrishnan 140

28. Chakkiyar Koothu Mrinalini Sarabhai 144

29. Vivekananda Kendra Samachar 146

30. Folk-Dances of Gujarat Parul Shah 169

31. Folk-Dances of Punjab - Bhangra Dr. (Mrs.) Kapilavatsyayan 175

32. Folk-Dances of Haryana Sudhir K. Sharma 178

33. Folk-Dances of Madhya Pradesh Dr. (Mrs.) Kapila Vatsyayan 181

34. Natya Tradition in Maharashtra Sucheta Bhide 184

35. Folk-Dances of Rajasthan Dr. (Mrs.) Kapila Vatsyayan 188

36. Folk-Dances of West Bengal Dr. (Mrs.) Kapila Vatsyayan 192

37. Manipuri Dance Darshana Jhaveri 194

38. Folk-Dances of Arunachal Pradesh Niranjan Sarkar 196

40. Assamese Dance Pradeep Chaliha 205


VIVEKANANDA KENDRA PATRIKA 1 DANCES OF INDIA

Acknowledgements

T
his volume of the Kendra Patrika on 1. Traditions of Indian Folk-Dance
Dances of India is expected to be by Dr. Kapila Vatsyayan,
of lasting and cherishable value. Publishers: Indian Book
Though performing artists and exponents Company, New Delhi.
in the field are comparatively few in number,
there are thousands who love and admire 2. Lesser Known Forms of
the excellent heritage of our culture, Performing Arts in India. Edited
namely, the dances of India. As the topic by Durgadas Mukhopadhyaya.
itself indicates, it is not a subject on which Publishers: M/s. Sterling
everyone can write authoritatively. Publishers Private Limited,
Therefore, it was very essential to invite New Delhi.
contributions on different topics from the 3. The Art of Dance from the
artists and exponents of dance in different Voice of Samanvaya. Publishers:
parts of the country. With a deep sense of C. P. Ramaswami Aiyar
gratitude, we express our hearty thanks Foundation, Madras-LB.
to all those artists who extended their
valuable help and co-operation promptly, 4. The Dance of Shiva by Ananda
and made our venture a good success. K. Coomaraswamy , Publishers:
They not only sent articles but also helped Sagar Publications, New Delhi.
us with a good number of relevant photo- 5. Origin and Development of
graphs, which have added much to the Thullal by P. K. Sivasankara
richness and quality of the volume. Besides, Pillai from Kalamandalam
on a subject like this, when the attempt is Annual (1970). Publishers:
to try to give a fairly comprehensive Kerala Kalarnandalam, Cochin-11.
picture, one has to necessarily reproduce
certain ,widely accepted and standard 6. Bharatiya Vidya Bhavan, Bombay
articles connected with the theme. This for perrmssron to reproduce
could be done only with the generous help articles from their Bhavans
and co-operation extended to us by the Journal and from their, book
various publishers of books and ;magazines. The Sacred Dance of
While thanking them earnestly, we give India by Mrinalini Sarabhai.
below the names and addresses of the 7. Folk-Dances of Arunachal
publishers who have helped us by giving Pradesh by Niranjan Sarkar.
their permission to publish in this volume Publishers: Arunachal Pradesh
whatever portions we required: Administration, Shillong.
VIVEKANANDA KENDRA PATRIKA 2 DANCES OF INDIA

We are very thankful to artiste Kalpana with which they executed the whole
who managed to get a good. number of volume. While every care has been taken
valuable photographs which have been to see that no party is left out in our
used in this volume. Our thanks are also acknowledgement for their meritorious
due to SITRA who did the cover design in assistance and co-operation, we earnestly
spite of his heavy pre-occupation with solicit forgiveness for any mistake of
other commitments. We are indeed very omission or commission which, of course,
thankful to M/s. Rajsri Printers for their has not been deliberate.
neat handling of the work and the speed
VIVEKANANDA KENDRA PATRIKA 3 DANCES OF INDIA

BHARATIYA NATYA AND NRITTA


Dr. PADMA SUBRAHMANIAM

EDITORIAL

T
he earliest extant literature on the
compendious work dealing with all these
subject of Indian Dance is Bharatas
elements in totality and running to thirty-
Natyasastra. There seems to have
six chapters. It is highly probable that this
been some Nata Sutras even before this
composite work was written during the
Sastra was penned. But they have either
course of a few centuries, by authors of
been lost or got dissolved into the present
the same pen-name. Hence this work may
Natyasastra. The term Natya encompasses
be considered as an extraordinary
in itself all the artistic elements of the
compilation of a series of supplemental
Theatre Art. Dance was only a part of
treatises on the subject. This clearly proves
drama in ancient India. But drama itself
the exclusive importance that the nucleus
was mostly danced. There was hardly any
of the original treatise on Natya and its
bifurcation between these arts in the true
author Bharata enjoyed in the ancient Hindu
Hindu theatre. Like the Hindu religion, which
society.
is itself a fusion of the Aryans . Vedic
yagna and the non-Aryans Agamic puja, Natya, in its complete form consists of
the Hindu theatre also took the form of a music, dance and communication through
homogeneous presentation of dance and expression. Of these, the second and third
drama. Dance seems to have been a elements are known as Nritta and Abhinaya,
favourite sport of the non-Aryans, while respectively. The Natya- sastra describes
drama, with its literary beauty was the all these elements in great detail. Later,
Aryans love. The art of dance developed authorities like Saarangadeva (12th
as drama through its getting mingled with century A.D.) recognised another form
the Aryan culture. Natya was the term called Nritya and defined it as a
which indicated this composite whole. The representational kind of Nritta. But
term Sangita was always referred to in its Bharatas period had the arts of only Nritta
triple aspects viz., Gita (song), Vadya and Abhinaya as parts of Natya. Nritta
(instrumental music) and Nritta (dance). could be handled in two ways, viz., Uddhata
All the earlier works on Sangita had (gracefully forceful) and Sukumara
chapters on everyone of these elements. (gracefully soft). These obtained the
Natya included these three plus drama too. names of Tandava and Lasya perhaps only
The Natya sastra is an unsurpassed after Kalidasas time. During Bharatas
VIVEKANANDA KENDRA PATRIKA 4 DANCES OF INDIA

period, the term Tandava seems to have to foot are prescribed for each limb, based
been a synonym of Nritta. The Aryans seem highly on kinetic principles. The student
to have freely incorporated the art of Nritta was expected to master these individual
into their Natya. Ever since then, Natya exercises and proceed to practising
was almost suffused with Nritta. Its actual combinations of movements of various
place in it is revealed through the study of limbs.
the nature of Natya.
These exercises are to be meaningfully
The goal of any Natya is only to create utilised to convey ideas and more important
Rasa. Rasa is the enjoyment of an aesthetic than that, feelings. This is the essence of
bliss derived through witnessing or reading Angika Abhinaya. Physical expression is a
a production. The process through which part of human nature. The connection
this is achieved is the sub- structure of between the psyche and the physic is so
the varied rules analytically laid down in intrinsic, that even the minutest vibration
the Natyasastra. The Bhava, i.e. feeling, of the mind gets easily reflected through
contained in a situation and the character the body in daily life itself. For instance,
involved has to be expressed by the actor nodding the head is part of human
or the writer, as the case may be, in such behaviour while reacting. The force, speed
a way that it can be understood by the and space of our pacing also reflect the
onlooker or reader. Unless the feelings and inner composure and conflicts. The art of
ideas are communicated, the audience physical expression is hence beautifully
cannot share those feelings, which conceived, classified and codified by
ultimately is responsible for evoking Rasa. Bharata, to artistically suit a dramatic
The art of communication is called representation.
Abhinaya. There are four mediums of
Angikabhinaya is of two categories. One is
expression available for the artists. This
the Padarthabhinaya while the other is
analysis, given in the Natyasastra, is so
Vakyarthabhinaya. The former means the
accurate and universal that it is valid even
expression of word to word meaning, while
today, for any production in any part of
the latter is a communication of the general
the world. The four Abhinayas are: Angika
idea of a sentence or even the mood. For
(physical), Vachika (verbal), Aharya
the actual execution of these, three
(external) and Satvika. (internal)
mediums are given, viz., Sakha, Ankura and
Angikabhinaya is the art of physical Nritta. Sakha literally means branch; Ankura
expression. The entire human body has is sprout while Nritta is dance. Sakha
been analysed in the Natyasastra as Angas indicates the availability of an entire
(major limbs) and Pratyangas (minor limbs). system of gesticulation through the hands.
Later, authorities added to this classification A complete language of gestures has been
the Upangas (subsidiary limbs) which in handed down by generations of artistes.
turn, were divided as those belonging These hand gestures are of two kinds. One
exclusively to the face and those of the is a group of Abhinaya Hastas and the other
other limbs of the body. Exercises from head is a set of Nritta Hastas. The former is
VIVEKANANDA KENDRA PATRIKA 5 DANCES OF INDIA

sub-divided as Asamyuta (single hand) and But the Mandalas are groups of dance
Samyuta (combined hand) gestures. These movements to be used along with holding
Abhinaya Hastas are used to bring out the weapons like the bow and arrow. The
Padarthabhinaya. The practical application Nyayas or rules for such a handling are
of the given set of Abhinaya Hastas is called also laid down. The actors were actually
Ankura. The second group of gestures dancers. All these prove that Natya was
called the Nritta Hastas enacted as Nritta in all
are to be used in Nritta- the practical sense.
Dance. These may be Abhinavagupta is of
used in the art of the opinion that Natya
Vakyarthabhinaya. The and Nritta are not
most obvious requirement different from each
for the actors was the other from the view of
mastery over actual practice. Of
Angikabhinaya for, this course, unless one is
medium of expression was able to comprehend
used in full measure in the nature of the
ancient Natya. This is Natya of those by-
nothing short of gone days, it will not
demanding dancing talent be possible to digest
in actors. The scenes like the idea of the arts of
Sakuntala watering the drama and dance not
plants or the bee being different. The
harassing her, or even Natya of ancient India
Dushyanta riding the was a wholesome
chariot, were all enacted combination of the
with suitable gestures and present day play,
movements. The Caris and opera and ballet. The
Gatis involving the legs exacting nature of the
were to be used to talent of the artistes
represent the various was in the form of their
characters and situations. being expected to
Their combinations called speak, sing and dance.
the Mandalas were to be
Bharata has
used to enact fighting sequences. The
mentioned only Natya and Nritta, while the
Angaharas which involve the Karanas were
classification and rigid crystallisation of the
primarily meant for invoking the blessings
term Nritya, as understood today is not
of the gods and manes in the preliminary
found in his work. But Nritta itself can be
of the play. They were also to be used
presented as representational or non-
wherever the emotion of love dominated.
representational. It can be a part of the
These Angaharas involve hand gestures.
VIVEKANANDA KENDRA PATRIKA 6 DANCES OF INDIA

actual body of the play, or adorn the so analytical that they almost exhaust the
preliminary of the same. In any case, Nritta possibilities of human ability. They create
was considered as a limb of Natya. In other an unlimited scope for the artistic use of
words, it is enlisted under Angikabhinaya the body. The pedagogy of the technique
by Abhinavagupta, the commentator. has been unfortunately lost along with the
Sakha, Ankura and Nritta are the three technique itself. Bharatas Nritta is no easy
elements of physical expression. This path. It cannot lend itself for celebrating
means that Nritta is the expression of ideas Arangetrams in six months! It does not
through the movements of the entire body. allow us to get satisfied with the mere
This aspect of Angikabhinaya has gone into footwork technique of the Adavu system
oblivion in the course of the past four or of Sadir or any other isolated dance style
five centuries. Angikabhinaya has come to of today. The feet are only one of the
mean the mere art of hand gestures based Angas and hence the steps are not the
on the Abhinaya Hastas delineated in a more end of this demanding style. Every limb
recent work, viz., Nandikeswaras Abhinaya has to be under the control of the dancers
Darpanam. The art of using the entire body in the Bharata Nritta. In the process. of
to convey ideas is Nritta according to the this achievement, the first stage is the
Bharata tradition. Later, authorities learning of the Vyayarnas which are
classified Nritya as representational and exercises of the Angas and Upangas. Three
Nritta as non-representational arts. But, basic elements mark the second stage of
Bharatas Nritta was both re-presentational learning the Nritta. These are the Sthanas
and non-representational. It was an art to (postures of the body), Nritta Hastas
be mastered by the actors and dancers. (course of movements of the arms and
Every major and minor limb was to undergo hands) and Caris (the specific way of
exercises which were to be practised, moving the leg). Then comes the
independent of each other as well as being particularisation of the combinations of the
woven into one fabric. These Vyayamas three elements of Nritta Hasta, Sthana and
formed the foundation of Nritta. The limbs Cari. Any such single combination is given
of the body are classified as Angas-major the name Karana. The Natyasastra has
limbs which include the hand, chest, sides, enlisted and enumerated 108 such
waist, hands and feet. Upangas are the combinations under the name of Karanas.
minor limbs such as the neck, elbows, The Karanas should be understood as a
shoulders, belly, thighs, shanks, knees and unit of Nritta. The foundation as well as
heels; the Upangas of the face are eyes, the pinnacle of Bharatas Nritta is the
eye-brows, nose, lower lip and chin. Later, Karana.
authorities like Sarangadeva classified the
Before going into the details of the
limbs into three groups as Angas (major
Karanas, it is essential to grasp the concept
limbs), Pratyangas (subsidiary limbs) and
of its elements. Sthana denotes the Sthithi
Upangas (minor limbs). Exercises for each
or the static aspect. It is the definite
of the Angas and Upangas are named and
posture of the body which decides the
described in the Natyasastra. These are
VIVEKANANDA KENDRA PATRIKA 7 DANCES OF INDIA

physical lines and the space the body value. The former is called Abhinaya Hasta
occupies. These Sthanas depend on the and the latter type connected with Nritta
varied positions of the feet. Sthanas are is called Nritta Hasta. The Abhinaya Hastas
based on the Padabhedas such as Sarna, are also of two kinds, viz., Asamyuta-single
Parswa, Tryasra, Ancita, Agratalasanchara, hand gestures and Samyutacom- bined
Suci and Kuncita. The Sthanas involve the hand gestures. Bharata has given a list of
positions of the entire legs unlike the 24 Asamyuta, 13 Samyuta and 30 Nritta
Padabhedas which involve only the feet. Hastas. The main difference between the
The knees play a prominent role in this Abhinaya Hasta and Nritta Rasta is in their
formation. Bharata has mentioned six static and dynamic qualities. The original
Sthanas for men in Chapter and three for form of the Abhinaya Hasta is static and
women in Chapter XIII. involves just the fingers.
This does not mean that This static form of Abhinaya
they cannot or should not Hasta is motivated in
be used by the contrary several ways to bring out
sex. In addition to these several ideas. For example,
standing postures, he has the first Abhinaya Hasta,
given nine sitting postures Pataka literally meaning
(Asanas) and six reclining flag, can be moved in
postures in Chapter XIII. various ways to depict
Sarangadeva has given a ideas such as you, me, sky,
list of fifty Sthanas floor, clouds, opening or
including Desi (Folk, Novel closing doors, welcoming or
and Exotic) postures. The driving out and many other
Sthanas of Bharata and such contrary ideas. But
Sarangadeva do not each Nritta Hasta has a
involve the hands. But definite course of action
later works like the Naiya involving the entire arms
sastra Sangraha prescribe and not just the palms;
the hand gestures for the thirty such actions are
Sthanas. Sthanas or described. These actions
Sthanakas, as they are variedly referred depend on the four Hasta Karanas (four
to, are in short definite positions of the ways of whirling the wrists). The thirty
body in which the legs and hands are to Nritta Hastas are based on such rolling
be moved in a Karana. actions of the hands and arms. The Nritta
Hastas of Bharatas period are now
The second element of major importance
obsolete; only a few are seen scattered in
in a Karana is the Nritta Hasta. Hastas are
the various dance styles.
the hand gestures which can be broadly
classified as those of communicative The third element that constitutes the
significance and others of mere aesthetic Karana is the Cari. It has its roots in Car
VIVEKANANDA KENDRA PATRIKA 8 DANCES OF INDIA

which means to move ones self, go, walk Angahara (a chain of dance movements).
or roam about, get diffused and to continue
The major difference between the
performing. The term Cari indicates all the
technique of Bharatas Nritta and that of
meaning given for its root. Bharata defines
our contemporary Nritta is in the use of
it as the simultaneous movements of the
the legs, space and patterns. The
thigh, shank and feet. Hence, the Cari is a
extension of the legs caused by the Akasa
movement which causes the action of the
Caris have been practically lost. All the
entire leg. Thirty-two such Caris are
present styles depend on the foot-work
described under the classification of Bhu
technique only. The use of the legs from
Cari and Akasa Cari. The sixteen Bhu Caris
the root of the thighs down to the toes
are the movements of the feet close to
has been out of vogue for nearly five
the ground while the sixteen Akasa Caris
centuries. The various aspects of Bharata
are movements, involving leaps, jumps and
Nritta are seen scattered in the so-called
extensions of the leg off the ground. These
regional styles and very often seen in the
Akasa Caris remind us of some of the Plies
neighbouring cultures of Ceylon, Burma and
of the Western Classical Ballet. Hence, it
Indonesia. The distinctions of the regional
is erroneous on the part of some scholars
dance styles of India are because each of
to assume that Indian Dance has no
them has just either retained or
movements involving actions on the air or
concentrated on the isolated aspects of
having the extension of the thighs. This
Nritta. The Kathak has the Sarna Sthana
wrong impression is caused by the fact
as its main stay, while the Sadir and its
that these Akasa Caris have become
sister styles have the Mandala Sthana.
obsolete in the presently known traditions.
The Vaisakha and Vaishnava are seen more
The Karana, being a combination of Sthana,
in the Kathakali. The Hasta Karanas and
Nritta Hasta and Cari, is certainly a
some Nritta Hastas are retained in Manipuri
movement and not a mere pose as normally
while the South has managed to preserve
being misunderstood. Karana has its root
all the Abhinaya Hastas. In the eyes of
in Krn meaning doer, causer, doing,making,
those who have studied the practical
producing, helping the act of doing and on
aspects of the Naiya sastra, almost any
the whole, any action. The word Karana
dance style of our country reveals a basic
also suggests the idea of being an
unity in the apparent diversity. Almost
instrument, an element and an Anga or part
every dance movement can be explained
of something, and in dance, it is a unit of
against the backdrop of the Natyasastra.
action. We have words like Antahkarana,
The unlimited scope offered in this text,
meaning an inner part, i.e., the conscience.
when used in practice, gives room for
We also have the popular usage like Manasa
unending variety.
Vaca Karmanaha tridha Karanani meaning
by the three means of thought, word and The new term Bharata Natyam for the older
deed. Hence, Karana is a means to some term Sadir has created a fair amount of
end. Karanas are woven to form an confusion in regard to its antiquity. This
VIVEKANANDA KENDRA PATRIKA 9 DANCES OF INDIA

style is just one kind of Bharata Natyam, most angular sub-styles of the Sadir. The
if we take the term Bharata Natyam to fact is that Bharatas Nritta is all embracing.
mean that Natya which follows Bharatas A resurrection of the lost technique has
work. It is partiality to associate the name proved that Bharatanatya in its true sense
of this great sage with just one of the is Bharatiya Natya.
styles that still retains the traces of his
Another interesting factor of Bharatas
Natyasastra. In fact, the present Bharata
Nritta is that it is suitable for both the
Natyam is more of Nritta and Nritya in its
sexes. The same set of 108 Karanas are
nature than Natya in its true sense. Every
meant for both the male and the female
style of dance has in it some aspect of
dancers. There are no separate movements
the Natyasastra still lingering. Hence, the
for Lasya and Tandava. In fact, the term
various styles may be referred to as,
Tandava is used only as a synonym of
Bharata Natyam in Manipuri style,
Nritta in the Natyasastra. This Tandava is
Bharatanatyam in Sadir style,
common for both the sexes. The chapter
Bharatanatyam in Kathakali style and so
dealing with the Karanas is called Tandava
on. In the eyes of one who has studied
Lakshanam. The Katanas are called Nritta
the Natyasastra all the so-called major
Katanas. Though their origin is attributed
dance styles of India appear like the
to Lord Siva, it is handled by Parvati Devi
different shades of the same colour. Are
and the apsara women too. Hence, we
we not used to recognising all the sub-
must realise a basic fact, that though the
styles such as those of Thanjavur, Vazhuvur,
format of the action are the same, due to
etc., as Bharatanatyam and the Gharanas
the inherent differences in nature of the
of Lucknow, Jaipur and others as Kathak?
male and female, the ultimate effect is
It is only an extension of the same. The
different when they are performed. The
evolution of the Karanas can be seen in all
forceful style of presentation is given the
these styles. Some examples are the
name Uddhata and the soft execution of
changed forms of Mattalli Karana in
the same is called Sukumara. Hence,
Kuchipudi, Paraswajanu Udvrittam and
according to Natya- sastra, Nritta or
Mandalaswastikam in Sadir, many of the
Tandava may be performed as per the
Karanas involving Tribhang in Odissi,
Uddhata or Sukumara usage. It should also
Atikranta and Parswakranta in Kathakali,
be kept in mind that the Uddhata and Suku-
Vartitam in Mohini Attam, Adhyardhika Cari
mara usages are not to be compartmen-
in Manipuri, Karanas involving Bhramaris
talised for the male and the female dancers.
in Kathak and Vivrttam in Yakshagana. The
As and when necessity arises, these can
use of the entire legs and arms in the Caris
be interchanged in consonance with the
and Nritta Hastas give the Karanas definite
character and the situation.
character. These do differ from the
established and well-remembered classical Dance, Gymnastics and Acrobatics have
traditions. It is natural that the all often got mixed up in the course of
performances of these Karanas disturb their development. This is true of the dance
those who are soaked in any one of the of every part of the world. In fact, some
VIVEKANANDA KENDRA PATRIKA 10 DANCES OF INDIA

of the more acrobatic Karanas must be but not the least Satvikabhinaya-an
viewed from the point of view of exercise outcome of the psychological states of
and in the case of Natya, their proper use mind. Vachikabhinaya includes the dialogues
in the relevant sequences. For example, and songs. It may be prose or poetry. Voice
the somersault was meant for fighting modulation and its control, playa major role
sequences and certainly not for being in this form of communication. The
included in the Angaharas to represent love. Natyasastra gives even the rules of
The movements which are more of prosody. The language employed is also
acrobatic nature were actually termed as expected to suit the various characters.
Adhama-inferior in a later work called All the plays of our contemporary theatre
Mahabharata Chudamani. The ideal Nritta seem to utilise only Vachikabhinaya and
is that which emanates beauty and joy at that too devoid of songs. The
the various levels of human understanding Aharyabhinaya included the specific facial
and perceptions such as physical, make-up, colours, crowns, jewelry and
intellectual, emotional and spiritual. costumes for each character.

The level of Nritta is directly proportional Satvikabhinaya is perhaps the most


to the level of the dancers realisation of important, yet the most difficult mode of
her own inner personality; this is quite apart expression. It cannot be gained through
from her physical beauty or even skill. mere learning or practice. It needs an
innate sense to feel the various situations.
Nritta is a spiritual experience for the ideal
It depends on the mental involvement of
dancer and the ideal audience. It is a means
the performer backed by a clear intellectual
through which the dancer achieves a
grasp of the characterisation to be
shedding of her body consciousness. As in
portrayed. Sat literally means mind. Even
Yoga, in dance too, the body is trained
in actual life, it is most natural that the
only to be forgotten about. The dancers
inner feelings get reflected in the face.
self, integrated with the universal dance
Apart from the facial expressions, the eight
of all the constant Cosmic Activity, liberates
Satvika conditions are said to be stupor,
her from all the shackles of this earth. The
perspiration, horripilation, change of voice,
dancer herself becomes a microcosmic
trembling, change of colour, tears and
being, experiencing within herself unlimited
fainting. The four-fold art of Abhinaya can
freedom and bliss. The result of such a
further be classified as Natya- dharmi
Nritta is the same as that of Yoga and
(stylistic) and Lokadharmi (realistic). The
Yagna.
Natya was the combination of both these
Apart from the art of Angikabhinaya in which modes of expression. Natyadharmi pertains
Nritta also IS meluded, Indian theatre has to the conventions of the stage. For
long recognised the use of Vachikabhinaya- example, walking around the stage may
verbal expression, Aharyabhinaya- denote a change of place. The use of
expression through external elements like dance in drama is itself Natya- dharmi.
costumes, make-up and scenery and last The convention in a play, according to
VIVEKANANDA KENDRA PATRIKA 11 DANCES OF INDIA

which persons are supposed not to hear be totally discarded when ne has to enact
words uttered in proximity, or to hear what situations such as fainting, dreaming or
has not been uttered at all, are all part of being terrified, disgusted or overcome by
Natyadharmi. In this conventional stylistic sorrow and so on. Such scenes need to be
mode, the actor may dance instead of enacted through Satvikabhinaya.
walking. In short, anything which is beyond
This expression of inner feelings without
the purview of realism, but presented in
the use of gestures is closer to the concept
an artistically appealing manner is
of Lokadharmi or realism. Hence the
Natyadharmi. If, on the other hand, the
situations and characters fully charged with
play depends on natural behaviour,
emotion are expected to depend only upon
presented as simple acting with no
Satvikabhinaya in the Lokadharmi style.
flourishes of even physical expression, it is
Bharatas Natya was a combination of both
called Lokadharmi.
the stylistic and the realistic modes of
A deeper insight into the Natyadharmi and expression, thus adding to its unending
Lokadharmi modes reveal that the former variety.
is formal and perhaps easier to be handled
Apart from the differences in the modes of
whereas the latter is informal, but requires
communication, Natya on the whole, is to
a consummate skill, understanding, mental
be constructed in one or a mixture of the
involvement, imagination and sobriety. The
four styles called Vrittis. They are Bharati,
former can be taught, but the latter has
Arabhati, Satvati and Kaisiki. Here they are
to be felt and hence it requires an artiste
interpreted from a practical point of view.
of greater experience in communication. It
is also true that Lokadharmi, when treated Bharati is the verbal style, depending mainly
well, is more easily understood even by an on the beauties of Vachikabhinaya. Use of
uninitiated audience. But the Natyadharmi flowery language as well as the slang
reaches only those who are at least fairly suitable for the specific characters are the
well versed with the conventions of the main features of this Vritti. The mere
stage. The use of hand gestures is directly reading of the play itself must be satiating
proportional to the degree of Natyadharmi. in the Bharati Vritti. Language and diction
It is interesting to note that Bharata has with proper voice modulation mark the
stated that in superior persons, hand strength of this style. Arabhati Vritti is the
gestures should have scanty movements, forceful style characterised by a
in mediocre ones, there should be medium predominance of combats, arousing the
movements, while in the acting of ordinary psychological states of fury, hatred and
persons, there should be profuse wonder. The combats are to be performed
movements of hand gestures. But when through the use of Mandalas. Hence it
different occasions or time present involves a fair amount of Natyadharmi with
themselves, wise people should make varied Angik- abhinaya of the Uddhata or forceful
use of the hand gestures. Bharata has also nature. It also needs pageantry and
mentioned that the hand gestures are to glamour through elaborate scene settings,
VIVEKANANDA KENDRA PATRIKA 12 DANCES OF INDIA

costumes and make-up. Hence pleasantness. It needs beautiful women,


Aharyabhinaya plays a major role in the like the heavenly damsels, the Apsaras.
Arabhati Vritti. Satvati Vritti depends mainly They are said to have been created by
on the strength of the emotional content. Lord Brahma to fulfil the requirement of
The main feature are the moulding of the this Vritti. It is likely that it is the concept
characters, and story with enough scope of Apsaras that gave to the Indian stage
for Satvikabhinaya. This naturally amounts the Kaisiki Vritti itself. This idea of feminine
to a greater use of Lokadharmi with only a grace-Lasya-which has come down to this
little use of gestures. Satvati has been day is certainly a product of the influence
translated as the Grand Style. Perhaps of these imaginative dancing demi-
this description suits the glamour of the goddesses. The Kaisiki Vritti is still seen
Arabhati style. Sat denotes psyche and having its sway in the Indian movies wherein
hence Satvati Vritti may be understood as the heroine is unhesitatingly portrayed as
the emotional style, wherein singing and almost dancing the pathetic
Satvikabhinaya dominates. Satvika also songs, even when portraying the
denotes the Satvaguna-the superior contemporary society. The stylism in the
qualities of human thought and its Indian movie is the result of its inheritance
consequential behaviour, the other qualities from the traditional Indian theatre. The
of a relatively lower gradation being older Tamil dramas of this century were,
Rajoguna and Tamoguna. The play in and are still marked by a profuse use of
Satvati Vritti is expected to portray music. Such musical dramas of Tamilnadu
characters of higher qualities. Even if there have their own parallels in other parts of
are sequences of fights and personal our country.
combats, they must be based on the
The most amazing fact is the permanent
Nyayas (strict adherence to the proper
value of Bharatas analysis and
rules). Of course, the essence of all Indian
classifications of the art of dramatic
plays is the victory of the good over the
presentation. The ideas of the four modes
evil. The Satvati Vritti needs to suppress
of communication, realism, stylism and the
even sorrow. This style, on the whole
four basic styles of the theatre art hold
should be taken to require subdued acting
good, for any part of the world and at any
(without being demonstrative) with a
point of time. Almost any production can.
realistic expression of feelings and
be analysed against this basic backdrop of
concepts of a superior nature.
the Natyasastra.
The Kaisiki Vritti is different from the Satvati
The Natyasastra does not stop with the
Vritti in its Natya- dharmi character. Kaisiki
mere analysis of the Vrittis. It has also
needs delicate emotions like, love,
given advice to artistes regarding the
portrayed through Angikabhinaya. It needs
choice of the specific styles, in a pure or
the support of glittering costumes, lil- ting
mixed fashion to suit the taste of the
music and cultivated dance, all melting
audience of the various regions. These are
together to make an amalgam of
broadly classified under four Pravrittis,
VIVEKANANDA KENDRA PATRIKA 13 DANCES OF INDIA

taking geographic divisions into sung or recited by a solo female dancer.


consideration. These are called These are at least somewhat similar to the
Dakshinatya, Avanti, Odramagadhi and general format of the present Bharata-
Panchali. The geographical names natyam. But this Lasya of Bharatas work
mentioned in the Natyasastra with regard is only one of the sparks from the great
to these Pravrittis are met with in the fire of Natya which was of a major
Puranas. The Dakshinatya Pravritti pertains composite structure. Except the Abhinaya
to the land south of the Vindhya mountains Hastas, the present Bharatanatyam has
and uses the Kaisiki Vritti. Avanti belongs not retained many of the intricacies of even
to the western region and makes use of Bharatas Nritya and Abhinaya.
the Kaisiki and Satvati Vrittis. Odramagadhi
There are other dramatic forms which are
is meant for the eastern region including
close to Bharatas Natya in their conception
Nepal and is expected to use the Kaisiki
if not in their technique. The Therukkoothu
and Bharati Vrittis. Panchali is with regard
and Bhagavatamela of Tamilnadu, Koodi-
to the northern region; For this the Satvati
attam and Chakkiarkoothu of Kerala, the
and Arabhati Vrittis are recommended.
Bhagavata Atta of Kuchipudi and of other
Combinations in varying degrees of the similar villages of Andhra, and the
different elements of Naiya like the four Yakshagana of Karnataka, are some of the
Abhinayas, the two Dharmis and the four theatrical forms which show an underlying
Vrittis with all the aspects of Sangita viz., unity in their format in spite of their
Gita, Vadhya and Nritta gave rise to a linguistic diversity. All these forms are
number of major and minor types of drama. descendants of Bharatas Natya and hence
These were the Rupas or Rupakas, and the all the four Abhinayas play an equal role in
Uparupakas respectively. Bharata mentions them. The artistes are expected to speak
only the ten major Rupas. Later history sing and dance. Mime plays a major role in
shows that many minor plays called them. The songs are in the local languages.
Uparupakas were developed as dance and But the general character of these plays
music dramas. All the present operatic, is highly unified. There is a striking similarity
dramatic and dance forms can be studied even in their Aharya. The large crowns the
in relation to the older Rupakas and jewels, their shoulder pieces and the make-
Uparupakas. up have a striking similarity. The characters
are represented with their suitable Gatis
In this context, the dance known as
(gaits) along with the songs called Darus.
Bharatanatyam today, is neither Naiya in
The origin of the Daru can be traced in the
its true sense nor does it faithfully follow
Druva, a musical form mentioned in the
Bharata. It has the aspects of Nritta and
Natyasastra. The types of Darus are
Padarthabhinaya performed mostly as solo
common to all these. Only their names and
dance. In fact, it is closer to the concept
metres change. The Sutradhara (the
of Lasya as found in the Naiya-sastra.
director of the play) introduces the play in
Lasya, according-to Bharatas work,
the prologue. He is called the Kattiyakkaran
includes a set of songs or verses to be
VIVEKANANDA KENDRA PATRIKA 14 DANCES OF INDIA

in Tamil. The Tiraisilai (the hand-held Bharatas tradition. Hence, like a living
curtain) is used in all these forms to language, the performing arts of India have
introduce major characters. Except the also been undergoing changes constantly.
Koodiattam, all these other theatre forms This does not mean that they ever lost
are enacted only by male artistes. their roots at any point of time.

Bharatas Natya is so comprehensive that The Indian artiste finds audience of the
its elements are invariably met with in a level of appreciation which is equal to her
scattered manner, even in the remotest own mental calibre. After all, Natya is said
corners of our country. Its compendious to yield all the fruits of life-Dharma, Artha,
nature is a testimony to the unparalleled Kama and Moksha. Hence the artistes have
artistic and intellectual synthesis of ancient been and are still serving as poets, using
Indian theatre. With the help of this Sastra, the rules laid down in the Sastras to create
we are able to analyse and appreciate any their own worlds of art.
theatrical form of the world. It is amazing
Bharatas Natya has its deep roots in every
how this art had been fully developed in all
part of our country. It has also spread its
the possible aspects, even at a period when
principles at all the levels of appreciation.
some parts of the world were still sleeping
Natya is an imitation of the three worlds
in the cradle of civilisation. The unlimited
and hence all types of characters are
scope it offers for creativity, in spite of
included in it. It has always had the
recording even the minutest detail of the
responsibility and capacity to satisfy people
art of action and acting, speaks for the
of various tastes. In spite of laying the
unending variety of interpretation, that
qualities of even an ideal spectator,
generations of artistes have been able to
Bharata says that the inferior and common
conceive for the same rules.
persons in an assembly which consists of
The general impression of some scholars the superior, the middling and the inferior
that Indian theatre offers no scope for members, cannot be expected to
creativity and imagination is actually appreciate the performance of the superior
baseless. The Natya- sastra and other ones. And hence an individual to whom a
texts are like grammar and the artistes who particular dress, profession, speech and
handle them are like poets. The freedom an act belong as his own, should be
which poets have within the frame-work considered fit for appreciating the same.
of the rules of grammar and prosody, is That is why we need Sahrdaya (audience
certainly enjoyed by the actors and of equal mental calibre) to make the
dancers. The terms Margi and Desi in both performance of Natya a real success. As
music and dance signified the older and water finds its own level, Natya too finds
newer forms. As centuries passed, the its own audience at various planes of
spontaneous creativity of the artistes of human perception.
various regions were also codified under
the name of Desi; Margi signified
VIVEKANANDA KENDRA PATRIKA 15 DANCES OF INDIA

The Dance Of Shiva


ANANDA K. COOMARASWAMY

T
intoxicated energy, in honour of the pre-
he Lord of Tillais Court a mystic
Aryan hill-god, afterwards merged in Shiva.
dance performs; Whats that, my
A great motif in religion or art, any great
dear?
symbol, becomes all things to all men; age
- Tiruvachagam,XII.14 after age it yields to men such treasures
as they find in their own hearts. Whatever
Amongst the greatest of the names of
be the origin of Shivas dance, it became
Shiva is Nataraja, Lord of Dancers, or King
in time the clearest image of the activity
of Actors. The Cosmos is His theatre. There
of god which any art of religion can boast
are many different steps in His repertory.
of. Of the various dances of Shiva, I shall
He Himself is actor and audience-
only speak of three, one of them alone
When the Actor beats the drum,
forming the main subject of interpretation.
Everybody comes to see the show;
When the Actor Collects the stage The first is an evening dance in the
properties Himalayas, with a divine chorus described
He abides alone in His happiness. as follows in the Shiva Pradosha Stotra:

How many various dances of Shiva are Placing the Mother of the Three Worlds
known to His worshippers I cannot say. No upon a golden throne, studded with
doubt the root idea behind all these dances precious gems, Shulapani dances on the
is more or less one and the same, the heights of Kailasa, and all the gods gather
manifestation of primal rhythmic energy. round Him:
Shiva is the Eros Protogonos of Lucian,
Saraswati plays on the Vina, Indira on
when he wrote:
the flute, Brahma holds the time-marking
It would seem that dancing came into cymbals, Lakshmi begins a song, Vishnu
being at the beginning of all things, and plays on a drurn, and all the gods stand
was brought to light together with Eros, round about:
that ancient one, for we see this primeval
Gandharvas, Yakshas, Patagas, Uragas,
dancing clearly set forth in the choral
Suddhas, Sadhyas, Vidyadharas, Amaras,
dance of the constellations, and in the
Apsarasas, and all the beings dwelling in
planets and fixed stars, their inter-weaving
the three worlds assemble there to witness
and interchange and orderly harmony.
the celestial dance and hear the music of
I do not mean to say that the most the divine choir at the hour of twilight.This
profound interpretation of Shivas dance evening dance is also referred to in the
was present in the minds of those who invocation preceding the Katha Sarit
first danced in frantic, and perhaps Sagara.
VIVEKANANDA KENDRA PATRIKA 16 DANCES OF INDIA

In the pictures of this dance, Shiva is two- beautiful woman, and Adi-Shesha. The
handed, and the co-operation of the gods rishis were at first led to a violent dispute
is clearly indicated in their position of amongst themselves, but their anger was
chorus. There is no prostrate Asura soon directed against Shiva, and they
trampled under Shivas feet. So far as I endeavoured to destroy Him by means of
know, no special interpretations of this incantations. A fierce tiger was created in
dance occur in Shaiva literature. sacrificial fires, and rushed upon Him; but
smiling gently, He seized it, and, with the
The second well-known dance of Shiva is
nail of His little finger, stripped off its skin,
called Tandava and belongs to His tamasic
and wrapped it about Himself like a silken
aspect as Bhairava or Virabhadra. It is
cloth. Undiscouraged by failure, the sages
performed in cemeteries and burning
renewed their offerings, and produced a
grounds, where Shiva, usually ten-armed
monstrous serpent, which, however, Shiva
form, dances wildly with Devi, accompanied
seized and wreathed about His neck like a
by troupes of capering imps.
garland. Then He began to dance; but
Representations of this dance are common
there rushed upon Him a last monster in
amongst ancient sculptures, as at Ellora,
the shape of a malignant dwarf, Muyalaka.
Elephanta, and also Bhuvaneshvara. The
Upon Him the god pressed the tip of His
Tandava dance is in origin that of a pre-
foot, and broke the creatures back, so
Aryan divinity, half-god, half-demon, who
that it writhed upon the ground; and so,
holds his midnight revels in the burning
His last foe prostrate, Shiva resumed the
ground. In later times, this dance in the
dance witnessed by gods and rishis.
cremation ground, sometimes of Shiva,
sometimes of Devi, is interpreted in Shaiva Then Adi-Shesha worshipped Shiva, and
and Shakta literature in a most touching prayed above all things for the boon, once
and. profound sense. more to behold this mystic dance; Shiva
promised that he should behold the dance
Thirdly, we have the Nadanta dance of
again insacred Tillai, the centre of the
Nataraja before the assembly (sabha) in
Universe.
the golden hall of Chidambaram or Tillai,
the Centre of the Universe, first revealed This dance of Shiv a in Chidambaram orTillai
to gods and rishis after the submission of forms the motif of the South Indian copper
the latter in the forest of Taragam, as images of Shri Nataraja, the Lord of the
related to the Koyil Puranam. The legend, Dance. These images vary amongst
which has after all, no very close themselves in minor details, but all express
connection with the real meaning of the one fundamental conception. Before
dance, may be summarised as follows: proceeding to enquire what these may be,
it will be necessary to describe the image
In the forest of Taragam dwelt multitudes
of Shri Nataraja as typically represented.
of heretical rishis, following of the Mimamsa.
The images, then, represent Shiva dancing,
Thither proceeded Shiva to confute them
having four hands, with braided and jewelled
accompanied by Vishnu disguised as a
hair of which the lower locks are whirling
VIVEKANANDA KENDRA PATRIKA 17 DANCES OF INDIA

in the dance. In His hair may be seen a copious contemporary literature, which
wreathing cobra, a skull, and the mermaid enables us to fully explain not only the
figure of Ganga ; upon it rests the crescent general significance of the dance, but
moon and it is crowned with a wreath of equally, the details of its concrete
Cassia leaves. In his symbolism. Some of
right ear, He wears the peculiarities of
a mans ear-ring, a the Nataraja images,
womans in the left; of course, belong to
He is adorned with the conception of
necklaces and Shiva generally, and
armlets, a jewelled not to the dance in
belt, anklets, particular. What is the
bracelets, finger meaning of Shivas
and toe rings . The Nadanta dance, as
chief part of His understood by
dress consists of Shaivas? Its essential
tightly fitting significance is given
breeches, and He in texts such as the
wears also a following:
fluttering scarf and
Our Lord is the
a sacred thread.
Dancer, who, like the
One right hand
heat latent in
holds a drum, the
firewood, diffuses His
other is up- lifted in
power in mind and
the sign of do not
matter, and makes
fear: one left hand
them dance in their
holds fire, the other
turn. [Kadavul
point; down upon
M a m u n i v a r s
the demon
Tiruvatavurar Puranam, Puttaraivatil,
Mryalaka, a dwarf holding cobra ; the left
Venracarukkam, stanza 75, translated by
foot is raised, There is a lotus pedestal,
Nallaswami Pillai, Shivajnanabodham, p. 74.]
from which springs an encircling glory
(tiruvasi), fringed with flame, and touched The dance, infact, represents His five
within by the hands holding drum and fire. activities (Panchakritya), viz: Srishti
The images are of all sizes, rarely if ever (overlooking, creation, evolution), Sthiti
exceeding four feet in total height. (preservation, support), Samhara
(destruction, evolution), Tiro-bhava
Even without reliance upon literary
(veiling, embodiment, illusion and also giving
reference, the interpretation of this dance
rest), Anugraha (release, salvation, grace).
would not be difficult. Fortunately,
These, separately considered, are the
however, we have the assistance of a
activities of the deities Brahma, Vishnu,
VIVEKANANDA KENDRA PATRIKA 18 DANCES OF INDIA

Rudra, Maheshwara and Sadashiva. desolate. The place where the ego is
destroyed signifies the state where illusion
The cosmic activity is the central motif of
and deeds are burnt away: that is the
the dance. Further quotations will illustrate
crematorium, the burning ground where Shri
and explain the more detailed symbolisms.
Nataraja dances, and whence He is named
Unmai Vilakkam, verse 36, tells us:
Sudalaiyadi, Dancer of the burning-ground.
In this simile, we recognise the historical
connection between Shivas gracious dance
as Nataraja, and His wild dance as the
demon of the cemetery.

This conception of the dance is current


also amongst Shaktas, especially in Bengal,
where the Mother rather than the Father-
aspect of Shiva is adored. Kali is here the
dancer, for whose entrance the heart must
be purified by fire, made empty by
renunciation.

We find in Tamil texts, the purpose of Shivas


dance explained. In Shivajnana Siddhar,
Supaksha, Sutra, V, 5, we find:

For the purpose of securing both kinds of


fruit to the countless soul, our Lord, with
actions, five, dances His dance. Both kinds
of fruit, that is Iham, reward in this world,
and Param, bliss in Mukti.
Creation arises from the drum: protection
proceeds from the hand of hope: from fire The conception of the world process as
proceeds destruction: the foot held aloft the Lords pastime or amusement (lila) is
gives release. It will be observed that the also prominent in the Shaiva scriptures.
fourth hand points to this lifted foot, the Thus Tirumular writes, The perpetual
refuge of the soul. dance is His play. This spontaneity of
Shivas dance is so clearly expressed in
Shiva is a destroyer and loves the burning
Skryabins Poem of Ecstasy.
ground. But what does He destroy? Not
merely the heavens and earth at the close This aspect of Shivas immanence appears
of a world-cycle, but the fetters that bind to have given rise to the objection that he
each separate soul. Where and what is dances as do those who seek to please
the burning ground? It is not the place the eyes of mortals; but it is answered
where our earthly bodies are cremated, but that in fact He dances to maintain the life
the hearts of His lovers, laid waste and of the cosmos and to give release to those
VIVEKANANDA KENDRA PATRIKA 19 DANCES OF INDIA

who seek Him. More over, if we understand Illusion: Thirdly, the place of the dance,
even the dances of human dancers rightly, Chidambaram, the Centre of the Universe,
we shall see that they too lead to freedom. within the Heart. So far I have refrained
But it is nearer the truth to answer that from all aesthetic criticism and have
the reason for His dance lies in His own endeavoured only to translate the central
nature, all His gestures are own-nature thought of the conception of Shivas dance
born (svabhavajah), spontaneous and from plastic to verbal expression, without
purpose less for His being is beyond the reference to the beauty or imperfection of
realm of purposes. individual works. But it may not be out of
place to call attention to the grandeur of
In a much more arbitrary way, the dance
this conception itself as a synthesis of
of Shiva is identified with the Panchakshara,
science, religion and art. How amazing the
or five syllables of the prayer Shi-va-ya-
range of thought and sympathy of those
na-ma Hail to Shiva. In Unmai Vilakkam
rishi-artists who first conceived such a
we are told: If this beautiful Five-Letters
type as this, affording an image of reality,
be meditated upon, the soul will reach the
a key to the complex tissue of life, a theory
land where there is neither light nor
of nature, not merely satisfactory to a
darkness, and there Shakti will make it One
single clique or race, nor acceptable to
with Shivam [Nandikeshvara, The Mirror
the thinkers of one century only, but
of Gesture, translated by Coomaraswamy
universal in its appeal to the philosopher,
and Dug- girala, p .11.]
the lover, and the artist of all ages and all
The Tiru-Arul-Payan however (Ch. IX. 3) countries. How supremely great in power
explains the tiruvasi more naturally as and grace this dancing image must appear
representing the dance of Nature to all those who have striven in plastic
contrasted with Shivas dance of wisdom. forms to give expression to their intuition
of Life !
The dance of nature proceeds on one side:
the dance of enlightenment on the other. It is not strange that the figure of Nataraja
Fix your mind in the centre of the latter. has commanded the adoration of so many
generations past; familiar with all
Now to summarize the whole interpretation
scepticisms, expert in tracing all beliefs to
we find that the essential significance of
primitive superstitions, explorers of the
Shivas dance is three-fold: First, it is the
infinitely great and infinitely small, we are
image of his rhythmic playas the source of
worshippers of Nataraja still.
all movement within the Cosmos, which is
represented by the Arch: Secondly, the Source: The Dance of Shiva, Page 66-
purpose of His dance is to release the 79 Published by Sagar Publications, 72.
countless souls of men from the snare of Janpath, Ved Mansion, New Delhi - 1.
VIVEKANANDA KENDRA PATRIKA 20 DANCES OF INDIA

The Gift Of Tradition


K. S. RAMASWAMI SASTRI

A
ll over the world we have crude sage Bharadwajas ashrama (hermitage).
folk dances as well as classical Valmiki describes Swayamprabhas friend
dance. We find the figures of Hema as Nritta Gita Visarada (Expert in
dancing women in the ruins of Harappa dance and music). In Ravana s harem there
and Mohanjo Daro. In the Rigveda, Goddess were similar experts as Nritta Vaditra
Ushas (Dawn) is described as clad in gay Kusalah (Sundara kanda, X 32). In the
garments, like a dancer. God Siva as Mahabharata we are told that Arjuna learnt
Nataraja and Goddess Uma are said to have dance from the celestial maiden Uma and
taught respectively Tandava (the vigorous taught it to princess Uttara Panini (500
masculine type of dance) to the sage Tandu B.C.) refers to Natasutras. Queen Mira Bais
and through him to Bharata and others, devotional dances are well-known.
and Lasya (the graceful feminine type of ]ayadevas Gita Govinda was interpreted
dance) to Bharata and others. In the by the dances of his wife Padmavati. Dance
Abhinaya Darpana of Nandikeswara, we find went into the hands of courtesans for
the famous verse: centuries but now it has been taken up
Angikam Bhuvanam Tasya enthusiastically by family women and is
Vaachikam Sarvaangmayah / universally popular.
Aahaaryam Chandrataaraadi
Tam nu tvah saatvikam Shivam / /

(The world is the movement of His limbs;


all speech is His Voice; the moon and
the stars are His decorative ornaments.
Let us pray to the good God Siva). The
cosmic dance (tandava) of God Siva is
of seven kinds and symbolises the
Anavarata or eternal dance and the
dances of creation and preservation and
destruction and obscuration and grace
(Panchakritya or five divine acts) and
the dance of bliss (Ananda Tandava).
There is also another classification as
Ananda Tandava, Uma Tandava, Sivagauri
Tandava, Kalika Tandava, Tripura
Tandava and Samhara Tandava. In the
Ramayana of Valmiki, we find the dances
of the celestial apsaras, maidens in the
VIVEKANANDA KENDRA PATRIKA 21 DANCES OF INDIA

works. In the famous Tamil


epic Silappadikaram we
have many great ideas
relating to the art. There
is a reference to eleven
varieties of dance ( alliyam,
Kudai, Kudam etc). It
refers to 24 kinds of
abhinayam, Kamba
Ramayana refers to a
dance hall called
Adumantapa Balakanda,
Nagarapadalam stanza
62). 108 Kananasor dance
Literature Galore poses are beautifully sculptured in the
gopuram at Chidambaram. There is a dance
Bharatas Natya Sastra is the Bible of Indian
platform in front of the great temple at
aestheticians. It says that the Creator
Tanjore. There are innumerable Tamil and
(Brahma) created it to give joy in life to
Telugu and Canarese amorous and
the gods who found their cosmic functions
devotional songs (padams) composed for
to be heavy and dreary. Bharatarmada and
interpretation by dances.
Abinaya Darpana are other important
classical works on the Indian art of dance. The Tamil word Nattuvangam means the
Kalidasas drama Malavikagnimitra throws art of teaching dance, and Nattuvanar
much light on the art and show show means dance-teacher.
princess Malavika was an expert in it.
Two beautiful verses in Abhinaya Darpana
Vishnu Dharmothara and Agni Purana throw
give us the very quintessence of the
much light on the art. Other important
teaching as well as the learning of the
Sanskrit works are Dhananjayas Dasa
Indian art of Dance.
Roopaka, Sargadavas Sangita Ratnakara,
Thulajajis Sangita Saramitra, Bala
Kanthenaambayedgeetam
Ramavarmas Bala Bharata, Haripala Devas
Hastenaartham Pradarshayet /
Sangita Sudhakara, Veda Suris Sangita
Chakshubhyaam darsayedbhauam
Makaranda, Rasamanjari etc.
Paadaabhyaam taalamaacharet //
Tamil literature is described as consisting
(Sing with the mouth and show the
of Iyal (poetry) and Isai (music) and
meaning by the gesture of the hand and
Natakam or Koothu (Dance). Of the many
reveal the emotion (bhava) by the eyes
ancient Tamil works on dance only Bharata
and gently beat time with the feet).
Senapatheeyam is extant. Bharata
Siddhanta, Bharata Sangraha and
Mahabharata Choodamani are recent
VIVEKANANDA KENDRA PATRIKA 22 DANCES OF INDIA

Tato hastastato drishtir-


Yato drishtistato manah /
Yato manastato Vaachah
Tato Vaachastato Rasah //

(The eyes follow the hand, the mind follows


the eyes, the bhava follows the mind, and
the rasa follows the bhava).

Gitaavaadyatalaanuvartini /

(The dance must accompany the vocal


song and the instruments). It is thus clear
that the speechless eloquence of the eyes
intensifies the beauty of the gestures and
rouses the inner feeling (bhava) to the
blossomed state of aesthetic emotional bliss
(rasa).

It is often said that Bharata Natyam is


meant to be performed only by women. In
recent times, Uday Shankar and Ramgopal
and others have learnt and exhibited it.
But Lasya or the graceful form of dance is
more appropriate for women than for men.
There is a view that it is suited to women (angika) , by voice (vacheka), by dress
and not to girls because Sringara bhava and decoration (tapery) and by physical
(the emotion of love) cannot be understood manifestations (sattvika). Anyadbha-
by girls. But the essence of the dance vasrayam nrittam nirityam
being devotion or divine love expressed in talarasasrayam. Gestures can be by the
terms of human love, the charm of the limbs (anga, pratyanga, and upanga). They
dance depends on naturalness and can be shown by a single hand (asamyuta)
sincerity which are clouded in adolescent or by both hands (samyuta). Tamilnadu is
and adult human beings by egoism and rich in the variety of folk dances as well as
egotism and a desire to excel and shine. in the classical art of dance. The
descriptions Marga and Desi refers to
Variations in Gesture
classical dances and regional folk dances
In classical aesthetic terminology, Nritta respectively. The Kummi and Kolattam and
means pure dance without reference to Pinnal Kolattam dances by the girls of the
any theme or emotion. Nritya is dance Tamilnadu are danced in lovely rhythmic
which expounds emotion by gestures. patterns in which songs beautify
Natya adds a story element to it. Abhinaya movements and movements beautify
is the interpretation of emotion by gestures songs. They are not mere crude movements
VIVEKANANDA KENDRA PATRIKA 23 DANCES OF INDIA

of the limbs out of exuberance of animal They are not now extant. It refers also to
spirits because in that case they would be Ayar koothu (dances by shepherds),
dance but not art. Nor are they so Kuravai koothu (dances by kuravans) etc.
elaborate and controlled by rules as They are obsolete. But what is called
Bharata Natya. The Bhajan dances of kuravanji has been lifted to the highest
trained religious singers and dancers are level of art by the genius of poets. In it, a
midway between folk-music and folk-dance human heroine loves a king or a god and
on the one hand and elaborate Carnatic gypsy goes to her and foretells her good
music and Bharatanatyam on the other fortune. The Kutrala Kuravanji Sarfoji
hand. On the other hand, oyilattam, Kurauanji, Viralimalai Kurauanji and Aehagar
chakhaiattam, kauadi dances, karagam Kuravanji are fine works of art and give
dances, dummy horse (poikal kuthirai) room for fine ballet dances which are not
dances, theru koothu (street drama) mere folk-dances but are fine artistic
dances by hill tribes, gypsy dances etc. performances. I must refer also to a new
are folk arts pure and simple. But aesthetic creation viz.Chchaya Natakas
Bommalattam (puppet-shows) is an (Nizhal Attam in Tamil) or shadow-plays
artistic achievement. The puppets are by the great artistic geniuses Sri Uday
moved by strings tied to the limbs of the Shankar and his wife Srimathi Amala
artist behind the curtain. The songs of the Shankar. In them, the acting is by human
singers and the movements of the puppets beings but the public see only the shadows
synchronise superbly. When I was young I thrown on a gigantic screen from the other
saw Harischandras story in Bommalattam. side of the screen. They have now
It was attended by thousands night after presented the Ramayana and the Buddha
night and it made a profound impression Charita.
on my mind. The introductory dance by
Thus we have in the above dances, both
the Kinchin bommai (puppet) was as lovely
pure folk dances as well as artistic dance
as a Bharata Natyam dance. What is called
performances in which the art element
Pavaikoothu (puppet-dance) in ancient
blends with the folk element. The
Tamil literature shows the antiquity of the
Bhagawata Mela of Melattur and Oothukad
art. In Andhra we have the Thol
and Soolamangalam etc. in the Tanjore
Bommalatta (painted leather pieces
District is a high-class classical dance-
operated with bamboo sticks and seen
drama, whereas Bharata Natyam is a solo-
through a semi-transparent screen lighted
dance which IS the ne plus ultra of the
from behind). In the Malabar, shadow play
classical dance art of South India.
figures are shown by perforating holes on
Bhagawata Mela dances present various
square pieces of flat leather.
puranic themes through dances by many
Folk-Dances men who sing and dance where-as in
Bharata Natya the artist does not sing
The Tamil literature--especially the great
while others sing. The songs in Bhagawata
epic Silappadtkaram-refers to other dances
Meta are in Telugu as the Naik kings of
such as alliyam, kudam, kodukoti, etc.
VIVEKANANDA KENDRA PATRIKA 24 DANCES OF INDIA

Tanjore had it as their court language. The art and Buddhist art in the temples at
themes are the stories of Prahlada, Angkor Vat and Prambanan and Borobodur
Harischandra, Dhruva, Markandeya, Usha, and also particularly in the music and dance
Rukmini, Sita and others. The dance- and the general cultural atmosphere in the
dramas combine fine poetry and elaborate island of Bali. In Indonesia, Indian art and
Carnatic music and fine and elaborate the colourful beauty and glory of nature
dances. The founder of this classical and human life and dress and decoration
dance-drama was Venkatarama Sastri of were blended to perfection. In Bali, the
Melattoor who was a contemporary of the pendel, the jangar, the leyong and the
immortal musician Tyagaraja. kabzyar dances interpret the heroic actions
of Arjuna and other heroes of Indian
Influence Abroad
mythology. The pendel is a classical dance
Finally I wish to make a passing reference connected with temple rituals. The other
to the farflung influence of Indian Art in dances also interpret
Ceylon and Burma and Indonesia and far Puranic episodes. The Ketjah or monkey
East Asia including Thailand (Siam) and dance depicts the Ramayana story. There
Cambodia and also in China and Japan. In are also dances interpreting the Buddhist
Java, Bali, Cambodia, and in Eastern Asia and jataka stories. There are also folk
generally, Indian art concepts and art- dances. The gamelon orchestra, aided
motifs have had a dominant influence. Dr. sometimes by vocal music, adds to the
A. K. Coomaraswami says: The leading fascination of the dances. The dance
motifs of Chinese and Japanese gestures are of Indian origin. The dress
building art of the pagoda and toru are and the decoration of the Javanese and
also of Indian origin. (The Arts and Crafts Balinese
of India and Ceylon page 117). Mr. Havell dancers are similar to those discernible in
says, Indian idealism during the greater the Ajanta frescoes. Tagore says: In India
part of this time was the dominant note in where exuberance of life seeks utterance,
the art of Asia which it sets them to dance. One who knows
was thus brought into Europe; and we find their peculiar dance- language can follow
a perfectly oriental atmosphere and strange the story without the help of words.
echoes of eastern symbolism in the
It is thus clear that the art of Dance was
medieval cathedrals of Europe and see their
born and grew up in India as a spiritual art
structural growth gradually blossoming with
and spread all over South -East Asia and
all the exuberance of Eastern imagery. We
flourishes even to-day as a supreme
find the influence of Indian art, viz, Hindu
spiritual art in the house of its birth.
VIVEKANANDA KENDRA PATRIKA 25 DANCES OF INDIA

The Spiritual Background of Indian Dance


RUKMINI DEVI

O
ne of the greatest and most because the sages have given a spiritual
ancient arts of India is the meaning to it. It is also because the very
dance and as far as I know India same sages have, at the same time, helped
alone has given it so high a place in both to build the nation so that there is no
national and spiritual life. No one was too fundamental difference between the
low born for this sacred art, nor anyone spiritual and the physical, nor is there a
too great or spiritual for it. From the Sublime difference between the manifest and the
Being comes the inspiration and example. unmanifest. This has been the uniqueness
Therefore, everyone who is but part of Him, in the civilization of India. If we understand
every living creature, is animated by that the highest, we understand the least also-
spirit of creation which is the dance. It is for both are one.
because the whole conception of art is
Importance of Music
cosmic and all-
embracing that in From this point of
reality it is undying view comes the
and eternal. Its dance tradition of
expression is many, for our country. The
it is like the light of the dance is not an art
sun which sparkles on by itself. It is a
the ocean. From the unique expression,
oneness of that life through the body,
comes the creative synthesising all arts.
genius in man. Man In reality, though it
intuits the spirit and is the nature of the
absorbs his body to respond to
environment. From the harmony ofthe rhythm, yet it is thamasic in nature and
environment, the life, the thought, the its inertia expression, which we call dance.
philosophy and nature all around, with the Therefore, the perfect harmony of the
creative spirit within, inspiration is born, physical and emotional produces the dance.
and art is the expression. How is emotion stirred? It is flexible and
quickly affected and that which stirs it
Environment is of tremendous importance
most is sound. Sound as movement
to the actual form of art. The environment
expresses itself in music. Music is the
is what we call national life. If in India, the
speech of the Highest. The first
dance, as any other art, is essentially
manifestation is in terms of sound, which
spiritual and philosophical, it is merely
is speech or music. All this is so
VIVEKANANDA KENDRA PATRIKA 26 DANCES OF INDIA

magnificently conceived and presented to performances, the dancer is the story-


humanity through the form of Nataraja, the teller and aharya abhinaya or the expression
great Yogis of Yogi. In Him is synthesised of a character through beautiful costumes
all planes of consciousness and all the arts. and jewels is elaborate but simple in one
sense. The dancer has merely to prepare
We find that the instinct
of dance is in the savage
as in the cultured. When
the dance becomes an art
that transcends the
physical, it becomes art,
giving pleasure to all, to
the devas as well as
human beings. It is equally
an art that pleases all
tastes. In dance there is
music for the musician, for
dance is but the music of
the body. It is said that
when music, in terms of
poetry, song and rhythm, blends with the
herself to be beautiful and pleasant and to
instruments, it becomes complete music.
create a personality that can make her
There is music in the dance as there is
story attractive. Her art is music in the
dance in music. Without the spirit of
form of dance and every emotion of every
music within, it is impossible to dance;
song and every character is in her. In the
for music is the expression of the
dance- drama where the dancer is a
highest emotion, through gesture,
particular character, the art of costume is
movement or mime. When it is perfectly
itself expressive of a rasa or an aspect of
expressed through gesture of hasta-
the fundamental state and no movement
abhinaya, movement or angika-abhinaya
is expressive by itself. The truest expression
and satvika-abhinaya or facial expression,
is in the experience within, which is
the dancer becomes something beyond and
dependent on so many things-especially
unfolds another great art into herself-the
on the spiritual development and perception
art of natya or drama. Then she becomes
of the artist.
the story-teller or the actress. To do
perfect justice to the story telling or in Dance and Our Heritage
delineating a particular character in drama,
Thus dance becomes an art that unifies
aharya-abhinaya (expression through
art. The painter sees beauty of line and
costume) becomes part of the four-fold
colour, the sculptor sees the grace and
aspects of the dance.
the form, the actor sees the portrayal of
In Bharata Natya as danced in solo life, and the musician and poet alike see
VIVEKANANDA KENDRA PATRIKA 27 DANCES OF INDIA

the very embodiment of poetry in motion. character and dance go together. In reality
With all these blended in one who is they are one and the same, for what is
dedicated body and soul, the dancer without is but what is within. Through the
becomes the very expression of [ataraja portrayal of Gods and Goddesses one
Himself, of whom it is described that His becomes divine. Indian dance being
Angika or the movement of His limbs is the spiritual, it is suited only for spiritual
world around, the Vachika, the poetry of expression. Through bhava one portray, in
His dance, is the language within all story-form the lives of Gods and Goddesses
speech, the Aharya, His costume and The Indian genius has shown that humanity
jewelry, are the moon and the stars, while is divine and divinity is human; hence the
the Satvika, the true expression, is the stories of Gods and Goddesses who live
essence of Being, Siva Himself. In Him is all and speak like humans. This was so in every
united and in Him is all transcended by the part of India. There were the dance-dramas
divine spirit. This is the dance and this is of the Bhagavatars (men-dancers) in the
our heritage. Tanjore district, in Kuchipudi in the Telugu
districts, and Chakiar Koothu in Malabar
In this spirit we can still see true dance in
where it still survives. Through these and
India. Bharata Natya is the root and origin
through the still-living dance drama of
of all dance in India. Essentially, all real
Kathakali in Malabar, religion lived,
Indian dancing is Bharata Natya, though
philosophy lived and art lived. As you travel
now only one particular school of art is
all over India we find no part of the country
known by the name. The most ancient
where ,dance did not flourish, although,
authority on dance is the Natya Sastra of
except in Assam, Orissa and one or two
Bharata. In the South, there is what is
places in the later years, dance was
known as the Tanjore School of Bharata
considered as an art of the vulgar. Yet one
Natya, but Kancheepuram and other cities
hears of the great Kathak dancers of the
are equally famous for the practice of the
United Provinces as flourishing under the
art. In every temple and on all auspicious
patronage of rulers and noblemen. One
occasions, there were dance performances.
never hears of Kathak being performed in
The art very nearly died as it had become
temples but only in courts as temples had
a means for remembering the body rather
been destroyed, and the temple lost its
than of forgetting it. Yet, those whom the
place as a centre of art and culture. In
world denounced as having become
Assam it is a respected art and it lives as
corrupt, gave themselves up with devotion
a sacred expression enjoyed by all. Though
and sincerity to the art they loved. The
the style is different from orthodox Bharata
art was their very life and they worked
Natya, yet in essence it is the same, giving
and sacrificed their bodies for perfecting
the same age-old atmosphere, and telling
the art.
the stories of Krishna, Rama and the dance
Divinity in Indian Dance as an art-form lives everywhere, in the
temples, in the courts, in the fields, among
According to the Indian conception,
the peasants and even ordinary people all
VIVEKANANDA KENDRA PATRIKA 28 DANCES OF INDIA

over India. of colour has almost vanished, equally the


sense of form and line. The ordinary dramas
Because we forgot our heritage, the art
portraying religious stories like the
almost disappeared. Today there is a
Ramayana and Mahabharata were crude
sudden awakening to the glory of the art,
and childish in presentation, though sincere
and people everywhere are thinking and
in spirit. Today sophisticated vulgarity has
speaking of the dance. Entertainments are
taken the place of simple crudeness.
given everywhere and new names of
Which is preferable, the crudeness of the
famous exemplars of the art are heard.
ignorant or the vulgarity of the
Revival of the Art

But if the art is to live, we have first


to remember that it is an essential
part of our lives. Indias real
achievement depends upon her
understanding of the place of art
in life. To know this, one must
understand India, the very heart of
India herself. We cannot revive the
art by forgetting India. Indians today
are forgetting India. They try to
express in dance, a spiritual medium,
ideas totally foreign to our genius.
People try to portray Rama but
disbelieve in Rama! That is why in
modern India, art fails for want of
sincerity. We tried apparently to
rescue the art from the corrupt, but
because we lack devotion, dedication
and sincerity, we are gradually
corrupting art itself. There is a general
lowering of standards and the decline
has been so fast that one dreads what
is in store for the future. Will the dance
have to go through another death
before it regains its own glory? As
dance is part of life itself, the nation and
sophisticated? The latter has no
its consciousness will have to go through
compensations and is subtle and dangerous
a revolutionary change in character. Indian
while the former had at least its merits.
arts have been slowly deteriorating
Hard work was its feature, inspiration its
because crudities have crept in. The sense
source, and devotion its aim. Today, there
VIVEKANANDA KENDRA PATRIKA 29 DANCES OF INDIA

is dance without hard work. People want art. This is why the dance is called a Yoga.
either diplomas or headlines. It is easy to People think that technique is the antithesis
have both because we do not have today, of creative expression. This is a wrong
trained audiences, including art critics and notion, since the creative spirit is but the
the public will take one at ones own achievement of a technique by which the
valuation. If that valuation is high as it is technique itself vanishes, and uniqueness
bound to be in the mind of the ignorant, is the result. This final out- come is the
the fame achieved is indeed great. It was supreme joy of creation. Even in folk art
said by Kathakali teachers of the old type there is the expression of joy. Every part
that it took 12 years of hard training before of India has its folk art, solo or group
a dancer could even take a minor part on dramas, and dance-dramas. Each type
the stage. In Bharata Natya it took no less expressed the uniqueness of the life and
than seven or eight years of hard work. thought around, all different from each
Today, even twelve months is too long. other like the Garba and the Rasa Lila of
Owing to the lack of devotion, there is Gujarat, the Kaikottikali and Kolkali of
lack of discipline and, as a consequence, Malabar, Kummi and Kolattam of the Tamil
there is a deficiency in technique. The country, the village dances of Assam,
result is that there is no inspiration. To Orissa and other places. For groups of every
make up for this, false stimulation from level of thought there is the dance from
outside is resorted to, instead of true the lowest to the highest, from the child
stimulation from within. This naturally kills to the adult, filling the country with music
the creative spirit and, therefore, there and movement. When Indians realise what
has to be copying from others, and perhaps is Indian in essence, art will regain its
also borrowing from foreign countries. True original height and the dance will return to
art never copies. It is like a well of deep the people in all its pristine purity.
cool waters from which flows fresh ideas
Dance is being revived but if this revival is
and life. India understood the dance as
to continue, we must know the spiritual
joy which is why Natarajas dance is called
message of art and make art a part of our
Ananda- Tandava. This joy is that of a
lives. Then our very lives will become works
Yogi. What sort of a Yogi? One who has
of art and India will become a Land of
forgotten his body. The forgetfulness is
Beauty; a fit vehicle for the message of
not due to negligence but due to control.
the Sages and Saviour of humanity.
After training the body, one forgets it. This
is the technique of art which conceals
VIVEKANANDA KENDRA PATRIKA 30 DANCES OF INDIA

The Renaissance of Indian Dance


and its Consequences MOHAN KHOKAR

D
uring the last two centuries or West that paved the way for the revival
so, the art of dance in India was of the dance in India.
not held in much respect,due Western Interest in Indian Dance
to certain norms of prudery which were
introduced into India by the alien rulers. The first dancer in the West to perform
For most people in India as well as outside, Indian dance was the American
Indian dancing was associated exclusively ballerina Ruth St. Denis. From her early
with what was performed by the Devadasis years Ruth St. Denis was much interested
and Nautch-girls, and as a result of the in the Orient and this led her, in 1904, to
social stigma attached to these women, compose and present her first Indian
dancing in India came to be looked upon dance, which she called Radha. This proved
as a vain and vulgar pursuit. This state of a great success, which prompted Ruth St.
affairs continued well into the first quarter Denis to take Radha to Europe where she
of this century, till the setting in of the toured for three years before returning to
Renaissance of Indian dance, but after
this the art of dance in India rapidly
came into its own and since then it has
not only retrieved much of its lost
prestige and glory but also made marked
progress. The revival of the dance in
India began a little over three decades
ago, and important pioneering work in
this direction was done by Uday
Shankar, Rukmini Devi Arundale, E.
Krishna Iyer, Menaka, Rabindranath
Tagore and Mahakavi Vallathol. However,
it deserves to be noted that before the
revival proper began in India certain
dancers in the West became interested in America. Ruth St. Denis continued to take
Indian dance and they endeavoured to great interest in Indian dance and during
present, to whatever, extent it was the next ten years or so she composed
possible for them, dances and ballets based and performed several Indian dances in
on Indian themes. In fact it can be said America, such as The Cobras, The Incense,
that it is these early attempts to produce The Nautcli and The Yogi. In 1925 Ruth
Indian dances and Indian ballets in the St. Denis and her husband, dancer Ted
Shawn, visited India, and after their return
VIVEKANANDA KENDRA PATRIKA 31 DANCES OF INDIA

to America Ted Shawn presented The Dance Devi and Menaka who, too, were inspired
of Shioa, a solo number which he performed, and initiated into the dance by Pavlova
with great success, for several years. It and were destined to make positive
is to be noted that the dances contributions in the field. Apart from Ruth
presented by Ruth St. Denis and Ted St. Denis and Anna Pavlova there are two
Shawn were not in any authentic Indian other Western dancers who played an
technique but in their own improvised important part in the revival of Indian
Indian style. However, the importance dance. They are La Meri and Ragini Devi,
of these dances lies in the fact that both Americans. Like Ruth St. Denis, La
they were able to create interest for Meri was interested in the dances of the
Indian dance in America and Europe, Orient from an early age, and this led her,
and this interest, in due course, led to in 1936, to visit India, to study Indian
the revival of the dance in India. dance. She learnt Bharata Natya under
Papanasam Vadivelu Pillai and Mylapore
After Ruth St. Denis, another Western
Gowri and Kathak from Ram Dutt Misra. And
dancer, the great Russian ballerina Anna
even as Pavlova discovered Uday Shankar
Pavlova took an interest in composing and
and introduced the world of dance to him,
performing Indian dance. She undertook an
to La Meri goes the credit of discovering
extensive world tour which lasted several
Ram Gopal and introducing him to the world
years, and she visited India in 1922 but
of dance. As for Ragini Devi, she was the
was thoroughly disappointed as she could
first Western dancer to come to India to
not find any trace of the great art of dance
study Indian dance in a fairly serious
in India of which she had heard so much.
manner and she was also the first to carry
However when she returned to Europe
the Kathakali dance outside Kerala and to
she carried impressions of India with her
present it in other parts of India, which
and in 1923 she composed and presented
she did in 1932, with Gopinath as her
two short Indian ballets, A Hindu Wedding
partner.
and Krishna and Radha. For composing
these ballets she took the help of Uday Thus, it is evident that Western dancers
Shankar, who was then a student of like Ruth St. Denis, Anna Pavlova, La Meri
painting in London, and Shankar also and Ragini Devi became interested in Indian
partnered Pavlova in Krishna and Radha. dance before Indians themselves did, and
In 1928 Pavlova visited India again, and this in many ways paved the way for the
on this occasion she performed her Indian revival proper of the dance in India. Uday
ballets in parts of India. This proved to be Shankar left the Pavlova company, stayed
very helpful in creating interest for dance in Europe a few more years dancing and
in India, and the seeds of the Renaissance gaining valuable experience, and then came
can be said to have been sown at this to India to become the torch-bearer of
time. After this Shankar played a leading the Revival movement. In 1930, Uday
part in the revival of Indian dance, and he Shankar took a party of dancers and for
was soon followed by two others, Rukmini eight years he toured Europe and America.
VIVEKANANDA KENDRA PATRIKA 32 DANCES OF INDIA

This was the first time that Indian dance professionally. As early as 1936, Menaka
with authentic Indian music and costumes even took a company of Kathak dancers
was carried outside India, and wherever to Europe and her performances at the
he went Shankar won respect for himself International Dance Olympiad in Berlin won
as well as for Indian dance. In 1938, her three of the highest awards which,
Shankar returned to India and soon understandably, immediately raised the
afterwards he founded a school of Indian status of Indian dance in the West as well
dance, known as India Culture Centre, at as in India. And, finally, Gurudev Tagore
Almora. This Centre was established largely contributed his share to the Renaissance
with financial help received from Shankars by introducing Manipuri dance as a subject
admirers in Europe and America, and here, of study in Santiniketan.
apart from providing training in Shankars
Apart from bringing about a general
own style of Creative Dance, classical
rehabilitation of the major forms of
dances like Bharata Natya and Kathakali
classical dance in India, the
were also taught and for this there were
Renaissance also helped the
great masters like Sankaran Nambudiri and
emergence of the art of ballet in India.
Kandappa Pillai.
Ballet, it must be pointed out, is an art
Having made a successful beginning, the which is new to India, for though dances
Dance Renaissance in India soon spread and dance-dramas and operas of sorts have
to several parts of the country, with the existed in India since long, there is no
result that the major forms of Indian tradition of ballet, according to the Western
classical dance began to get it concept, in India. In ballet there is a story
rehabilitated. In the South, Mahakavi or theme, there is choreography, decor
Vallathol founded the Kerala Kala Mandalam and music but the music is purely
for teaching Kathakali and Mohini Attam, orchestral and no songs are allowed.
and it is no exaggeration to say that even
Uday Shankars Contribution
today most of the Kathakali and Mohini
Attam dancers who matter have sometime Ballet was introduced into India by
or other been associated with this Uday Shankar, and he learnt the
institution. About the same time Rukmini technique and the presentation
Devi and E. Krishna Iyer rescued Bharata methods of this art through his
Natya from the depravity it had fallen into association with Anna Pavlova and his
and, by themselves setting examples, gave long stay in Europe. Shankars early
the art a new respectable status. Rukmini ballets, such as Tandava Nritya and
Devi augmented her contribution by Shiva-Parvati Nritya Dwandva, were rather
establishing Kalakshetra, a school for simple and were composed largely in
teaching Bharata Natya and Kathakali. In Shankars own style of dance. In this style,
the North, Menaka gave a new life to the bulk of the movements and steps were
Kathak by being the first woman of respect original, but Shankar also incorporated
and learning to take this part from the traces of certain classical and folk-dances
Nautch-girls and to perform it
VIVEKANANDA KENDRA PATRIKA 33 DANCES OF INDIA

of India and of dance forms he saw in Some of those, all of Shankars school,
Europe. Later, when Sankar made an whose contribution in this direction has
extended stay at Dartington Hall, England, been truly outstanding are Zohra Segal,
he came under the influence of the German Narendra Sharma, Devendra Shankar,
dancer Kurt Jooss, who is an upholder of Sachin Shankar and Shanti Bardhan.
the Free Expression Dance movement in Bardhan, who is unfortunately no more,
the West, and this goaded Shankar to made a noteworthy contribution by
produce ballets like Rhythm of Life, Labour producing a ballet Ramayana in which he
and Machinery. Many years afterwards used an original technique wherein the
Shankar took another step forward when dancers move and act like wooden
he used the South-East Asian technique puppets. It should also be mentioned that
of shadow-plays and produced two the art of ballet in India received a
ballets, Ram Leela and Buddha. tremendous fillip from the forties onwards
when, as an outcome of the national
Other Developments
upsurge, a number of important ballet and
Shankars example was soon followed by theatre organisations came into existence,
several other dancers in India. One of the such as the Indian Peoples Theatre
first to do so was Menaka, who broke Association, Indian National Theatre and
ground by producing four Indian ballets, India Renaissance Artists. Indeed, some of
Krishna Leela, Deva Vijaya, the early ballets produced by these
Malavikagnimitra and Menaka Lasyam. It organisations, such as The Spirit of India,
should be pointed out, however, that these India Immortal, The Discovery of India and
ballets were not composed in the creative Rhythm of Culture, are still regarded as
dance style of Shankar but in the Kathak classics in the field.
technique. Later, a number of other dancers
The Role of Tagore
followed the lead given by Menaka and
began to produce ballets using classical Rabindranath Tagore, for his part, did much
modes of Indian dance. The work of Rukrmni to help the revival of dance and the spread
Devi, Mrinalini Sarabhai and Gopinath is of ballet in India. Using Manipuri as the
particularly important in this connection. basis he evolved an individual technique,
They have produced a good number of which came to be known as the
ballets using Bharata Natya or Kathakali Santiniketan style of dance, and in this he
or, in some cases, both together. composed and presented many dances and
dance-dramas, the themes of all of which
The creative dance style evolved by Uday
were taken from his own songs and plays.
Shankar was further developed when he
With these productions, Tagore toured
established the India Culture Centre, at
several parts of India and these
Almora. This school produced a large
presentations no doubt added to the dignity
number of talented dancers, many of whom
of Indian dance and also helped draw
later contributed a good deal to the
students from all over India to Santiniketan
development and spread of ballet in India.
who, later, were instrumental in carrying
VIVEKANANDA KENDRA PATRIKA 34 DANCES OF INDIA

the Santiniketan style to practically all festivals have also been organised in
parts of the country. several other regions of India, and these
have helped not only to unearth hidden
Consequences of the Renaissance
and dormant forms but also create wider
The Renaissance of Indian dance began interest in folk and tribal dances of all parts
rather abruptly, but it has moved fast and of India.
has now achieved what by any standard
The cinema, which is a product of the
are imposing dimensions. This has helped
modern age, has also been affected by
the resuscitation of the art of Indian dance
the Renaissance of Indian dance, for the
as a whole, and all forms of Indian dance-
dance has come to be one of the most
classical, folk and tribal-have benefited.
important ingredients to ensure the
In fact, through the rendering of timely
success of a film. In the early days of the
succour, many traditional dances and
film in India, dancing was occasionally
dance-dramas have been saved from
included to provide diversion and the
completely sinking into oblivion. Such was
technique used was a version of the
the state of neglect in which they existed
decadent Nautch, but in recent years
on the eve of the Renaissance. Another
classical dance-forms like Bharata Natya
major consequence of the revival has
and Kathak have been successfully used
been that a member of traditional
in Indian films. On the whole, however, it
dances and dance-dramas have been
can be said that it is rare that one sees
carried from the temple to the stage,
pure and good dance in an Indian film, for
and this is something which would have
what is generally presented is an
seemed impossible even two decades
adulteration or hybridisation of various
ago. Such was the sanctity attached to
Indian dance techniques, and more
these arts. for instance, one can see
recently, there has also been a tendency
the Kuchipudi, Bhagavata Mela,
to incorporate and ape dances and rhythms
Kuravanji and Krishnattam on the
of the West in Indian films.
stage; yet only a few years ago, so
orthodox were the regulations All in all, the three decades or so following
connected with the staging of these the Renaissance have been very eventful
dance plays that performances were in the history of Indian dance. And, though
allowed only in certain temples and in the more recent years one has seen, to
only at specified times in the year. Folk- some extent, a lowering of standards
dances and tribal-dances, too, have earned brought about mainly by unscrupulous
a new lease of and this has received its charlatans and dabblers in the art, one is
greatest fillip from Folk-Dance festivals at the same time happy to find the art of
which for some years have become an dance gain a new and more honoured place
important feature of Republic Day in popular esteem and also the emergence
celebrations at Delhi. In recent years similar of Indian dance as an art with an
international status.
VIVEKANANDA KENDRA PATRIKA 35 DANCES OF INDIA

THE ART OF DANCE


DR. C. P. RAMASWAMI IYER

... Throughout the worlds chronicles, the Nada, the sound, as the origin of the
dance as embodying rhythmic movement, worlds. This sound is the sound of the drum
designed to express individual or group that Nataraja holds aloft. In order that we
emotions, has been identified both with may realise the full significance of that
sacred and secular activities. It is another dance, not merely from the artistic point
aspect of the practice of those Aranar and of view but from the cosmic, we should
Mudrar with which the yogi seeks to picture to ourselves the idea of motion,
conquer his physical as well as his psychic ceaseless and quick beyond seeming or
selves and make of them his servants, not imagination, motion akin to the speed of
his masters. As early as the Vedas, it was the stars, but nevertheless accompanied
laid down, for instance, that in connection by the steadiness and poise of the
with the great Aswamedha and other manifested Divine, a dance to match the
sacrifices or Yajnas performed for the good musicof the spheres, a dance of the great-
of the country, there should be enacted Energiser trampling on the forces of evil
some specified sacred dance. The and calling on all created beings, by the
Yajurveda and the Brahmanas, as a matter sound of the drum, to burn their sins, and
of fact, speak of the Maha- Vrata dance deficiencies in the fire that is held aloft,
and a special and elaborate performance and to achieve the summum bonum of
in connection with the Stotra after the their existence. This is part of the spiritual
Rajasuya and other Yajnas. and compelling significance of that dance.
But rather than dilate any further on this
The art of dance amongst us has been
topic in our poor language, may I be
largely synonymous with and has been the
allowed to refer to what a great Tamil singer
attendant of many religious and symbolic
hymned many centuries ago, addressing
ceremonies. Which of us but has been
the image of Sri Nataraja at Chidambaram?
thrilled by the sight of that memorable-
embodiment of Nataraja, one of the Very loosely translated, the meaning of the
greatest evocations of Indian genius? passage is as follows;- Oh, Lord of the
Inside yonder hall, you will find such an eternal cosmic dance, what in relation to
image of Nataraja, the Lord of the Cosmic you does not dance and throb to the tune
Dance, whose performance is a symbol and of the Infinite? Your matted and tawny locks
a typification of that involution that takes are dancing in rhythm. Your features, like
place after each Pralaya is over, when order unto the mellow orb of night, dance. Your
is to be restored after chaos. It is in that piercing and wide eyes dance. The rays of
sense that the Vedas, the Avesta and the the moon streaming from thy locks vibrate
Bible alike speak of Logos, the word or in unison. The drum that you hold in your
VIVEKANANDA KENDRA PATRIKA 36 DANCES OF INDIA

hands calls to the Universe and I have referred this poem for the purpose
accompanies the music of the spheres, the of indicating what ideals underlay the dance
circumambient Nada. The skin of the tiger, and the symbolism of the dance in the
slain as the spirit of evil, that you wear on olden days. Tamil is the language of Bhakti,
your dancing frame, quivers, Your hand held as Sanskrit is the instrument for expressing
in benediction moves and dances in lofty speculation, acute analysis and
harmony. One leg is lifted up, but it is in philosophy. The same idea is conveyed in
a famous Sanskrit sloka which I thus
translate;
uddhrtyedam vimukter-ayanam itikarat
darsayan pratyayartham
bibhrad-vahnim sabhayam kalayati
natanam yah sa payan-natesah.

Lord Natesas uplifted hand points the way


to salvation; He holds the fire which
destroys the evils of the world; in the
dance hall of the Infinite He performs the
sacred and eternal dance. Let Him protect
us.

Such is the beginning of the art. The


religious dance was not peculiar to India.
Egypt had it; Assyria had it; Palestine had
it. The Old Testament speaks of flute and
tabor and drum, and of the maidens dancing
before Samuel and Saul. King Solomon has
referred often times to the practice of this
art. China and Japan have developed this
art mainly on the secular side, with great
minuteness and artistic skill, and the play
static dance. One leg forces down steadily of the fan has been a well-known
and implacably the forces of evil, but it accompaniment. Throughout the ages,
moves even while at rest. Your consort by therefore, the dance has had a great part
your side looks at you smiling and inwardly to play. But so far as India is concerned,
rejoices over her privilege to witness this its manifestations are well-known and
great manifestation. Oh, Lord of the world, familiar. The dance of Nataraja, the dance
the object of all worship and praise, clad of Ganesha, the dance of Subrahmanya
in the ether as thy vesture, Oh, Lord (after the conquest over Sura Padmasura),
manifesting yourself at Chidambaram, Oh, the dance of Krishna in two aspects-the
embodiment of intellect and perception and Kaliyamardana and the Rasamandala, the
bliss! fierce and the delicate-the dance of Kali,
VIVEKANANDA KENDRA PATRIKA 37 DANCES OF INDIA

the great Uddhata dance which the auditorium or Preksagrha, the stage or
Rangabhumi and the green room or
heralds the final cataclysm and the end of
Nepathya. He demands that the seats
the world, all these are parts of the Indian
should be arranged gallery-wise, or to quote
heritage of culture.
his own words as in a ladder. He sets out
Our ancients were analytical in their arts the right sizes of theatres, a large one
and their enjoyments. In the matter of the being 128 by 64 cubits, a medium one 64
Fine Arts especially, they expended their by 32 cubits and a small one 32 by 16
power of analysis to the utmost of its cubits (i.e , 48 by 24 feet). Very careful
possibilities. Bharata, for instance, divides directions as to dress, demeanour,
Nartana, the great art of the dance, into theatrical properties and other details have
what he terms the sacred and the secular been laid down. Our dramas and dances
aspects. have therefore had full literary treatment.

The sacred aspect is demonstrated by the The Veil of Defamation


Tandava dance and the Lasya dance, the
It is only within the last 100 or 200 years
Allegro and the Pianissimo to borrow terms
that the word nautch came into vogue,
from another art. The Desi dances are
the word being really Hindi: nach from
three-fold viz., the Nritta; the Nritya with
Sanskrit nritya. But it also unfortunately
the aid the Natya; Nritta being the dance
signifies something more secular and
with the aid of the feet themselves; Nritya,
deleterious than mere Nritya. A nautch
the movement of feet with gesture super-
began to be associated with those sisters
added, which developed into our Kathakali;
of shame who had to earn their living by
Natya, the movement of the feet with
arts other than dance, but who used this
gestures and with words. In order to
art of dance as an additional means of
epitomise the art of dance which
allurement. With the degradation of the
culminated in the drama and those gestures
nautch came the degradation of the art,
which are of the essence of Indian dance,
and the spiritual degradation accompanied
I can do no better than to extract a
the social. Some years ago, a good lady,
sentence from the Mirror of Gesture,
Miss Tennant, came all the way from
written by Mr. Ananda Coomaraswami, a
England to India and asked many persons
most discerning critic and art-lover. He
to sign a covenant that they would not
says: The song is to be sustained in the
attend any dance or nautch performance.
throat; its meaning is to be shown by the
Many of them signed the covenant and
hands; its moods are evinced by glances;
now they themselves are the unrepentant
its rhythms are marked by the feet. That
breakers of that covenant. The position
is an accurate summing up of intrinsic
then was that we lived in a period when it
aspects of the dance. Bharata goes into
only needed somebody else to come and
minute particulars as to the building and
say that
furnishing of a theatre. Dealing with
Natyasastra as the fifth Veda, he describes we must he ashamed of our selves. We
VIVEKANANDA KENDRA PATRIKA 38 DANCES OF INDIA

forthwith began to be ashamed of dances of the West soon developed very


ourselves. It was taken for granted that largely on secular lines. A question may be
anything connected with our culture must asked as to what the main difference
be necessarily imperfect, if not perverse. between the two systems is. I am
Any criticism directed against our culture answering that question to the best of my
was taken to be necessarily right. We were lights and shall, no doubt, evoke criticism.
bidden to adopt the perpetual post of My task is, however, to draw pointed
hanging down our heads in shame, and to attention to one aspect of the matter,
contribute actively to our self-effacement. namely, that in the development of this
Those days are happily passing away. art of dance, the art of Kathakali, the art
of Gopinaths troupe, great care has been
Classical References
taken to see that each art is maintained
Let us however look at the past history of pure, and unalloyed by the influence of
the art. Some days ago, I was reading the kindred but extraneous cultures. The secret
earliest of Tamil romances, Silappathikaram, and the raison d etre of the European
which is as old as the Christian era. In the dances, as developed especially within the
third chapter of that book, Madhavi last two hundred years, is that it is like
describes how she spent five years and modern European painting and sculpture,
more in learning the art of dance, because, regarded as a means of self-expression,
without it, it would not be possible for any the evolution of the artists specific,
civilised being to live a full life. Arjuna was individual personality. Thus it is that the
a dancer in the court of Virata. What do European dance, which began with the
we find in Kalidasas Malavi- kagnimitra? danse basse and the danse haute and
The Dance. According to tradition, the flowered in the stately and courtly
Emperor Samudragupta used the plectrum, ceremonies of the Pauane, Courante and
borrowed from the Greeks and played on the Minuet of France and the Fandango of
the zither whilst his wife danced in public. Spain, and the courtesies and bows of the
Udayana and his wife also practised the French and German court functions and
art. The dance, therefore, was not looked the intricacies of the Waltz, have, with
down upon; it was not despised; it was the march of time, adopted the jazz band
not one of the spurned sisters of the arts, and Negro melodies and quick and startling
but it was the foremost of them. rhythms borrowed from many lands, and is
now passing through such manifestations
A Comparative Estimate
as the Bunnyhug, Texas Tommy, Charleston,
There are amongst us friends who are Blues, Lambeth Walk (adapted from the
acquainted with European systems of revue Me and My Gal) as well as the South
dancing, which also started, as ours did, American dances, Samba, Rumba, Tango
as religious manifestations amongst the and Mexiase, and may I add the latest,
Greeks, as, for instance, in the Dionysian Boomps-a-Daisy and Jitterbug which, I
dance, and among the Romans, the Druids think, are quite recent. In each one of these
and the other nations in Europe. But the forms of dance, the idea has been that
VIVEKANANDA KENDRA PATRIKA 39 DANCES OF INDIA

particular art-forms are utilised mainly for persons longings, emotions and aspirations,
the purpose of manifesting the exhilaration or even as originating some idea precious
and the emotion generated in man and to humanity.
woman who, in the main, performed in
Criticising such a conception, many
partnership. These dances are amongst the
competent persons have observed that in
efflorescence of the present-day European
adopting this attitude and this approach,
personality which assumes remarkable and
our art has suffered to no small extent.
original forms in architecture, painting,
Opinions may differ, but nevertheless, there
sculpture as well as in music and dancing.
is no advantage in confusing the two
These may be disturbing to some of us
different ideals, no point in defacing distinct
and may appear to be vehement and
boundaries. The ideal of Indian art has been
contortionist; but these are characteristics
the sublimation of ideals by the elimination
of this age and its mood. The Indian ideal
of personality; and the Indian dance has
has been different. Whether in paintings
identical objectives with other forms of
or in murals, whether in sculpture of those
Indian art.
great forms of Nataraja, Krishna and Durga,
or music or the dance, Indian art willingly With the best will in the world, Madame
adopts rigid rule-conventions, and subjects Pavlova, after her visit to Malabar, wished
itself to very strict rules and disciplines to combine the beauties and the graces of
and is anxious to eliminate the individual, the Russian ballet and of the Waltz with
and to concentrate on its interpretation the Katha-kali. One of the artistic
of the universal. One result of such an consequences of a movement for which
effort is that our art is largely anonymous. she was to some extent responsible was
Speaking of European art, the works of the art of Uday Shankar, Menaka and
great masters like Rembr-andt, Titian, various others. I have the greatest
Raphael, Velas-quez, da Vinci, Benvenuto admiration for these exponents of a
Cellini and Rodin attract thousands and combined art but I venture to say, and I
millions but who knows the authorship of say it with fear and trembling and with
our sculptures and Images and murals? Who the timidity of a mere amateur dealing with
knows the artificers of Kanyakumari or of experts, that it is one thing to follow a
the great gopurams, mandapams, stone particular art, say the Indian art, to the
and wood carvings at Madura,Tanjore, limits of Indian possibilities in sight of those
Thiruvarur, Trivandrurn and Suchindram? ideals which it has set. before itself, and
Nobody. Indian art has eliminated or striven which may be circumscribed, but
to eliminate the individual and the particular. nevertheless, are definite; it is quite
It has striven to think of the individual as another thing to explore European art and
a fragment in a continuous existence, as its wonderful possibilities and blossomings,
an item of eternity, not as a protagonist but for heavens sake, let us not make an
of an art evolved for the purpose either of olla padrida-a confused intermingling of
irnmortalisation or as the expression of the divergent ideals and ingredients ...
VIVEKANANDA KENDRA PATRIKA 40 DANCES OF INDIA

The Place Of Language In Dance


Prof. C. V. CHANDRASEKHAR

T
he Oxford Dictionary defines dance alone, as it existed, would have left
language as a vocabulary and it in the same stage of evolution as it
way of using it as prevalent in existed centuries ago without the
one or more countries and places. It also development of the language. So there is
defines finger language as talk by no doubt that language has been one of
conventional signs with fingers. The finger the major factors in the evolution of dance.
language must have been a predecessor
Scope Through Literature
to the spoken language. It is an accepted
fact that language is not as old as man It would be worthwhile here to consider, in
himself. Before the evolution of the short, the history and development of dance
languages there must have existed some and its literature. For Bharata to have
means or methods of communication which written a treatise almost two thousand
could have only been through some signs years ago on subjects of dance, music and
of the various limbs of the human body, dramaturgy, a very strong tradition of
made more precise with the help of facial dance must have flourished and existed to
expressions. These changes of expressions enable him to codify the entire dance.
are naturally an outward exposition of ones Naturally, Sanskrit must have been the
inner feelings. This mode of self expression, language prevalent, spoken and understood
before language was evolved is the for the arts. His work was followed by many
primordium of dance. Prof. Jesperson, the more. The Sanskrit plays of Bhasa, Kalidasa,
philologist has said that dance arose in Bhavabhuti, Harsha and others followed the
primitive human mind on occasions festive Natya Sastra tradition. These plays were
or otherwise exciting. Innumerable varieties not just plays of spoken words and emotions
of dance form, were evolved as a means but included the angikabhinaya- gesture
of expressing various moods like joy, anger, language. The Natya-dharmi, (the mode
sorrow, etc. If man could express all the of presentation in a stylised way) which
moods and communicate through his body as a rule is strictly to be followed in dance
movements the satvikabhinaya, why then in contrast to the Lokadharmi, was also
was the necessity of a language at all in definitely followed in the Purvaranga of the
dance? play and occasionally in the course of the
actual play. In the medieval period most of
We are well aware that even at a time
the regional languages developed, and
when the different languages of the world
along with them regional dance-styles also
are so highly evolved, we are unable to
developed. Manuals on dance in various
communicate with each other without a
regional languages were written and the
common link-language. In such a situation,
regional styles naturally followed them. I
the limitation of communication through
VIVEKANANDA KENDRA PATRIKA 41 DANCES OF INDIA

mention these only to emphasise the reference to each and every word uttered.
importance of literature in dance, which is We may mention here the padams,
a product of the developed language. In kirtanams and varnams in Bharatanatyam,
dealing with the subject, I limit myself to which are musical compositions which the
the Indian dance, although the same rules dancer interprets through the most precise
should apply to dances all over the world. technique of coordination of the word and
We in India are very fortunate still to be in gesture. Thus in interpreting a given lyrical
the possession of dances from very composition of a padam or a Javali, the
primitive types to the most stylised and
advanced classical forms. A review of these
different dances would give even a layman
an idea as to the part played by language
in its evolutionary ladder.

The Beauty Aspects

Some of the tribal dances even to this day


are danced only to the beats of different
drums with intermittent sounds and cries
with no songs to accompany. We have the
folk dances wherein lyrics conveying a
particular legend or word composition
suitable to the occasion are sung in simple
folk-tunes and the dances that accompany
these convey the mood of the song by
simple movement. For example, a
composition describing the birth of Krishna
would only be portrayed as a dance of joy
with movements of feet and hands thrown three categories of (I) the meaning of the
out in ecstasy. Here, it is the meaning of composition as a whole, (2) the meaning
the song that helps the audience to of each line in the composition and (3) the
understand and appreciate the dance as meaning of a word in a line viz. Kavyartha,
suitable to the particular occasion. Finally, vakyartha and padartha, are elaborated.
when we come to the classical dances, In maintaining the sthayi bhava (the
the language of gestures and movements dominant mood) the kavyartha is projected
of every major and minor limb of the body to the audience and then the complimentary
are so highly stylised and codified, that and transitory moods are projected through
the dancer is in a position to represent the vakyartha and padartha. After a word
every word of the song with appropriate to word interpretation, the dancer can
gestures, body movements and facial interpret each word with as many possible
expressions. The spectator is thus in a meanings as the word can offer, relevant
position to enjoy every movement in to the situation, thus giving maximum scope
VIVEKANANDA KENDRA PATRIKA 42 DANCES OF INDIA

for the sacharibhava. chapter of the Natya Sastra dealing with


the origin of dance, the gods headed by
Therefore, the understanding of the song-
Indra are said to have asked Brahma to
text definitely helps the spectator in
create a spectacle which could be both
enjoying the dance. But very often we hear
seen and heard. Commenting on this,
many a spectator say that what he enjoyed
Abhinavagupta says: To see is to enjoy
most in a Bharatanatyam concert was the
and hear is to understand. So, naturally
tillana or other pure dance sequences like
understanding complements the
the teermanams (rhythmic sequences or
enjoyment.
syllables) in a varnam. How can we
interpret this feeling of the spectator? Is The Role of Gestures
it because he does not understand the song
A person sometimes enjoys listening to a
texts of the abhinaya or does he really
recitation in a particular language because
enjoy the varieties of rhythmic patterns
of its beautiful composition of words, its
constructed in space with the help of
metre, the syllables etc. He enjoys the
angikabhinaya? Bharata himself asks as to
sound and expression of the language and
why nritta (pure dance) was created if
tries to compare it with his own language
abhinaya was devised to bring out the
which he understands. This aspect of the
meaning of the songs. In answer he himself
language could be universal. But the
says:
language as such is not universal but
Kintu shobhaam pramanayediti
conventional. Even a said language has so
nrittam pravartitam
many dialects that universality of a single
Praayena sarvalokasya nrittimishtarrt
language becomes difficult. Similarly, the
svabhaavatah [ NS Ch. IV 51. 264 ]
language of gestures is mainly conventional
Nritta is not concerned with any meaning like a spoken language. But there are a
of the songs. But it creates beauty. By number of gestures which are naturally and
nature man is fond of Nritta. Thus a commonly used by people of all races
spectator enjoys Nritta, not because there speaking varied languages. Common
is no language involved in it, but more gestures used for words like come, go, eat,
because, as Bharata says, he is fond of sleep and questioning words like why, what
Nritta by nature as it creates beauty. This etc. are universally used in the same
is further proved by the fact that even a manner, thus exposing the universality of
person who understands the abhinaya also the gesture-language partially. These
enjoys nritta because of its beauty and common gestures with a little stylisation
rhythm. But the place of language mainly turn into precise dance gestures which are
concerns abhinaya. Abhinaya is to project easy to follow. Very often the same gesture
something before the audience which is used to show different meanings. Then
would establish a rapport with the audience arises the difficulty of understanding the
by creating the rasa in them. The particular meaning that the gesture is
understanding of even a few words in a showing. This can only be solved with the
song gives them enjoyment. In the first help of the language. Although the gesture
VIVEKANANDA KENDRA PATRIKA 43 DANCES OF INDIA

would be the same, the Bharata confirms this


position of the gesture and when commenting on the
the meaning it conveys is importance of speech in
different. As an example, drama.
one of the asamyuta Vaachi yatrashtu
hastas might be taken to rryartarryo
illustrate this. The naatyasyaiuaa tanuh
tripataka is shown with the smrita l
fingers straight except the Anganaipathya satvaani
ring finger and the thumb vaakyartham rryanjayanti
which are bent. Although hi ll
the tripataka would mean NS cs. XV, s1. 2
a particular type of flag, it
One should take care of
is used to denote the
the words (vachi-
following according to the
kabhinaya). For these are
Abhinaya Darpanam of
known as the body of the
Nandikeswara.
dramatic art. And
Mukute oriksha bhaveshu
gestures, costumes and
vajre taddharavaasave l
make-up and acting of
Ketaki kusume dipe
satva (merely) clarify the
vanhijwalaavijrimbhane ll
meaning of words.
(1. 101 A.D. )
Kapote patralekhaayaam At times, the word used is
vaanaarthe parivartane l the same and so is the
Yujyate tripataakoyam situation but the different
kathito Bharatottamaih ll root-meanings of the word
(1. 102 A.D. ) are presented through
different sets of gestures.
The crown, the tree, the
To quote Shri Junjunni Raja
thunderbolt, Indra, the
from his monograph on the
pandanus flower, flame of
Koodiyattam (Sanskrit play enacted in
the fire, the dove, letter writing, an arrow,
Kerala, supposed to be the closest form of
to go round, etc. Unless one is aware of
presentation according to the Natya
these usages or unless these are expressed
Sastra), Sugriva calls Rama by the word
to appropriate words of the song-texts,
deva. The term is derived from the root
the dance would be meaningless except
div which means to desire, to rejoice
that it is a movement of beauty as
and to have splendour. All these different
mentioned earlier. Therefore, in the
meanings are shown through gestures while
conventional gesture-language of the
addressing Rama. You have cut off all the
dance, the lyrics or the song- texts become
seven sala trees with one arrow; to such
important. Thus angikabhinaya without
a great man killing Vali is only a sport.
vachikabhinaya remains incomplete.
VIVEKANANDA KENDRA PATRIKA 44 DANCES OF INDIA

After showing this idea through gestures an errand, is stopped by Krishna en route
he calls deva. Then he indicates another and she pleads with him not to obstruct
idea. Having cut off the seven Salas you her way, is portrayed thus in three different
show a desire to defeat Vali. And then he languages:
addresses There is nobody so splendid as
Challanamma ponu, dari viduvumu-Krishna-
you, enthusiastic in killing Vali.
I go to sell curds, clear the way for me 0
Expression of Ideas Krishna - In Telugu.
patha chaduemu jibi ... banamali-Vanamali!
Sometimes, abhinaya performed without
Clear out the path as I wish to go
song-texts is understood when a particular
-In Oriya. or
story or a particular anecdote of a story is
portrayed. It is not because the spectator Kahe rokata dagarryare-why do you stop
understands every gesture without the me on my way - In Hindi.
text being sung, but because he is aware
All these verbal texts almost mean the same
of the anecdote that is depicted and utters
but to a spectator who understands the
the sequences one after the other within
particular text, the enjoyment is more. If
himself in his own language which he
not, he translates the sequence in his own
understands. If a caption like makhan chor
language to enjoy it to the utmost with
or Rukmini haranam is given to the dance
the help of the synopsis already provided.
that is being performed, understanding
Sometimes, the non-understanding of the
becomes much more easier. Even a single
language creates a sense of uneasiness in
line of the text repeated over and over
the spectator. He wishes to enjoy the total
again keeps the spectator alert in following
beauty of the movement of the limbs and
the full story enacted. This is because the
the varied expression accompanying them.
spectators mind is prepared to receive the
But the constant utterance of words in
same. Even abstract themes in
the songs does not give him the freedom
contemporary dances without song- texts,
to enjoy the dance the way he wants to
need the help of language to explain the
enjoy it, as the accompanying song
themes. Language therefore definitely helps
distracts him from his imagination. But the
in bringing about objectivity in
reverse view is also expressed by some.
presentation.
Even though one does not understand the
Verbal text alone in the general term does meaning of the song, he feels that but for
not help the spectator to understand and the song he wouldnt enjoy the dance so
enjoy the dance completely. The text has much. So according to him the song gives
to be in the language that he understands a completeness to the dance.
fully well. Otherwise a word here or a word
What are then the views of a performer
there which makes sense to him of course
with reference to, language? A performer
makes him alert and enjoy but he only
always has an edge over the spectator as
enjoys the total beauty of the dance and
he is aware of what he is dancing or
not the details. For example, the following
interpreting. Whether he interprets a song-
from the Krishna legend, where a Gopi on
VIVEKANANDA KENDRA PATRIKA 45 DANCES OF INDIA

text verbatim or he performs a Importance of the Song-Text


sancharibhava to a given sentence in a
An amateur performer is always guided by
text by elaborating it, or even if he dances
the song-text as the words in the song-
a gatbhava, as in Kathak, to a Lehara, (a
texts constantly remind him of his
single line musical composition played on
limitations. But to an ace dancer, the text
an instrument and repeated over and over
almost remains as a basic skeleton over
again) as the musical accompaniment, he
which he builds up the improvisation which
is interpreting, his aim is mainly to convey
are not set and rehearsed. But a single
the same to the audience before him. The
line of the song-text which the audience
language therefore doesnt become as
hears all the time becomes important to
important to the dancer as it is to the
them, as they correlate the whole action
spectator. The performer, when he realises
with that text.
that the spectator is following every word
of the song-text that he is interpreting I mention below a line from one of the
receives an added enthusiasm to give out padams in Telugu, in Sankarabharanam.
his best which feeling he does not Kshetranga and others composed their
experience before an audience which padams mainly for the dance, portraying
enjoys the dance just for its beauty. Thus, the various nayikas in each one of them.
to perform a Tamil varnam in Madras, a She longs for her lord Rajagopala. The
Kshetranga padam in Andhra, an Oriya nayika is vasakasajjika. The sakhi narrates
composition in Bhubaneswar or a Tulsi pada her condition to the nayaka.
in Varanasi is not only a thrill but also a
Dari joochuchunnadi, needu priya-Your
challenge as the dancer has to be very
friend awaits you-The dancer, after
careful in his delineation. A similar situation
interpreting a word to word sequence goes
is faced when a teacher of dance has to
on to improvise. I mention some of the
impart lessons in abhinaya to those who
possibilities of interpreting this single line
do not understand the language of the
which would be further divided into two
song-text. Here he seeks the help of the
parts. The first part-
fundamental facility of translation in a
Dari joochahunnadi- She awaits you.
language. He has to give a general idea of
1. She awaits you at the door step.
the theme, followed by word to word
2. She turns around to look at the
translation. But it is an accepted fact that
street by which you would come.
even the best of translations do not bring
3. She stares at a person at a
out the same idea of the poet which he
distance, thinking it to be you.
wants to convey through a particular word.
4. She is thrilled at the slightest rustle
So one who understands the text in the
that she hears.
same language of its composition is in a
5. She watches.
better position to exploit the song-text.
(a) as she combs her hair
Otherwise, there is a sense of restriction
(b) as she is applying collirium
which is felt by the dancer.
(c) as she dons a saree
VIVEKANANDA KENDRA PATRIKA 46 DANCES OF INDIA

(d) as she adorns jewellery ... But even to such a spectator, a detailed
(e) as she keeps tasty eatables for you synopsis of the abhinaya performed
(f) as she makes a flower garland for you followed by a demonstration of a song-
(g) as she prepares the bed for you text translated into his own language
6. She is lost in your thought. creates a sense of closer universal gestures
7. She portrays your image in her eyes from an abhinaya sequence and achieves
closing them. a sense of satisfaction if his identification
The second part- Needu priya-Your friend. is found correct.
Your friend who-
An Experience Recalled
(a) is fit to talk to you
(b) is an equal to you I would like to narrate here an experience
(c) is fit for your embrace I had with a group of ballet students in
(d) is loved by you Russia. While presenting a demonstration
(e) speaks high of you lecture to the ballet artists at Theatre
(f) heeds your words Estonia, Tallinn, I asked the audience to
recite to me a poem in Estonian along with
There could be many more added to this
its translation for which I would perform
list. A spectator may not follow actions of
the abhinaya. One of the dancer promptly
all these variations, but if he is aware of
was up on his toes and recited a poem
the meaning of the single line of the song-
which when translated read as follows:
text he tries to correlate and enjoy.
Amongst all the eligible suitors in our
What has language to do with a spectator
neighbourhood, I love the married one who
who, say, is a foreigner? He does not
lives round the corner.
understand the language of the song-text,
the music that accompanies, nor the story The lyric, which burst the audience to a
element and he is not familiar with the laughter, made me a bit nervous. But soon
culture either. However, he enjoys the I composed myself and turned out the
dance immensely. Firstly he is surprised at whole theme into a beautiful story through
seeing something, the like of which, he has the language of dance, receiving the
never witnessed before. He is enamoured biggest ovation. I realised how a short lyric
by the subtle movements of each limb in Estonian could make the Estonians go
especially the mukhajabhinaya (of the face crazy as though they had totally
and the eyes in particular). He is lost in understood the art of Bharata.
the complexities of the rhythmic
Thus, we find the closeness of the
permutations and the total effect the whole
language and abhinaya although
dance produces. We can go back to
fundamentally language differs from dance,
Bharata and say that by nature, men are
in that the former is discursive while the
fond of the dance as it creates beauty.
latter has an element of simultaneity.
VIVEKANANDA KENDRA PATRIKA 146 DANCES OF INDIA

VIVEKANANDA KENDRA SAMACHAR

Following is the detailed report of the activities of Vivekananda Kendra organised


throughout India, with the Head Quarters at Kanyakumari.

1. No. of visitors to Vivekananda Rock Memorial 19,43,379

2. No. of visitors to Arise, Awake Pictorial Exhibition 19,300

3. No. of visitors to Wandering Monk Exhibition 6,500

4. No. of visitors to Gramodaya Darshan Park 2,125

5. No. of visitors who stayed in Vivekanandapuram 1,71,816

6. No. of patients treated at the dispensary 13,587

The following were some of the important visitors to Vivekananda Rock Memorial:

Date Name of the Visitors


10.04.09 Justice Shri H.L. Gokhale, Chief Justice, High Court, Chennai

01.06.09 Shri Purushothambhai O. Solanki, Minister, Govt. of Gujrat

12.06.09 Justice Shri S.P. Sinha, Judge, Supreme Court of India, New Delhi

14.06.09 Shri Rajendra Ratnoo, Collector of Kanyakumari District, Nagercoil

26.06.09 Shri A.C. Mahajan, Chairman & M.D. Canara Bank, Bengaluru

24.09.09 Shri V.N. Joshi, Managing Director, Bina Oman Refinery Ltd.,

30.11.09 Gen. Deepak Kapoor, Chief of Army Staff, New Delhi

20.02.10 Shri K.M. Chandrasekhar, Union Cabinet Secretary, New Delhi

Gen. Deepak Kapoor, Chief of Army Staff It was great to sit in the meditation
wrote in the visitors book at the Rock chamber and hear the primordial sound.
Memorial - It is an honour and a privilege Congratulations to all the officers and staff
to be here. On behalf of all ranks of the for maintaining this great edifice which
Armed Forces, I wish you success, joy and stands testimony to Indias history, Indias
happiness. cultural heritage and the contribution of
all our people to the spiritual enrichment
Shri K.M. Chandrasekhar, Cabinet of the whole world.
Secretary: A truly elevating experience.
VIVEKANANDA KENDRA PATRIKA 147 DANCES OF INDIA

More than 40 organizations and associations availed of the accommodation facilities for
their meetings, seminars, etc. To name a representative few:

No. of
Organisation
Participants

01. Kutch Kadura Pathitha Sat Sangh Mandal, Chennai 1,500

02. Vazhka Vazhamudan, Nagercoil 430

03. Postal Department Office Union, Chennai 400

04. BSNL Employees Union, Nagercoil 300

05. Horticultural Department, Pechiparai 250

06. Rm.K.V. & Sons, Tirunelveli 210

07. NSS camp for students of M.S. University, Tirunelveli 200

08. Baval Engineering College, Namakkal 160

09. All India Ayurvedic Conference 150

10. Rashtriya Ayurveda Vidya Peeth, New Delhi 100

Details of Shibirs conducted at Vivekanandapuram:


Shibir From To
01 Acharya Prashikshan Shibir 01.04.09 25.04.09 80

02. Personality Development Camp 08.05.09 10.05.09 58

03. Sanskar Varga Shibir 23.05.09 29.05.09 333

04. Karyakarta Prashikshan Shibir 05.06.09 20.06.09 13

05. Yoga Shiksha Shibir 05.06.09 19.06.09 41

06. Kendra Shiksharti Deeksha Shibir 08.05.09 31.08.09 21

07. Youth Camp 24.07.09 26.07.09 38

08. Spiritual Retreat 08.08.09 14.08.09 80

09. Yoga Shiksha Shibir 01.12.09 15.12.09 54

10. Varishta Karyakarta Prashikshan Shibir 05.12.09 15.12.09 30

11. College students from 10 States 28.12.09 31.12.09 138

12. Spiritual Retreat 05.02.10 11.02.12 94


VIVEKANANDA KENDRA PATRIKA 148 DANCES OF INDIA

Sri M. Hanumanta Rao, Treasurer, In Gujrat. The Principal Education


participated in the International Conference Secretary of the Government was the chief
on Yoga Research & Cultural Synthesis at guest on Guru Purnima Day at Ahmedabad.
Kaivalyadam, Lonavla. His paper and
presentation at the conference on Yoga & In Karnataka, at RT Nagar, Bengaluru, two
Value Education was declared as the best Anandalayas and a dispensary once a week
in its category (Yoga & allied subjects). were the additional programs. On Sri Rama
Navami Day, there was an Akhand Ram
Branch Centers: All the 219 Branch Nama japa and Ramayana Pathan followed
Centers in 21 States carried out the by distribution of Maha Prasad for over
planned programs in accordance with the 8,000 devotees. The wonderful part of the
prescribed norms. Regular Sanskar Vargas, program was serving of food was done by
Yoga Vargas and Swadhyaya Vargas and the participants of Anandalaya & Samskar
five Utsavs on account of Guru Purnima, Varga along with their parents. At
Universal Brotherhood Day, Sadhana Divas, Mangaluru, 4 Anandalayas for 80 children,
Gita Jayanti, Samarth Bharat Parva an eye camp benefiting 85 persons and a
commencing on 25 Dec and concluding on massive Raksha Bandhan were organized.
Vivekananda Jayanti on 12 Jan were At Mysore, Swami Nityananadaji, Sri
organized appropriately. They also Ramakrishna Math, Mysore, and Shri
conducted camps and competitions etc., Pramod Radkar, General Manager, RBI,
to involve youth and others in this Thought addressed a well attended meeting on
Movement. These events brought a large Vivekananda Jayanti Day. A personality
number of men, women and children development camp also was organized in
together to the Kendra fold. A few of the which 45 students participated.
highlights were:

In Hyderabad, Andhra Pradesh, in all 4 In Madhya Pradesh Prant, the major


centres together 192 programs/camps etc event was Vijay Hi Vijay Maha Shibir at
were organized in which 14892 Bhopal for about 700 select college
participated. Flood relief during Floods students from 50 districts of Madhya
in Andhra Pradesh - material costing more Pradesh and 6 districts of Uttar Pradesh.
than Rs. 3 lakh was distributed among 2500 It was conducted by 308 Karyakartas from
affected people. 26 to 31 December 2009. Shri Shivraj Singh
Chauhan, Chief Minister of Madhya Pradesh,
inaugurated this mega event. As a follow
In Asom Prant the Vijay Hi Vjay Maha up, Yuva Prerana Shibirs were held at four
Shibir at Tinsukia from 6 to 10 January 2010 places viz., Bhopal, Dhar, Gwalior and
was attended by 712 students. All other Jabalpur for 427 persons. An off-shoot of
programs and camps at different places the Vijay Hi Vijay was starting of 26
attracted 72,000 and odd people. Anandalayas for about 1,000 children, by
the participants on their own initiative with
VIVEKANANDA KENDRA PATRIKA 149 DANCES OF INDIA

the guidance from Kendra karyakartas. The Ramakrishna Math and Sri Dibyasingha Deb,
personality development camps at Bhopal, Gajapati Maharaj, Puri, were some of the
Gwalior and Jhansi were attended by over important persons who attended this
800 students. Maj. Gen. G.D. Bakshi program. Over 11,000 persons attended
addressed about 350 persons on Bharatiya various programs in this State.
Samrik Parampara at a Vivek Vichar A plot of land admeasuring Acre 0.481
Paricharcha program in Bhopal. About allotted by the Government of Odisha during
4,000 people attended various programs 2008-09 on lease of 99 years for Rs
during Samartha Bharat Parva celebrations. 16,83,500/- in the Jagamara area of
Bhubaneswar was given possession. The
In Maharashtra, six mandal-wise Vijay work of the Regional Centre-cum-Institute
Poorna Vijay Shibirs were conducted at of Culture & Yoga Building is to begin.
Mumbai, Pune, Nagpur, Jalgaon, Nashik and In Sambalpur District, for organizing the
Pimpalad for 560 students. These were part activities of the Utkal Seva Prakalpa on
of the follow up of the Vijay Poorna Vijay full fledged scale, land admeasuring 18.40
Mahashibir organized at Shegaon in 2009. acres in Mouza Amlipani. P.S. Jojomura was
The new Mandal Vyavastha is evolving to purchased for Rs 15,23,968/-.
spread the Kendra activities to all areas in
a more planned way. In Rajasthan Prant, 7,800 students took
Nearly 19,000 persons attended the part in essay writing competitions and
prescribed Utsavs held at various branch 1,400 selected out of them attended 20
centers. camps. There were also 18 youth camps
Vivekananda Kendra Prashikshan Va which were attended by 1,065 students.
Seva Prakalpa, Pimplad: Five Balwadis, The Utsavs were attended by over 6,000
six womens awareness camps, five people. A Balwadi for 35 children and
Anandalayas, two Adhyatmic Shibirs for 78 Sanskar Vargas at 19 places for 327
persons, a Vivekashrama for girls and boys, children and Yoga Satras and Vargas for
Shiva/Deepa Pujas attended by 1,500 470 persons were conducted.
devotees were the programs. Vocational A 2-day Kaushalya Shibir as a part of
training was given to 72 persons and training in Vyavastha was organized for the
implements and two cows were also given members of all Samities in Rajasthan.
to indigent farmers as a part of economic
development program. Over 8,000 persons In Tamil Nadu, at Chennai, Vivekananda
were treated in 9 medical camps with the Kendra participated in a large scale Hindu
help of a doctor and 22 Swasthya Spiritual & Service Fair organized by Global
Rakshaks. Foundation for Civilizational Harmony at
Chennai. Many distinguished guests like Shri
In Bhubaneshwar, Odisha, 5,200
S.S. Barnala, Governor of Tamil Nadu, Shri
students performed a large scale Samuhik
B.S. Yediyurappa, Chief Minister of
Surya Namaskar. On Vivekananda Jayanti
Karnataka, Swami Gautamananda, Head,
Day. Swami Shiveswaranandaji of
VIVEKANANDA KENDRA PATRIKA 150 DANCES OF INDIA

Sri Ramakrishna Math, Chennai and Shri R. the students performed in perfect unison
Nataraj, Director General of Police, Tamil mass Surya Namaskar before the large
Nadu, visited the Fair besides a large audience, a rarely seen event for them.
number of people. On the occasion, Swami Many of them won prizes in sports and
Vimurtananda, Editor, Ramakrishna other events conducted by different
Vijayam, released the Green Pathfinders agencies.
Part II of Kendra Patrika. A personality At Madurai, Five Yoga Satras were
development attended by 140 children with conducted for 217 persons. An
100 parents was another event. introductory session about Vivekananda
At Coimbatore, a Let us play an exam. Kendra and a Swadhyaya Class were
Camp was held for 793 students from 7 organized at Sourashtra College for Women.
schools. Note books and writing materials were
At Tiruppur, Vivekananda Kendra took supplied to 100 needy students. A
under its aegis Anbu Illam a residential personality development was attended by
high school run on sound lines. The school 71 students. A Kutumb Sammelan to stress
had 187 students, 7 teachers and 10 the importance of family life for a healthy
supporting staff. Twenty eight students society and a Sat Sang on the role of
from this school who appeared in the X Indian culture in day to day life were held.
standard public examination 2009 have all The five Utsavs were celebrated well with
passed, eleven of them scoring first class the participation of students and general
marks. Their extra-curricular activities were public as under:
also noteworthy. On 26 January 2010 all

Guru Universal Sadhana Gita Samartha


Purnima Brotherhood Day Divas Jayanti Bharat Parva
At two places At 2 places At 3 places At one place At four places

550 persons 510 persons 200 persons 55 persons 550 persons


attended attended attended attended attended

At Thoothukudi, tailoring was taught to


55 Village girls. During Navaratri, Poojas In Kolkata, West Bengal, many monks of
were performed in various temples as a Sri Ramakrishna Math attended some of
part of creation of organized work. the Utsavs and addressed the invitees.
Sri. K. Balasubramaniamji of Palayam-kottai,
Tirunelveli donated a peace of land Vivekananda Kendra Vidyalayas
admeasuring 4.5 cents valuing Rs 6.30
lakhs as his donation for establishing Sixty one Vidyalayas as listed below
Vivekananda Kendra branch centre and including 6 new schools in Arunachal
organizing Man making & Nation building Pradesh and 3 in Asom provided value
activities. education to 23,000 students. In Arunachal
VIVEKANANDA KENDRA PATRIKA 151 DANCES OF INDIA

the students of Standards in X and XII The highlight of the Universal Brotherhood
standards acquitted themselves creditably Day celebration at VKV Itanagar was the
in the public examinations. Kum. Mausumi presence of Gen. J.J. Singh, Governor,
Bora of VKV, Tafrogam, stood first in the Arunachal Pradesh and Smt Anupama Singh
State in the X Standard public examination. as chief guests. The Governor after
Nine students from VKVs formed part of 10 felicitating the state toppers in AISSE 2009
member team to participate in national level recalled his close contact with VKVs during
Childrens Science Congress at Ahmedabad. his army days in Arunachal Pradesh and
Kumari Taba Yahi, VKV, Yazali has been appreciated Vivekananda Kendra for its
nominated as a member of a team of 25 nation building activities. Sri A. Pandiyan,
students to represent India in an General Manager, North East region, Indian
International forum. Nine VKVs at Amliang, Oil Corporation who donated a mobile
Jairampur, Kuporijo, Koloriang, Nivedita science laboratory van to the Vidyalaya
Vihar, Oyan, Roing, Sunpura, and Ziro, and Sri Tapir Gao former M.P. and Susri
participated in a State-level Science Rekha Davey also attended function.
Seminar 2009. A team of students won the
National Level On Line Quiz competition Some of the other important visitors to
conducted by Department of Science & our various schools were:
Technology, Government of India, New 1. Shri. Bosiram Siram, Education
Delhi. Minister, Arunachal Pradesh.
State No. of No. of
2. Shri Nabam Atung, President,
Vidyalayas Students
Indigenous Faith & Cultural Society
Andaman 09 2,928
of Arunachal Pradesh.
Arunachal Pradesh 30 10,503
Asom & Nagaland 18 7,575 3. Shri L. Khimhun, Secretary General,
Karnataka 01 354 Rangfra Faith & Culture Promotion
Tamil Nadu 04 1,646 Society.
Total 61 23,006
4. Shri Tapi Mara who climbed to the
Shri K. P. Rao, Principal, VKV Yazali and top of Mt. Everest.
Shri. N. Kumaravel, Principal, VKV
Banderdewa, were awarded Government of 5. Shri K.Kumar, Editor, Arunachal
Indias National Teachers Award and CBSE Front.
Teachers Award respectively. He donated
the amount of Rs.25,000/- to Kendra 6. Shri Bhanghai Pasong, Coordinator,
stating that it rightly belonged to his Kendra Arunachal Vikas Parishad in Kurung
which cared for him for the last 33 years Kumey
and inspired him to reach such a stage as
For further info visit: www.vkvapt.org
to be rewarded.
VIVEKANANDA KENDRA PATRIKA 152 DANCES OF INDIA

Vivekananda Kendra Vidyalayas Science Fair held at Birla Industrial &


Asom & Nagaland Technological Museum, Kolkata.
Su. Dipa Das Choudhury, teacher, VKV
Eighteen Vidyalayas seventeen in Asom Badarpur received a Gold Medal from the
and one in Nagaland, with 7525 students University of Bangaya Sangeet Kala Kendra,
functioned satisfactorily. Of these three Kolkata, for her contribution to Teachers
were newly started. 397 students appeared Training in Creative Dance. Sri Kalyan
for X standard public examination and 391 Deka, Teacher, VKV (NEEPCO) Doyang
of them passed with 318 scoring first class received Shilpi Prerana Award instituted by
marks. Out of 277 students who appeared Uttar Purvanchal Niyog Sangvad for his
for XII standard public examination, 249 contribution to the cultural field.Two
passed out with 176 scoring first class teachers, Shri S. Mohan Das, VKV Tinsukia,
marks. authored a book titled Bishwasar Abartot
Bipanna Jaiba Baichitra and Su. Nabanita
In the competitive entrance examinations, Bhuyan, VKV, Umrangso brought out two
VKV Tinsukia turned out the highest number science guide books for classes VIII & IX
of successful candidates, a record for any Standards.
single school in the district. Yasin Shahtaz
Emanee from VKV, Golaghat, who stood first Thirteen camps of different kind were
in the State level Science Fair at Regional conducted for 800 students and 6 training
Science Centre, Guwahati, for his model, programs for 410 teachers and supporting
represented Asom in the Eastern India staff members. The attendance at the
Utsavs was as under:

Attendance Guru Universal Sadhana Gita Samarth Bharat


Purnima Brotherhood day Divas Jayanti Parva

Students 7,500 9,878 6,800 6,750 9,878

Others 545 13,000 545 1,400 16,500

Some of the VIPs who visited the different 3. Prof. Arup Kr. Sarma, Dean, IIT,
Vidyalayas were Guwahati.
1. Shri Nikhil Kumar, Governor of 4. Sri Devasish Sarkar, General
Nagaland Manager, NECF, Margheritta.
2.Dr. Tapodheer Bhattacharjee, Vice 5. Shri Kanak Gogoi, Scientist,
Chancellor, Assam University, Guwahati
Silchar.
VIVEKANANDA KENDRA PATRIKA 153 DANCES OF INDIA

A plot of land measuring 7 Bighas 17 Lessas Vivekananda Kendra Pratishthan Trust


was purchased for Rs. 172200/- in village
Uhanipathar, Mouza Haleswr, P.O. Dipota Thirteen Shikshartis working in different
near Tezpur for establishing Vivekananda centers attended a Karyakartas Prashikshan
Kendra Vidyalaya for the people of Tezpur. Shibir and 21 others underwent Kendra
Deeksha Shibir. The Trust selects suitable
The construction of infra-structure was
persons, trains and assigns them to various
undertaken in VK Vidyalayas Ramnagar,
branch centers and projects. The
Nalbari, Shuklai, Tezpur, Dhemaji, Dibrugarh,
wherewithal for the Pratishthan to take
Tinsukia.
care of the needs of the Karyakartas comes
Karnataka from the generous contributions of patrons.
The details of the patrons (as on 31-03-
VKV, Kallabalu near Bangalore (started in
2010) are as under:
2001) had 354 students, 20 teachers and
two supporting staff members. Justice Dr.
1.Annually donating 30,631
Rama Jois, former Governor of Bihar &
2.Lump sum 1,05,443
Jharkhand and currently a member of Rajya
3.Perpetual 4,430
Sabha, was the chief guest on Universal
Brotherhood Day celebrations.
Vivekananda Kendra Publications

Tamil Nadu Chennai Vivekananda Kendra Patrika,


English Half yearly, titled
Vivekananda Kendra Vidyalaya, Green Pathfinders,Vol. I & II;
Kanyakumari, had a strength of 1,308 Yuva Bharati, English monthly
students. In Class X, 66 Students passed & Viveka Vani, Tamil monthly
in first class out of 73 appeared. In class Jodhpur Kendra Bharati, Hindi monthly
XII 68 students passed in first class out of Solapur Vivek Vichar, Marathi monthly
74 appeared.The students performed well Palitana Vivek Sudha, Gujrati monthly
in various competitive examinations of other Guwahati Vivek Jagriti, Quarterly in
organizations. Shri S. Abraham Lingom, Vice Assamese & English
Principal, received Asiryar Tilakam district
best teacher award. Chennai Branch published two new books
Wandering Monk in English and Story of
Vivekananda Kendra Vidyalaya, Rock Memorial in Malayalam and reprints in
Valliyoor, had 608 rural students. Out of Bengali (1), English (8), Hindi (2), Kannada
16 students who appeared for X standard (1), Malayalam (2), Tamil (11) & Telugu
examination, 15 passed with 12 of them in (1). It also brought out calendars, diaries
first class. All the 11 students who and some novelties which were all in good
appeared for XII standard examination demand. Total Subscribers of Yuva Bharati
passed with 8 of them getting first class.
The school has built a reputation for itself.
VIVEKANANDA KENDRA PATRIKA 154 DANCES OF INDIA
are 7473, Vivek Vani are 2910 and The Institute has constantly striven to
Vivekananda Kendra Patrika are 887. examine and validate the systems from
our point of view so that culture becomes
VK Hindi Prakashan Vibhag, Jodhpur
the foundation of development. It is an
published KENDRA DARSHAN - Mananeeya
Eknathjis letters and it was released in endeavour that all seminars and field
investigations, the basis of which is
the hands of Param Poojaneeya Mohanraoji
research, are conducted not to replicate
Bhagavat, Sarsanghachalak of R.S.S.
Another book AMERICA ME SWAMIJI west centric scholarship but to present
matters befitting the magnitude of our
was also published. The Hindi Prakashan
traditions.
Vibhag also organized Readers and
Subscribers meetings at Jodhpur, Jaipur,
On the Foundation Day (31st January) Shri
Ajmer and Udaipur. Total subscribers for
Rajkumar Ajit Singha, a scion of the last
the Kendra Bharati are 4770. Ahom king of Asom and renowned columnist
and social activist conferred the VKIC
VK Asomiya Prakashan Vibhag,
Guwahati brought out translation of SANMAN 2010 on Sri Chaoba Kamson, a
Social Activist, from Manipur, As General
EKNATHJI in Assamese which was released
Secretary of Tingkao Ragwang Chapriak
in the hands of Sri P Parameswaranji during
the All India Adhikari Baithak for 2009 held Phome, Asom, Manipur and Nagaland, Sri
Kamson helped to establish several temples
at Guwahati. Also, VIJAY HI VIJAY book
dedicated to Tingkao Ragwang, to preserve
for the College level youth program. The
Sadhana of Service was reprinted. VK the traditional faith and culture.
Prakashan Trust financially helped in The survey team of the Rabha
bringing out the publications. Total Documentation Project has recorded the
Subscribers of Vivek Jagriti are 1100. traditional crafts, handloom products, rites
and rituals, hymns, ballads, festivals etc.
VK Marathi Prakashan Vibhag, Pune in Goalpara district. The harvest festival
brought out Marathi translation of Sarbojanin Baikho at Nadiapara, the funeral
VIVEKANANDANCHYA PRAKASHAT ceremony Farkanti, at Dorni and the hymns
SAVARKAR and DAMYAVAR YOGO- of Bakai Puja prevalent in Asom-Meghalaya
PCHAR. It also reprinted many other titles. border were covered. An awareness
The Vivek Vichar is published from Solapur program during the Peerahasu Puja - a post
and has 2383 subscribers. harvest festival for the welfare of the
livestock - was also conducted.
Vivekananda Kendra Institute of
Culture, Guwahati
Two half yearly issues of the Quest have
The Dibrugarh University has recognized been brought out on community festival
the Institute as a Research Centre with and the traditional marriage systems of
effect from 24 September 2009. The northeast India. This house journal Quest
notification by Dibrugarh University stated: has been accorded International Standard
Serial Number [ISSN] 0976 0040).
VIVEKANANDA KENDRA PATRIKA 155 DANCES OF INDIA

The VKIC Reference Library with 225 During a panel discussion on the role of
members has 5,024 books and subscribes Nyubu (Priest) in the Nyishi and Nyegam
for 27 national and international magazines Panam (expert in history and traditional
and research journals. knowledge) in Nyele, the self governing
institution of the Nyishi pointed out that
Two Stress and Health Management Nyele removed rivalries between parties
Workshops for supervisors and workmen and took them from Yalung (Dispute) to
of Power Grid Corporation of India Ltd. Tagung (Peace). Dr. Ligu Tacho,
(PGCIL) in Misa, Nagaon district of Asom, Chairperson, said that Lok-Adalat was
were conducted. Sri K Bhuyan, DGM, was nothing but another form of Nyele.
pleasantly surprised that Kendra had such
programs and wanted to have a long term VKIC Delhi Chapter
association. After seeing the impact of 2
Yoga Abhyas classes for 140 students of The study group chaired by Sri I.P Gupta,
Asom Institute of Management, Dr. former Lt Governor, Andaman and Nicobar,
Shantikam Hazarika, Director, desired to after finalizing the scheduled activities for
integrate Yoga as part of the course and the year discussed the Common Bases of
wanted the frequency of the course should Hinduism.
be increased. Vivekananda Kendra Arun Jyoti
Project, Arunachal Pradesh
Eight personality development camps as
part of Vijay Hi Vijay program of
Under the project for Development through
Vivekananda Kendra Asom Prant were
Culture 20 towns and 138 villages in 11
conducted for 205 students of 14 colleges districts were covered through five manchs.
to inculcate a spirit of nationalism in them.

VKIC Arunachal Pradesh Chapter Anaupacharik Shiksha Manch


118 Balwadis with 2,584 children and 17
In connection with production of a Anandalayas with for 338 children
documentary film on Buddhist Monasteries functioned well.
in Tawang District, a team from Gujrat
covered 4 major Gompas, including Swasthya Manch
Ugyenling Gompa, the birthplace the sixth 27 Medical camps benefiting 2,800 persons
Dalai Lama. and 9 awareness camps enlightening 500
people about health and hygiene were held.
Smt. Likhamoni Mein, Principal, Kalakshetra,
Itanagar, in her address on Indian Classical Mahila Manch
Dances and Arunachalee Dances - the 4 Vocational training centers trained 64
Common Features. demonstrated many girls and there was a good sale of the
common mudras of the folk dances of products made by the trainees.
Arunachal and Bharatnatyam.
VIVEKANANDA KENDRA PATRIKA 156 DANCES OF INDIA

Yuva Manch Vivekananda International


79 students attended 2 Pariksha De Haste, Foundation New Delhi
Haste (write your exam. in a happy mood)
programs. 75 youths endeared themselves In the Vivekananda Kendra International
to the thronging devotees during the annual Bhavan, a new activity with the name
mela at Parasuram Kund, by their service. Vivekananda International Foundation
started functioning.
Sanskrutik Manch (Cultural Wing)
On Raksha Bandhan Day over 21,000 Rakhis Vivekananda International Foundation was
were tied to various people apprising them inaugurated on 1 December by Justice Shri
of the significance of this symbolic M.N. Venkatachaliah, retired Chief Justice
expression of brotherhood amongst all of India. Mata Amritanandamayi gave her
members of the society. benediction. Smt Vani Jairam, the noted
For further info visit: www.vkarunjyoti.org classical singer and a well wisher rendered
the invocation song. Shri Ajit Doval, former
Vivekananda Kendra Medical Chief of Central Intelligence Bureau has
Research Foundation joined as Honorary Director and a number
of former senior military officers, diplomats,
The hospitals at Asom and the hospital at bureaucrats, and academics are on the
Bina in Madhya Pradesh functioned advisory board and the executive council
satisfactorily and filled up an important to guide the activities of the Foundation.
need of the people in the area.Vivekananda
Kendra NRL Hospital, Numaligarh, Asom, The Organisation : It is a New Delhi based
provided services as under: think tank.

1.Outpatients 38,923 Indias leading security experts, diplomats,


2.In-patients 1,753 scholars and philanthropists collaborate
3.Operations cases towards functioning of this foundation. By
349
generating innovative ideas, thoughts and
4.Radiology& USG
actions, it aims to evolve into a nodal
service provided 1,600 centre of excellence that will propel India
5.Patients attended at to her rightful place. The VIF brings together
the best minds from India and other nations
mobile medical camps 10,201 to dilate on key national and international
6.Pathology service 71,760 issues. VIF promotes quality research and
7.Blood transfusion 251 is a platform for dialogue & conflict
8.Physiotherapy service resolution.
2,265
9.Yoga service 2,529 Objectives : Analyse Indias external and
internal security environment to offer
VIVEKANANDA KENDRA PATRIKA 157 DANCES OF INDIA
inputs to shape policies and response developments in the neighboring countries
strategies. and its implications on India.
Offer policy alterations to contain rising
extremism caused by Indias socio-ethnic Centre for Governance and Political
disparities. Interact with civil society and (Development) Studies Deals with
offer institutional support for exchange of political, military, economic and other
ideas among conflicting groups. developments in the neighbouring countries
and its implications on India.
Critique public policy, the working of
democratic institutions and constitutional Centre for Economic Studies Studies
bodies. Indias economic challenges in relation to
domestic and international developments
Evolve benchmarks for good governance in trade and economic policies.
and efficiency in public institutions.
Centre for Historical and Civilisational
Reassess, formulate and develop Indias Studies Study of sociological and civil
civilisational and cultural imperatives in an history for correct interpretation of
increasingly globalised world. historical findings.

Promote initiatives that further the cause Activities : To achieve these objectives
of peace and global harmony. VIF
Organises events, holds conferences,
Resource Centres : The Foundation seeks lectures, seminars and discussions with
to meet its objectives through six centres scholars and subject specialists
of study :
Interacts with the diplomatic community
Centre for National Security and Strategic in New Delhi to project Indias viewpoint
Studies A hub for VIFs study on national and to understand the views and
security issues such as left wing extremism, perceptions of other nations.
militancy, North-Eastern insurgencies and
demographic invasion from Bangaladesh. Engages policy makes on issues of topical
interest and share VIFs views and concerns
Centre for International Relations and with them.
Diplomacy Dedicated global strategic
issues, changing trends in international Develops institutionalized contacts with
power equations, Indias foreign policy academic bodies, research institutions,
challenges and options best suited to help select Indian and foreign think-tanks,
India achieve its national objectives. universities and organizations representing
the Indian diaspora.
Centre for Neighborhood Studies Deals
with political, military, economic and other
VIVEKANANDA KENDRA PATRIKA 158 DANCES OF INDIA
Intends to publish books, monographs, 03. A presentation by Maj. Gen. G.D.
policy briefs and special reports. Bakshi on Bose: Key catalyst of
Indias freedom on the birth
Website : www.vifindia.org. anniversary of Netaji Subhash
Chandra Bose.
VIF maintains a regularly updated website
which offers : 04. A lecture by Dr. Subramanya
Swamy, former Union Minister, on
Opinions, articles and features on Chinas increasing role in Indias
international relations and diplomacy strategic calculus.
Exhaustive postings of news from Pakistan
and Bangaladesh, including Pakistani Urdu 05. A lecture by Maulana Mahmood
Media Madani, M.P. & leader of Jamiat
Ulema-i-Hind on Terrorism
Civilisational and relevant historical issues Response through Indian Ulema.
in the Indian context. 06. A two day Seminar on Afghanistan
beyond the London Conference:
Features on security and strategic affairs Indias Options.
such as left wing extremism, terrorism, 07. A talk by Shri Shyam Saran on
illegal immigration, insurgencies in J&K and Climate Change.
North-east.
Up-to-date round-up of news about the Besides the persons mentioned above,
VIF, its current activities as well as a other VIPs who visited the Foundation,
calendar of upcoming events, seminars, were:
conferences, etc. 01. Gen. Richard Myers, former US Chief
of Defence Staff.
The following were the events during the 02. Shri John Negroponte, Diplomat.
December 2009 March 2010: 03. His Holiness Dalai Lama.

01. A lecture by Shri Michael Chertoff, For further info visit: www.vifindia.org
former Secretary, US Homeland
Security before an elite gathering. Kerala : VK Vedic Vision Foundation,
Kodungalloor
02. Release of the book - The Rise of
Indian Military Power: Evolution of A four day Sree Ramakrishna Bhakta
an Indian Strategic Culture of Maj Sammelan was held in May 2009, preceded
Gen.G.D. Bakshi, by Gen Shankar by a mini Kerala Parikrama with a decorated
Roy Chowdhury, former Chief of Sri Ramakrishna Chaitanya Ratha was taken
Army Staff. from Kanyakumari to Kodungallur. Several
senior monks of Sri Ramakrishna Maths like
Swami Gautamanandaji, Swami
VIVEKANANDA KENDRA PATRIKA 159 DANCES OF INDIA
Sakranandaji, Swami Swaprabhanandaji,
Matajis of Sri Sarada Math, well known Vivekananda Kendra
speakers- Dr. Suvarna Nalappad, Dr. C. Natural Resources Development
Radhakrishnan and Dr. H.G. Sudarshan Project, Kanyakumari
attended the program which concluded with
a grand Yati Puja to 30 monks and 15 VK-NARDEP received award cum grant of
matajis were well attended by the Rs.1 lakh under Idea Innovate
devotees. Incubate scheme for its paper Bio-
methanation plant with water Hyacinth,
A souvenir Viveka Tharangam and 3 books Ipomoea and Sea weed as input material
in Malayalam: 1. Sadhana Panchamritam, by National Research Development
2. Jeevitha sayahanathil Anandhathinulla Corporation, New Delhi.
Vazhi & 3. Jnanadayini Sarada, were brought
Many of its personnel participated in the
out on the occasion. seminars and workshops etc., organized by
A mass Surya Namaskar by 600 children
various government and private agencies.
from 9 schools another important event of
Two of its personnel spoke over All India
this center. Radio, Nagercoil, on Global Warming and
Vishwa-Bhanu a bi-monthly in Malyalam
Azolla & its usefulness.
was published and was well received by
people. The Times of India, Rutag, IIT, Chennai,
Books Published Organizer, New Delhi and Vivek Saptaha,
Mumbai, carried articles on the work done
1. Jivita sayahnathil anandathinde by this project.
vazhi
2. Jnanadayini Sri Sarada Devi Besides Shri Narayan, Chief General
3. Viveka Tarangam (Souvenir of Manager, NABARD, Chennai and Dr. K. Ajit,
R.K.Bhakta Sammelan) Ford Foundation, New Delhi, a good number
4. Surya Namaskar (instruction of Self Help Groups members, farmers and
booklet) students from outstations visited the
The book Sadhana Panchamritam for daily Technology Resource Center.
reading, was reprinted. For further details:

Whether you believe in spirituality or not, for the sake of the


national life, you have to get a hold on spirituality and keep to
it. Then stretch the other hand out and gain all you can from
other races, but everything must be subordinated to that one
ideal of life; and out of that, a wonderful, glorious future India
will come - I am sure it is coming - a greater India than ever
was. - Swami Vivekananda
VIVEKANANDA KENDRA PATRIKA 160 DANCES OF INDIA

The details of the programmes held by NARDEP are as under:-

Programme No. Beneficiaries


Training in Cost Effective Green Architecture 41

Training in Roof top rain water harvesting 1 20

Training in Sustainable Agriculture 10 405

Training in Production & use of High potncy compost etc. 3 32

Training in Azola Technology 20 270

Livestock Management 3 50

Training in Capacity Building for technology adoption 3 84

Training in Nutrient management for better farming 1 23

Training in Agriculture 1 20

Training of vaidyars etc in Indian System of medicine 1,495

Green Health home 89 Days 2,674

Green Health camps 3 737

Seminar on Varma points 3 661

Construction of KVIC biogas plants 560

Shakti Surabhi biogas plants constructed 34

Awareness on & training in Shakti Surabhi biogas plant 22 57

Motivation training of Co-operative Society officials 1 23

Training of TWAD officials 2 66

Training of officials in PDS and human relationship 3 82

One thousand copies each of books titled Arvind Eye Hospital, Tirunelveli & were also
Azolla (Hindi), Rain Water Harvesting provided post operation needs.
(English) and Valviyal Chinthanaigal (Tamil) Supraja Foundation from Hong Kong has
were brought out. For further info visit: generously provided vessels for the
www.vknardep.org Balwadis and also uniforms and toys for
the children studying in them. State Bank
of Travancore, Valliyoor Branch, donated
Under Vivekananda Kendra Rural a computer with all accessories. Six
Development Programme, conducted 40 booklets were brought out.
Eye Camps in which 6,643 patients were
For further info visit: www.vkrdp.org
screened & 1,911 were got operated in
VIVEKANANDA KENDRA PATRIKA 161 DANCES OF INDIA

VIVEKANANDA KENDRA RURAL DEVELOPMENT PROGRAMME


This project functioning since 1982 continued its service activities in Tamilnadu as
below with unflagging enthusiasm.
1 Balwadies 75 2,074

2 Sanskar Vargas 235 8,070

3 Competions for children from 1,138 Rural middle schools 125 22,500

4 Competions for students from 536 rural schools 9 2,643

5 Competions for students from 193 urban schools 11 2,194

6 Competions for 200 Plus 2 level institutions & Others 7,188

7 Competions for students of 137 colleges 16,717

8 Competions for college 16 professors & 74 teachers 90

9 Yoga Vargas & Satras 12 395

10 Swadhyaya Vargas 2 43

11 Deep Pujas 290 25,120

12 Amudha Surabhi : Collection of cereals from 2220 families 18.7 Tons


13 Anna Puja : Collection of cereals 47.5 Tons

14 Adopt a Granny Scheme 63

15 Education aid to girls 362

16 Marriage aid to girls 17

17 medical aid for the needy 35

18 Camps for children from 148 schools 3 220

19 Camps for Plus 2 students from 105 colleges 2 250

20 Camps for college students from 79 colleges 5 327

21 Camps for Sanskar Varga students 2 235

22 Personality development camps for students 11 759

23 Training camp for Balwadi teachers 42

24 Refresher training camp for Balwadi teachers & Others 150

25 Number of reprints of publications brought out 10

26 Medical Centers 15 25,714


VIVEKANANDA KENDRA PATRIKA 169 DANCES OF INDIA

Folk - Dances of Gujarat


PARUL SHAH

T
he important inroad by which art movement or dancing are different in
has entered the daily life of content, theme and style. But they are
people is through the domain of folk similar in spirit of spontaneity, participation
music and folk dancing. In all cultures and of audience etc. They cut down the
civilizations of the world, human movement economical and social barriers, bringing
has worked as a vehicle of expression of people of various communities and
joy and sorrow. The urge of outward economical classes together.

Folk dances of different parts of the world


have common links. Usually they portray
the functions of daily life, rites and rituals,
beliefs of performers in spirit and the like.
They are performed throughout the year
on social events like marriages, child birth,
around the agricultural functions and during
fairs and festivals.

There is total absence of self-


consciousness and sophisticated stylisation
in folk forms. They are ever renewing, at
the same time keeping with the tradition.
They are dynamic. There is re-creation and
repetition going hand in hand.

The Indian subcontinent has various races,


linguistic groups, different geographical and
climatic conditions and many religions which
give rise to rich folk dance forms. Here
prehistoric forms have survived along with
the growth of new forms, in spite of many
historical, social and economical changes.
There are various cultures existing side by
side. The tribal people are the creators of
expression through body movement has
what is termed as the tribal dances of India
assumed many shapes and forms at
where the peasant society is responsible
different periods of history and in different
for ritualistic agricultural and seasonal folk
parts of the world. These forms of human
dances. Gujarat has always been a land
VIVEKANANDA KENDRA PATRIKA 170 DANCES OF INDIA

of dancing since the days of Lord Krishna. broadly into the following groups.
Dance has been an integral part of the
(i) Dances of social pattern, performed at
social, religious and cultural life of the
marriages, child births and other important
Gujarati people. The folk dances of Gujarat
social events.
ideally reflect the smooth merging of diverse
social and cultural thoughts. (ii) Dances connected with agricultural
functions like sowing of cotton and maize,
Gujarat lies in the West coast of India and
cutting of ripe crop etc.
comprises of Gujarat, Kutch, the Rann of
Kutch and Saurashtra. Geographically it (iii) Dances of religious ceremonial patterns
has fertile plains, lush green fields, sandy connected with festivals like Holi (festival
plains, bare rocky hills, flat salt-soaked of colour), Diwali (festival of lights),
lands and a long coastal line. The Navaratra (festival of worship to Goddess
boundaries of present day Gujarat touch Amba).
those of Pakistan, Rajasthan, Maharashtra
The most popular and known folk dances
and M.P. This rich fertile land has attracted
of Gujarat are Garba, Garbi, Rasa, Rasada,
outsiders throughout history who came as
Tippani, Padhar-Nritya, Dangi-Nritya etc..
invaders, travellers and settlers. They
Most of these dances have a circle or
brought with that; in their own ways of
Mandala as the basic Choreographic
life, traditions and enriched the culture of
pattern. As the circle signifies the
Gujarat.
completeness, the dances in the circular
All these provide a rich ethnic variety of form show the richness of culture and
people. Ethnically there are tribes of Bhils, fullness of life in Gujarat. It would be very
Kolis, Vagharis, there are agriculturists like difficult to describe and review this
Thebas, Kanabis, Meranis, Ahir, Rabaris, fountain head here and so I would
there are seafarers like Tandels and concentrate on a few very popular dances
Kharwa, There is also a developed peasant of Gujarat.
community and urban society. The history
Rasa which is supposed to belong to Kutch
of Gujarat is very interesting which is
and Saurashtra is performed all over
evident through the proto-historical sites,
Gujarat. The Rasa traditions are as old as
mediaeval temples and rich tradition of
the Puranic period. In various parts of the
miniature paintings. Jainism flourished here
country Rasa are danced in different
for centuries. Vaishnavism permeated the
manner.
classes and the masses. The tribal and
peasant tradtions co-exist, mutually In Rigveda we have mention of couples
influencing each other and yet remaining dancing in circles. But from the point of
aloof. view of folk tradition, the description of
Halli saka a group dance, in the Harivamsa
The constant blending of alien cultures is
Purana is very significant. Here is a group
responsible for the variety of folk dances
dance, in a circular formation with the
found in Gujarat. These could be divided
hands joined together forming a chain. The
VIVEKANANDA KENDRA PATRIKA 171 DANCES OF INDIA

time (Tala) is kept by clapping and is Rasa. Thus Rasa or congregational music
accompanied by singing. A young man belonging to the pastoral stage of society,
(Krishna) stands in the middle of two dates in Gujarat from much an early date.
damsels. The feet movements, toes, heels In a wall painting in a Bagh cave we see a
and legs first start their journey to explore Rasa Mandala depicting women with sticks
rhythmic expression in measured steps, and cymbals to the accompaniment of
long, short, quick and slow accompanied musicians.
in single, double and triple timings.
The Rasa of Shri Krishna in Gokula and
Later on, these Rasaka and Halli saka were Vrindavan on the full moon night of Aswin
described as two of the Upa rupakas in was naturally a favourite theme, with many
many Sanskrit treaties on Dramaturgy by of our Gujarati poets like Narsinh Mehta
authors like Kohala, Vatsyayan, etc. He and many others wrote special
Sarangadeva, Sharadatanaya, Bhoja
and others. Uparupakas are the minor
dramatic forms, having predominance
of music and dance. These treaties
denote Rasa or Rasaka, Hallisa or
Hallisaka as the dances of the
cowherds.

While in Hallisaka there is one hero


and several heroines; there are as
many men as women in Rasaka. Thus
the main feature of Rasa is dancing
in a circle by men and women, to the
accompaniment of musical
instruments and keeping time either
by clapping or beating of two sticks.
The number of dancers go from 8, 16
or 32 up to 64 couples, who also sing
the song. There are three varieties
Rasa songs describing various stages of
of Rasaka described.
Krishnas life. They also wrote songs
(1) Danda Rasaka--Rasa dance
describing the agricultural cycles and
where Danda or sticks are used.
seasons. Today the traditions brought by
(2) Mandala or Tala Rasaka-Rasa
Sri Krishna to Saurashtra have gained much
dance where clapping is used.
ground and have blossomed as one of the
(3) Lata Rasaka-Rasa dance where
most popular, lilting folk dance forms,
dancers cling to each other and
incorporating many local elements.
dance like a creeper to a tree.
The religious history of Gujarat suggests
This is the genesis of our mediaeval Dandia
that people followed Shakti worship. Later
VIVEKANANDA KENDRA PATRIKA 172 DANCES OF INDIA

on, with the coming of Krishna, Vaisnavism pattern. Garba is the most popular womens
came to Gujarat. And as a result of these folk dance. Its origin seems to be from the
two major faiths, a new artistic form tribals wandering about hunting. Gradually,
evolved Garba and Rasa. As Krishna was it became an agricultural ritual and today
a shepherd, the Rasa is essentially it is a social dance at all levels of society.
associated with agricultural cycle. It is
The Garbo or Garbha is the life inside a
performed on Vasanta Panchami, Navratra
womans womb. An earthen pot with holes
and Sharad Purnima, important festivals
around the circumference and light burning
connected with sowing and reaping of
inside symboIises so. Such a pot placed
grain. They are performed mostly by men
on the head of a lady is comparable to the
and often complex designs of lotus,
starry dome of heavens, handled by Maha-
serpent, Nataraja are created while
shakti. The dance in motion as well as songs
dancing in a circle.
came to be termed as Garba. Garba
The Dandia Rasa is the counter part of dancing is performed by women only to
Garba or Tali Rasa. Dandia is a wooden stick get blessing from the Goddess Aroba. It is
or iron pipe, about performed for
a foot long. At the nine nights at a
end tiny bells are stretch during
tied to make the the festival of
jingling sound Navaratri in the
when they strike month of
each other. The October at
dance has every street
complicated corner of
rhythmic patterns Gujarat. This
beginning in a slow being a dance
tempo and ending of worship
with a fast tempo. where all are
Each dancer in the expected to
circle not only performs a solo dance with join, the technique is very simple. No
his own sticks, but also has multiple intricate foot work or body movements are
relationship with his partner on either side involved. The dance in a circle is performed
and opposite. The circle keeps breaking, by simple clapping of hands in rhythms of
forming various patterns. The local terms three (Tin Tali) or four (Hinch). The songs
are Chokdi Sathiya etc. The sticks are are sung by the dancing group only. The
beaten standing, sitting and lying on the songs of famous poets of Gujarat like
floor and also jumping in the air. Dayaram, Premananda and others are
special Garba songs usually known to
Rasa dances are performed all over Gujarat
everyone.
by various communities. Basically they are
same but each community has its distinct The actual performance begins at night
VIVEKANANDA KENDRA PATRIKA 173 DANCES OF INDIA

after the women finish their house-hold waist neck and hands. The musical
work. All gather at the street corners. A instruments used for Garba are mainly the
photograph of the Goddess or a lamp is drum or dhol and Nal. But Rasa has Pavo
kept in the centre and around it the circle (a double flute) Vansali (flute) Zanza (Discs)
is formed. The dancing begins with slow etc. The drummer ties his drums around
tempo and reaches a fast tempo. The the neck and moves inside the circle
rhythm is kept by a Dholi or drummer who beating it.
sits in the centre.
Garba songs are mostly in praise of Mother
Sometimes women carry on their heads Goddess Amba describing her form, powers
Mandavadi a small canopy made of and invoking her blessings. Also there are

bamboo chips covered with a red silken Garbas describing seasons, and social
piece of cloth. They dance with it and later themes of domestic and married life. As
put it in the centre. Mandavadi symbolises the Rasa dances have Krishna in their
the temple of the God-dess. Women wear origin, most of the Rasa songs evolve
saree in the Gujarati style. Each community around the life of Krishna a t various stages
wears different clothes. In Saurashtra, from child Krishna to the flirting Krishna.
women wear embroidered petticoats
There is a tribal belt running in the South-
(Ghaghra), a backless choli (Kapdu) and a
east of Gujarat adjoining Madhya Pradesh
head cover (odhani) with lots of silver and
and Maharashtra. The furthest corner
head ornaments. Males wear Kediyum
joining
(shirt) Vajani (trouser) and Rumal a printed
head piece with silver ornaments on the Maharashtra of this belt is known as Dang.
VIVEKANANDA KENDRA PATRIKA 174 DANCES OF INDIA

It is a rich hilly forest of Tick and Bamboo. Rasari, Charan etc. to name a few
The Gangis arc unique tribals, a blend of participate. The Rasa and Garbas are seen
Gujarati and Maharashtrian culture mixed at their best in such melas. Until say about
harmoniously with original Dravidians. The the last 30 years, people outside were not
dance performed by the Dangis is called so much aware of the folk dances of
Dangi Nrita. Men and Women join hands, Gujarat.
forming a chain or shrinkhala making
But after independence, through
serpentine movements with one leading.
Government efforts and with the help of
The movement is very fast, swift and
some regional institutions, these folk
create various choreographic patterns in
dances have been popularised. These folk
a fraction of a second. Each variety of
forms are now being protected, studied and
step is called Chala and there are about
documented. Ironically enough, in this very
27 varieties of these chalas. One of the
process the forms and content are
most amazing sights of this dance is the
violated. The real purpose is lost. These
creation of a human pyramid.Another
living forms have become static in the
popular folk dance of Gujarat is Tip-pani
process of documentation and in the act
Nritya. Tippani is a stick, with abroad base,
of restaging them outside their context.
used to level the flock of a newly
These dances when performed during melas
constructed house, read.The working
or social events are related to open spaces,
women sing in unison while levelling the
an atmosphere of river banks of a hillock,
floor with Tippanis and move in graceful
a religious ceremony, harvest operations,
but strong movements in rhythm creating
participation of various communities etc.
a spectacular dance with their colourful
They are not limited to a performance time
costumes.
of 2 hours.
These dances are performed by various
Gujarat also has a rich folk theatre Bhava
communities at the time of a local fair or
popular mostly with rural audiences, dating
Mela, on religious festivals and social
back about 800 years. The whole night
celebrations. The mela incorporates
performances by professional male actors
traditional institutionalised practices as well
or Bhavayas are looked forward and enjoyed
as local variations. The mela is a vast
immensely by elders as well as children. It
stage where the audience becomes the
comprises of singing, dancing as well as
performer or vice versa depending on the
acting. The performers achieve instant
mood and pleasure of the participants.
rapport with the audience, and making
In Gujarat, there are hundreds of melas indirect or direct jokes on social problems,
conducted every year, at different places act as mass education media.One wonders
and times to celebrate a good crop or to at the homogeneous blending of various
worship a God or Goddess etc. All cultures, faiths, social and economic
communities-Bharwadi, Koli, Ahir, Vaghelas conditions which have generalised such a
vast variety of folk dances in Gujarat.
VIVEKANANDA KENDRA PATRIKA 175 DANCES OF INDIA

Folk-Dances of Punjab- BHANGRA


Dr.KAPILAVATSYAYAN

B
hangra, the most popular and shoulders and a hop-step; this is followed
virile of the community dance of by many vigorous movements of the whole
the villages of Punjab is closely body and the raising of both hands to the
linked with the ritual importance which is shoulder or above the head level. After
given to wheat. After the wheat crop is the circle has been well established and
sown, the young men gather together in the tempo of the dance has accelerated,
some open field under the light of the full the two main dancers dance within the
moon in answer to the beat of the drum. ring in a kind of duet. This is followed by
The dancers begin to move in a circle, so pairs emerging from different sections of
that as many new-comers who wish to join the circle, dancing in the central arc and
can do so without breaking its continuity. returning to their respective places in the
The circle goes on widening
until a large open circle is
formed with the drummer as
the leader. The leader, with
a large drum hung in front
stands in the centre and
plays the dholak (the drum)
with sticks. He is often
accompanied by two or more
singers who perform the
function of sub-leaders. The
rhythm of the dance is simple
2/4 or 3/4 and the song is
also a simple melodic tune.
The words are couplets from the traditional circle. The pairs of dancers can execute
oral poetry of Punjab, called Boli or Dhola. many variations, ranging from graceful to
Although a couplet may be taken initially virile movements, circles, pirouettes, jumps
from a known piece of poetry, there is and extensions of legs, jumps, and leaps.
immense scope here for improvisation. With A skilled Bhangra dancer may even perform
each new couplet, the dancers change some highly complex acrobatic movement
their steps and respond to the singing of of the torso touching the floor, through a
the couplets with typical refrains like Bale- spinal back-bend or letting another dancer
Bale, Oai-Oai and Vah-Vah. The dancers stand on his shoulders, while he dances
naturally first begin with a slow rhythm, on his knees. Since there are no rigorous
with an abrupt jerky movement of the rules of the Bhangra, it leaves an over-
VIVEKANANDA KENDRA PATRIKA 176 DANCES OF INDIA

whelming impression of fresh spontaneous agriculture naturally; today it has acquired


vigour and vitality. Its movements are a purely social secular character. The
nevertheless characteristic of the costume of Bhangra is the usual dress of
masculinity of the Punjabi and cannot be the Punjabi peasant comprising a lower
mistaken for anything else. In dhoti (tahmat-lungi), a kurta and a waist-
choreographical patterns, besides the coat and a colourful turban called pag. While
circle and the semi-circle, sometimes two- no other musical accompaniment besides
tier or three-tier circles of one group of the dholak was used originally, in some
dancers balancing themselves on the recent versions, other percussion
shoulder or arms of another group of instruments like the cymbals and the jhanj
dancers standing in a circle can also be are being used.
seen. The whole formation moves in a fast
Jhumer
rhythm. A dwarf is included in the party
and he has an important role to play. So The Jhumer is another folk dance of the
great is the impression of its vigour and harvest season. Although it shares many
vitality and so infectious is its spontaneity features with the Bhangra it can be clearly
that the Bhangra has enhanced folk dances distinguished from the latter on account
of others: also its free and spontaneous of its thematic content and its emphasis
character has made it possible for it to on recreating the gaits of animals and birds.
travel to urban centres for all social In the Bhangra, there is no attempt to
occasions of merry-making without show the movements of sowing and reaping
reference to its original Baisakhi harvest- the harvest; in the Jhumer all the functions
ritual association. of daily life are recreated and the pairs of
dancers who come into the central area,
The Bhangra was prevalent throughout
often imitate the movements of the animals
Punjab in undivided pre-independent India
they rear. Two men become bullocks of the
and was not restricted to a single
field, a third a plough and the fourth a
community or caste. Originally, perhaps it
farmer. The gaits of the animals, the
was a tribal dance of the immigrants of
ploughing of the field, sowing of the seeds
central Asia. Soon, it was associated with
and harvesting are shown step by step.
The crops are cut and then the dancers
again rejoin into a circle and dance very
much in the manner as of the Bhangra.

Karthi

Karthi is the only mixed dance of men and


women, which used to be more popular in
the hills, than in the plains. While the
Bhangra and the Jhurner are not preceded
by any ritual to a deity, in the Karthi,
offerings are first !Dade to a deity, at
VIVEKANANDA KENDRA PATRIKA 177 DANCES OF INDIA

harvest time This is followed by women weaving and embroidery. The sounds of
leading the procession, and singing songs. the spinning wheel, the village well, the
The men follow, and then a circle is formed gurgling of the water, the beauty of the
with men and women alternating and linking fields, and the tensions between the
hands. The accompanying songs are mother-in-law and the daughter-in-law,
sentimental, and tell of battles fought and love of the brother-in-law for the sister-
victories won, of the union and quarrels of in-law are woven into the fabric of the
lovers. The tempo of the Karthi is slower song. Sometimes, the movements are
than the tempo of the other two dances. imitative of these chores or narration of
There is much clapping of hands both singly episodes, at others they are purely
and in pairs. While no
wind instruments are
used in the Bhangra
and the Jhumer, a folk
shehnai and other wind
instruments are in
evidence in the Karthi.

Gidda

The Gidda is an
exclusively womens
dance, a counterpart
of the mens Bhangra.
Dressed gorgeously,
the women gather together in the open
courtyard to perform the Gidda. The Gidda abstract. The dance ends in women pairing
is an ancient ring dance with simple to do a spin. Extended arms cross and
graceful movements without crisp jerks and hold the other dancer and the two together
abrupt turns and twists so characteristic perform a kikali. In Kashmir also, we have
of the Bhangra. a kikali of the women in the Rouf; a kikali
seems to be typical sport and dance of
The dance begins in a circle, which is then
the Women of North India.
broken up into two semi-circles and
sometimes into groups of four or six. As in In spite of the seeming contemporary
the Bhangra, the pairs emerge from the paucity of a large variety of tribal and folk
circle to perform different variations on a dances in Punjab, it must be remembered
theme. The couplets of the song describe that this was the home of many ritual and
their daily chores ranging from cleaning of trance dances, and many musical styles.
the wheat to thrashing and to spinning, The Tappa, an integral part of. North Indian
music grew out of these simple folk tunes.
VIVEKANANDA KENDRA PATRIKA 178 DANCES OF INDIA

Folk-Dances of Haryana
SUDHIR K. SHARMA

I
f the folk-music and dances of a Though the unbridled joy is common to all,
region are any expression of the there are different dances to suit different
general character of a people, the folk- occasions.
dances of Haryana fully epitomise the
The Dhamal Dance
energy and. exuberance, vigour and
vivacity, as also the religious fervour and The past hangs heavy on Haryana. Legend
aesthetic propensities of a people who have has It that this dance has its origin in the
well proved their mettle In the battle-fields times of the Mahabharat. It is performed
and diligence on the farms. jointly by men and women In the open in
moon-light during phalgun days (March).
Folk-lorists believe that there is a surprising
The men play on their dhap (a big flat
compatibility between the physical traits
circular drum With one flap-only) while
of a region and its folk-music and dances
women sing the full-throated refrain:
the dances of Himachal have the soft
quality of a fern tree tossing enchantingly
Dhap Medhur Bajaya, Chhora
with the touch of the mountain breeze,
Leelgar Ka, Dhap Madhur .
the dances of Bengal have the wavy
Apa Jamuna Ka Jat Ho jaye Re
movements of a meandering river tripping
Magan.
wantonly over shiny pebbles, the dancers
of Rajasthan swerve and gyrate like gusts (The dyers young son plays so sweetly on
of sandstorms, whirling over the sand- his dhap that even the waters of Jamuna
dunes. And so too the folk-dances of get enchanted by it). This dance-form is
Haryana have the forceful quality of the popular in the Gurgaon and Mohindergarh
wind, the elegant movement of the districts of Haryana. The dhap itself is
standing crops, the wide sweep of Its open used for various aesthetic formations and
fields and the ruggedness of its fruitful soil. choreographic effects. When the dance
It is an art in its unchiselled glory born out reaches its crescendo a dancer climbs upon
of the spontaneous feelings of the people dhap held by his co-dancer and gives
who have accepted challenges with a individual performance atop It.
smile.
The Khoria Dance of Women
There is a wide range of festivals and family
When the barat (marriage party) leaves
celebrations when the village homes echo
the Village with the bride-groom, the house
with the jingle of dancers bells. There are
becomes the exclusive domain of women-
dances for men, for women, and for both.
VIVEKANANDA KENDRA PATRIKA 179 DANCES OF INDIA

folk who in the evening do the khoria coming to maturity, The free mood of the
dance. In it the dance is not performed season is well expressed in a folk-song sung
collectively but by individual women who during the folk- dances:
come out of the group, give a dynamic
performance of quick and lovingly Kacchi Imli Gadrai Phagan Mein
mischievous movements to the waist , Budhi ai Lugai Mastayee Phagan
shoulders, hips and arms and pound the Mein.
earth with youthful excitement. As one
(The ripe tamarind has ripened in Phagun
dancer recedes back to the line the next
and even the old hag has run amuck in the
comes forward thumping merrily. The total
intoxicating month of Phagun. Here
effect of the Khoria is one of a variety
tamarind is symbolical of young womens
programme stringed on a common theme.
youthful yearning for their husbands).
This dance is also performed on the
occasion of other family celebrations. Sometimes dialogue forms in songs are also
used during the dance performances ... A
The Faag Dances
most popular song during these dances is;
The faag dances, as its name suggests
are performed during the month of Phalgun Phagun Aya Rang Bhara Re Lata,
(March). Haryanavis celebrate the crop- (Phagun, drenched in colour has come).
season with gusto and eclat. Both men
The Holi Dance
and women, separately and collectively,
utilise their free time in dancing away their The Holi dance on the day of Holi evening
cares. They enjoy the Sight of their crops on dhulendi (the day of colours) is only a
VIVEKANANDA KENDRA PATRIKA 180 DANCES OF INDIA

variation of the Phagun dance which is like child-birth and marriage are sung in
spread over the many days of the month. dialogue forms. The Jhoomar is a Haryanavi
In the Holi dances, coloured water and counterpart of the Punjabi girls Giddha.
powder provide the extra-visual appeal to
The Ghoomar Dance
the dance. In the thick mist of coloured
powder and sprays of rainbow sprouts, Ghoomar is essentially a dance of Rajasthani
dancers gyrate gracefully like lovely origin and is popular in those areas of
phantoms in a dream. For hours together Haryana which border Rajasthan.
the dancers regale the crowd. Men in a
Besides these major folk-dances of
mood of frivolity wear womens costumes
Haryana, there are regional variations. For
and exhibit their talent in female steps.
instance, areas adjacent to brij like
The Googa Dance Faridabad, still, perform the Rasa Leela in
a very artistic way. Colourful characters
Googa, known as Googa Peer, besides being
of folk-life like the snake charmers, also
a saint is also a popular folk-hero. Named
find place in the folk-dances of the State.
after the Muslim saint, this male dance has
Women often perform the sapela dance in
religious over-tones too. Googa is
which one acts the role of the village belle
worshipped both by Hindus and Muslims
while the other acts as the snake charmer
alike and his devotees as a respect to the
and they sing: Woman: Sapela Been Baja
peer, do this dance. The dancers attire
de Chalungi Tere Saath.
themselves in bright yellow clothes and sing
Man: Mahlon ki rehney wali tenay kutia
the exploits and virtues of Googa Peer to
laagay Udaas.
the accompaniment of a dairu-a special
small drum held by one hand and beaten (Oh! Snake charmer, play on your flute and
by a stick by the other. One of the dancers I shall follow you. You are a dweller of
holds a long staff atop which are tied tufts palaces, you will not feel at home in my
of peacock feathers, colourful fans, and hut).
garlands. The dance begins with slow
Thus Haryana dances are not only
graceful movements and ends in frenzied
expressions of a particular emotion at a
ecstatic actions.
particular time but a spilling over of the
The Loor and Jhoomar Dance general exuberance of the Haryanavi
whether it is a family function, a festival,
Both of these are womens dances in which
a religious ceremony or a hopeful time for
in the former, women divide themselves in
a fruitful harvest.
two groups and in the latter they form a
crescent and each dancer by turn comes It is a time when men and women become
out of the line for a performance and then alive with the lilting rhythms of romantic
goes back. Loor which means a girl, is folk-tunes bestowed on them by a rich
performed by teenaged girls and themes cultural heritage.
VIVEKANANDA KENDRA PATRIKA 181 DANCES OF INDIA

Folk-Dances of Madhya Pradesh


Dr. KAPILA VATSYAYAN

M
adhya Pradesh is rightly known a dance. The actual dance connected with
as the Heart of India hunting is elaborated in some of the tribes,
surrounded as it is by Bihar, Orissa, not so in others. Only men take part in
Andhra Pradesh, Maharashtra, Uttar these dances. Besides the hunters, there
Pradesh and Rajasthan. It shares physio- are the nomads like the Mang Garudi who
geographical features with the regions reside principally in Berar. On the camping
which surround it: it has many racial and ground they hold many festivities, including
ethnic affinities with other parts of India. dances. The music and dance content of
Linguistically, although the predominant these nomads is minimal and not as highly
language is derived from the Indo-Aryan, developed as either the Himalayan nomads
there are tribal groups who speak dialects or the Banjaras of Andhra Pradesh.
of the Dravidian and Munddari group of The Gonds, the Marias and the Murias of
languages. One fifth of the population is various varieties are, however, dancers,
tribal comprising over forty-eight tribes: par excellence of the area. The Gonds along
there are the hill, plateau and plains people with many allied tribes comprise a
amongst these tribes and village population of nearly fifty Iakhs.
communities.
The Festival Dance
The Tribals
The Karma festival provides occasion for
The tribes of the area can be divided into the dance, amongst the Gonds as
the Hill tribes who are either hunters or elsewhere. The women with interlocked
food-gatherers, the plains tribes who are arms dance in straight lines and rectangles.
predominantly either shift or settled The rectangle is also a characteristic motif
agriculturists or who work as agricultural of the wall painting and pictographs of the
labourers and urbanised tribals who are Gonds. The men form a separate circular
today employed in mines and factories. ring, and dance vigorously, displaying their
The hunters and the food-gatherers prowess. After a while, some dancers climb
on the shoulders of others and this two-
amongst these are the Bhatras who
according to legend migrated from tier formation moves in perfect step, bodies
Warangal in Andhra Pradesh. All these tribes swinging to the rhythm of the drum and
the claps of the women. Later, the dancers
have dances of the hunt, reminiscent
remotely of the hunt-dances of the Nagas alight from the shoulders of the other
but very different in quality. For some of dancers, get inside the dancing circle, and
start threading in and out as if playing hide-
these tribes the god of hunting is the Autga
to whom a thanksgiving is offered through and-seek. The drum beats faster and louder
VIVEKANANDA KENDRA PATRIKA 182 DANCES OF INDIA

and the formations break up in an attraction consists in balancing and clever


uproarious tumult. In these dances, the foot-work. Many dances are performed on
torso is bent in front. The knees are bent the gendi.
and there is a circular pelvic movement.
The Attire
The Gonds also perform Jhumar dances.
The men wear white muslin turbans or
These are meant to accompany their love
occasionally silk ones. The turban is
songs. There are other songs, with social
adorned with a coronet of peacock feather
themes.
stems. Down to the waist they wear a close
The Chaitra festival dance is another white saluka or blouse, below a dhoti of
famous dance of the Gonds of Bastar small width coming down to the knees, the
district; it is performed after the harvest end of which hangs loosely behind. On their
to thank goddess Annapurna for the harvest necks hang necklaces of silver or gold coins
already gathered and to seek her blessings or corals. Their hands are adorned with
for the next crop. Men and women dance silver bangles and their feet with heavy
in a circle, in semicircles or in rows; all brass or iron boat-shaped ornaments which
dancers hold each others waist. tinkle to the timing of the rhythm. In their
right hand they hold a staff, in their left a
A peacock feather on the head is a
white kerchief or peacock feathers. The
distinctive mark and the dancers wear
peacock is another important motif in tribal
colourful costumes, adorning themselves
art: during the dance, feathers acquire the
with garlands of shells and pearls. As the
same ritual significance.
dancers go round in rhythmic movements,
their feet beat to the music of the shehnai, The costumes of the musicians are
nagada, timki, tapri, dholak and maduri. different from those of the dancers. They
Sometimes, the singha and kohuk put on a shirt or a jacket and coloured
aerophonic instruments are also played. turbans; they do not use cowries.

Stilt Dance The women wear a coloured dhoti, wound


close round the body down to the knees,
Dancing on stilts is fairly common among
one end of which goes up across their
the Gond children of Madhya Pradesh. The
breasts to their backs. The knot of their
dance is popular in the Vindhyas, the
hair is adorned with a coronet of palm or
Satpura ranges, the plains of Chattisgarh
other leaves behind which hangs a net of
and Bastar. The proper season for this
corals. From their necks also hangs a chain
dance is the rainy season from June to
of coins or corals. Besides the necklaces
August. A dancer who has learnt to balance
of coins or corals they wear silver hansali
himself on the gendi can successfully
also. In their ears they wear heavy silver
perform it even in water or on marshy
ear-rings from which hang small slender
surface. The difficulty in balancing on the
silver chains. Sometimes, this chain also
gendi accounts for the fact that this dance
goes over the head to the ear on the other
is generally confined only to children. Its
side. Besides, they wear bahunta on their
VIVEKANANDA KENDRA PATRIKA 183 DANCES OF INDIA

arms, silver bangles on their wrists and fade before the resplendent beauty of the
perry or todar round their ankles. While dances of the Bison-horn or Seeng Marias
dancing, in their right hand they hold thiski of Bastar. The dance is called Gaur after
(a clapper) and in their left a coloured the name of the bison. Frisking, jerking of
kerchief. the bison is imitated. For the Maria boy his
head-dress with horns and beads is his
Gond Dances
greatest possession. A group of these men
The dances of the Gonds, particularly the wearing bison horn head-dresses and veils
Saila and Rina, are highly developed. Many of beads and shells beat huge drums. The
parts of the human body are exercised and girls carry sticks called tirududi in their
there is a wide range of movement. The hands and wear heavy anklets: the two
formations change frequently. The men together dance in intricate formations. The
form a circle in the initial stages: this is girls form a row and then go around and
followed by semicircles being formed in through the men dancers. They do not
twos. The women form a separate circle: usually sing, and even if they did, it would
each group faces the centre of their be lost in the thunder of the drums.
respective circles in some phases, and
Most of these dances have no religious
backs the centre in others.
significance although the people believe in
Abhujmaria Shakti and Danteswari who is considered
as the presiding deity during dance
Kaksar is a festival dance, performed by
performances.
the Abhujmaria of Bastar. Prior to the rains,
the Maria cultivators in every village Other forms
worship the deity for reaping a rich
Many folk opera and drama forms have
harvest. To invoke the blessing of the deity,
evolved such as the Maancha and the
Kaksar, a group dance, in which young
Chhattisgarh Nacha in Madhya Pradesh.
boys and girls take part, is performed. Boys
Ballad singing is popular and pervasive and
put on a peculiar costume of a long white
the stories of Alha and Udal hold audiences
robe while girls are clad in all their finery.
in the same manner as Dhola Maru in
The dance presents to both girls and boys,
Rajasthan and Malushahi in Kumaon.
a unique opportunity to choose their life
partners, and marriage is enthusiastically And yet, in spite of this rich variety and
celebrated afterwards. There is rhythm and the long sustained tradition of oral
melody in this dance. The melodious music, literature, school of painting, sculpture and
the tinkling of the bells combine to create classical music, Madhya Pradesh does not
an atmosphere of spell and enchantment. have today a classical dance form
distinctive to it. This level in dance seems
Gaur Dance
to have disappeared during the last fifty
But all these dances-beautiful and colourful years or so.
VIVEKANANDA KENDRA PATRIKA 184 DANCES OF INDIA

Natya Tradition in Maharashtra


SUCHETA BHIDE

T
oday Maharashtra does not have inscriptional references show that the
any living classical dance Mahalakshmi of Kolhapur was the family
tradition nurtured and developed in deity of the Rashtrakutas the earliest
the local environment like the Bharata dynasty in Maharashtra. The Rashtrakutas
Natyam of Tamil Nadu, the Kuchipudi of were great propagators of arts. The unique
Andhra or the Odissi of Orissa. But cave temple of Shiva known as Kailash
interesting references can be found in the was carved at Ellora during the Rashtrakuta
sculptures and treatises on music and period-latter half of the 8th century. The
dance of the Yadava period. They indicate Kadambas, Shilaharas and Yadavas were
that the dance and music tradition closely the next powerful dynasties in Maharashtra.
related to Natya Shastra was prevalent in Of these, the Yadavasare known as the
Maharashtra prior to the Mughal invasion. greatest patrons of arts and devotees of

The earliest reference to dance


in Maharashtra can be found in
the Aurangabad sculptures of the
6th and 7th century. Cave No. VII
has a beautiful panel showing a
dancing girl with six female
musicians. This dance posture can
be identified as Katisamam
according to Natya Shastra.
Another important evidence of
dance can be seen on the outer
walls of the Amba or Mahalakshmi
temple at Kolhapur. This temple
belongs to the 8th or 9th century.
Shiva. Most of the old temples now found
The life-size figure sculptures on the temple in Maharashtra and in Deccan belong to
walls include female dancers in various the Yadava period (1000- 1350 A.D.).
graceful postures representing Goddess
The Ambarnath temple (near Bombay) has
Parvatis Lasya. The figures of musicians
many dance sculptures. The inscription
playing flutes, lutes and drums are also
inside the temple mentions that the temple
seen. The reflections of Natya Shastra
was built it 1060 A.D. by king Mummuni.
Karanas like Talapushpaputa, Karihasta,
Most of the dance postures carved here
Prustasvastika, Diksvastika, Katisamam can
can be identified according to the
be easily seen in these figures. The
VIVEKANANDA KENDRA PATRIKA 185 DANCES OF INDIA

definitions of Sthanakas and Mandalas as King, Somesvara III, in 1131 A.D., almost
given by the old texts. The dance a hundred years before Ratnakara. This
sculptures are also found on the Shiva gives two Marathi Geetas as examples and
temples at Jinnar (near Nasik) , Jhodga mentions Oovi as being the most popular
(near Malegaon) and Khidrapu (near Miraj) Prabandha of Maharashtra. Jnanesvara and
Narnadeva, two of the great saint-poets
Several Sanskrit texts on music and dance
of Maharashtra have mentioned many
were produced in Maharashtra prior to
musical terms and techniques in their
Islamic invasion. The well-known
writings. Namadeva has also mentioned the
Sangeetha Ratnakara of Sarangadeva is
names of ragas and talas for their
foremost among these. Sharangadeva was
devotional compositions.
a court Vidtoan and musicologist of the
Yadava King Singhana (1210-1247 A.D.). The Muslim traveller, Kena Batoota, has
The Sangeetha Ratnakara is considered written a description of Devagiri (todays
as the most important treatise on old Daulatabad) in his travelogue. Along with
classical music. It also includes chapters the popularity and excellence of the dance
on dance. The definitions of
Hastas and postures given in
these tally with those of
Abhinaya Darpana and are
followed in Bharata Natyam even
today. The description of the
thirty-six types of Prabandhas
as given by Ratnakara includes
compositions like Oovi, Aarya
and Charchari which are typical
Marathi compositions. These can
still be heard in the traditional
music of old Haridasas
Kathakaras. Another typical
Marathi Prabandha mentioned in Ratnakara and music performances he has also
is Dhaval - the type of songs sung at a described the palatial homes of the
marriage ceremony. Sharangadevas musicians and dancers, their wealth and
contemporary was Parshvadeva. He has high status.
written Sangeetha Samaya Sara which
The above-made observations make it clear
also gives many Marathi musical terms.
that in medieval Maharashtra (or Deccan)
Haripala-Deva, son-in-law of Ramachandra
dance and music were a part of the every
Deva Yadava, wrote Sangeetha
day life of the people, and the music and
Sudhakara on music and dance. Another
dance were performed according to the
important treatise Manasollasa was
old texts.
written in Maharashtra by the Chalukya
VIVEKANANDA KENDRA PATRIKA 186 DANCES OF INDIA

The foreign invasions started in the latter part of village life in Maharashtra. Goa at
half of the 14th century. The Mughals came the extreme south of Maharashtra also
from North-East and Europeans from the offered shelter to Natya traditions.
West. Maharashtra had to bear the brunt Fortunately, even with conversions to
of their direct onslaught. Christianity, the Portuguese
Comparatively away from rulers did not seem to have
these, the extreme southern interfered with the cultural
provinces of India like Tamil traditions of the land. Till
Nadu could hold on to their fifty years back, Goa had
art traditions and their social the Devadasi tradition of
significance as a means to music and dance. The
attain divine peace. In Devadasis were maintained
Maharashtra these norms by the temple institution and
were overshadowed by the they gave special music and
political and religious dance performances (called
onslaughts of alien invaders. Pene) on the occasion of
Muslim fanaticism barred temple festivals that were
women from free movement. celebrated all the year round.
Under the command of Shivaji They danced in front of the
the great, came the first palanquin when the deity
concentrated opposition to was taken out in procession,
the Islamic invasion. The a custom similar to South
ballads (called Powadai in Indian temple festivals. Their
Marathi) sung in praise of the dance had a delicate grace
brave warriors took the place and a classicism of its own.
of the devotional Natya forms. Today this tradition is in a
Lavani an erotic musical lyric total decadent form.
became more popular with the
The reform of the Marathi
urban masses as a form of
theatre began in Central
light entertainment in the
Maharashtra in 1842 A.D.
latter Peshava period (first
due to the contact with
half of the 19th century).
Karnataka. A troupe of
Comparatively, the conditions Yakshagana performers were
were more stable in southern visiting Sangli State. Raja
Maharashtra, The old forms of Appasaheb Patwardhan,
devotional plays like then the prince of Sangli and
Dashavatar, Kola, ]agar, Lalit, and Gondhal the connoisseur of arts was so much
continued to be performed uninterrupted impressed by their performance that he
as a part of the temple festivals. These asked Vishnudas Bhave, his protege to write
forms still exist in their old technique as a and produce a similar play in Marathi. No
VIVEKANANDA KENDRA PATRIKA 187 DANCES OF INDIA

classical Natya tradition was alive in the Hindustani ragadari way of singing with
Maharashtra then. This may be the likely a perfect blending.
reason why Vishnudas Bhave omitted the
A parallel instance had happened at
Nritya aspect of the Yakshagana technique
Thanjavur about 150 years earlier to the
from his own mythological production. He
reformation of Marathi drama in
adopted only such features of Yakshagana
Maharashtra. The Tanjavur Maratha rulers
like Sutradhara (the conductor,
were overwhelmed by the beauty of
commentator), the Vidushaka ( a comic
Carnatic arts. Themselves being scholars
character), Nandi (benediction),
they mastered the Carnatic music dance
Vigneshwara Stuti (prayer to Lord Ganesh),
and drama techniques and wrote dramas
mythological themes, absence of stage
and dance compositions in Marathi. They
decorations, etc., which were in fact
probably thought that the usage of their
derivatives of old Sanskrit Natya.
mother-tongue would help their brethren
Thus was launched the first reformed in Maharashtra to understand and enjoy
mythological Marathi play under the the classical dance and drama and it would
influence of Carnatic Yakshagana. Almost again take root in their homeland. Whatever
fifty years later started the golden era of may be the reasons, their efforts did not
Marathi theatre through the musical plays seem to have created the desired effects.
of Annasaheb Kirloskar and Kakasaheb. However, in the past century, Maharashtra
Khadilkar. The base of these plays was still has made a great contribution to the
mythological, yet the performances and development and refinement of North Indian
decor started becoming more and more Hindustani Classical music by way of many
refined. The forte or these plays were the outstanding scholars and musicians.
songs acted and sung by the great singer-
Though Maharashtra has lost its original
cum-actors like Keshavrao Bhonsle,
classical dance or drama tradition today,
Balagandharva, Master Krishna Rao and
it certainly has the necessary cultural,
others. These created a new tradition of
musical and literary base. As a devout
drama-music for Maharashtra known as
Bharata Natyam dancer, this author feels
Natya Sangeeta. Being more lyrical and
hopeful that taking inspiration from the
full of emotion this light classical music
Marathi rulers of Thanjavur, Maharashtra
thrilled the audiences more than the pure
can evolve a new desi mode of Bharata
classical. But the inspiration for many of
Natyam and thus enrich the great art
them came again from the popular Carnatic
traditions of this land.
Kritis, Their original tunes were adopted to
VIVEKANANDA KENDRA PATRIKA 188 DANCES OF INDIA

Folk - Dances of Rajasthan


DR.KAPILA VATSYAYAN

E
thnologically, Rajasthan presents is vigorous and there are no languorous
a varied picture: there are many movements.
tribes comprising of the Sansis, the
hereditary criminals, the Kamaras, the Of Ajmer
Banjaras (the nomads) and the Gujjars, The Sans is and Kanjars from Ajmer have
the Kathods, the Bhils (who are found in their own variety of dances which are
all parts), the Bhila Mina, the Garasias, different from the Sansis of other regions
the Sehrias and the Rebaris. The of Rajasthan. Nevertheless, these are also
agriculturists sow bajra, jawar and maize; mixed dances which are performed on
many agricultural cults revolve around the festive occasions to the accompaniment
harvest of these. Camel and sheep provide of a dholak, jhalar and algoza. As a
the basis of animal husbandry. Dance forms particular dance develops, it gains in tempo
such as the Ger, the Gher Ghoomara, the and the womens movements have an
Ghoomar, the Jhumar, are performed at unbelievable swiftness. Pirouettes, circle
both the tribal and village level: indeed, rotating and revolving movements abound.
the Jhumar has travelled upward and has In all these torso is used as one unit, so
become the regional dance of the urban are the lower limbs. Movements are circular.
centres also.
The Bhils of Rajasthan have a variety of
Gher Ghernur dances, which correspond to the
The Gher Ghemur of the Sansis is the agricultural cycle.
simplest of the dances, both in content Ghurner
and form. It begins with a slow movement
where men and women first dance in two The Ghumer dance is the very life-blood
separate lines and then form a circle with of the Bhil culture. Performed at all seasons,
a man and woman alternating. The tempo it is always accompanied by songs of love,
of the dance increases gradually to a point glory or defeat. Men and women move in a
where each person has both a rotating circle, one half of men and the other of
movement around his own axis, as also a women. This Ghumer dance should be
revolving movement along the distinguished dearly from the dance of the
circumference of the circle. The hip same name prevalent in Rajasthan amongst
movements are the most characteristic the members of urban society; today the
feature of this dance.There is both latter is a popular ceremonial dance
instrumental and vocal music amongst the aristocracy of Rajasthan. The
accompaniment to this dance. The dance Ghumer dance of the Bhils is a much more
virile dance and is like the Ghumer dance
VIVEKANANDA KENDRA PATRIKA 189 DANCES OF INDIA

of the Sansis. Ghumer of the urban centres shehnai and nagara. Other dances are also
becomes a polite social dance of women. performed on the occasion of marriages.
The gait of the women in all these dances,
Raika
is the characteristic feature of the Bhil
A mixed martial dance is the Raika. Men dancing of Rajasthan, Madhya Pradesh and
and women start in two rows. The men Gujarat. The body is held relaxed, the torso
hold swords. Men sing, invoking the gods is used as one unit, but there are some
to grant them strength in order to defeat curved movements demanding the use of
the enemy. Men and women then form a upper chest and lower waist separately.
circle and move in steps, which are While the tempo is fast, there is little use
characterised by a sliding movement of one of strong energy. There is hardly any
instrumental musical accompaniment; only
the song of the women forms the constant
base of the dance. They perform a Garba
dance on the night of Navaratri. A pitcher,
beautifully decorated, is placed in the
centre and the women sit around clapping.
Gradually, they get up and walk in unison
round the pitcher.

Gauri

Gauri is a religious dance-drama of the Bhils


: it is performed by the Bhil men in the
months of Sawan and Bhadon. The dance
revolves around the worship of the deity
Bhairavanath. The chief worshipper is the
Bhoya who goes into a trance while
dancing: others dance in circles around a
trishul while keeping time with the parat
foot and a shifting of the hip girdle from and thali. Many different types of dresses
side to side. The dance begins slowly but are worn by the dancers, representing
reaches a climax, when the men brandish different characters. In form and style this
their swords in a frenzy. is a ritual dance-drama, rather an
occupational dance.
Jhoria
Gher
Amongst the dances which revolve around
the life cycle is a marriage dance called The Gher dance is a favourite dance of
Jhoria. The Jhoria literally means a wooden the Mina tribe who are akin to the Bhils;
stick. The men form one circle, the women this is performed during the Holi festival.
another one and they perform a vivacious As the dance gains in tempo, the dancers
dance to the accompaniment of the dhol, form themselves into circles. This is
VIVEKANANDA KENDRA PATRIKA 190 DANCES OF INDIA

predominantly a mans dance. course of the dance, many imitative


actions signifying the grinding of corn, the
Also, there are the Bhil dancers of Jalore
milking of the cow are also portrayed. The
district, amongst which the Dhol dance is
sitting position does tot change, but the
the most popular. Each dancer has a big
women shift or slide on the ground.
drum (dhol) which he plays while dancing.
Movements of the upper limbs are intricate.
Other dancers carry naked swords in their
The dance is accompanied by men who
mouths.
sing the song to the accompaniment of ek
Valar tara and manjirus.

Valar is a typical dance of the Garasias. In contrast are the dances of the sturdy
Its song is woven round the beauties of tribe of Sidh Jats who live in the remotest
nature, the starry night, the moon, the part of the Thar desert. They are followers
mountain and the restless rivers; it is an of Guru Gorakhnath and are famous for their
expression of romantic feelings and is in a yogic feats. A huge fire is lit, big drums
lyrical mood. The sentiments of the song and pipes play the music, and a song is
are presented through suitable gestures. sung. The dance is performed to this
Artistically, the dance is highly developed; accompaniment. A group of Sidh Jats jump
unlike other tribal dances it seeks to into the fire and dance vigorously in a
establish a correlation between the word, normal manner for an hour or so. This fire-
sound and the gestures. Also the open dance takes place in March-April during a
strong movements of the men of the deserts mela (fair) held in memory of Guru Jasnath.
give place to more languorous movements.
Geeder
Tera Tali
Geeder is danced by the tribes of the
The Komar tribe performs the Tera Tali Shekhavari area. I t begins fifteen days
which is an elaborate ritual with many before Holi. In this, only men take part.
elements of dance. It is generally performed Drums are kept on a raised platform and
by two or three women who sit on the the dancers form circles. Sticks are also
ground. Manjiras or small cymbals are tied used. It resembles the Gher in many ways.
to different parts of the body of the In this and other dances, we observe the
dancer. The dancers face is covered with coalescing of the levels of agricultural
a veil and a naked sword is held between functions and myth.
the teeth: a decorated pot is balanced on
Kachhi Ghori
the head. The dancer holes a manjira in
each hand. It is said that there are thirteen The Kachhi Ghori is very popular in the
different ways of striking the manjiras and eastern part of the State. As the name
perhaps thirteen manjiras are tied to the implies, the dance is a presentation of
body of the dancer. Thus equipped, the horse-riding. The horse used in the dance
women squat on the ground and produce is made of two small bamboo sticks with
a variety of sounds. Sometimes, in the two baskets tied to each end. An
VIVEKANANDA KENDRA PATRIKA 191 DANCES OF INDIA

artistically prepared head of prints are earmarked for


a horse is fixed to one of special groups. The
the baskets and a bunch of women wear long-sleeved
flex-fibre to the other. The cholis and have very large
dancer, dressed as a beautifully printed
bridegroom in flowing dupattas.The ornaments
costume and with sword in are of both silver and gold.
hand adjusts the horse on The Bhil tribes use silver,
his waist in such a way as but the sophisticate
to create a realistic effect. women of the aristocracy
Movements are jerky and prefer gold ornaments. A
angular. characteristic feature of
the head ornament is the
In a typical Kachhi Chori bodla which is a gold
dance (performed mostly ornament with stones and
during marriages) four to is worn in the centre of
five dancers take part at a the forehead: this is also
time and dance to the a common ornament for
accompaniment of the dhol the lowliest and the
and turahi. Rajasthan is the highest. The characteristic
home of a number of ballad costume of the men consists
and dance forms also: the of a tightly worn dhoti with a
most famous amongst these traditional bandi and a
is the Pabuji-ki-Par. It is like turban. Although the type of
the Ramola and the
the dhoti as also the long-
Maiushahi of Kumaon. The
sleeved bandis vary from
Pabuji-ki-Par is painted,
region to region in Rajasthan, the manner of
sung and danced
draping is common to practically all the
The Costumes communities of Rajasthan.
The costumes of the dancers of Rajasthan, The deserts, the sand-dunes, the few
whether tribal or urban society, have many oases of greenery, the history of wars
common elements. The closely gathered fought and won, the romantic tales of love
ghaghra (skirt) is common to all the tribes have all contributed in giving Rajastan its
and castes of Rajasthan. The design and rich and ornate culture with a distinctive
the type of the skirt varies from region to regional character. Solo skilful artists,
region and the kind of material used also professional musicians, dancers and
changes from level to level but bright- acrobats are the repositories of many
coloured prints are common: particular traditions of the performing, plastic and
the decorative arts.
VIVEKANANDA KENDRA PATRIKA 192 DANCES OF INDIA

Folk - Dances of West Bengal


Dr.KAPILA VATSYAYAN

T
he history of Bengal is all too the deity. Different groups meet, sing songs
well-known to be retraced. near the river-bank or the pond and
Although early archaeological compete with each other. The songs are
remains are few, and there is little evidence accompanied by simple group movements:
of monumental architecture and sculpture there is no other accompaniment.
before the establishment of the Pala Sena
The men also have their particular songs
kingdoms, it is common knowledge that the
and dances for the occasion: these are
region shares its early history with the rest
known as the Bhaduriya Saila. The dance
of India. Between the 11th and 18th
content is more predominant here: men
century, Bengal broke up into a number of
dance in circles clockwise and anti-
small potentates who seemed to have been
clockwise. During the preharvest rites of
content with their particular local culture.
Bhadra and other festivals like the Chhata
However, this was also the time of the
Parab are held.
spread of Vaishnavism. The songs of Jaidev,
Vidyapati and Chaitanya entered every In Chaitra, another type of composition
home and hamlet. Different forms of known as the Jhumar is sung and danced.
Vaishnavism, such as the Sajiva Jhumar can be sung and danced by only
Vaishnavism were overlaid with Gaudiya men or women or both depending upon the
Vaishnavism. The contemporary traditions particular occasion. The Jhumar at Chaitra
of music and dance have to be viewed is a typical mens dance which is
against this ethnic and historical accompanied by drum (madal) and cymbals.
background. At the time of the transplanting of the
paddy only women sing and dance the
Makara Sankranti is an important festival
Jhumar. This is then known as the Ashariya
in all parts of Bengal. The Tusu Parab is
Jhumar. This typical agricultural ritual
held in Birbhum on this occasion. Groups
dance and music was perhaps later taken
of young girls gather every evening
over by the professional dancers called
throughout the month of Pousa (December-
Nachnis. Special songs were composed for
January) and sing songs which have been
these dances under the patronage of the
termed by the generic term Tusu. On the
small nobles and jamindars. Names of many
day of Makara Sankranti the groups go out
Jhumar composers such as Dinbandhu
of the village to a nearby tank or river
Narottam and Ram Krishna etc. are known.
with the goddess Tusu symbolised in small
Into the agricultural songs of transplanting
clay figurines or sometimes merely as cow-
paddy was impregnated the theme of the
dung balls. After a sacred bath they return
love of Radha and Krishna and other stories
to worship and make offerings of rice to
of mystical union. The basic tune of the
VIVEKANANDA KENDRA PATRIKA 193 DANCES OF INDIA

Jhumars remained more or less the same. intersperse the singing. The footwork is
The development of the Jhumar provides elementary, but the movement of the pelvic
an interesting instance of an old form girdle is difficult and characteristic. It is
absorbing a new content. freely used by men singing the songs to
indicate a dramatic moment.
The agricultural dances have gradually
given place to dances which are purely The martial dances of the Raibenshes and
devotional or religious in character. the Dhalis, however, tell a different story.
Practically each different sect has its own The dances of the Raibenshes of Burdwan
music and dances. The worshippers of and Birbhum seem to be the last surviving
Shakti dance in the Chandi mandir of Siva, vestiges of war-like traditions. The
in the dance hall called Gambhira and those technique of the dances is so vigorous that
of Vishnu in the Natmandir. All these there has been a new interest in teaching
pavilions are specially constructed for the these dances to educated boys and girls
dance in front of the shrine. The Gambhira of urban centres specially by the Bratachari
festival is held on this day. So also is the organisation. Essentially the dance is a
Chakar festival on Chaitra Sankranti in series of vigorous physical exercises, in
Tarakesvar where Siva is worshipped. Gazan which the erect torso has an important
dance is performed by men dressed in part to play. The dancers begin in a single
saffron robes who carry a dhanuchi file and then make a circle. Hops, jumps
(incensed burners). This is exclusively and circles are characteristic. Skills with
performed by men; the musical the shield and the spear and the trishul
accompaniment is provided by decorated are common. A percussion instrument
drums and brass gongs (Kanshi). accompanies the dance.

The ballad singers, the boatmen, the To a totally different category belongs the
fishermen and the professional musician Jatra, the traditional theatre form of Bengal.
dancers, actors, acrobats and even The Jatra is performed by travelling troupes
jugglers have their distinctive songs and under the management of a man called
dances. The Bhatiyali, a popular light music Adhikari. Although, originally, the Jatra may
form, can be traced back to the boatmans have
music - the baul to the mendicants and
had only the theme of Radha and Krishna,
the gazi to others.
today Jatras are written and performed by
A characteristic feature of these is the writers and dramatists of rural and urban
musical accompaniment which consists of centres. Its format resembles the structure
a one stringed instrument called the ektara. of the other folk theatre forms like the
The dance movements are, by and large, Nautanki of Uttar Pradesh and the Bhavai
restricted to short sequences which or Tamasha of Gujarat and Maharashtra.
VIVEKANANDA KENDRA PATRIKA 194 DANCES OF INDIA

MANIPURI DANCE
DARSHANA JHAVERI

M
anipuri dancing developed in
the North-eastern part of
India, has two simultaneous
traditions, namely, Animism and Hinduism.
Laiharoba festival, invoking village gods
has mainly the dance of the priestess
describing the primitive concept of
cosmology. Since the last two hundred
years, due to Gaudiya Vaishnavism, dance
and music developed into a most stylised,
classified and dignified art form around
the theme of Lord Krishna and Radha.
Dance and music were the integral parts
of the religious lives of the people.
Innumerable gurus and artists delved
deep into the Vaishnavite Sangeet
Shastras and literature as well as
manuscripts available in Manipur on dance
and music. Inspired by them, they
increased the store-house of dance
movements, talas and rhythm patterns
and musical compositions. They evolved
their own system of music and dance and The themes of childhood pranks of young
even wrote various manuscripts. Krishna as well as the divine love of Lord
Throughout the year, each and every social Krishna and Radha pervade in most of these
and religious festival is celebrated with festivals. Rasleelas and Sankirtans are the
different forms of dance and musice.g. highly developed dance-forms revealing the
dances with drums like Dhol, Dholak, Dafat, high aesthetic religious feeling of the people
Khajari in Holi festival, dance with claps in of Manipur. Rasleelas go on for 8 to l0 hours
Ratha Yatra festival, dance with cymbals in the temple courtyard from dusk to dawn.
in Jhulan Yatra, dance with sword and spear The religious people of Manipur shed tears
in Durga Pooja, and dance with Kartal and of joy experiencing it as the real spirit of
drum in Natpala in different social and the Lord. All the technical elements
religious festivals such as birth, marriage, mentioned in the Sangeet Shastras are
shraddha and before Rasleelas. found in Rasleelas such as Nritya, (Pure
VIVEKANANDA KENDRA PATRIKA 195 DANCES OF INDIA

Dance), Nritya (Interpretative dance) and dances on Nritta and Nritya Prabandhas,
Natya (Theme expressed through four kinds Manipuri dance is one of the most graceful
of Abhinaya). and lyrical dance styles of India. The
swaying movements of the neck and torso
The songs are sung in Padavali language
are inspired from the bamboo trees lilting
such as Brajabali, old Bengali, Sanskrit,
in the breeze. The movements are rounded,
Braja and now into Manipuri language
continuous mingling into each other like
written by the devotional poets like
the waves of the sea. There is an equal
Chandidas, Vidyapathi, Gyandas, Jayadeva,
emphasis on the movements of
the different parts of the body.
The meaning of the songs is
conveyed through hand-gestures
facial expressions and body
movements in a subdued, dignified
and suggestive way.

In the Rasleelas, thirty to forty


girls wear the gorgeous costumes
consisting of a mirrored stiff skirt,
upper half-skirt and a veil creating
an ethereal effect. In Sankirtan,
male dancers with Kartal and
Mridang wear white dhotis and
turban creating a serene and dignified
atmosphere. In the festival dances, women
wear the hand-woven and embroidered
phanek with stripes and white thin scarf.
A traditional and classical Manipuri dancer
has a great challenge to present these
dances into the modern theatre having
different demands. She should first have a
thorough knowledge of technique as well
as traditional dance and its other related
aspects and then should present it in terms
of modern concept of recomposing and
rechoreographing it, keeping the original
form and spirit intact. Such creative work
within the tradition will enrich and
etc. They have a variety of talas ranging strengthen the old classical tradition.
from four beats to sixty-eight beats and
their various rhythm patterns as well as
VIVEKANANDA KENDRA PATRIKA 196 DANCES OF INDIA

Folk- Dances of Arunachal Pradesh


NIRANJAN SARKAR

D
ance in India has variegated forms, family, village or the whole community. The
It is like a necklace composed of second sub-group comprises of those
beads of varied hues, shapes and dances performed in ceremonies related to
sizes. Dance in Arunachal Pradesh is only agriculture and domestication of animals
one of those beads, the totality of which to secure a good harvest and increase of
makes the heritage of this art in India. domestic animals respectively. The third
sub-group is associated with the funeral
Dance is the stylised rhythmic movement
ceremony when the soul is guided by the
of any or all parts of the body to express
priest t) its abode in the land of the dead
some emotions, ideas or to narrate a story.
and to prevent it from haunting its old
When a dance is accompanied by significant
residence. It is generally believed that if
gestures and attempts the narration of a
the soul returns to its old home, the
series of events, it becomes pantomime.
bereaved family suffers diseases and

The dances, performed by the tribes of deaths. The fourth sub-group consists of
Arunchal Pradesh, have been broadly the fertility dances. These are magical in
divided into four groups. The first group is the sense that the imitation of the
the ritual dances which form part of a ritual. movements of coition is believed to
This group may again be divided into five promote fertility. War-dances make the fifth
sub-groups. The first sub-group includes sub-group, which are on the decline with
those dances which form part of the various the stoppage of internecine feuds and
rituals performed to secure prosperity, good raids. In the old days, when an
health and happiness of the dancer, his expeditionary party was successful in killing
VIVEKANANDA KENDRA PATRIKA 197 DANCES OF INDIA

an enemy or more, the victors used to in an open place. He was enchanted by


perform a ceremony on return, so that the the dance and marked it in all its details.
spirit of the slain could do no harm to the On his return to the village, he told the
slayer. Only among the Idu Mishmis, the villagers of the marvel he had seen in the
victims family also used to perform rites jungle. The villagers also organised a
praying for success in taking vengeance. dance- party and performed a dance
Dance formed a part of this ceremony. imitating the movements of the monkeys
Some of the tribes still perform this and that was how they learned dancing.
ceremony with the dance, when a tiger is The Tangsas do not have any special
killed. Its purpose is to prevent the spirit costumes for dance, but wear their usual
of the tiger from harming the
slayer. The war-dance used
to be prevalent among almost
all the non-Buddhist tribes.

The second group is the


festival-dance which forms
the recreational part of a
particular festival. The third
group is the recreational
dances which do not form part
of any particular festival or
ritual. These are performed on
occasions which inspire its
participants to express their
mirth through these dances.
The fourth group is the
pantomimes and dance-
dress. Men wear a check lungi and a shirt
dramas which narrate a mythical story or
or banian ; women, a skirt and a blouse.
illustrated a moral. So, these are educative
Some of them have a scarf also, A few
in purpose. The Buddhist tribes have a large
may have a turban. Several sub-tribes
repertory of these.
(Jogli, Lungri, Moshang, Longphi, Kimchin,
The Tangsa Dances Lang-shing, Tolim, Morang, Rongang,
Tikhak, Yangkuk and Sangbal) of the
Long long ago, the Tangsas did not have
Tangsas used to perform the Khatang
any dance. A man was returning from his
ceremony in which the worship was
field when he heard a tremendous noise
accompanied by human sacrifice. In that
inside the jungle he was passing through.
ceremony, they used to perform dance and
He became inquisitive and stealthily
the drum was played in accompaniment.
approached the spot. There he saw a big
With the advent of administration in this
assemblage of monkeys performing a dance
area, this ceremony is no longer practised
VIVEKANANDA KENDRA PATRIKA 198 DANCES OF INDIA

and along with it has gone the drum as a seventh day.


musical instrument. They believe that the
All, men and women, youth and adult, go
playing of the drum was part of the
round all the houses in the village where
ceremony. That being so, if they play the
they , dance and sing in a circle round the
drum without performing the ceremony itself
hearth. The movements are the same as
the deities may be vexed and may afflict
that of the main circular movement of the
them with trouble in the form of disease
Sapoloro dances of the Champhang festival.
and death. Four sub-tribes (Longchang,
There is no special costume for the
Ponthai, Saban and Moglum), which never
occasion and no musical instrument is
performed the Khatang ceremony, however,
played.
use the drum in the dances of the Mol
festival. The only other musical instrument, The Wancho Dances
played by all the sub-tribes, is the going.
The Wanchos do not have any myth about
They do not like to perform dances out of the origin of the dance. They perform the
season but only during the appropriate dances only during the appropriate
festivals as they think that such occasions. They do not have any dance
performance may enrage the deities who which can be performed now and then
may as a consequence make them suffer simply for merriment. There is no formal
from some calamities. The war-dance and training, but in each dance, children of
the dance in connection with the Khatang even six or seven years old join. They learn
ceremony are no longer performed. the movements by imitating those of the
elders. No musical instrument is played to
Kukjong Festival and Dance
the accompaniment of the dances.
This festival is celebrated by eight sub-
Ozele Festival and Dance
tribes (Lungri, Moshang, Longphi, Kimchin,
Tolim, Morang and Sangbal) in the month This festival is celebrated in February-
of December-:January. They start clearing March after the sowing of millet. It lasts
the jungle for cultivation after the festival, for four days as was observed in Longkhau
which lasts six days. On the first day, all village. The dance is performed from about
the able bodied men of the village, go out 9p.m. to 11 p.m. inside the chiefs house.
on a community hunt. They return on the Among the male-folk-, boys, youths and
third day and the bag is equally shared adults take part while among women, only
excepting the headman, who is allotted a girls and these young married women who
larger share. The women prepare large have not yet got an issue and have not
quantities of beer. At night, a grand feast joined the husbands family, take part in
of meat and beer is followed by dance. the dance. The dancers, dressed in their
The feast continues on the fourth and fifth fineries, stand in a circle, surrounding a
days followed by dancing at night. They bonfire. The girls stand on one side of the
abstain from work on the sixth day. The circle holding each others hands. The male
clearing of jungle is taken up from the dancers hold a sword in the right hand and
VIVEKANANDA KENDRA PATRIKA 199 DANCES OF INDIA

most of them place the left hand over the The armlets are either of ivory, brass or
shoulder of the dancer to the left. The red cane loops. The handle of the sword is
male dancers start singing when all take a decorated with coloured goats hair. All wear
short step with the right foot to the right, some bead necklaces. Some wear
flex the knees with an accompanying necklaces of coins. The ear decorations
forward swing of the sword and gently bring are tufts of red woollen threads or ear-
the left foot up to the heel of the right plugs of wild goats horn or ear-plug
one. They repeat this sequence of decorated with red seeds. Some have
movements. When the singing of the male- head-dresses made of bamboo, silver-
dancers, ends, which is generally on the shaped in a cone and decorated with horn-
eighth or ninth step, all stamp their right bill feathers. Some have red cane head-
foot once on the ground. The female dresses decorated with wild boars rushes,
dancers take up the singing in reply. They The hair up to the middle of the crown is
stamp the right foot twice on the ground bought forward and cut so that the fringe
during their turn of singing, once generally reaches just up to the top of the fore-
in the fourth step and the next at the end head while the hair of the back is kept
of the singing which generally falls on the long and tucked round a red or yellow
ninth step. Again the male dancers take coloured rectangular piece of wood, called
up the singing and thus the dance the khapak, Some of these khapaks are
continues . studded with small pieces of glass while
some are decorated with carvings of the
All the male dancers have a cane basket
human figure or human skull or with a tuft
hanging at the waist over the buttocks.
of coloured goats hair. The sides of the
The basket is decorated with coloured
head are shaven.
straw tassels, monkey skulls or wild boars
tushes. The straw tassels of the baskets The girls of the Wangham and Wangcha
are decorated with coloured beads. The groups keep the hair long arranged in a
straps of some of the baskets are tress, but the girls of the Wangpen group
decorated with white conch-shell-discs. have their hair cropped. Some of the girls
Each basket has a bell fitted at its bottom. have head-dresses made of palm-leaf
The tinkling of so many bells is the only shaped into a cone and some of these head-
musical sound. All have anklets of straw dresses are decorated with feathers. They
and girdles of one or two loops of red cane also wear ear-rings. The upper portion of
or of bands of cowries or beads just below the ear-lobe has one small red slick pierced
the knee. The boys and a few youths are through it and projecting like a horn. The
naked but others wear a loin-cloth which neck and breast are covered with a
is white or light blue in colour with two red profusion of bead-necklaces of different
stripes at the ends decorated with small colours. The hand is covered completely
beads of different colours. This loin-cloth with metal bangles and armlets. A few have
is tucked in position with a cane waist- coloured rugs mostly red while others have
band which is about six inches broad ... a white cloth wrapped round the waist.
VIVEKANANDA KENDRA PATRIKA 200 DANCES OF INDIA

On the back
dangles a bunch of
small metal bells,
tinkling all the time
and also a
longitudinally
halved conch -
shell.

The Idu Mishmi


Dances

The Idu Mishmis


have a ritual-dance
and a fertility-
dance. The ritual-
dance is performed
by the priest or
priestess in the ceremonies of Ai-ah, Ai- necklaces, the priest wears a few other
ih, Mesalah and Rren. The fertility dance is articles. These articles are an apron with
performed on the last day of the Rren particular designs, a head-band decorated
ceremony. with two or three rows of cowries, a
necklace studded with the teeth of tiger
The Ritual Dance
and bear and a few metal bells. A priestess
There is no definite myth about the origin wears these special articles in addition to
of this dance. According to local tradition, the usual Mishmi womans dress of a skirt,
the first priest who officiated in a funeral a long sleeved coat and bead- necklaces.
ceremony was Chineuhu and his brother, The priestess is generally accompanied by
Ajijiuh, was the first priest who officiated female dancers. The accompanying dancers
in the other three ceremonies in which this wear the usual dress.
dance forms a part. As this dance is
The dancers stand in a line, the priest is
associated with the priestly office only,
second either from the right or left. During
these two brothers may be said to be the
the dance, one dancer standing at one
originators of this dance.
end of the line plays a small drum slung
Besides the priest, there are three or, from his neck. The priest and the other
occasionally, four other dancers who are two dancers play a very small semi-globular
selected from amongst the spectators. In single-membrane drum, striking it with a
addition to the usual dress which consists bamboo-stick which is kept tied to the drum
of a loin-cloth a short-sleeved coat, and a with a string. The fifth dancer, if any, plays
sword slung on the right side, a leather a horn bugle. When there are five dancers,
bag slung on the left side and a few bead- the priest stands in the middle of the line.
VIVEKANANDA KENDRA PATRIKA 201 DANCES OF INDIA

He sings a line of invocatory song while all flexing the knees after each step.
the others play the musical instruments,
The movements of the dance are known
flex the knees bobbing up and down and
to all. Whenever or wherever there is the
alternately raise the right and left heels
ritual dance, three or four persons act as
and stamp these on the ground in time to
the accompanying dancers. If anyone of
the drum-beats. When the priest finishes
the accompanying dancers is not sure of
singing the line, others repeat it in chorus.
the next movement, he keeps a close
Again the priest sings another line of the
watch on the movement of the priest and
song which the others repeat in chorus
imitates him. Thus, by imitating the
and thus it goes on.
movement of a priest, he learns it.
After a prelude of flexing of knees and
The priest does not demand any money
stamping of heels, they place one foot
for his priestly services, but the performer
forward and immediately bring the other
usually remunerates him according to his
up beside it. If in the first step the right
ability. The payment generally ranges from
foot is taken forward, then in the next step
two to five rupees in the ceremonies of
it is the left one. After each step, they
Mesalah and Ai-ih, from thirty to fifty rupees
flex the knees. Thus, they dance forward
in the Ai-ah ceremony while in the Rren
to the accompaniment of drum-beats and
ceremony it ranges from sixty to one
invocatory song. When they have danced
hundred rupees, in addition to ten seers of
forward for some distance, they dance
rice and a quantity of beer. The
backward with the same movement. Thus
remuneration may also be paid in kind e.g.,
they dance moving forward and backward.
with handloom coat, brass utensils or pigs.
Sometimes they break away from the line The dancers accompanying the priest do
formation and the four dancers standing in not receive anything.
the four corners sing an invocatory song,
The parents of a new-born baby have to
play the musical instruments and dance
observe ten days taboo, during which they
flexing the knees and raising the right and
do not take part in any social function and
left heel alternately and stamping these
so in dance also. The taboo for death is
on the ground. Now and then they change
five days and that is to be observed bv all
positions dancing all the time but facing
the members of a bereaved family. A
inward. Sometimes they dance in a circle
priestess can officiate in any ceremony or
following one another with tripping steps.
conduct a dance when she is in her menses,
In another movement, they dance sideways if she thinks herself fit. If a man consumes
either in a clockwise or anti-clockwise the meat of a jungle animal, he cannot
direction. They stand in a semi-circle and join in any social function for five days. A
in the anti-clockwise movement, they take priest in such circumstances refrains from
one step with the right foot to the right officiating in any ceremony for five days
and immediately bring the left foot beside and others, likewise, do not take part in
the right one. Thus they dance in a circle, ceremonial dances during the period.
VIVEKANANDA KENDRA PATRIKA 202 DANCES OF INDIA

Women do not take pork, chicken, beef or take part in this dance. There is no limit to
the meat of jungle animals, except the the age of the dancers although generally
porcupine and jungle- mouse. So this taboo children and old persons do not take active
has little relevance to them. part in the dance itself but merely sit by
as spectators. There is no special costume
Digaru Mishmi Dances
for this dance, so they perform this dance
The Digaru Mishmis have no myth about wearing their usual dress. The male dancer
the origin of the dance. They have two wears a loin-cloth a sleeveless jacket, a
types of dances called Buiya and Nuiya. turban and ear-rings. The female- dancer
The Buiya dance has two types of wears a blouse, a long skirt reaching down
movements and it is performed for
entertainment while the Nuiya is a ritual-
dance performed by a priest.

Buiya Dance

This dance is performed on any festive


occasion like the Duiya, Tazampu and
Tanuya festivals which are performed for
the prosperity and good health of the
performer and his household. The Duiya is
the biggest and costliest of these three
festivals. It is performed for propitiating
the god called Ring. The Tazampu which is
smaller than the Duiya festival is performed
in honour of the god Jobmalu, who is lower
in rank than Ring in the Digaru pantheon.
The Tanuya which is the smallest of these
three festivals is performed for propitiating
the god Jumdummeih. All these three
festivals are performed by individual
households. Mithuns or pigs are slaughtered to the ankle with a short one wrapped over
and an enormous quantity of beer is brewed it and a side-bag on the left side. They
for the entertainment of the villagers and wear necklaces, large silver-ear-plugs and
other invitees. This dance may also be a silver fillet with its strap studded with
performed after a feast arranged by a coins or cowries.
family to entertain the fellow villagers who
The dancers stand in a line, one behind
co-operate with it in opening a new field.
the other, in the passage. One of the
The dance is performed in the passage dancers plays a drum while another plays
which runs along one side of the house a gong. Cymbals are played, if available,
from the front to the rear. Men and women by another dancer. Keeping time to the
VIVEKANANDA KENDRA PATRIKA 203 DANCES OF INDIA

beats of the drum, gong and cymbals, the events bearing ethical lessons. These
dancers take one step forward with the dramas are generally staged during the
right foot, then gently bring the left foot religious festivals of Potwah, Sankian or
up to the heel of the right one gracefully Khamsang, constituting the entertainment
flexing the knees. Next, they take one step part of the festivals. If the youths are
forward with the left foot, bring the right resourceful enough and have a liking, they
foot up to the heel of the left one flexing may organise a drama on any occasion.
the knees as before. They dance forward The musical instruments, played to the
repeating this sequence of movements till accompaniment of these dramas. are the
they reach the rear of the passage when drum, gong, cymbals and flute.
they turn back and dance up the passage
The Khamptis observe some religious rites
with the same sequence of movements.
and practices called the Nawah for three
Thus they dance up and down the passage
months during the rainy season. During this
of the house. They may or may not sing to
period, they lead a life of sober restraint.
the accompaniment of the dance. When
They abstain from taking intoxicating
they sing a song, it may be solo or in
drinks. They do not kill any living being nor
chorus.
do they join in any entertainment. The older
There is another movement when they people engage themselves in prayers and
dance with skipping steps but with no in reading the scriptures. They also pay
accompanying song. The skipping steps of periodical visits to the monastery where
the female-dancers are lower and graceful they make oblations to Lord Buddha. The
while those of the male-dancers are higher religious observance en the last day of the
and more vigorous. Nawah is called Potwah. It is followed by a
period of about a week devoted to merry-
The dancers get no remuneration. There
making during which a drama is staged.
is no formal training but they learn the
dance movements by imitating those of the The Sankian festival is celebrated in April-
elders. In case of death, the near kins do May and involves the ritual of pouring water
not take part in dance till the funeral on the head of the image of Buddha in the
ceremony is performed. The women under monastery.
menstruation do not take part in the dance.
There are three stages through which the
The parents have to observe a taboo for
novices have to pass before they attain
eleven and ten days for the birth of a son
monk- hood. In the first stage, the novices
and a daughter respectively, when they
are called Kapi. When they attain a certain
cannot take part in dance.
standard of religious scholarship, they pass
The Khampti Dances on to the middle stage when they are called
Chousang and then to the final stage when
The Khamptis, who arc Buddhists, have no
they are called Cham an. The Khamsang
rnyth about the origin of the dance. They
festival is observed at the time when the
have many dance-dramas through which
novices pass from the Kapi to the
they unfold some stories or depict mythical
VIVEKANANDA KENDRA PATRIKA 204 DANCES OF INDIA

Ohousang stage. It is generally observed drama until the funeral rites have been
every third year. But it may vary at the performed.
discretion of the head-monk.
Ka Fifai Dance-Drama
The dance is called ka and the dance-drama
The Ka Fifai drama is woven round the
is called kapung (ka-dance; pung-story)
theme of the traditional belief that ghosts
and actually means a story depicted
appear and kidnap girls or men and trouble
through the dance. There are always a
them. The
few aged persons who were
participants 111 the
good dancers in their youth
drama consist of a
and their help is sought at
man, his daughter
the rehearsal of a play- help
who is kidnapped, the
which they give freely. The
ghost who does the
rehearsal of a drama starts
kidnapping, the
about one month before a
Ministers of the State
festival. This may be done
who make
in the monastery or in any
preparations for war
house of their choice. At the
against the ghost, the
time of the rehearsal which
King of the stage in
is generally done after dusk,
which the girls father
they do not wear the
is a subject, and the
costumes. The well-to-do
kings men who go out
villagers invite the drama-
to capture the ghost.
party when the drama is
The drama opens with
staged in the front
a man and his
courtyard or in some
daughter walking in
suitable open space near their house.
the garden. The ghost appears and
Women do not take part in the drama. The
captures the girl, and immediately the man
female role, if any, is played by a man in
greatly aggrieved rushes to the kings
woman costume. After the performance,
court to inform him of the incident and to
the party is given a remuneration of seven,
beseech him to rescue his daughter. The
fourteen, twenty-eight or forty-two
kings anger is aroused at this news and
rupees-always an amount divisible by
he calls for his Ministers and asks them to
seven. They purchase with this money the
prepare for war. The Kings men go in search
costumes and masks used in the dramas.
of the ghost and bring him before the king,
The surplus, if any, is shared by the
who severely warns him never to do such
members of the drama party. If death has
a thing again. The ghost frightened bows
occurred in the house of a member of the
before the king and with this ends the
drama party, he cannot take part in a
drama.
VIVEKANANDA KENDRA PATRIKA 205 DANCES OF INDIA

ASSAMESE DANCE
PRADEEP CHALIHA

Ojapali and Devadasi Dance Kamrupa, that is ancient Assam, during the

T
regime of King Bhaskar Varma in the 7th
he heritage of classical dance in century A.D. had referred to the dance
Assam is of remote origin. There which prevailed at that time.
is an intimate relationship between
this style of dancing and the theory as The existence of Dalutrangana that is a
propounded in Sanskrit treatises on Dances temple danseuse or devadasi was distinctly
of India. These classical forms of Assamese mentioned in the copper plate of King Shri
dances are divided into many forms such Vanamala Varma, who ruled in 9th century.
as the Ojapali, Devadasi, Shri Shankari In Assamese dances, Hastas (hand
dance etc. Here I am giving short notes gestures), Shirokarma (movement of the
on two forms of the old Assamese dances, head), Padachari (foot-work), Karana
namely, the Oja-Pali and the Devadasi (Posture), etc. are performed after the
dance. manner of Natya Shastra or Sanskrit
The Marga Nritya or the classical dance treatises on dance. The foot-work in an
of Assam dates back to the age of the Assamese classical dance is extremely
Mahakavyas. intricate and is called Gati or Bulan. It
always reflects the theme of the dance in
The well-known Chinese pilgrim, Huen- its infinite variation, speed and pattern.
Tsang, who paid his historic visit to
VIVEKANANDA KENDRA PATRIKA 206 DANCES OF INDIA

There are Hasti Bulan, i.e., the slow movements is a matter of long practice
majestic steps of the elephant, Ghora under expert guidance.
Bulan, i.e., the swift galloping steps of
The hand gesture is called Hasta,
the horse, Maira Bulan, i.e., the majestic
commonly known as Mudras. They are
performed either with a single hand
(Asanguta Hasta) or with both the hands
(Sanjuta Hasta). Those gestures that are
expressive of meaning are called Shree
Hastas and those performed only for the
sake of beauty and rhythm are called
Nritta Hastas, The combination of all the
Hastas will be nearly one hundred.

Ojapali

Ojapali dance is a prominent form of


Assamese dance, and in this form, song
predominates. Only small cymbals called
Khuti Talas provide the musical

steps of a peacock and so on.

The dancer playing the role of the King


moves his feet in a majestic grace. The
sages move their feet in a way expressive
of their being in meditation. The youthful
princes move with rhythmic grace and a
warrior moves in quick strides.
accompaniment to songs. The Oja (Sanskrit
There are several kinds of Karanas or
Upadhyaya) who is the leader of the chorus
Bhanges, i.e., poses of the body in an
and an expert in dance, dances with a
Assamese dance. They are expressive of
song on his lips and dramatic movements
meaning and require to be mastered by
of the body. Emphasis is laid on the Hastas
long practice. Those postures of the body
or Mudras. His companions known as Pali
accompany the movements of the head,
(Sanskrit Palita) i.e., assistants repeat the
neck, eyes and feet. The mastery of the
VIVEKANANDA KENDRA PATRIKA 207 DANCES OF INDIA

song following the master closely. The Oja of Ojapali dances have reached exquisite
expresses the meaning of the song with perfection in Karana, i.e., posture and
synchronised movements of the hand, Angahaara, i.e., gesture.
eyes, neck, head and feet. There are three
Another kind of Assamese dance is Nati
kinds of Ojapali dances, namely-Vyasageet
dance of devadasis. This dance is
Oja, Suknarayani Oja and Ramayani
performed by the devadasis or professional
Oja.
female dancers attached to the temple.
Vyasageet Ojapali This devadasi dance was mainly performed
in Shiva temples such as the Parihareswar
The Ojapali of Vyasageet mainly sings the
Shiva Temple at Dubi, Biswanath Shiva
songs of the Vaishnava cult. Here, the
Temple at Biswanatha, (near Tezpur), the
themes of the dances are adopted from
Shiva Temple at Dergoang near Golaghat
the stories from Bhagavata,
etc. Nati dance was performed at only one
Mahabharata and Hari- vamsa. The
Vishnu temple of Hayagriva Madhaba at
make-up of a Vyasa Oja differs from that
Hajo near Gauhati. Nati dance at any other
of a Sukanarayani Oja. The Vyasa Oja wears
Vishnu temple of Assam is not known.
a long white skirt, a tight-fitting jacket, a
Unfortunately devadasi dance tradition is
turban of a particular shape, anklets and
now becoming a thing of the past. The
various other gold ornaments of the neck,
devadasis lead a virgin life. Their costume
handand ear.
is exquisitely designed and artistic.
Suknarayani Ojapali
The devadasis of Assam dress their hair in
The other Oja named Suknarayani chants coiffure at the top of the head and adorn
mainly the hymns of the snake goddess, it with flowers and put a thin veil over it.
Manasa composed by Sukabi Narayan Dev, They wear a long skirt reaching down to
an Assamese poet of the olden days. The the ankle and a blouse with long sleeves.
theme of the dance is the story of Behula A long shawl known as Riha is put tightly
and Lakhindar which is mainly connected over the breast. One peculiar and striking
with goddess Manasa. The costume of this aspect of this devadasi dance is the
kind of Oja consists of a long shirt known performing of swift somersaults in the middle
as Chapkan. a white Dhoti, a chaddur, of a dance by the devadasis. This practice
a pointed turban, and various gold is not seen in any other traditional school
ornaments of the wrist, neck and ears. of Indian dance. This devadasi dance is
accompanied by music with mridanga and
Ramayani Oja
mandira.
The third variety of Oja, Ramayani Oja,
There are both the slow and the swift
puts the costume akin to Vyasa Oja, and
movements in rhythm. There is a delicate
sings only the songs from the Ramayana.
and rhythmic blending of the Tandava and
Unfortunately, this kind of Ramayani Ojapali
Lasya elements in Assamese dance.
is disappearing slowly. All the three kinds
VIVEKANANDA KENDRA PATRIKA 47 DANCES OF INDIA

Waiting In the Wing


USHA JHA

N
grease paint, getting more tired and hungry
ot very long ago, I had
by the minute. When we finally returned
ambitions of becoming a
to our hotel, the Manager didnt think all
professional dancer. I spent
this was very funny at all. Nor did the rest
hours at the feet of my guru. I even
of the troupe. Finally, after a sleepless
went aggressively vegetarian. But my
night, the French girl and I sneaked out
debut as a professional dispelled all my
early in the morning leaving my
illusions about my calling in life. Our little
unsuspecting guru and the musicians as
troupe, which consisted of two dancers,
hostages, until we got to Delhi and were
my guru and our orchestra of three, was
able to cable some money to the hotel to
invited to Lucknow. Starry-eyed, I signed
set them free.
my first contract-for a substantial sum plus
a stay at Lucknows top hotel, travel Instead of opening the road to riches, my
expenses (by air, of course) and all that. entry into the big, bad world of
professionalism set me bad by Rs. 2,500.
Go ahead and order what you want-its
Somehow the spotlights have never looked
all on the house! we (the other dancer
so bright and beckoning to me since. But I
was a French girl studying Odissi) said
didnt know then that, even at this price, I
grandly to our musicians. They took us at
was one of the lucky ones. At least I had
our word. There were press interviews,
had the bouquets and the press reviews.
flowers in the room, a car at our disposal.
Other young hopefuls spend their money
Ah, the life of a prima donna! I mused
and dont even get a chance to dance.
relaxing in the only air-conditioned room
that Lucknows best hotel could offer. Dancing As a Career
The show was tremendous! A huge packed To settle on dancing as a full-time career
hall, applause, garlands, speeches, more today requires grit, especially if it is to be
garlands. Success! We were reeling under the only means of earning ones bread and
its impact. It was all too heady. Now off butter. We have from the younger
with the grease paint! called out our generation, Yamini Krishnamurti, who has
sponsor. We are all having dinner together. climbed the peaks of her profession. Yamini
And, of course, the payments and things, has made many sacrifices and her devotion,
he muttered into his collar, getting typically her sadhana has been total. In financial
coy at the mention of money. terms, these have paid off; today she can
set her price and be sure of getting it.
He bowed and smiled his way out of the
green room, and that was the last we saw But how many other younger dancers have
of him. We waited for several hours, sans reached this level so far? They can be
VIVEKANANDA KENDRA PATRIKA 48 DANCES OF INDIA

counted on the fingers of ones hands. Birju with their own enthusiasm. I was told by a
Maharaj (if you stretch the young a bit) friend running a fashionable Dance Academy
and Roshan Kumari in Kathak, Padma in New Delhi that most of the students
Subrahmanyam from Madras who dances there are literally marking time before
Bharatanatyam and, perhaps, one or two getting married. Apparently, classical
others have now gained a secure place in dancing adds a vital new dimension to
the audiences affections. For each one of ones matrimonial potential!
them, however, there are a dozen others,
Opens Many Doors
with as much training and imbued with the
same high ideals, who lurk like shadows in Full 25 years after Independence, the
the wings of the dance-world, waiting for stigma cast on classical dance by the
a chance to release their energy in one Victorian values of the first generation of
frenetic burst at some music and dance Indians has worn off. Matrimonial ads now
carry the legend: Well
versed in culture and
dance.

Another reason why


some young girls take
dance lessons is that it
is a pleasant way of
knocking off adipose fat-
a guru at the Triveni Kala
Sangam in Delhi once
told me!

Then, dancing can also


open the door to the film
world. Ever, since
Vyjayanthimala burst
through the doors to
jamboree, or at a semi- private full-length stardom, followed more recently by Hema
performance before retreating once again Malini, dozens of star-struck teenagers,
into the limbo of hopeful inactivity. This particularly in Bombay, have been practising
sad state of affairs is all the more surprising their bhangis and chakkars with a new
because today dancing is the rage among devotion. Gopi Krishna, a Kathak dancer
the daughters of the bourgeoisie. Young who has taken part in more than one film,
girls take to classical dancing for a startling has a large number of hopefuls in his
variety of reasons-, most of which poor school; one of them, Padrna Khanna, is
Nandi- keswara could hardly have dreamt today a dancing star (Johnny Mere Naam)
of. Their interest is usually sparked by who owes more to the fact that she can
parents who infuse (inflict?) their daughters contort her Kathak to suit the whims of
VIVEKANANDA KENDRA PATRIKA 49 DANCES OF INDIA

the director than to the purity of her politicians, film-stars, diplomats (an
tatkars and tihais. invitation to even a minor Third Secretary
may yield a bonanza in the form of an
Out of every hundred such Sunday dancers
invitation to dance abroad) and other
emerges one utterly serious student whose
office-bearers of various Sanghs. The
personal, environmentally and parental
lesser panditry is made up of community
interest has led her to seek in dance, not
bhais and bouffanted socialites. The last
a pleasant diversion, but an intensely per-
thing they are likely to have in common is
sona means of expressing her creative
a love (let alone knowledge) of classical
urge. For her, the greatest hurdle of all is
dance.
to find a good guru. There are so many
not-so-good ones who have it all worked And such arangetrams cost the doting
out-the way to affluence, They start a parent dear. In a city like Bcmbay, the
girl off with group lessons in the general damage can amount to anything from Rs.
class. A few months in this unwieldy group 5,000 to Rs. 12,000 or even more. It must
and the student feels or her parents feel be said also that there are very few gurus,
she is getting nowhere and she soon settles however traditional they may be and
for private lessons-the nearest thing to a howsoever pristine their style, who are
guru-sishya parampara at a minimum of averse to this form of ostentation. A
Rs. 150 for twice-a-week sessions. breakup of costs in a typical arangetram
Dancing, of course, is a supplement to a would go like this [in 1972]:
good convent education which this class
of parent has to afford. So between Hall: Rs. 350 to Rs. 850
curricular and extra-curricular, the family Brochure: Rs. 500
should be prepared to set aside Rs. 250 in Invitations: Rs. 300
nurturing this young talent. To ask how Orchestra: Rs. 400-Rs. 500
many can afford this would be purely Costumes: Rs. 800
rhetorical. Taxi fares: Rs. 50-Rs. 100
Jewellery: Rs. 1,500
Publicly Launched
Of course the smart thing to do is to cover
Then comes the arangetram day, when
the cost by soliciting advertisements for
our young hopeful is quite literally launched
the brochure. If the dancer can find a
on to the public stage. Traditionally, the
regular registered society to sponsor her
arangetram was a simple, dignified, almost
debut, so much the better. But not so many
religious ceremony presided over by the
societies or business-houses are itching
deity, the guru and a small audience of
to launch new dancers. So the parents
learned pandits who came to assess the
are forced somehow to scrape together
pupil. Todays arangetram, like todays
enough to meet these expenses. Many are
marriage, is a different matter altogether.
undoubtedly buoyed by the hope that their
The hallis usually air-conditioned. The
daughter will rake it all back in once her
pandits in the front row are usually
career blossoms.
VIVEKANANDA KENDRA PATRIKA 50 DANCES OF INDIA

But more often than not, the flower is at the fountain- head of Bharatanatyam.
nipped in the bud by an early frost. If a After years of training and a number of
dancer has some influential connections, performances in Tanjore, he took the bold
something in the form of a benefit leap into the unknown-he brought Indira
performance or a charity recital can be to Delhi, the centre of the Sangeet Natak
organised. After several such performances Academy. At Sapru House, critics and
in which the dancer or her poor parents go savants cheered her. Here was
from door to door selling tickets, soliciting unquestioned talent-a big future lay ahead,
advertisements and being nice to new they said. One never heard of her again
editors and critics, the big moment comes- except in the odd report in the local papers
some small society in an out- station of an Onam Day celebration at some small
mofussil hears of her by some strange college. Then I saw her face staring out of
word-of-mouth osmosis and tracks her a Malayalam film-poster. Her father had died
down. But the dancers travails are far and Indira had been forced to abandon the
from over. She has found a platform-but lyrical graceful narya of Tanjore for a more
to dance there she will have to spend more lucrative but less aesthetic form on celluloid
money. The typical small society may offer in her Home State.
a tidy Rs. 250 and transport. She knows
I deliberately mention Home State
that this is exploitation, but what can she
because regional chauvinism is nowhere as
do-a performer has to perform. She needs
rampant as in the dance-world.
a platform and an audience. The Rs, 250
Bharatanatyam is the preserve of the
may just about manage to cover the fees
South: What Bharatanatyam can someone
of her vocalist and her drummer. For the
from outside Madras or Andhra do?, the
rest-the dance leader (Nattuvanar), who
Secretary of a leading Bombay Sabha asked
is usually her guru, and the instrumentalist,
me in a matter-of-fact way. An official of
for her dresses, her hotel and her food
the Sangeet Natak Academy once told me
(not to mention the orchestra, her parents
that when in 1968, a non-Oriya exponent
must pay. And so it goes, on and on. Soon
of Odissi was sent on a cultural delegation,
the parents realise that they are chained
a leading exponent of Odissi from Orissa
inexorably to a financial tread-mill. Is this
sent him a letter of protest-only an Oriya
what I scraped and scrounged for? How
can really know what Odissi is all about
much longer can we payout of our pockets
was her plaint.
to keep our daughter performing? Indira
Pillais father used to ask. Yes, Konarak is theirs, Chidarnbaram ours,
etc. etc., so it goes on, ad nauseam. Can
Regional Sentiments
a Bharatanatyam dancer from Benares
A true lover of the dance, he had given pierce the armour of utter disbelief he
her the best training in the Tanjore style encounters in the hallowed Sabhas of
of Bharatanatyam. He had taken a house Madras? Can a Kathakali dancer trained in
in Tanjore (the family comes from Kerala) Baroda be regarded as anything other than
just in order that his daughter may drink quaint, no matter how great his talent, by
VIVEKANANDA KENDRA PATRIKA 51 DANCES OF INDIA

the pandits in Trivandrum and Trichur? pay every artist Rs. 300 to Rs. 500 for this
festival and, for the public, entrance is
Dancer Kamadev from London, who divides
free. Of course, singing or dancing at the
his time between Madras and London, say
Kal Ke Kalakar festival does not pay. A
that the sub-divisions are even narrower.
dancer from, say, Orissa may spend Rs.
A Brahmin Sabha would like to invite a
1,000 extra on travel and on paying her
Brahmin dancer, a Mudaliar Sabha would
musicians. But even this small break is,
prefer a Mudaliar. He says: Of course they
after all, a break.
pay the artist no more than Rs. 250 or Rs.
350". So it is very important for a dancer Brijnarain also runs a major festival in the
not only to be born into the right Swami Haridas Sammelan, to which, as a
environment, family and society but also rule only those who have appeared in Kal
the right region. (A favourable caste would Ke Kalakar are invited. The payment here
also be a great help!) No dancer can think is far better. But to make both ends meet,
of making a go of it purely on the strength he and the other organisers have to collect
of his virtuosity in India. I enjoy performing advertisements worth Rs. 50,000 each time.
here but, for living, I would arrange a full And even this is not the end of it. For, the
three or four months of chain bookings harsh fact is that Indias new elite, people
through a good impresario abroad and take who will buy two silk sarees or a case of
my guru and orchestra with me. The rest srnuggled whisky without batting an eye-
of the time I would like to teach in London, lid, would not even think of going to a dance
Kamadev explained. or music recital.

Most of these problems arose because, like I was once invited to dance at a
classical music, dance has only recently conference in Mathura, and the terms were
forsaken the temple and the palace for the travel fare and food. Being Mathura, the
public auditorium. And as in the Europe of food was fantastic, they assured me, made
Mozart and Beethoven, the public concert of shudh ghee! Ritha Devi, who has been
of festival as an institution is in its infancy. in this game for many years, told me, I
What dance needs is a broad-based turned it down, of course! I prefer eating
impresario system. There are a few in the fantastic food in Bombay in my own house!
country who consider themselves But they sent me a brochure of the festival
impresarios. But most of them are small and I saw that even on these bizarre terms
agents out to make a fast buck rather than they had managed to get a dancer, after
to promote a great art. One genuine all. For the young dancer it is an
exception to this rule is Brijnarain of investment, so they payout of their
Bombay whose dance and music festivals pockets-for no guru or orchestra would be
have become land-marks in Bombays satisfied with just food cooked in good ghee
cultural world. He has made it his mission by way of payment. We have all done this
to give young aspirants a break and at the beginning, but it rarely pays off.
organises the Kal Ke Kalakar (Tomorrows One has to keep spending out of ones
Artists) festival every year. He is able to own pocket, she explained.
VIVEKANANDA KENDRA PATRIKA 52 DANCES OF INDIA

Then what, in todays dance world, is the and should be taken up by other senior
way out of this vicious circle? Rajendra dancers. But all these organisations will
Shankar, who is the brother of the great come up against one immovable obstacle:
sitarist Ravi Shankar, has done something the high cost of arranging a show. The
which I feel is along the right lines. He has Bhabha Auditorium costs Rs. 1,000 for an
brought out a journal for his artists evening and a 5 cm. single-column
association,Sancharini and allows dancers advertisement in The Times of India costs
to advertise in it. The around Rs.80.
journal is distributed to When the only
all universities, music funds allotted to a
societies, sabhas and large State body
the like. He also on a like U.P.s Sangeet
few occasions arranges Natak Academy is
a chain of bookings for just Rs. 58,000,
semi artists through his schemes for
vast and varied l a u n c h i n g
contacts. But impresarios and
Sancharini charges no young dancers,
money-no impresarios pension benefits
cut! We do not want and schemes for
to make a business of old artists,
it. We are only insurance guilds,
interested in helping etc. seem like
artists, he told me. Here was the nearest unadulterated pipe-dreams.
thing to a regular impresario system-why
If a dancer breaks her leg and has to stop,
shouldnt it become more organised?
it is just very unfortunate Nana Kasar, who
Another possibility is for the National Centre is a well-known teacher of Bharatanatyam
for the Performing Arts to take a more in Bombay and who has studied under Guru
active part in giving promising young artists Chockalingam Pillai had a heart-attack. He
a break. Naturally one cannot expect an was forced to suspend classes and
infant institution to do everything at once, nattuvangam programmes for a long time.
but the patronage of a presiding body like With a large family to support, this is not
this could be just what young dancers and easy.
musicians need. Perhaps the Indian Council
Many Roles of A Dancer
for Cultural Relations and the Sangeet Natak
Academy could also do more to fill the void The classical dancer in India plays a
created by the lack of an impresario system. remarkable plethora of roles she has
The precedent set by the famous dancer perforce to be her own publicist, maintain
Indrani Rahman who invites young guest her bit of public relations: she is her own
artists to dance at her recitals is laudable agent and manager. If after all this she
VIVEKANANDA KENDRA PATRIKA 53 DANCES OF INDIA

has enough energy and gift to go on maintain a definite standard of payment.


dancing she is indeed remarkable. The There can be no bargaining of ones artistic
dancer may emerge all the more tougher values. What happens is that the pseudo-
for it but not without a touch of bitterness. professional hears of the negotiations and
I have spent well over Rs, 45,000 on my promptly contacts the same organiser [or
daughters dancing, said the father of the half the price. Even if one does not actually
brilliant young dancer Sucheta Bhide. But depend on it for ones three meals, there
I want her to dance only before the right are incidentals-costumes have to be
audiences. Sucheta is indeed lucky but replenished (a single grand Kanjeevaram
there are so many who have had to give saree costs upwards of Rs. 400), tailoring,
up these vigorous standards. polishing jewels, blouses which get worn
out very fast and all this cost money. An
Dance Sans Professionalism
Argentinian dancer, Myrta Barvie, who had
And yet people do dance. They are being danced several years in the West and then
churned out of our dance academies, some at Kalakshetra, was shocked at this lack
are sent out armed with degrees, diplomas of professionalism: If you dont need the
and certificates; there are universities in fees, then throw it out of the window. But
India which turn out a regular bunch of take it, insist on it, for the future of other
graduates every year. The largest casualty dancers depends on it.
is marriage. For the others, the choice is
The Government is also doing a great deal
very difficult. To give up ones personal
to help the artist. It has contributed a
life and sacrifice all for the sake of ones
very great deal to their social recognition
career is indeed a big decision. One
by showering Republic Day honours on
respects and appreciates Odissi dancer
them, sending them out on missions
Sanjukta Panigrahis success all the more
abroad, giving scholarships (25 each year
as she is a professional dancer in the true
for music, dance and drama of Rs. 250 a
sense of the word. Kanak Rele is another
month), and soon. All this has helped
dancer in this category.
enormously. If even 5% of these make
I dont dance for money! is something the grade, it will have been worth the
several dancers are eager to assure you. trouble and the expense, explained Dr.
Why shouldnt one dance for money? Was Narayana Menon, who has been on the
one taught gratis? Or docs the image of selection committee for years.
the nautch-girl accepting salaamis in silver
But this is not really enough. A lacuna
coins thrown at her, colour our pseudo-
remains to be filled. The dancer needs help
professionals?
in the period between her long years of
It is these very dancers who ruin the training and reaching the commanding
chances of our sincere artists, said Guru heights of her profession-if she ever gets
Kalyanasundaram of the well-known Raja there.
Rajeshwaree Bharatanatya Kendra. When
negotiating with an organiser one should
VIVEKANANDA KENDRA PATRIKA 54 DANCES OF INDIA

THE RAMAYANA IN INDIAN DANCE


AND DANCE-DRAMA
MOHAN KHOKAR

T
imeless and deathless is the of the Rama story can be traced to Vedic
Ramayana. And it did not take all times, but it was left to Valrniki to knead
these centuries to discover this. the theme into a coherent, integrated
The ink had not dried on Valmikis narrative and also to impart to it its epic
manuscript, as it were, when the Lord, dimension. At the time of writing the
Brahma, is said to have appeared before Ramayana, the motivation was not
him and pronounced: religious, for Rama had not yet attained
godhood. The cult of Vishnu existed, albeit
As long as in this firm-set land in embryonic form, in the Vedic period, but
The streams shall flow, the mountains it is only from the beginnmg of the Christian
stand, So long throughout the world, be era that Rama came to be recognised as
sure, The great Ramayana shall endure. an avatar. And as in the course of time
did Vaishnavism come to attract more and
Truly prophetic words, but what possibly
more people into its fold, so also did the
neither Valmiki nor the Lord reckoned with
popularity of the Rama faith spread and
was the formidable extent to which the
consolidate its hold.
Ramayana was destined to penetrate and
permeate the whole fabric of the moral and The bed-rock on which Vaishnavism has
cultural life of the people. For, as the built up it, vast following is devotionalism
passage of centuries has shown, the as implied in the adoration of a personal
Ramayana has survived not merely as a being coupled with complete disregard of
monument of epic poetry or even as a ritualism. The avatars, all incarnations of
cherished scripture, each thought of which Vishnu, are gods super-naturally revealed
is enshrined in the minds and hearts of the to man. And of the nine avatars that have
people, but it has also found or inspired so far manifested themselves, the seventh
representation in countless forms- and eighth, that is, Rama and Krishna,
translations, regional adaptations of the respectively, have the strongest hold in
story, plays on the theme, effusive popular imagination. Rarna represents the
outpourings of saints and exalted epitome of all that is pious and virtuous in
devotees, sculpture, carving, iconography, life and deed while Krishna is seen for the
painting, music, dance and theatre. most part as a playful figure in his early
years and as the propounder and exemplar
The Two Avatars
of one of the greatest precepts of devotion
The Ramayana is one of the most and duty in his later life. Both Rama and
profoundly venerated books. The genesis
VIVEKANANDA KENDRA PATRIKA 55 DANCES OF INDIA

Krishna find a dominant place in Indian the techniques of the ragakavya, which is
literature and art. a composition rendered. through song and
gesture by a single performer, gives two
Rama Plays
examples-the Raghavavijaya and the
Apparently, the first occasion for the Rama Marecchavada, both of which are taken
story to be used in histrionic representation from the Ramayana theme.
is the one cited in the Harivamsa. This
The Bhakti Movement
work, which is regarded as an appendix to
the Mahabharata and also accorded the The medieval period in North India saw the
status of an independent purana, was arrival of the bhakti movement, and this
written within four to five centuries of the straightaway cast its spell on every aspect
Ramayana. This means that even at that of life, including art and literature. One line
remote time, when Sanskrit drama had just of this movement, spearheaded by
taken birth, the enactment of the Rama Ramananda, a Vaishnava preceptor, gave
story was known. The event described in great impetus to the worship of Rama. And
the Harivamsa relates to the presentation it was a result of this impetus that the
of a piece from the Rama saga in which celebrated Ramacharitamanas of Tulsidas
the role of Rama is taken by Krishnas son, came to be written. Several situations in
Pradyumna. What is of consequence to us this work have a distinct dramatic ethos,
here is that the description suggests, in and there is also a sizeable sprinkling of
no uncertain terms, that the performance dialogues right through the poem. This
was not in the nature of straight drama suggests that possibly Tulsidas had in mind
but of mimetic dance. Our present study, the presentation of the work as a
if we may remind ourselves, also concerns spectacle. In any ease the most famous
the place of the Ramayana only in dance of the Rama plays, the Rama Leela, is based
and dance-drama. on the Ramacharitamanas, and this has
been regularly staged in North India from
That there has long been the system of
practically the time of Tulsidas.
staging Rama plays through a combination
of dance and drama is also endorsed by a Suitability of Therne
brief episode in Bhavabhutis Uttararama-
Rama and Krishna being the two major god-
charita, of the 8th century A.D., which
heads of Vaishnavism, the bhakti
recounts how, on the request of Valmiki,
movement too took two directions, one for
Bharata Muni himself mounted a piece from
Rama and the other for Krishna. Like the
the Ramayana on the stage, basing the
Ramayana, the Krishna theme too came to
presentation on the canons of dance,
find an eminent place in the performing
drama and music he had evolved and
arts. It is understandable, in this regard,
enunciated in his magnum opus, the Natya
that Krishna enjoys greater Importance in
Shastra. Again, though the Natya Shastra
dance, and Rarna in drama, One reason for
is silent on the subject of the Ramayana,
this is that Krishna is himself reputed to be
Abhinavaguptas great commentary on the
a dancer and an adorable one at that; his
work, the Abhinavabharati, while discussing
VIVEKANANDA KENDRA PATRIKA 56 DANCES OF INDIA

character and temperament lend on the Ramayana theme: the


themselves admirably for interpretation Abhishekanataka and Pratimanataka, of
through the dance. Rama on the other hand, Bhasa, the Ashcharyachoodamani, of
is for the most part plain human, and Shaktibhadra, and the Mahanataka of
humane, excessively so in fact, and these Hanuman , The Ramayana story is in fact
are hardly qualities to tickle the imagination accorded such a pride of place by the
of spectators. Another reason is that the Chakkiars, or performers of Koodiyattam,
Krishna story is made up of several little that even in plays that have no bearing on
incidents, each of which offers a pithy, it they invariably find occasion to cleverly
self contained episode. excellently suited induct the Ramayana theme into the over
for presentation as a all denouement.
dance vignette. The
In Assam
Rama story, in turn, is
one long series of Our next form, in
events, all inextricably terms of evolution,
linked with each other is the Ankia Nat of
and not easy to treat Assam. This is a
in isolation-just the variety of dance-
material for theatre in drama devised
the form of dance- towards the close
drama or drama. of the 15th
century, by the
A Favourite Theme
great Vaishnava
for Koodiyattam
saint and reformer,
Of the various forms Sankaradeva. He
of classical dance and wrote six plays, of
d a n c e - d r a m a which five relate to
obtaining in India Krishna and one,
today, the oldest is the Rama Vijaya,
the Koodiyattam of deals with the
Kerala. References to Rama theme. Also
this art in literature and chronicles suggest to Assam belongs the Ojapali tradition, in
that it was in vogue even as early as 1,500 which a choral group recites episodes from
years ago. At any rate, Koodiyattam is the mythology accompanying this with simple
only form of theatre we have at present gestures and dance. One of the most
that fits in with the concept of the ancient popular pieces in the Ojapali repertoire is
Sanskrit drama. The repertoire of the Geeti Ramayana of Durgabara; this work
Koodiyattam comprises some two dozen is additionally important for it represents
plays, nine of -which are considered one of the very few compositions which,
particularly important and are the ones though soaked in the bhakti of the
commonly staged. Of these nine, four are Vaishnava genre, is written by a poet who
VIVEKANANDA KENDRA PATRIKA 57 DANCES OF INDIA

does not profess the Vaishnava faith. dance, the Mohini Attam, which was
created towards the middle of the 19th
Ramanattam
century, under the patronage of Maharaja
In the first half of the 17th century came Swati Tirunal.
into existence a form of dance-drama in
Kerala, known as the Ramanattam.
Actually, this was brought into being as a
challenge to another form, the Krishnattam,
which then held sway. Both Krishnattam
and Ramanattam are composed in eight
parts, each suitable for one nights
performance. As the name indicates, the
Ramanattam concerns itself only with the
Ramayana theme. After it was created and
presented, the style proved so successful
that very soon plays modelled after the
Ramanattam came to be written on other
themes as well. As the art thus no longer
confined itself to the Ramayana, it came
to be given a new, more apposite name-
Kathakali, story-play.

Other Forms

The Kathakali art has scores of plays,


known as attakathas, specially written for
it. On an overall count it can be said that
about a quarter of these pertain to the
Ramayana theme. Some of the well-known
attakathas, in this context, are the Ravana
Vijayam, Lavanasura Vadham, Bali Vijayam
and Seeta Swayamvaram, The Kathakali
also gave rise to a form of solo dance, the
Ottan Thullal, which was brought into being
The very first item in a Mohini Attam
by a famous poet of Kerala, Kunjan Nambiar,
presentation, the Cholkettu, offers the
in the first half of the 19th century. Kunjan
story of Rama in a nut-shell.
Nambiar wrote over 60 Thullals, about a
quarter of which, such as the The Bharata Natyam, which is one of our
Kartaviryarjuna Vijayam, Seeta principal classical dances, too carries a
Swayamvaram and Ahalya Moksham draw good number of items on the Ramayana
their inspiration from the Ramayana. Also theme. The songs used in these items,
to Kerala belongs another type of solo however, Were not specifically composed
VIVEKANANDA KENDRA PATRIKA 58 DANCES OF INDIA

for the dance but are drawn from the whole Later, the Ramanandi faith was integrated
range of poetry in Tamil, Telugu, Kannada with the Radha-Krishna cult, and as a
and Sanskrit. The kriitis of Tyagaraja and consequence of this the pala too shifted
the keertanams of Arunachala Kavi are its allegiance from Rama to Krishna. Another
among the more popular numbers in this dance which has Krishna as the central
category. The scope of the material character. is the Odissi. In the tradition of
available in poetry is in fact so vast that this there is nothing on the Rama theme,
fresh pieces are being appropriated by the but, of late, Oriya songs about Rama, from
art all the time. As recent examples of this such sources as the Baidehisha Vilasa, have
are the Navarasa slokam from the come to be incorporated into the style.
Ramakarnamritam and the Bhavayami
The Kuchipudi of Andhra, is a form of
keertanam of Swati Tirunal. The Bhagavata
dance-drama that was born in the wake
Mela Nataka, which represents the dance-
of the bhakti movement in the South. One
drama form of Bharata Natyam also carries
of the most celebrated plays in this tradition
one play, in its repertoire of twelve on the
is the Ramanatakam, which was quite
Rama theme, the Seeta Kalyanam.
commonly staged till about thirty years ago.
The Kathak dance, which centres almost The Kuchipudi technique also carries items
exclusively around the Krishna theme, of straight expressional dance known as
carries a handful of items on the Ramayana sabdams and some of these pertain to
story in its style. Binda Din, whose Rama, the best known example of which is
compositions constitute the bulk of the the Ramapattabhishekam. Another sabdam,
songs employed for expressional work in the Manduka, describes how the stunning
Kathak, has written a few pieces pertaining Mandodari emerged from rhe womb of a
to Rama and Ravana. Though not much in frog and later ravished Ravana and became
vogue now, the mimetic sequences of his wife.
Kathak known as Gats, formerly included
Another dance-drama in the classical mould
such themes as Ram Baan, Lav-Kush and
is the Yakshagana, .of Karnataka. This gives
Seeta Janani.
exhaustive. treatment to the Ramayana
The Manipuri dance, too, concerns itself story. Apart from a series of eight plays
almost wholly with Krishna. However, that embrace the entire Ramayana theme,
formerly, during the time of King Garib there are some twenty other well-known
Nawaz, who ruled in the first half of the works on the subject, These carry such
14th century, the Rarnanandi cult of titles as Ramaswamedha, Ravana vadha,
Vaishnavism with Rama as the supreme Lava Kusha, Kusha Lava, Subahu Kalaga,
deity was acknowledged as the State Marimukha Kalaga, Panchavati, Bali Sugriva
religion and as part of this a pala, or dance and Athikaya. As in practically all other
and music ensemble, was attached to the forms of dance-drama, in Yakshagana, too,
Palace at Imphal and as compositions this there is no play that covers the entire
pala took songs from the Ramayana theme, Ramayana in a single night. All the plays
including some from the Vaishnava padavali. that there are in the tradition project only
VIVEKANANDA KENDRA PATRIKA 59 DANCES OF INDIA

snatches from the monumental saga. Coming to our time, that is, from the revival
of Indian dance and dance-drama that was
Only one tradition of dance and dance-
ushered in the first quarter of the present
drama now remains in the list, and that is
century, it is evident that the Ramayana
the Chhau. This has three distinct, though
story has consistently provided inspiration
related, aspects one of which belongs to
for new works and new experiments in
Seraikella, in Bihar. another to Mayurbhanj,
choreography. Why, the first two plays that
in Orissa, and the third to Purulia, in West
Rabindranath Tagore ever wrote for
Bengal. In the Seraikella and Purulia
presentation as dance- drama-the Valmiki
versions all characters wear masks. The
Pratibha and Kal-Mrigaya, are drawn from
Ramayana is represented in all three styles,
the Ramayana. The pioneer of the free
but only in a token way in Seraikella, a
style in Indian dance, Uday Shankar,
little more freely in Mayurbhanj, and very
presented the whole Ramayana, at his
extensively in Purulia. The Seraikella Chhau
centre in Almora, in the form of a .huge
has just one piece on the Ramayana,the
spectacle in a shadow-play, using human
Samudra Sashana, while the Mayurbhanj
figures. One of his leading pupils, Shanti
carries five numbers-Rama Shoka, Jambeb,
Bardhan, produced the Ramayana with the
Kumbhakarna, Seeta Vivaha and Lava-
dancers adopting movements stylised after
Kusa. In the Purulia Chhau, the entire span
the manner of puppets. Other leading
of the Ramayana, beginning with Sindhmuni
choreographers, such as Guru Gopinath,
Vadh, or the curse of the blind sage on
Debendra Shankar, Amala Shankar, Sachin
Dasaratha, and ending With Ramas
Shankar, Narendra Sharma, Padma
coronation, is covered in nineteen scenes,
Subramaniam and K. Shekharan, have all
which are presented in unbroken continuity
offered their own versions of the theme.
and in a single night.
Perhaps the most significant contribution,
The Ramayana theme has also found however, has been made by Rukmini Devi,
extensive representation in the various who has presented the epic story in several
traditions of the puppet theatre in India, parts, in the Bharata Natyam style and with
but as these belong to a different genre music by some of the top stalwarts in the
they are not within the scope of the Karnatak tradition.
present study. The same can be said of
We can say it again. Timeless and deathless
the system of dance and dance-drama
is the Ramayana. And, so far as its place
obtaining in countries that have a cultural
in the Indian tradition of dance and dance-
affinity with India, such as Burma, Laos,
drama is concerned, if the past is any index
Kampuchea, Thailand and Indonesia.
of what can be achieved one can be Sure
that the future, too, has plenty in store.
VIVEKANANDA KENDRA PATRIKA 60 DANCES OF INDIA

The Art And The Artist


K. S. RAMASWAMI SASTRI

T
he supreme charm of Bharata enter the inner spirit of Atma of the natural
Natyam as a classical art is due phenomenon or the human personality or
to a combination of various the Divine Being that she wants to express
elements. It combines footwork and finger by look and gesture and rhythm. She
gestures and harmonious synchronised cannot express the soul of a peacock or
movements of the neck and head and face the soul of a swan by merely arching her
and eyes and eyebrows and eyelashes. It neck. She cannot express the soul of a
combines beauty of pose and movement human being by exhibiting merely external
with charming expression of emotion. It peculiarities. Nor can she express the Divine
combines intellect and imagination and Soul by merely indicating the weapons or
spiritual charm with pure physical charm. the ornaments of a God. She must, when
The dance-artist must enter into the spirit dancing in accordance with Kriti (musical
of every movement and gesture and look piece) enter into the bhava (the emotional
and should not do so in a mechanised and urge) which is the soul of the song. The
mechanical manner. She must merge her excellence of a dance consists in the
ego in the charm of the dance and its harmony of soul and heart and head with
interpretation of emotion. As the great eye and looks and gestures and bodily
author and art-critic Sylvan Levi says well: movements and rhythmic feet. The dancer
Indian genius produced a new art, which must enter into the spirit of the mudras
the word Rasa summarises and symbolises and not merely exhibit the mudras in a
and which condenses it in one brief formula mechanical way. She must weave them into
the poet does not express but suggests. the dance as a supreme poet weaves words
Suggestion (dhvani) and spirituality are the into a perfect lyric. She must submerge
two eyes of the goddess of Bharata her egoistic personality in the emotion of
Natyam. the theme. Only then her intuition would
become vibrant and active She must have
Bharata Natyam as it is learnt and rendered
perfect poise and self-control. Any kind of
in Tamilnadu is a truly classical art in tune
imbalance and exaggeration would kill the
with the aesthetic classics in India and
essence of symmetry and harmony which
especially with Bharatas Natya Sastra. It
is the soul of the art. Art and artificiality
is a difficult but fine art and. requires
can never go together. She must use
intense application in addition to a glowing
costumes and ornaments not in a spirit of
inauguration and intellectual concentration
tawdry exhibitionism and garish display but
and spiritual outlook, if it is to be rendered
in a spirit appropriate and economical
well and express fully the inner spirit of
selectiveness. By economy I do not mean
the Art of Indian Dance. The dancer must
vulgar cheapness but vigilant aesthetic
VIVEKANANDA KENDRA PATRIKA 61 DANCES OF INDIA

economy. She must allow the dominant temples and the dancer must regard the
emotion of the poem or the sons to rise dance-hall also as a temple and the
from her soul in a natural way and rejoice audience as worshippers of the Goddess
in the sunlight of the bhava (emotion) or of Art.
the aesthetic glory of the poem or the song
even as the lotus flower rises from the It is important to remember that the realm
mire and see the sunlight and rejoices in abhinaya is a vast realm in which there is
it. She must pray to the deities of Song great room for originality and creativeness.
and Dance-Sri Krishna and Sri Nataraja- The traditional forms from Alarippu to Tillana
for their grace. She must be rooted in have definite contours and cannot be
tradition but must not get buried in it. meddled with, though even within the
She must express tradition through traditional boundaries there is room for the
originality and originality through tradition. display of originality and creative
When the divine emotion possesses the presentation. Just as there are gamakas
dancer and the dancers or grace-notes in music
emotion possesses the there are grace-
cultured audience and the gestures in dance and
emotion in dance and originality can be
originality can be displayed displayed in them. But
in of the audience in the realm of abhinaya
possesses the dancer, a there is no limit to the
perfect work of art will be songs taken up for
born. She will receive from presentation and
the audience in vapour what interpretation through
she gives back to them in a dance or to the freedom
flood. There must thus be of the artist to invent
a thorough unity of spirit new gestures to portray
among the musicians and new situations, incidents
the dancers and the and ideas. it is wrong
cultured audience. Only to suppose that Bharata
then the real Bharatanatya Dharma (the has fixed finally and rigorously in Chapter
culture of Bharata Natyam) will coincide IX of his work all the finger-gestures in a
with Bharatiya Dharma (the culture of final and a literary manner. he has nowehre
India) and will grow from more to more forbidden new symbols and gestures for
without suffering any eclipse or decay or new ideas. Thus there is as much ample
death and will attract the minds and hearts room for the exhibition of Manodharma
of all at all times and in all climes. That (aesthetic individuality and creativeness)
was the essence of Natyam dances in in the art of dance as in the art of music.
VIVEKANANDA KENDRA PATRIKA 62 DANCES OF INDIA

KUCHIPUDI DANCE
V. PATANJALI

A
fall-out of the recent cultural
explosion is regional chauvinism.
Even the very nomenclature of
some arts have acquired regional
overtones. Protagonists of each art form
make vociferous claims of hoary antiquity-
and as if it is an attendant featuresublime
artistry. One is inclined to take it all as
local patriotism not always backed by an
understanding of the tradition and the
technique. And indeed, the same degree
of ignorance is seen among writers and
critics of traditional arts, if authentic
accounts of the form are not available in
English. In the case of some arts one just
does not get a standard reference book-
may be, those who write do not have first-
hand knowledge and knowledgeable persons
do not or cannot write.

The case of Kuchipudi (pronounced


Koochipoodi) is none too different. The lack
of recorded and dependable evidence has
,made writers spread round thin material
to fill newspaper columns or brochure
pages. Bharatanatyam, Veedhi natakam etc. Now,
Kuchipudi dance is all these and something
Siva Leela Tradition
more. Kuchipudi may be the Kelika of the
Like Bharatanatyam, the name of Kuchipudi classical texts.
is modern. No identification of the forms
A major question is whether Siddhendra
base is possible from its nomenclature.
Yogi, the patron-saint, was the father of
However, if one gets to analyse the styles
the dance. Or, was his contribution limited
conventional names, one may get a glimpse
to ridding the local rustic dance-form of
of its traditional moorings. In Kuchipudi
its angularities and giving it a classical base?
village, they refer to their art as Bhagavata
It is difficult to accept the suggestion that
natakam, Yakshaganam, Bharatam or
VIVEKANANDA KENDRA PATRIKA 63 DANCES OF INDIA

the Yogi innovated a form where no Kuchipudi Bhagavatulu as Pagati-vesham


tradition of dance existed at all. Tradition are reminiscent of the ancient Siva Leela
has it that a widely popular dance-oriented tradition. Whether one gives any credence
entertainment form identified as Siva Leela to this or not, it is agreed on all hands
was in existence in parts of the Andhra that since Veera Saiva cult held an
aggressive sway over the entire tract
between the 11th and the 13th centuries,
the Bhagavata tradition of Kuchipudi might
have come into vogue only after 1300 A.D.

Survival Through the Ages

The Devadasi tradition of the 12th and the


13th centuries having degenerated and the
folk theatre having lost its lustre, the artists
of Kuchipudi might have .taken up the task
of salvaging the ancient tradition. Into this
conducive situation, Siddhendra made his
entry with a Vaishnavite ideal and artistic
zeal. However, the reference to the
Gajapathi kings dating back to 1499 A.D.
complicated the problem. An order issued
by Pratapa Rudra Deva states that groups
of dancers, including the Telinga batch,
would render Geeta Govinda as part of a
daily ritual before their family deity at Puri-
Lord Jagannatha.

The issue gets further entwined when it is


noticed that the tradition of singing and
interpreting Geeta Govinda had been
introduced in the areas bordering Kalinga
region. However, no evidence is available
Desa towards the close of the 13th
about the form or the content of these
century. One view is that the dancers
dances.
chosen for the daily ritual at Puri were from
The 13th century work Basavaparana of the Srikakulam area. Narayana Teertha, the
Palakuriki Somanatha talks only of Perini, celebrated composer of Krishna Leela-
Even Panditaradhya Charitra which Tarangini, and believed to be the guru of
describes the various dance forms of that Siddhendra Yogi, who visited Puri on his
time does not mention Siva Leela. way back from Varanasi, might have
According to one oral tradition, items like introduced the Geeta Govinda tradition of
the Ardhanareeswara performed by the music and dance. Let me, therefore,
VIVEKANANDA KENDRA PATRIKA 64 DANCES OF INDIA

humbly put it that attempts at fixing the Veshakathas which in course of time are
historicity of the Kuchipudi tradition is an believed to have developed into the the
exercise in futility. Suffice it to say that Pagati veshams performed by the itinerant
according to the local tradition, Siddhendra Kuchipudi artists.
Yogi composed Parijata-apaharana as a
The Kuchipudi fare is based on Srimad
dance drama (Narayana Teertha is also
Bhagavata and the Ramayana and is
credited with having written Parijata-
classified under vachikaabhinaya (each
apaharna as a Yakshagana) and made the
artiste is required to sing the lyrics which
male members of Brahmin families perform
will enable him to get into the emotion easily
it as a devotional exercise.
right from the beginning.) Tile music of
The drama also set the tradition for the Kuchipudi is taken straight from the style
development of Kalapams. Indeed, of the bhajana-kootams of the Andhra
Siddhendras work is better known as villages. No doubt it is lively and sizzling
Bhama Kalapam. Authors on dramaturgy and offers immense potential for variegated
in Sanskrit do not appear to be familiar rhythmic patterning, but sounds rustic.
with Kalapam; they knew it as a poem Kuchipudi has yet to evolve its art music
written in one metre. Kalapam is an for the dance theatre like the music of
innovation on the classical uparupaka Bharatanatyam.
Srigaditam with accent on presentation of
Bhama Kalapam
a single bhava by means of nritta and
nritya. Bhama Kalapam is essentially a In technical and procedural aspects,
dialogue between Satyabhama (Sri Kuchipudi dramas conform to Bharatas
Krishnas consort) and her maid Madhavi. formulation of classical drama. The
performers here however, derive scientific
Pagati Vesham
sustenance from Nandikeswaras Abhinaya
It is said that originally Krishna and Gopika Darpana. A performance opens with
also figured and at the commencement of Gurustuti and Naandi followed by
a performance, Madhavi (Vidushaka) and Poorvaranga consisting of punyaha
Gopika entertained the audience with music vachana, Indradhwaja praushta, dhoopa,
and dance. With the entry of Krishna, a deepa, pushpanjali and ambastava. All
romantic dialogue ensued between him and through this prefatory ritual Daruvus
Gopika. It developed into a highly (combination of music, movements and
philosophical dissertation on atma- mime) are executed creating a scintillating
paramatma relationship, interrupted effect.
occasionally by Vidushaka, the jester. This
Prahlada natakam, Rama natakam, Usha
sequence was taken out of Bhama Kalapam
parinayam, Chenchu Lakshmi, Sasirekha
and fashioned into an independent item
parinayam, Nala charitram, Dhruva
known as Golla Kalapam. The jester takes
charitram and Tripura are among the
the place of Krishna in the dialogue. Again,
popular dramas in repertory of the Kuchipudi
Kalapam led to the evolution of the
artistes; but the earliest and the most
VIVEKANANDA KENDRA PATRIKA 65 DANCES OF INDIA

celebrated work which has been remain behind the curtain held by stage
synonymous with the style is Bhama attendants throughout the opening nights
Kalapam. It may even be said that the performance. She throws over the curtain
entire infrastructure was developed on the her ornamented plait of hair called jada
basis of this composition by Siddhendra. studded with 27 stars symbolising the
Bhama Kalapam deals with the famous constellation, the five-hooded mythical
episode from the Bhagavata in which proud serpent and tiny golden images of the ten
Satyabhama insists that Krishna bring to avatars of Lord Vishnu. The sutradhara
her the celestial Parijata plant from Indras recites devotional slokas and offers arati
to the jada. This is called jada bharatam.
The curtain-look of Bhama is a kind of
challenge that if anyone could excel the
performer in artistry, he would cut the plait
off in full view of the audience.

In the play, Satyabhama is swadhina-


patika, kalahantarita and vasakasajjika,
alternately. The eternal oneness of atma
and paramatma is the essence of Bhama
Kalapam, Presently, there are about a
hundred manuscripts of the composition
available but it is generally agreed that
the text followed by the Kuchipudi
performers is not entirely authorised by
Siddhendra. The earliest reference to
Kuchipudi performmance is available in the
Machupalli Kaifiyat issued in the year 1502
A.D. It states that Veera Narasimha Raya,
the ruler of Vijayanagara, and his consort
witnessed a show presented by a visiting
group in his palace.

The royalty was impressed by the balanced


presentation of natya dharmi and Loka
dharmi. The latter aspect consisted of
down to earth interpretation of secular
garden. The play which opens with a lively issues. The artistes exposed the misdeeds
Pravesa Daruvu, employs the Samvada and of the chieftain of the Siddhavatam region
the Abhinaya daruvus numbering about 90. Sammeta Guravaraju. In doing this, the
Till three-four decades ago, Bhama performers were only ful-filling Bharatas
Kalapam was performed on three dictum that theatre must serve as a sugar-
consecutive nights and Sathyabhama would coated pill to correct the wrongs in society.
VIVEKANANDA KENDRA PATRIKA 66 DANCES OF INDIA

The Kuchipudi performers employ the seven diddhissallaamu.


types of Tandava with variations of gati,
Limited Repertoire
karana and chari and the Desi five-fold
Lasya . The pushpanjali and the subhaleela The need had already been felt for
numbers were added to the dramatic quantitative as well as qualitative
proceedings at a later date. development of the repertory. Siva
Narayana Teerthas lyrical poem in Sanskrit,
Bhagavata Mela
Sri Krishna Leela Tarangini, with its song-
The Kuchipudi players were patronised ending sabdas afforded immense scope for
everywhere both by the laymen and the dance depiction. The Bala Gopala
informed and were the honoured guests at Tarangam in the raga Mohana with rhythmic
many a princely court. After the fall of gati variations of as many as 35 complex
the Vijayanagar empire, when the Kuchipudi types, is one of the many Tarangams
performers reached the Tanjore court, they included in the fare. Jayadevas Geeta
were received with great admiration. The Govinda, padams of Kshetreyya and other
ruler, Achyutappa Naayak, bestowed a major composers, Dasavatara nritya,
munificent land grant on the artistes. The sabdams, kandardhams, tillanas, etc.,
artistes colony outside Tanjore known as were added. (However, Bhama Kalapam,
Melattur (Achyutapuram) soon became a Taranga nrityam, and Mandooka and
veritable centre of Bhagavata Meta. This Krishna sabdams continue to be the
tradition of staging Bhagavata Mela inevitable numbers on the bill. This,
Natakams continues to this day. During incidentally and unwittingly, prompts people
the annual Narasimha Jayanti Festival to remark that the repertoire of Kuchipudi
dance-dramas based on the Bhagavata and is severely limited). With these items,
the Ramayana are staged for nine nights Kuchipudi lost its essential feature of
consecutively. vachikabhinaya and the element of drama
leaned more more on nritta and nritya with
The Nawab of Golconda, Abul Hasan
a pronounced accent on abhinaya.
Tanesha, who was a great patron of art,
conferred the title of the Kuchipudi village The dramatic themes being mythological,
on the artiste families. In 1763 A.D. two the costumes and make up of Kuchipudi
officials of the Nawab, Mosalikanti performers had other wordly flavour. Male
Ramojipantulu and Kandregula Jogipantulu, characters had an elegant kireetam,
executed the deed in favour of the families- sankhachakra, bhuja-keerti, kama paira,
Vedantam, Vempati, Bhagavatula, ganda-bherundapataka, dhoti and kurta.
Pasumarti, Josyula, Mahankali and Women, particularly, in the role of
Eleswarapu. From this, we come to know Satyabhama, had an elaborate aharya.
the families traditionally devoted to the There were also body ornaments, kantha
art form. And perhaps as a return gesture, abharana, big and small jada, sikha, ragidi,
the dancers included salam jatis, formal chandravanka, surya, tamalapaku,
salutations, like salaamu, dhissalaamu and mogalireku, ketaki, turayi, papatapinji,
VIVEKANANDA KENDRA PATRIKA 67 DANCES OF INDIA

kamma, cheru, jookalu, kamapatra, it would be futile to try to establish any


tayettu, tajubandu, dandakadiya, pochee distinctive feature for any of our dance
kankana, addabasa, billa, molatradu-the list styles. However, the social, cultural and
can be unending. And one cant even political histories of the regions concerned
identify many of these ornaments today. as well as the particular commentary on
. the Bharata Sastra followed by each,
afforded scope for the cultivation of the
The characters of Narasimha, Chaturrnukha
dance art according to local genius. Thus,
Brahma, Sakti, Diti, Hanuman, etc., use
Kuchipudi evolved as a form based on the
masks, locally known as karaala.

Initiation

In the ancient gurukula system, a syllabus


for training was unknown. Depending on
the mental resources of the student, the
teacher would initiate him into new and
more complex numbers. The custom has
been that a boy of five is taken to the
temple of Sri Ramalingeswara and initiated
into the natya-veda by holding the
patakihasta and pronouncing ta.. tai tai ta
ttam. After over five years of grounding in
the basics of music and dance, the boy is
introduced to the elements of abhinaya
along with teaching the panch a kavyas.
Following this seven-year period, the boy
is allowed to observe the performance of
veterans. He graduates only after
successful completion of these exercises.
By now, he realises that the oral tradition
he has been raised on is much more useful
vachikabhinaya aspect with emphasis on
and dependable than the rules written in
presentation of sanchari bhavas along with
the texts. Indeed, this was what was
sprightly foot-work. In other styles, it is
ernphasised by Bharata and Nandikeswara.
one-at-a-time and not simultaneous.
Origin of the Style Secondly, the Bhagavata mela natakam
staged in the Kuchipudi Melattur tradition,
Coming to the complex issue of the
is the only form that conforms to the
distinctiveness of Kuchipudi as a dance
detailed description of Bharatas first
style, it is rather difficult for one to emerge
dance-drama, Amrita mathana. And one
unscathed. When all the classical dances
may even say that the entire padaabhinaya
in the country swear by the Natya Sastra,
tradition of South India, had its origin in
VIVEKANANDA KENDRA PATRIKA 68 DANCES OF INDIA

the Kshetreyya pada-abhinaya style the third a dedicated teacher who made
perfected by the Kuchipudi performers nearly every noted danseuse in the country
either at home or elsewhere. learn Kuchipudi also. Now both Vedantam
and Yamini have taken to teaching and it
Lack of Patronage
is incumbent on the former to keep the
The British ascent to power in the 19th dance-drama tradition alive and growing
century signalled the decline of indigenous while one would expect Yamini to continue
arts in South India. Lack of to explore the
partonage cost it heavily in possibilities of
term of sustenance. The expanding the solo
missionary zeal of stalwarts dance repertory.
like Vempati Venkata-
Chinna Satyam is
narayana, fondly referred
often accused of
to as Kaliyuga Satyabhama,
compromising with
Tadepalli Perayya Sastry,
the pristine tradition
Chinta Venkataramayya,
and to his critics one
Vedantam Lakshminarayana
would like to tell;
Sastry and others kept the
traditional art forms
art alive in all its traditional
must be able to
purity. However, it was by
adjust themselves to
the artists of the following
the changing socio-
generation that Kuchipudi
cultural values in
as a dance form began to
order to be
be known outside the
preserved and
confines of Andhra,
fostered. The
Vedantham Raghavayya,
acceptability of
Vempati Satyam and Chinta
Kuchipudi depends
Krishnamurthy, were among
on its adaptability to
the outstanding teachers
new and novel
of the art. And Vedantam
themes. Many of our
Satyanarayana Sarma
young performers
emerged as the most gifted
like Shobha Naidu,
portrayer of Satyabhama.
Swapna Sundari,
Kuchipudi is a popular dance form now. Raja and Radha Reddy and others have
The credit for that is due to mainly three already begun experimentation. The future
persons: Vedantam Satyanarayana Sarma, must belong to them. And if the academies
Yamini Krishnarnurthy and Vempati Chinna mean business, Kuchipudi can take its place
Sat yam-the two celebrated exponents and among our major dance styles.
VIVEKANANDA KENDRA PATRIKA 69 DANCES OF INDIA

The Veedhi Bhagavatam of Andhra


Dr. V. RAGHAVAN

K
arnatak music and dance still own repertoire of detached pieces and
have strong bonds with Andhra. love-songs. By crossing the features of
In traditional dance-drama, the these two, the form named Veedhi
Bhagavata Mela Nataka of some of the Bhagavata or Gollakalapa was developed
villages near Tanjore in Tamilnadu are an and a line of capable teachers and
offshoot or a graft from the Kuchipudi accomplished exponents refined it to a
Bhagavata plays in Telugu country. Many degree acceptable to the connoisseurs. In
of the technical terms of Bharata Natya fact, it became for a time very popular
and a considerable part of its compositions- over a greater part of Andhra.
sabdas, varnas and padalu-are in Telugu.
The credit of discovering the art in its last
The Kuchipudi tradition is the best known
lingering phase goes to All India Radio,
of Telugu dance-drama forms but this is
Vijayawada, and late Sri Y. Satyanarayana,
not the only one. In drama and dance,
who was with that station for sometime.
from most ancient times, as the history of
Later through the Music Academy, Madras
the Dasarupaka and Up arupaka traditions
and the Madras State Sangita Nataka
of Sanskrit with more complete forms,
Sangam, I had the opportunity of bringing
lesser ones concentrating on select
it to a wider public and to the students
aspects, are secreted and perfected. In
and lovers of the dance in Madras. The
Karnataka, where we have the Yakshagana,
artiste who expounded the art in Madras
we also have the form taken from it called
was Smt. Annabathula Venkataratnam of
Tala-maddale in which without roles or
Mummidivaram, a symbol of ripe and
make-up, the participants sit down and go
masterly exposition, who, after some
through the play orally.
decades of retirement due to lack of public
The Early Phase appreciation and support, had been
persuaded to recapture the
When Kuchipudi Bhagavata attained its high
accomplishment of her younger years.
water-mark, it gave birth to a derivative
solo performance called the Veedhi As already said, it is the Bhagavatas, those
Bhagavata or Gollakalapa. The masters of Brahmin scholars learned in Sanskrit and
Kuchipudi themselves thought of this new Natya Sastra, who were responsible for
type and it evolved through women-artistes originating this form and giving it a shape.
of courtesan families (Kalavantula) who Instead of young boys, courtesans versed
were proficient in the solo dance-art of in Bharata Natya were absorbed into the
Nautch. The Kuchipudi tradition did not art. Instead of disconnected lyrics, a
permit women to play female roles in its sustained Bhagavata-theme or episode
Bhagavata stories and the Nautch had its was substituted. These women-artistes
VIVEKANANDA KENDRA PATRIKA 70 DANCES OF INDIA

(Kala- vantula) had already behind them a the Kalapam. The golla always scores. She
heritage of music and dance and some cross-examines the Brahmin as to his real
knowledge of Sanskrit, puranic myths and Brahminhood and expatiates on what a real
the rhetoric of love and nayika-nayak- Brahmin is according to the sastras and
bhava, It was now necessary
only to strengthen their
knowledge of Sanskrit and widen
their general acquaintance with
the tenets of religion and
philosophy. In fact, if as evolved,
this form would shed its dance
and gesticulations, and follow
more strictly the trend of a
single puranic devotional story.
It would result in another form,
still popular, active and
effective, at least in Tamilnad,
the Hari-katha or katha-
kalakshepa. In this, as in Veedhi
Bhagavata, there is only one
main exponent, usually a male
though women are not unknown,
accompanied by music and oral
exposition. Supported by
thematic songs and verses, this
presents a devotional doctrine
with illustrative stories of
Prahlada, Dhruva etc.

Characters

The Veedhi Bhagavata has a


single female-artiste, the main
dancer; she is supported by a secondary under the torrent of her questions and
female-artiste. To put across the ideas Sanskrit quotations from the sastras, the
more effectively, as much as to poor Brahmin is left breathless.
entertain,humour (hasya rasa) emerges;
The Vidhushaka-Brahmin may also come
and for this a Brahmin, in more or less the
off in his role of a comedian and vehicle of
Vidhushakas role plays the interlocutor. It
wisdom. Wherever a song introduces a
is this dialogue or argument in which the
character, grandiloquently, the Vidhushaka,
chief lady, representing a milk-maid (golla),
starts off on a parody of the song, a comic
carries on with the Brahmin, that provides
VIVEKANANDA KENDRA PATRIKA 71 DANCES OF INDIA

technique which is found in a more The Veethi Bhagavatam when it became


sustained manner in the traditional popular, was requisitioned for temple
Koodiyattam presentations of Sanskrit festivals, on occasions of marriage and
plays in Kerala. The Vidhooshaka for other happy celebrations in the houses of
instance may begin by parodying the rich patrons.
nayaka and nayika. The Vidhushaka does
Some Pioneers
not involve any new character; the player
who began as Sutradhara and introduced Among the authors of compositions on
the performance, himself takes on the Bhagavata-stories for this art, and among
Vidhushakas role. He is a versatile and those who, as gurus, trained courtesan
multi-purpose character, the constant dancers as media for presenting this art
companion of the lady and also her chorist. form, may be mentioned Ravuri Kamayya
and his brothers Noorayya, Venkayya and
The Performance
Satyamgaru, Vempati, Venkata-
The performance begins as with any narayanagaru, Vedantarn Lakshmi-
traditional dance-drama. A curtain is held narayana Sastri, and Bhagavatulu
by two stage-hands and the main character Dasaratha Ramiah. The brothers trained the
performs behind it, her dance to the Chittazallu family of courtesans and other
entrance-song as sung by the chorist. The Kalavantulus of note. Over a dozen
classic ragas of Karnatak music are used talented dancers of this class who spread
in the songs. The mridangam supplies the and maintained this art arc still
rhythmic accompaniment. Jatis are orally remembered.
recited and intricate rhythm patterns give
The Veedhi Bhagavatam had to face the
the dancers footwork sufficient scope for
same dilemma as other traditional forms of
artistry. These songs are similar to the
dance and dance-drama in the recent
darus found in the dance-drama
past. It used to be performed for the
compositions and to each of these the
greater part of the night and a full
gollabhama dances. She interprets the
performance spread over three nights. This
theme in the songs closely through
length of time is no longer feasible and the
abhinaya. The art of abhinaya is in full
same neglect and unhelpful conditions
evidence, and by the very nature of the
which led to the decay of other traditional
theme, the range of the ideas is wide, and
dance and dance-drama arts affects this
there is greater scope for improvisation and
art also. Kuchipudi dance-drama and
interpretation (kalpana). With its elaborate
Bharata Natya have been rehabilitated and
display of nritta and nritya, the
it is hoped that lovers of art and institution
Gollakalapam takes its place among
which have been established in Andhra, as
authentic forms of the Bharata Natya arts
elsewhere, for reviving the local art-forms,
and possesses adequate potential for skill
will devote their attention and resources
and beauty of exposition.
to the Veethi Bhagavata, or Bhamakalapa
too.
VIVEKANANDA KENDRA PATRIKA 72 DANCES OF INDIA

BHAGAVATA MELA - DANCE DRAMA


S. NATARAJAN

B
hagavata Mela dance-drama, Melattur Venkatarama Sastri were in vogue
though curiously enough now not only in Melattur but also in five other
surviving only in one village in villages in Tanjavur district, namely
Melattur, is really of All India importance, Salimangalam, Uttukkadu, Sulamangalam,
because it is found to be a Nallur and Tepperumalnellur.
living exemplification of As the object of enacting
Bharatas conception of these dramas was devotion
Natya as a dance-drama to God, the practice of
adumbrated nearly 2,000 presenting them only before
years ago in his Natya temples came into vogue.
Sastra, the earliest and Conceptions of art for
most authoritative treatise earning ones livelihood or
on the art followed by most art as a pleasant pastime
of the later writers through has no place in that
the centuries. tradition and it is so even
The Bhagavata Mela today. Though, now a days,
tradition seems to have religious faith and
come into prominence from devotional aspect may not
the time of Thirthanarayana have so much importance
Yogi, the author of Krishna to connoisseurs of art as
Leela Tharangani in before, one cannot but be
Sanskrit. He composed a struck by the high
number of dance-dramas. aesthetic value and appeal
He followed the tenets and of these dance-dramas.
modes of Bhakti as The famous dance-dramas
exemplified in the that are usually staged are
Bhagavata lore and composed his dramas Prahlada Charitram and Harischandra. The
accordingly. mask of Narasimha is worshipped before it
Those who sang the praise of God and is adorned by the actor who plays the role
expounded Bhakti came to be called of Narasimha.
Bhagavathars and the dance-dramas As Telugu was the court language in Tamil
enacted by them as Bhagavatha Natya Mela Nadu from the time of Vijayanagara kings
Natakas. down to the time of the Maratha princes
The more popular dance-dramas of of Tanjavur, the Bhagavatha Mela dance-
VIVEKANANDA KENDRA PATRIKA 73 DANCES OF INDIA

dramas were composed in trained in Bharatanatya


that language. Character technique.
roles in these dramas
It is true that the present-
became the properties of
day standard of these
particular families inherited
dramas is not what it was
from generation to
during the hey-day of
generation. In this way, the
former generation of
art has been a part of the
master-artistes. All the
lives of the people in the
same, even at the present
villages.
day, one cannot but be
All the characters, including struck by three notable
feminine ones, are features, namely,
presented only by young classically pure and
men. Age-long social appealing music, fine
connections do not allow nattuvangam and sastric
women to mix- with men on abhinaya of an elaborate
the stage. As a part of the and imaginative type. The
annual Narasimha Jayanthi music is provided by no
festival, this is conducted. less a vidwan than the
These dance-dramas are master conductor Balu
expounded with music of Bhagavathar Subbier.
high class Carnatic tradition,
As a classical dance-drama
dance and abhinayas in
according to the
classical Bharatanatya
conception of Natya
technique, poetic speeches
Sastra, the Melattur
and appropriate dramatic
Bhagavata Mela art
action. This dance-drama
happens to be the only
may resemble the Kathakali
surviving link that
of Kerala in being all-night
connects us to the present
shows without the stage
day with our ancient
settings of modern dramas
national theatre tradition.
and in having such features
As such, its national
as Pathra Pravesam
importance and value have
(introduction of
to be adequately
characters). Unlike in
recognised and realised by
ordinary dramas, every
the art circles in India that count.
actor in the mela drama has to be a dancer
VIVEKANANDA KENDRA PATRIKA 74 DANCES OF INDIA

KOODIYATTOM
D. APPUKUTTAN NAIR

K
oodiyattom, the unique temple is no attempt at realism. In fact, the
art of Kerala, is probably the attempt i to present Puranic characters in
only surviving form of the traditional a superhuman form, in an epic setting-nor
presentation of Sanskrit drama. The can we claim a close adherence to the
performance is confined to the temple canons laid down in Natya Sastra in the
theatres known as Koothambalams, the presentation of this dramatic art form.
performing artistes belong to specific In Angika Abhinaya, in which Hastha Mudras
temple-dependent communities known as are liberally used in descriptions,
Chakkiars and ambiars. The Chakkiars are
conversations, and dissertations, the
the actors and the Nangiars of the Nambiar Lakshanas codified in Natya Sastra or the
community undertake female roles to the various other texts in Hindu dramaturgy
accompaniment of the Mizhavus (pot-like
are not faithfully followed. The Hastha
drums covered with animal hide) and Mudras are taken from Hastha Lakshana
Edakka (a small drum played with a stick), Deepika which draws from the Tantric
Kurumkuzhal (a small wind instrument
mudras prevalent in Kerala. The other
similar to a Shehnai) and Kuzhithalam (a movements of the body, belonging to the
small pair of cymbals). Angika Abhinaya particularly the Charis,
The Sanskrit plays usually presented on Gatis and the movements of the various
the stage, belong mainly to those of the Angas and Upangas of the body also do
Trivandrum Sanskrit series, namely, those not closely follow the canons prescribed
of Bhasa, Kulasekhara Varman, Sree by the Natya Sastra.
Harshan, Mahendravikrama Pallavan and In Aharya Abhinaya, the make-up and
Bodhayana, apart from Ascharya costumes do not copy the external features
Choodamani by the Kerala dramatist, Shakti of the characters either in facial make up,
Bhadran. head gear, clothing or ornament. The make-
Abhinayas up is symbolic of the nature of the
character presented on the stage. At the
The Koodiyattom as it is presented today same time, there is no typifying of
was choreographed some ten centuries ago characters as in Kathakali. While in
by King Kulasekhara Varman with the Kathakali, Vali and Sugreeva wear the same
assistance of his friend Tholan , The form costume, in Koodiyattom, their costumes
of presentation is highly stylised in Aharya are different. Vali, as the more kind and
Abhinaya (make-up.) costume and scenic powerful of the two, possessing noble traits
spectacle, Angika Abhinaya (gesture) and of character with certain aspects of
Vachika Abhinaya (oral rendering). There amorous expression towards Tara, ha make-
VIVEKANANDA KENDRA PATRIKA 75 DANCES OF INDIA

up which brings out those characteristics. Choodamani lasting for twelve full days tells
the full story of the Ramayana including
In Vachika Abhinaya, the text of the
Vanarolpathi by Shri Hanuman, by hand
Sanskrit drama is rendered by the actor
gestures alone.
with intonations reminding us of the Yajur-
Vedic chantings of the Nambudiri Brahmins Since one Anka (Act) of the drama alone
of Kerala. There is no attempt at making is performed at one time, there is a prelude
the speeches naturalistic. Even ragas to this performance called Nirvahana during
(swaras as they are called
in Koodiyattom) do not
have the solfa symbols of
music. The prose rendering
also abound in certain
intonations, which make
for greater stylisation.

Split Presentation

Koodiyattom plays are not


presented in full.
Presentation is so
elaborate and there are
such lengthy excursions
into various fields that it
makes presentation time-
consuming. Hence nowadays these plays which one of the characters sum, up the
are presented only in parts-each part being story presented in the earlier acts of the
known by a different name. Thus, drama and possibly the earlier stories. This
Swapnavasavadatta is presented as six Nirvahana takes very many days and if
different performances, each performance this Nirvahana is rendered by the
confining itself to one Anka. (One Act). Vidooshaka, it is an oral exposition. Other
These Ankas (Acts) are also known by characters use hand gestures for this
different names. Thus in purpose.
Swapnavasavadatta, the Ankas are called
The Performance
Brahmacharyankam, Pandattankam,
Shebhalikankam, Svapnankam, The performance can be classified into two
Chithrabhalakankam, etc. In Prathigna parts on the basis of the relative
Nataka, there is one Anka called importance of the Vidooshaka, the comic
Manthrankam which takes 41 days to character. Thus, performances like the first
perform. This is an oral exposition by act of Subhadra- dhananjayam, the first
Vidooshaka of all things under the Sun. act of Stapathisamvaranam, etc., are
Similarly, the Anguliyankam of Ascharya Vidooshaka dominant where there is greater
VIVEKANANDA KENDRA PATRIKA 76 DANCES OF INDIA

emphasis on Vachika Pushpaka Vimana by


Abhinaya (oral rendering). Mount Kailas, the vivid
The Vidooshaka talks in features of Mount
Malayalam. He interprets the Kailas, the quarrel
Sanskrit slokas recited by the between Parvathi and
characters in Malayalam and Siva and so on. The
recites parodies of these Angika Abhinaya of this
slokas and expounds the sloka takes 3 to 4 hours
various laws of nature in a to perform.
very humorous manner.
Such elaborate and
The Elaborateness lengthy Abhinaya of the
Sanskrit slokas may
The most important
seem tedious to an
characteristic of Koodiyattom
indifferent audience. For
is its elaborate interpretation
their entertainment,
of the Sanskrit slokas or
there are the humorous
stanzas through hand
oral expositions spiced
gestures by the various characters and by
with some vulgarity by the Vidooshaka. The
oral expositions of the Vidooshaka. The
Vidooshaka also expounds the famous
slokas are enacted in such a way that the
Purushartha or the four ultimate
inner multiple meanings of the various slokas
attainments in human life. This is a satire
are explained to the audience. Even
on the follies and foibles of human life by
incidents, anecdotes and philosophy which
which he recounts the exploits of a group
have only an indirect and very remote
of adventurous high caste Hindus to attain
bearing on the meaning of the slokas can
the four aims, namely, Rajaseva (waiting
be indicated by the actors. In
upon the King with flattery, gossip, etc.),
Abhishekanataka in the Thorana Tudha
Asanam (greedy enjoyment of an enormous
Ankom there is a sloka in which Ravana
feast), vinodam (sexual enjoyment with a
speculates that the reason for a monkey
prostitute) and Vanchanam (betrayal of
devastating the palace in Lanka is due to
the prostitute whom he has enjoyed). These
the disrespect he showed to Nandikeswara.
four Purusharihas are interpreted in place
Nandikeswara had cursed him, saying that
of Dharma, Artha, Kama and Moksha. This
he would be ruined by a monkey. In enacting
oral exposition usually takes more than four
this sloka, the actor describes in detail
days, during which there will be much
Ravanas war with the Devas and the
pointed satire at the way of living of
Asuras; he details the preparations for the
highbrow society, involving the audience.
war, the triumphant journey thereafter, a
description of Lanka, his expedition to win All told, Koodiyattom is unique in its
over Vaishravana and the blocking of presentation of classical Sanskrit drama
through the vitality of the folk medium.
VIVEKANANDA KENDRA PATRIKA 77 DANCES OF INDIA

ORIGIN AND DEVELOPMENT OF THULLAL


P. K. SIVASANKARA PILLAI

K
encouraged. And hence, that art form in
erala is rich in literary and artistic
its evolution attained a high degree of
traditions. The celebrated classical
sophistication. But the medium resorted to
dance drama, Kathakali, has placed
by the folk for their self-expression,
Kerala in the forefront of the civilized
entertainment and propagation of
countries of the world.
mythology was art, especially narration,
Thullal is yet another Kerala art which is music and dance. Kerala, in ancient times,
fostered, encouraged and taught in Kerala was very rich in the patterns of such
Kalamandalam. If we remember that the theatrical folk art forms which had singing
genius, traditions and temperaments of a and dancing as their integral parts. The
people are most reflected in their traditional art of Thullal was evolved as a system out
arts, we could without any hesitation say of the various singing and dancing art forms
that the art form of Thullal is a mirror of of the people incorporating apt features
our cultural life. It is more so, when viewed of classical styles so that by the harmonious
in the light of the statement, The blend of the folk and classical forms of
character of a people is often learnt from arts it represented the accumulated
their amusements, for in the hour of mirth, aesthetic experience of all sections of the
the mind is unrestricted and takes its people high and low. The themes were
natural bent. Thullal is a most amusing drawn from the never failing myths and
and mirthful dance recital... epics of India.
Thullal-Its Artistic Form and Technical As the main objective was the propagation
Details of knowledge and enrichment of literature
through the medium of art, spoken word
Thullal literally means dance. But the term
and songs became the most powerful
connotes a particular school of dance. It
component of communication. The songs
has a history which throws much light on
were sung to the accompaniment of acting
the literary, artistic and cultural life of
and dancing with varying foot works. Based
medieval Kerala. This art form is the
on different styles of narrative singing,
cumulative product of all the traditional
rhythms of dancing, foot work and make-
theatrical arts of Kerala, both folk and
up of the dancer, three varieties
classical. In ancient times, the wisdom of
the epics and mythology was conveyed to of Thullal were evolved in course of time.
the people by different classes of story They are:
tellers. Chakkyar Koothu is perhaps the
1. OTTAN THULLAL: It consists of a
best example of the tradition which the
variety of rapid metres well suited for
highbrow class of society fostered and
VIVEKANANDA KENDRA PATRIKA 78 DANCES OF INDIA

amusing narratives and it is vigorous in


execution. The Thullal actor who presents
this type has a fascinating costume. His
face is painted green. With a round
headgear of multi-coloured tinsel and gold,
a breast plate to match, a circlet of jingles
round his ankles and wearing a frilled skirt
round his waist, he sings and dances to
the sounding of the cymbals and beating
of the drum. Along with singing and dancing,
the player acts the incidents narrated in
the songs.

2. SEETHANKAN THULLAL: It has metres


of medium cadence for the songs used and
rhythm to suit. In contrast to the
picturesque appearance of the dancer in
Ottan Thullal, the dancer in Seethankan
has his face unpainted, except for a few
black lines, on the eyebrows and eyelids
to heighten the expression of the eyes.
He wears a crown made out of the tender
leaves of coconut palm, with frills of the
same material adorning his wrists.

3. PARAYAN THULLAL: This has a slow


narrative style for singing, with slow was Kunchan Nambiar. He belonged to a
graceful elegant steps, movements and family of artistes who had hereditary
hand gestures. The make-up of a Parayan functions associated with the performance
is very simple except for an ornamental of Chakkyar Koothu in Hindu temples.
headgear and a red cloth round his waist. Striking the Mizhavu-a particular kind of
The dancer smears the whole body with drum to set rhythms of the Koothu
charcoal paste. performance-was the main function, at
Kunchan Nambiar which Nambiar also had his training during
Originator of Thullal Art his boyhood. Though born at a place called
Killik- kurissimangalam in Palghat district,
The history of the origin and development
the major part of his life was spent at
of this form is well known to all lovers of
Ambalapuzha in Alleppey District and at
Kerala arts. More than two hundred years
Trivandrum. To these places he migrated
ago, there appeared in the arena of Kerala
as a court poet following the political
culture a most extra-ordinary poet, the like
fortune of the ruling kings of those days.
of whom is hard to be found. His name
It was during his days at Ambalapuzha that
VIVEKANANDA KENDRA PATRIKA 79 DANCES OF INDIA

he invented the art of Thullal and personally delights of scholarly poetry and drama and
performed the same for the first time. There the spiritual enlightenment of religious
is a traditional account relating to the literature. At the same time, Nambiar found
circumstances that prompted Nambiar to a vast body of folk literature in the lower
invent such a popular art form. Kunchan strata of society in the form of songs and
Nambiar, while playing the drum at a ballads as also various types of folk arts
performance of the Chakkyar Koothu, had which though low in standard were
the misfortune to produce a wrong note characterised by the qualities of
on the drum and the irate Chakkyar spontaneity and naturalness undreamt of
administered a sharp ridicule. Nambiar, the in the creations of intellectuals. Nambiars
youthful poet felt highly mortified. genius saw the wonderful opportunity
Immediately after the performance, he set offered to a poet and artiste for a
to work devising an altogether original form synthesis of these different literary and
of entertainment. When the Chakkyar artistic tastes from which could be evolved
began his Koothu the next day, Nambiar a new art form with a new purpose. He
produced the first performance of his Thullal boldly seized the opportunity with an
at a place nearby within the premises of adventurous spirit. And he emerged as a
the temple. The new entertainment so performing poet-a unique event in the
greatly fascinated the people that the cultural field.
audience that had assembled before the
Nambiar was a born poet with a marvellous
Chakkyar abandoned him and flocked to
command of words and versification. He
see Nambiars Thullal. This story has very
was equally proficient in Sanskrit and
little relevance when tracing the historical
Malayalam. He had profound scholarship in
background of the origin of this art form
all fields of knowledge of his times with
except that the incident narrated might
abundant store of ancient lore. The output
have served as an immediate provocation
of the poet has been prodigious. There are
to Nambiar for an improvisation of the art
about fifty poetical works to his credit as
to which he had already given form and
Thullal compositions. All of them are on
content. The social and historical conditions
puranic themes. But the compositions have
which processed the poet and his art form
the unmistakable stamp of the poets
were many.
originality based on his worldly wisdom and
Those were days when the literary scene outlook. He very cleverly adapted the
of Kerala was in the grip of highbrow puranic themes to the environment of
attitude. Sanskrit reigned supreme and an contemporary Kerala life with a view to
abstruse formalism was in vogue. The Kerala make those episodes serve him as a
stage patronised by the aristocracy within powerful media for social criticism. This local
the premises of the temples was dominated colouring is sometimes interwoven with
by the highly sophisticated art forms such interludes of allusive satire on popular
as Koothu and Koodiyattam. The common morals and manners which have had their
man was left behind, unable to share the biting effect on society. And no wonder
VIVEKANANDA KENDRA PATRIKA 80 DANCES OF INDIA

has indicated the style of singing, the order


of hands, feet, eyes and emotional
expressions during dance.

The song is to be sustained in the


throat;
Its meaning to be shown by the hands;
Its moods art evinced by glances ;
Its rhythms art marked by the feet,

This is an accurate summing up of the


intrinsic aspects of the dance according
to classical texts. But the most enlivening
and dynamic components are the folk tunes
and folk rhythms profusely used. It is
surprising to note the innumerable variations
that we come across in the reckoning of
the folk tunes and rhythms used in Thullal
music. Sometimes even scholars of music
are taken aback by the easy manner in
which these complicated variations are
that the Thullal composed in the language performed by expert artistes of Thullal.
of the people, replete with fun and humour The footwork in Thullal calls for
designed as a theatrical art blending many appreciation almost to the exclusion of its
streams of literary, musical, rhythmical and other features. The varieties of the gait
histrionic traditions of the people blazed and rhythmic movement are dependent
out into popularity which they still enjoy. upon the foot work, graceful and elegant
Thullal as a Visual Art as well as spirited and eloquent. The poet
has emphasised the beauty of footwork as
Even though the spoken word is the most an integral part which should go in
important component of Thullal, effective combination with singing. He had so much
use is made of dance and music and the mastered the native genius of the folk that
histrionic technique of gestures to !make in one of his works he has even codified
it !most attractive to the audience as a the folk rhythms with rhythmic
visual art. It is evident from the poetical arrangements of syllables to form scales
compositions that the poet was an adept of the time measure.
in the classical dance technique as
enunciated in the Natya and Sangeetha Thullal is a most popular and unique art
Sastras. In one of his poetical works, he form that has become indelible in the
cultural history of Kerala.
VIVEKANANDA KENDRA PATRIKA 81 DANCES OF INDIA

KATHAKALI- The Total Theatre


M. K. K. NAYAR

C
olour, intensity of detail, stylised
movements and rarity of
aesthetic expression make
Kathakali a most unique theatre. Over the
centuries it has retained its novelty and
appeal to the old and the new alike. Its
themes are from mythology, its roots
religion, yet its admirers embrace the most
tradition-bound and the radical alike. It
dazzles the novice and subdues the
connoisseur to helpless surrender. It draws
the world to it and intrigues those who
probe it. Why does all this happen, one is
bound to ask, To understand it one has to
travel back through the centuries into the
lush green valleys of palm-fringed Kerala.

The Back-drop
features and scrupulous in personal
Legend has it that the narrow strip of land cleanliness. Their women were healthy and
called Kerala that lies in the South of India handsome, proud of their long tresses of
between the western ghats and the hair and ability to stay young even after
Arabian Sea emerged out of the sea by mothering a dozen children. They
divine dispensation. Anyone who visits worshipped serpents and Bhagavathi (the
Kerala could see that the landscape differs Mother principle). Every tarawad (the joint
in every aspect from the rest of India. The family household) headed by a Karanavar,
people too, to a considerable extent. How the head of the household, had its own
could such a distinctly different area appear Kavu (a bushy growth of trees) where the
as a part of the Indian sub-continent? The serpent was sacredly fed and worshipped.
more one saw Kerala, the more one felt The village had its own Kavu where there
that legend alone could explain it. was the temple of Bhagavathi (also Devi).
Nature was bounteous. Rich soils and heavy
Whatever be the origin of Kerala, it is true
rains gave the people a prosperous
that the people who inhabited it and their
agriculture-based economy. Farming was
culture differed substantially from their
their main avocation except when wars had
neighbours across the mountains. Here was
to be fought.
a race, virile and warlike with chiselled
VIVEKANANDA KENDRA PATRIKA 82 DANCES OF INDIA

of succession) according to which


ownership of land in a family was vested in
the woman, the eldest male member being
the manager of the properties.

As a result, religion and rituals took the


complex turn seen elsewhere in India. The
priests influence increased rapidly and it
was not difficult for them to secure the
most privileged position In society. The
ruling Nayar race believed that anything
that was Devosvom (belonging to a temple)
was sacred. So, in war, Devasvom
properties were all safe. Soon,
Brahmasvom (belonging to a Brahmin) also
acquired the same immunity. There was a
practice earlier, for a person starting on a
war mission, to transfer his properties to
the nearest temple as that saved it from
expropriation by the victor. Now transfers
took place not only to the temples but
Their life was simple. Everyone was trained
also to the priests. In war-torn Kerala, no
in farming and fighting alike. They had kalaris
wonder, . the priests very soon became
(gymnasia) where they got training in the
the owners of the major portion of the
art of combat and the use of different
country. Legends were also raised giving
weapons. Agility of the physique was
divine blessings to this economic
paramount. Rigorous massage with
transformation of society. Thereafter,
medicated oil was an annual feature of
society looked up to them for favours. They
ones life.
had their own laws of inheritance. They
These people of Kerala had their own codes continued to follow them. They had their
of conduct in peace and war. In peace, own rigorous laws of marriage within their
they were extremely benevolent and fond community. But they would marry into other
of recreation. In war, they were steadfast communities too. Others welcomed it as it
and fought to a finish. There were times improved their social status then.
when wars In Kerala among the different
Influence of Folk-Drama
chieftains carried on for over a hundred
years. Men moved from one end of the Sanskrit got recognised as the language
country to the other, fighting. Many of them of the gods and the elite. Religious rituals
never returned home .. So, a different land called for proficiency in Sanskrit. Knowledge
tenure system was established of Sanskrit was a social status symbol. The
Marumakkathayam, (the matrilineal system Namboodiri brahmins, the land owning class,
VIVEKANANDA KENDRA PATRIKA 83 DANCES OF INDIA

had enough leisure to devote themselves


to literature and recreation with abandon.
The dance and the drama attracted them
more than anything else. The popular folk-
forms of ritual plays like Darika Vadha(1)
influenced the new forms of dance and
drama that they evolved. These folk art
forms were full of colour and demonstrated
a tempo of furious frenzy. Deep saffron
and black symbolised evil. Green or bluish
green was used to denote goodness and
nobility.

Koodiattam and Koothu

When it was decided to evolve a new


pattern for the presentation of Sanskrit
drama, the choreographers picked up these
colours to accentuate character build-up.
Over a period of time, Koodiattam, the and always ended before dinner. A koothu
ancient Kerala way of presenting Sanskrit was a piece of entertainment limited in time
dramas came into vogue. It called for but unlimited in hilarity. It was a
professional specialisation in histrionics. combination of the various factors that go
Those who chose this profession were to entertain an intelligent audience. It
called Chakyars. It was a full-time abounded in social satire. The Chakyar
profession calling for very rigorous training. treated the king and the beggar alike. To
Naturally, those who took to it could not hold together an audience by sheer gift of
also perform priestly functions at the same the gab was not easy unless accompanied
time. So, in course of time, Chakyars by extraordinary histrionic ability. This was
became a caste of their own, confining what made Chakyars inimitable and paved
themselves to the theatre. Along with the way for a theatre which excelled
Chakyars, women of the Nambiar community everything else in its finality Of aesthetic
took part in the drama. Among Chakyars, expression.
there were extremely talented actions.
A leisure-laden class of Sahridayas
They came out to do mono-acts and
(connoisseurs) when they abounded in
entertain audiences at convenient hours.
society, could devote considerable
Koodiattam, the drama, usually commenced
attention to the perfection of evolving art
after dinner and went into the early hours
forms. Thus it was that Koodiattam received
of the morning. And it went on for several
enviable nourishment and meticulous care
nights continuously. But the Chakyar
of detail. Dramas were specially written to
Koothu or the mono-act performance was
suit this stylised system and it became a
usually done in the day or in the evenings
VIVEKANANDA KENDRA PATRIKA 84 DANCES OF INDIA

must for every major temple to include a Krishnattam, became quite popular very
Koodiattam performance during its festival soon. It copied the costumes of Koodiattam
season. but improved upon them. For certain
characters, it also used masks. Being a
The Auditorium
new art form directly promoted by a
Acoustics was important for both the powerful rulery. Krishnattam became a
drama and the mono-act. The architects regular feature in important festivities. Its
of Kerala arts were therefore commissioned novelty drew to it many people away from
to produce the perfect piece of acoustic the Koodiattam stage. The rasikas who
excellence. That was how the patronised Krishnattam and Koodiattam
koothambalams in the temples of Kerala Were the same, the elite members of
came to be designed and built. Their society who had learned Sanskrit and could
acoustic excellence had to be experienced appreciate its literary depths.
to be believed. And it was in these
Ramanattam
koothambalams that the famous plays
Tapati Samvarana and Subhadra Malayalam, as a distinct language, had
Dhananjaya of King Kulasekhara Perumal come to stay by then. Ezhuthachans
of Kerala of the eighth century A.D. were famous works, the Adhyatma Ramayana
enacted. To present seven acts, it took and the Mahabharata, were household
them as long as two months. The possessions all over Kerala. The language
introduction itself could take four days. had arrived with its own distinct diction,
There could be no more evidence of the rhetoric and imagery. Every Nayar
existence of an extremely discerning, household considered it a matter of
leisure-loving class and the dominant place prestige and later, a matter of routine to
the drama occupied in the cultural get the children, both boys and girls
panorama of Kerala from ancient times. educated.

Krishnattam Earlier this was confined to Sanskrit works


like Raghuvamsam and Sriramodantam, But
As the centuries rolled by, another addition
after the emergence of the mellifluous
to the theatre was Krishnattam. Those were
master- pieces of Ezhuthachan,
days when the Zamorins ruled the northern
Manipravala, the judicious mixture of
half of Kerala with their capital at Calicut.
Sanskrit and Malayalam used by him to
Sometime in the first half of the sixteenth
evolve a charming style of his own became
century, the reigning Zamorin was one
a popular theme of study and emulation.
Manavedan, a great scholar and patron of
Poets, who earlier had confined themselves
arts. He wrote a drama based on Krishnas
to writing poetry in Sanskrit alone took to
life and choreographed it into an elegant
composition in Manipravala. A new
art form, called the Krishnattam (the play
awareness of the seamier side of life was
of Krishna). He also gave it a dance base.
spreading among the middle classes. The
The script was in Sanskrit and the artists,
highly Sanskritised Koodiattam and
Chakyars.
VIVEKANANDA KENDRA PATRIKA 85 DANCES OF INDIA

Krishnattam were too high-brow for them. as a troupe and give performances in
They needed something lighter, something different parts of Kerala. Dancing and a
that could hold their enthusiasm. As it sense of rhythm came naturally to the
always happened at the time of such a Nayars as their training in physical combat
need in the cultural history of any people, and warfare conducted in the Kalaries
the Raja of Kottarakkara came forward with (gymnasia) was imparted according to a
his new theme, the Ramanattam. tala (time beat). Religious rituals from the
early days involved dancing accompanied
Compared to the Zamorin, Kottarakkara
by music and drumming. Over the centuries,
was a lesser Raja. He was the chief of a
music mostly in folk-song style, developed
small principality at a place about eighty
and acquired a distinct pattern of its own
kilometres to the north of Trivandrum, the
in Kerala. Music drew the Nayars to it and
present headquarters of Kerala State. He
they wove it attractively into their
was a great scholar and had grasped the
ritualistic dances. So when Ramanattam
essentials of the drama extant then. He
was introduced by the Raja of
composed a play based on the Ramayana.
Kottarakkara, it was easy for him to
As it took eight days to present a
integrate an already existing style of music
Krishnattam play, he too devised his play
and pattern of dancing.
into one for eight days. The essential
differences between the two were that. Kathakali
while Krishnattam was all in Sanskrit and
Within the first two decades of the
was enacted only by Chakyars,
emergence of Ramanattam as a distinct
Ramanattam was in Manipravala style and
form of theatre, it became clear that the
performed by the Raja himself and his
actor could not do justice to music, dance
Nayar soldiers. That was the beginning of
and action at the same time. Dance
Kathakali, the classical theatre of the
affected ones breath; music demanded a
people of Kerala.
steady breath. It was between 1630 A.D.
Opinions differ on the exact dates on which and 1640 A.D. that the Raja of
these plays were composed by the Raja. Vettathunadu, a great lover of arts came
Reliable research scholars place the period into the scene to develop this art form. By
somewhere between 1575 A.D. and 1630 then, the Raja of Kottarakkara was no
A.D. The Raja himself supervised the more. Vettathu Raja was a great scholar
training of the actors who were all chosen and connoisseur of the drama. He was ably
from his army composed wholly of Nayars assisted by his versatile army chief,
and led by their chieftain, Kittu Kurup. Sankara Nayar. It was at their hands that
Costumes were improvised, the typical Ramanattam got refined into Kathakali. They
Kerala colours, bluish green, red and black introduced many reforms, the most
dominating them in the facial make-up. The important of which was to provide a
actors learnt their words by heart and sung musician, to sing the entire dialogue so
them while acting. After a few that the actors could be fully free to
performances, they got confidence to go interpret it with gestures and movements.
VIVEKANANDA KENDRA PATRIKA 86 DANCES OF INDIA

Thereafter, the actor could concentrate commence.


on specialisation in abhinaya (aesthetic
The Chenda
expression) leading to the present state
of stylised perfection. The Raja also The most notable contribution of the
improved the system of costumes and Vettathu Nayar combination was the
make-up. Masks used earlier by demons introduction of Chenda, the vibrant drum
and monkeys following the practice in that since then became the core of the
Koodiattam or Krishnattam were done away accompaniments. The chenda is held
with. Instead, faces were painted with vertically and is usually played with drum-
appropriate colours. It was the Raja- sticks. Earlier, as in Krishnattam, only the
Sankaran Nayar combination who maddala was used.
introduced two of the most beautiful
Thiranokku
components of the Kathakali performance,
namely Purappatu and Thiranokku, Thiranokku, another formality introduced
by the Vettathu Raja was a stylised debut
Thotaya

Earlier, at the commencement of the


performance there was only a simple
formality. That was called Thotaya. It was
an invocation and consisted of an epitomy
of the dance movements. The actors
playing the role of Rama and Lakshrnana
would perform thotaya to the
accompaniment of maddala (the drum
played in a horizontal position with bare
hands.) The order and sequence of
movements to be followed were prescribed
by the Raja of Kottarakkara. The play of evil characters or characters of
commenced thereafter. extraordinary prowess. To register an
intensive impact on the audience of the
Purappatu
entry of a powerful character, this method
Purappatu, the formality introduced by the was thought of. As the drums play
Vettathu Raja followed thotaya. In this relentlessly to the prescribed tala the
case, the heroes of the play made a formal character brings down the Thirassila and
debut before the audience by holding the projects himself or herself to the audience.
thirassila (curtain) down with their hands The expressions used on this occasion
and giving an opportunity to the spectators would typify the bhava (the aesthetic
to see them and their make-up close at emotion) that dominated the succeeding
hand. The movements that formed a part scenes.
of Purappatu were again pure dance. After
Music
this formality was over, the play could
VIVEKANANDA KENDRA PATRIKA 87 DANCES OF INDIA

Kathakali was on its way to growth and He was ably assisted by Chathu Panicker,
popular enthusiasm. Kalaries (centres of a talented artiste and a highly imaginative
training) were getting established in leader of men. Together they not only laid
different parts of Kerala. One of them that great stress on scientific music but also
made a significant contribution during the took pains to prescribe in meticulous detail
period to improve its showmanship was at the stylisation to be followed scene by
Kurichi near Kottayam in the erstwhile scene. It was the Raja Panicker combine
Travancore State. The teachers at Kurichi who made Sringara the most delightful and
introduced two musicians instead of one. inevitable component of Kathakali. The slow
The first, the leader, using a gong controlled development of the bhava through a highly
the tala of the actors and drummers as he stylised combination of expression and
sang the dialogue. The second one used movement became a standard pattern ill
heavy cymbals to keep the Kathakali called Pathinha Pada; its
accompaniments at a high tempo and stylisation and choreography received
repeated the songs to enable the actor to attention at his hands more than anything
complete his interpretation. The first one else.
acquired, in course of time, the status of
Kottayam Raja and Chathu Panicker
a stage director and came to be known as
together made many remarkable
Ponnani and the second one, Sankidi.
contributions. They recognised the need
Kottayam Raja, the Preceptor for a high standard in the musicians and
drummers. They also recognised that artists
The next important period of development
of such high quality should receive the
of Kathakali was during the time of the
approbation of the audience. They seldom
Raja of Kottayam in North Kerala who lived
got the opportunity to display their ware
between 1665 A.D. and 1725 A.D. He was
to advantage while the play was on as all
a great scholar. He was also a great
attention was on the actors. So the Raja
connoisseur of the drama. He was drawn
and Panicker introduced an interlude
to Kathakali early in life. He trained himself
between the Purappatu and the
as an actor of inimitable repute. His
commencement of the play. That was
histrionic talents were legendary. He found
Melappada. Jayadevas Gita Govinda, the
that the stories of the Ramayana were
great lyric in Sanskrit that had immortalised
devotion-oriented and so did not give
the love of Radha for Krishna was a popular
adequate scope for the effective display
work in Kerala at that time. It had, earlier,
of all the nine bhavas. He therefore decided
inspired the author of Krishnattam.
to write stories based on the Mahabharata
Kottayam Raja was also inspired by it
where men were men and women were
considerably in his handling of the Sringara
women. The Mahabharata offered unusual
rasa in his plays. The poem commencing
scope for the display of all the bhavas. He
with the words Manjuthara in Gita Govinda
wrote four famous plays, Kirmeera Vadha,
was adopted by the Raja to enable the
Baka Vadha, Kalyana Saugandhika and
musicians to display their proficiency before
Kalakeya Vadha.
VIVEKANANDA KENDRA PATRIKA 88 DANCES OF INDIA

the audience. The piece was sung to the Maharajas reign lasted nearly forty years.
accompaniment of the drums and cymbals. That was long enough to stabilise all such
At the end of it, the drummers came reforms and ensure them as a permanent
forward and demonstrated their dexterity feature. The palace troupe, as the
before the audience. The combination of permanent troupe was called, attracted the
the singing of Manjudhara and the display best talent. Over a period of time, it
of drums following it, was named Melappada. became an established convention that a
Thus, after Kottayam Rajas reformation, Kathakali actor could be deemed to have
the performance began with Thotaya, graduated only after he was permitted to
followed by Purappatu and Melappada join this troupe even if only for a day and
before the story commenced. This format perform at the Sri Padmaanabhaswamy
has continued till today. Temple.
Travancore Maharaja and Kaplingad
There is very little change in the Kathakali
Namboodiri
that we see today as compared to what
The next major development of this art had emerged after the Maharaja and
form followed soon after. That was during Kaplingad Namboodiri had given it the
the time of Maharaja Karthika Thirunals overhaul and trimmings.
reign of Travancore State between 1758
Abhinaya in Kathakali
and 1798 A.D. Poet, statesman and
connoisseur of arts, the Maharaja wrote a Abhinaya is histrionic expression or histrionic
number of plays and constituted a representation. It is the essence of
permanent troupe for regular performances theatre. In Kathakali, Abhinaya dominates.
in the famous Sri Padmanabhaswamy
Abhinaya has been broken down into four
Temple at Trivandrum. As luck would have
distinct dramatic elements, each separately
it, another great lover of Kathakali entered
identifiable and fully developed. They are
the scene at the same time. That was
Aharya (Make-up and costume), Vachika
Kaplingad Namboodiri. An aesthete of no
(the spoken word), Angika (gestures) and
mean standard, a scholar of enviable
Satvika (aesthetic emotional expression).
proportions and a fanatic devotee of this
art form, the Namboodiri joined hands with Aharya
the Maharaja to make Kathakali, the most
The first impact of Kathakali on one who
enjoyable theatre art Makeup for each
sees a performance is made by its colourful
type of character was specified and
make-up and costumes. Aharya thus plays
compliance ensured. Costumes were
an important role in the build-up of the
prescribed with an eye on showmanship,
Kathakali atmosphere. The make-up or
colours being chosen with particular
costume in Kathakali was not invented
reference to mythological tradition and
overnight. It was evolved over a period.
effectiveness on the stage. Stylised
Kathakali presented themes of gods,
movements were systematised and the
demons and supermen. It was necessary,
training programme drawn up in detail. The
therefore, to create the necessary
VIVEKANANDA KENDRA PATRIKA 89 DANCES OF INDIA

atmosphere to generate an impression of Basic qualities are three: Satvika, Rajasa


unearthliness in characters. The ancient and Thamasik. Satvika stands for the noble,
traditions of folk-arts of Kerala were there generous hero, usually described as the
to draw from. The choreographers of Dhirodatta. Gods, noble kings and princes
Kathakali freely used what was available are brought under this group. Examples are
in folk-arts like Thira, Koodiattam and to Indra, the king of gods, King Nala, King
some extent, even Krishnattam. Then they Yudhishtira and the Pandava brothers. For
such characters, the face is painted green,
symbolising inner refinement, poise, heroism
and moral excellence. Green is Paccha in
Malayalam. So these characters have come
to be generally referred to as Paccha. The
face is marked off by a white chutty
beginning from the middle of the chin and
rising on either side of the face along the
jaw bones in a bow-shaped curve. The
chutty is terraced inside and it serves to
project the face as a miniature stage for
expression. The face is painted bright green,
lips, brilliant coral red. Eyes are drawn out
in black border lines and eyebrows neatly
pencilled. On the forehead a Vaishnava
mark is given in red and white.

Consistent with their basic qualities, the


characters in Paccha are dignified, graceful
and aristocratic in their bearing and
movements. They do not open their mouths
even when they smile. Systematic training
has made it possible for the actor to smile
and even laugh effectively without opening
improved upon them. Character was
his mouth. They wear kiritas (headgear)
considered more important than individual
made out of pith and wood, and elaborately
features so far as make-up was concerned.
decorated with mosaic.
Thus a noble character, be it god or man
could be presented with identical makeup. Among characters generally classified under
Similarly an evil one, be it a demon or a Paccha, there are some variations to suit
man could use a common make-up too. specific requirements. Krishna stands out
Classification of characters by their basic among them. Krishnas headgear is
qualities therefore, determined the different. Instead of a Kirita, he wears a
costume. muti, It is a coronet, decked with peacock
plumes. While Paccha characters generally
VIVEKANANDA KENDRA PATRIKA 90 DANCES OF INDIA

Wear red jackets and white skirts, Krishna There are some variations among katthi
wears a blue Jacket and a dark blue skirt. characters to emphasise specific
Krishna also wears a large garland differences. An unusually wicked, fierce or
representing vanamala (the garland of wild wily katthi character is indicated by a larger
flowers). Krishnas costume is also used knife-like pattern, like additional red
for Vishnu. Rama and Lakshmana also patches over the eyebrows and sometimes
appear with the same headgear. a black beard too. In Kathakali, katthi is a
preferred role. Every leading actor would
Katthi
be keen to perform a katthi role and win
The second broad classification, namely, approbation as it has wide scope for the
the Rajasa type are Dhiroddhathas display of his histrionic expression.
representing ambition, might, arrogance
Katthi characters are permitted to make
and defiance. They are Pratinayakas
weird noises to accentuate their
(villains) as against the Pacchas type that
expression. These noises vary in
denotes Nayakas (Heroes). Kings among
appropriate density in relation to the mood;
Rakshasas (demons) or Rakshasas (evil
from cooing while courting to rearing when
ones) among kings fall under this category
angry.
for purposes of Kathakali make-up.
Examples are Ravana, Kamsa, Duryodhana Thati
and Kichaka. The make-up is called Katthi.
Thati is the generic term used for the make-
The green background of a paccha make-
up of characters that typify the Tamasik
up is broken by a knife-shaped red patch
quality; namely, vicious and vile characters,
with a white border line, drawn close to
cruel and power-crazy. Red Thati is the
the upper cheek bon s. On the forehead,
prominent one among Thati characters.
at a point close to the root of the eyebrows
Examples are rakshasas (demons) like Baka,
and at the tip of the nose, chuttippoos
wicked men like Dussasana and Susharma,
(white balls) are fixed. The make-up is
The make-up is distinctly different from
intended to project defiance, arrogance
Paccha and Katthi. The white chutti frame
and a savage majesty. Katthi characters
work common to Paccha and Katthi is
wear inside their mouth a pair of canine
absent. Instead, the attempt is to project
teeth which they can bring out at will while
an embodiment of elemental, untamed
expressing wrath. In keeping with their
passions, mighty and overpowering. Bright
character, they move about in arrogant
red and deep black combine the colours
majesty as though they were a law unto
painted on the face to remove any
themselves. The character are generally
suggestion of softer graces or restraint.
sensual and pleasure-seeking as much as
The eyes are made ferocious with a patch
they are headstrong and valiant. There is
of deep black around them. The lips are
no difference between Paeeha and Katthi
pain ted black giving them a lurid look. On
characters so far as the headgear or the
each cheek a white pattern is made, looking
costumes are concerned.
like bristles. The white balls affixed to the
VIVEKANANDA KENDRA PATRIKA 91 DANCES OF INDIA

tip of the nose and to the forehead are Minukku


much larger than those used for Katthi.
Apart from the three basic categories of
The headgear is very much larger than the
make-up, there are some others of note.
kirita and its rim, fitted with red wool. He
Of these, Minukku is a common name given
roars like thunder and moves about in
to the make-up of women, rishis (sages),
aggressive hauteur. Everything about this
messengers and Brahmins. Minukku really
character denotes beastly ferocity and
refers to the facial make-up alone. The
brawny might.
painting is done in flesh colour in a simple
Among Thatis, an important variation manner. Lips are painted red and the eyes
relates to Kali, the evil character in the and eyebrows accentuated. The make-up
story of King Nala. The make-up is equally signifies gentleness, restraint, poise and
ferocious; but he wears a black beard spiritual qualities. The costumes are
instead of a red one. unostentatious. There are no bulging skirts,
blazing overcoats or imposing headgears.
A further variation is used for the monkey
A rishi wears a Jatamukuta (like hair tied
kings, Bali and Sugriva of the Ramayana.
up over the head). A Brahmin merely covers
Though they are not classed as demons,
his head with a piece of cloth. A messenger
they are still fabulous animal kings
wears a turban.
possessing brute force. The difference is
provided by a white curved patch on either The costumes of feminine characters (other
side of the chin. than a demoness) are indeed a class by
themselves. In Kathakali, it is almost always
Sudarsana chakra, the all-annihilating
men or boys who play the roles of feminine
discus-like weapon of Vishnu is also given
characters. There are, therefore, no
the Red Thati costume.
natural advantages for display. Not only
Black Thati is used for jungle tribes and that. The costume should not also expose
aboriginals. They represent the elementary the man behind it. So it is very carefully
man, primitive, uninhibited and alert. The designed. The make-up is also delicately
face is fully painted in black with bracket- arraigned. A light golden yellow paint is
like patterns in red and white around the used for the face. Powdered mica is
eyes. Lips are painted dark red. and at the sprinkled over it. The eyes and eyebrows
tip of the nose, a flower like chuttippoo is are delicately elongated with a sensuous
worn. His headgear is also peculiar. It is curve. The hair is dressed into a knot, near
black in colour built with peacock feathers above the forehead, a little to the left.
and is shaped like a lotus capital. He wears Over this, a light coloured veil is worn,
a black beard and carries a bow and arrows extending to the waist. A tight-fitting red
and a sword. He makes a simple noise jacket covers the body and arms. A gilt
resembling a birds chirp. Examples of such breast plate with two red breasts fixed on
characters are the Kattala (hunter) in the it is worn on the chest and a white scarf
story of King Nala and Kirata (Siva in drawn over the neck covers them. An
disguise as a hunter). ornamental belt is worn over a white sari
VIVEKANANDA KENDRA PATRIKA 92 DANCES OF INDIA

pleated with folds. And then there are the Kathakali is provided by the two musicians
ear-rings, necklaces, armlets and bangles. who sing the slokas and the Padas from
Femine characters movements are in the behind the actors. The slokas constitute
lasya style as contrasted with the the narrative portion which may include
masculine thandava. introduction of the characters appearing
in the scene, the events that have taken
Hanumans Costume
place in between scenes and so forth. The
For Hanuman, the make-up and the Padas constitute the dialogue. They are
costume are both unique. Hanumans all set to specified thalas. The style of
costume is referred to both as white thati singing is known as Sopana, derived from
and Vattamuti. The upper half of the face the patterns adopted for singing hymns at
is painted black and the lower half red. the temple precincts.
Lips are painted black and a white
Angika
moustache pattern is drawn on the upper
lip. The nose is painted green and there Angika abhinaya has a major role to play in
are two ovals in red on the forehead. A Kathakali. As the actors do not use the
white chutty- like pattern is provided on spoken word, they need an effective
either cheek. A white woolly beard is worn gestural language to converse among
over an enormous white fur coat. The themselves. So Kathakali has evolved its
headgear resembles the helmets worn by own elaborate language of gestures.
French colonial officers in the eighteenth
The basic component of this language are
century.
the mudras (hasta lakshanas or hand
These constitute the main costumes. Then gestures). The language of Kathakali has
there are variations for the swan, serpent been drawn freely from Bharatha but has
kings, Narasimha (man-lion-an incarnation been enriched to express almost everything
of Vishnu) and so forth. Most of the male under the sun. The gestures can be
characters wear long silver nails on the generally classified as
left hand fingers. They help enhance the
Imitative: to show an elephant, a lion,
elegance of the mudras .
a deer, a snake and so forth
Kathakali actors eyes are always reddened
Descriptive: to show things like fire, river,
by the application of a flower (Solanium
mountain, city, house, etc.
pubescence). The crimson eyes not only
add a sense of contrast in colour but also Expressive: to express different moods
provide a vibrant, sensitive instrument for like courteousness,anger, impatience,
effective expression. All this takes time. contempt etc. and
To get an actor ready for the stage, it
symbolic: to indicate destiny, Heaven,
usually takes between four to five hours.
Hell, God, etc.
Vachika
To express something, be it a word, an
The Vachika component of abhinaya in idea or a sentence and to convey the full
VIVEKANANDA KENDRA PATRIKA 93 DANCES OF INDIA

meaning of it, it is not enough if the hand aimed at. The actor merges with the role
gestures alone are employed. The facial portrayed. His description, for instance, of
expressions must accompany the hand a lotus, its blossoming and its folding up at
gestures. Intensive and ruthless training dusk does not come out of mere training
for a period of a dozen years or more but of dedicated observation of the lotus
enables the actor to bring under perfect in a pond from dawn to dusk and assimilating
control every part of his body solely for the very spirit of its life.
the sake of aesthetic expression. His eyes
The Stage
are ever vibrant, his facial muscles
eloquent. his finger-tips creative and his The stage of Kathakali is the simplest
whole person the very embodiment of imaginable. The only equipment needed on
rhythm. The language of Kathakali is thus the stage is a huge coconut-oil-fed lamp
an integrated effort of the limbs, the eyes, towards which all movements converge.
the facial muscles and the movements of The curtain used is a small rectangular
the body. It is stylised, yet eloquent. piece of cloth called Thirassila. The drums
used are the chenda and the maddala. The
Satvika Abhinaya
Chenda is not used during Lasya. The other
Satvika abhinaya is the core of Kathakali, musical accompaniments used are the
It is the perfection of Satvika abhinaya Chengila (the gong) and ilathala (the
attained in Kathakali that has made it the cymbals).
total theatre. Satvika abhinaya is also
The Traditional Performance
known as Rasa abhinaya. Rasa is aesthetic
flavour or sentiment. In a drama all the In the truly traditional style, Kathakali is
various aspects of abhinaya should played throughout the night in the open
culminate in the delineation of rasa. air. It starts in the evening with Kelikottu,
Traditionally, the principal aesthetic the formal announcement t when all the
emotions are nine. They are: drums and cymbals are played in the
Sringara (amour) courtyard for a while. At about 9 oclock in
Veera (Valour-Heroic) the night, the maddala is played for a short
Karuna (Pathos- Pathetic) while in front of the oil lamp. This is
Adbhutha (wonder) followed by Totaya when one or two players
Raudra (Wrath or fury) perform an invocational piece. After this,
Haasya (Contempt-Comic) the musicians sing the first sloka of the
Bhayanaka (Fearful-fright) story of the night. This is followed by
Beebatsa (Disgust-revulsion) Purappatu and Melappada. After the
and Shantha (tranquillity) Melappada, the story begins.

In Kathakali all these are delineated with I1akiattam, the Forte of Kathakali
consummate skill which comes out of the
One of the unique features of a Kathakali
rigorous training the actor has to undergo.
performance is what is called Ilakkiattam.
It is not mere technical excellence that is
The term is used to distinguish it from
VIVEKANANDA KENDRA PATRIKA 94 DANCES OF INDIA

Cholliattam. Cholliattam means dancing to describe his triumphant battle with


the words sung by the musician. The Vaishravana, the Lord of Wealth; the
musician can sing only what is written in capture of the Pushpaka Vimana (the
the poem. When the artistes act to express legendary aeroplane), his storming of
the meaning of the slokas and the padas Mount Kailas and the way in which he threw
sung by the musician, it is Cholliattam. At up the whole mountain as if it were a
the end of it one should normally expect feather and so forth.
the curtain. But the curtain does not fall
Depending upon the talent and the mental
so soon in Kathakali. The characters
horizon of the artiste, he could make the
continue to converse with each other by
scene an unforgettable one. Ardent
the use of gestures and Hasthalakshanas,
devotees of Kathakali look forward to
Depending upon the talent and standing
scenes of Ilakiattam rather than to any
of the artiste on the stage, this
other portion of Kathakali,. Other
conversation can occupy anything from five
occasions when Ilakiattam is done are
minutes to a few hours. An artiste of high
where a character takes an opportunity
calibre can make the scene most effective
to describe a forest (Vana Varnana), the
and delightful.
heaven (Swarga Varnana) and so forth.
Traditions and conventions have determined
Literature
the occasions when Ilakiattam could be
elaborate. To cite one example: the story The plays of Kathakali are written in the
is Bali Vijaya in which Ravana, at the form of Attakathas by eminent poets. There
instigation of Sage Narada, goes to Bali, are about a hundred such plays which are
challenges him to a fight t and gets popular. In addition to the Raja of
thoroughly humiliated in the end. In the Kottarakkara who first choreographed this
scene in which arada, with his inimitable art form, the great composers include the
technique, infuriates Ravana against Bali, Kottayam Raja, Maharaja Rama Varma and
the great Lord of Lanka decides to go and Prince Aswathi Thirunal of Travancore, Unnai
teach Bali a lesson. The pada ends there. Warrier, Irayimman Thampi, Vayaskara
Thereafter, both Ravana and Narada enter Moossu and Kilimanoor Koil Thampuran.
into a long dialogue. The incident can be Unnai Warriers play on the story of King
developed from Ravana picking up his Nala spread over four days is reputed to
famous Chandrahasa, the sword presented be the most outstanding of them all. More
to him by Lord Shiva and Narada making and more plays get written all the time.
fun of him by saying that any-one would But very few make the mark. Literary or
laugh at the idea of a hero like Ravana poetic excellence alone does not make a
using a sword, to vanquish a mere monkey Kathakali play. It is the dramatic content
instead of carrying a small piece of rope to of it and its effectiveness on the stage
tie it up. This could give an opportunity to that matter.
Ravana to explain to Narada what
Versatility of the Artistes
Chandrahasa meant to him. He could
VIVEKANANDA KENDRA PATRIKA 95 DANCES OF INDIA

The hundred and odd plays have more than stylised gestures and movements. It takes
a thousand characters. The unique feature six years before a student can attain the
of the Kathakali actor is that he should be minimum standards of technical excellence.
ready to perform any role without notice. During this period, he gets an opportunity
Usually, the role allotted to an actor is to play minor roles on the stage. The Gurus
announced only when he enters the green task is over when he has satisfied himself
room. The musicians too have to sing the that the student has achieved technical
entire play from memory. The ruthlessness excellence and has acquired sufficient
with which the artistes have to be trained knowledge of the epics so that he could
to attain this stage can well be imagined. effectively project the appropriate
character of the role performed. The
Training In Kathakali
development of the actor into an artiste
Traditionally, the system of training in of distinction depends entirely on his own
Kathakali is the Gurukula style. Boys are initiative thereafter.
caught young, at the age of ten to twelve.
Dancing in Kathakali
They stay with the Guru. The training starts
in the early hours of the morning. To begin In Kathakali, the drama and dance are so
with, the student ha to undergo a rigorous blended together that one cannot separate
course of physical exercises and daily the one from the other. Dancing in Kathakali
massage with medicated oils so that the is not mere Nritta (pure dance) but Nrithya,
body becomes supple enough to provide (interpretative dance) existing side by side
the necessary grace in movements and with Nritha. At the end of every segment
gestures. Separate exercises are prescribed of the dialogue, there is a Kalaasa, a dance
for the eyes, the brows, the chin, the lips, sequence that provides the punctuation.
the head and the neck. The eye gets special Kalaasas vary according to the mood and
attention as it contributes most to an circumstances; they vary according to the
actors excellence on the stage. It is characters doing it. The bhava dominating
necessary that the artiste gains a good the situation dictates the nature of Kalaasa
background in Malayalam and Sanskrit and employed. If it is Sringara, the Kalaasa is
an ability to appreciate poetry. It is also slow, gentle, rounded and graceful. The
essential that he becomes familiar with our Kalaasa that precedes a challenge to battle
vast mythological lore. So he is given daily or when there is righteous indignation would
tuition on the epics and literature. Once be brisk of movement t and expressive of
the body exercises have prepared him for heroic sentiments. Kalaasas in war could
further work, he is put through the various be breath takingly vigorous while those of
dance movements. From the second year feminine characters could be the very
of the training, Cholliattam would begin. embodiment of grace and beauty. Asta
This is done for a few hours every day. kalaasa is the most intricate of all Kalaasas.
The dialogues in the form of padas are sung It is done on rare occasions when a
in the brackground and the Guru directs character is under the inftuence of an
the student to express the meaning in overpowering combination of emotions of
VIVEKANANDA KENDRA PATRIKA 96 DANCES OF INDIA

exhilaration, pride and satisfaction.The sleepy hollow, about 110 Kms. from Cochin.
drums and cymbals accompanying the Founded by the late Poet Vallathol, at a
Kalaasas emphasise their quality with time- when classical art forms were in a
special reference to the bhaua involved. lamentably distressed state, this Academy
Dancing in Kathakali is employed to of Classical Arts is the nearest approach
accentuate the dramatic element, to enrich to. a Gurukula. The Kalamandalam is
the lyrical tone and to build up and sustain financed by the State Government. Another
the entire fabric of the drama on rhythm. institution that does yeomen service to

Sophistication And Power

When Kathakali stormed into the Theatre


de Nations in Paris in 1967, it created
history in the Western theatre world.
Edmond Gilles, the leading critic of Europe,
admitted, It is, in fact, the loss of meaning
in the theatre of the Western world that
had impressed us most, when we came
away from this demonstration of Kathakali
and it seemed as if there were no limits to
what we have yet to learn from the Eastern
theatre. Keith Dowhurst of the Guardian
said after seeing Kathakali at the Sadlers
Wells in London in 1970 that, It is a total
art form of immense sophistication and
power. According to Clement Crisp of the Kathakali is the Kottakkal Arya Vaidyasala,
Financial Times, This amalgam of located at about sixty kilometres from
everything from low comedy to the noblest Kozhikode, Founded by a great
expression of mans relationship with the philanthropist, late P. S. Varier, the
divine has become inevitable for the theatre institution is owned by a trust and is
festivals of Europe and the British Isles. A managed with competence and imagination.
traditional Kathakali performance runs
The Udyogamandal Kathakali Theatre is
through the night and the Mangala sloka is
another institution which has established
sung in the dawn.
reputation for imparting training and show
Training Institutions manship throughout the world. At Pakalkuri,
forty kilometres to the north of Trivandrum,
The most significant institution that imparts
Kalabharathi, an institution founded under
training in Kathakali is the Kerala
the leadership of the late Guru Cheng annul
Kalamandalam perched on the banks of
Raman Pillai is the only one that imparts
river Bharathapuzha at Cheruthuruthy, a
training in pure Kaplingad style today.
VIVEKANANDA KENDRA PATRIKA 97 DANCES OF INDIA

Mohiniaattam
Dr. (Smt.) KANAK RELE

T
he mighty ocean churned on and on.
daanauas, true to their creed, grabbed the
These were no ordinary disturbances
amrita.
arising in the bowels of the ocean
many thousand leagues beneath the a Lord: a Mighty Saviour! Save the universe
surface. Those were not the elements that from this awful calamity. There is nothing
whipped up the ocean. This left but darkness with the
was no seasonal upheaval to amrita in the hands of the
determine the seasons, to daanavas, and Maha Vishnu,
determine the destiny of the the Saviour of the universe,
Universe. On whirled the came to the rescue.
mountain Mandargiri with the
Mohini
serpent Vasuki twined around
it. The devas and the A heavenly glow, heavenly
daanavas were the churners, music, silver bells tinkling
churning away the ocean to beauty unsurpassed-MOHINI.
get at the essence of life, Mohini, the lotus-eyed,
existence. Amrita was the enchanting one and all with her
reward. The magical amrita, celestial dance-Mohini the
the elusive potion that every Enchantress. Oh! the heavenly
living being thirsts for to enchantment. Shut your eyes
achieve immortality, unending a while to perpetuate the
youth. On and on churned the imprint of this enchanting sight
ocean whipping up in your mind. Forget
mountainous waves and everything just a while. This
liberating great force, a force is Mohini--the Saviour is Mohini
that was capable of sinking and this is a dance not of
the earth. The ocean emptied destruction but of
all the unparalleled treasures enchantment in the very air
that it had in its depths. Out that you breathe, in the music
came the kalpavriksha and the and in the twinkling toes of the dancer.
kaamadhenu, and ultimately, Lakshmi. All What if she orders you to shut your eyes
were relinquished to the devas, The only awhile in order to steal your amrita? The
reward was amrita. At last, the great vision of her divine being will enchant you
storms were allowed to subside; Mandargiri forever in your dreams. What is amrita,
to stop whirling and Vaasuki to rest. The immortality, when this divine form fills your
VIVEKANANDA KENDRA PATRIKA 98 DANCES OF INDIA

vision and senses with the enchanting the impregnable shield, a veneer of divinity
dance, the celestial dance, the dance of to everything that is beautiful and thus to
the celestial enchantress--Mohiniattam. be worshipped-to be preserved intact and
inviolate, to be passed on from generation
Mythology
to generation.
Mythology. A magical word. Indian traditions
Actually, beneath these surface ethno-
have always found an impeccable ally in
cultural interactions, there lay the strong
the Hindu pantheon, The Indian mind is so
layer of the earliest culture which was a
conditioned as to accept as gospel truth
throwback from the indigenous pre-Aryan
all that is decreed and propagated by the
races and comprising of images and
mythological themes. Hinduism as a way
impressions which were linked to prehistory.
of life lays down a set of tenets to be
This resulted in the religious practices
followed by those who wish to tread the
acquiring high ritualistic ferver revealing
right path. The principle to be propounded
intimacy with magic formulae of the
is so woven into the texture of the theme
Taantric cult. The belief in magic, sorcery
that its message is manifest as such only
and witch-craft and their practice helped
to the learned and the initiate, to those
to maintain contact with the unseen and
who are seeking it. It is then left to these
mysterious forces. And thus the Hindu
people to interpret and preach these
pantheon came to be used to represent
aspects to the general mass of ordinary
the fundamental struggle between good
people.
and evil-the daanvas emerging from the
India has always been the melting pot of depths of the nether world to challenge
different cultures of the races that the devas. And man was encouraged to
periodically swept down her fertile plains hope for a deliverance from such a
and made her their permanent home. To confrontation through the alliance with the
lay down tenets that would be acceptable supreme and benevolent power which is
to the temperaments, beliefs and always victorious. This benevolent power
inclinations of all these ethnic groups was itself could liberate a tremendous magical
a herculean task. A way had to be found force which could shake the universe. It
which was an envelopment of the could create great natural disturbances,
multiracial society and at the same time plot great wars and unleash calamities-all
so very simple as to be acceptable to the creations of the magical divinity. A mesh
ordinary simple mind. And what could be net of spell was magically cast to create
better than to achieve it by utilising the illusions-maaya. But every now and then
traditions that dated to prehistory- the beauty-worshipping romantic spirit
mythology? It could be said that our very flowered. And again and again this same
inspiration, the mainstream of creativity, benevolent power would assume a form of
is drawn from mythology and divinity. great beauty, this time casting a magical
Essentially a race of worshippers of beauty, spell of sheer enchantment-Mohini the
it is only fitting that Indians should give enchantress employing her guiles to
VIVEKANANDA KENDRA PATRIKA 99 DANCES OF INDIA

enslave the evil forces. And there being a subtle permeation of the
regional folk practices in the classical
Our mythology registers a number of these
dances there emerged robustness and
clashes between Mohini and the daanvas
vitality which added not only
or asuras. And in many such instances it
distinctiveness and verve but also beauty
is Mahaa Vishnu, the life sustainer, who
and enjoyment. Out of all these, Mohini
assumes this enchanting form. An
Aattam is perhaps the best example of such
enchanting dance, the resultant divine
a fusion. Foundationally a product of the
force, the fruit of that romantic spirit which
interaction of two cultures and their artistic
flowered again and again; Mohini dancing
creations-the Kerala and the Tamil-it has
the dance of the enchantress-Mohini
in its framework the beautiful lyrical
Aattam.
elements of the social folk-dances of the
The Style and Grace graceful Women of Kerala.

The art history of India abounds in Kerala is, and justifiably so, renowned for
instances which illustrate her rare quality the magnificent Kathakali which was and
of assimilation and synthesis which is to a greater extent still is the exclusive
perhaps the secret of her culture and art preserve of man. Its severe demands and
flourishing in an almost unbroken continuity exclusive admittance of men seemed to
for several millennia. So it is easy to accept seek, very naturally, a more graceful and
the fact that while at one time the dance flexible dance form suited to the women.
must have been, in fact was, almost The existing matrix of social dances
identical in all parts of India, it eventually performed by the women on festive
developed variations and styles like the occasions provided a beautiful skeleton
dialects (Prakrits) and then on to the which could be filled with the flesh and
modern languages imbibing local sinews of the classical practices as codified
geographical and social traits and by Bharata in the Naatya Saastra and its
characteristics. Against this factor it can resultant dance practice and repertoire
be seen how the four better known dance which was flourishing and was extremely
styles of Kathakali, Bharata Natyam, popular in the adjacent Tamil and Telugu
Manipuri and Kathak came to be developed provinces. And as would be natural, Mohini
and practised as similar and yet very Aattam exhibits great affinity to the
different dance styles. theatrical tradition backing Kathakali.

Until very recently it was presumed that Antiquity


these were the only classical styles of
There are different opinions regarding, its
Indian dance. Then in an imperceptible and
antiquity. There are some scholars who
dramatic manner, styles like Kuchipudi,
would date it as early as the
Odissi and Mohini Aattam were discovered
Silapadikaaram (2nd century A.D.) and yet
in their native setting and brought out on
some others who would date it to the 10th
the urban stage to the delight and
century A.D. basing their surmise on two
wonderment of the modernised art lovers.
VIVEKANANDA KENDRA PATRIKA 100 DANCES OF INDIA

inscriptions. The Chokkur inscription seems illustrious successor-Swati Tirunaal. For a


to be the earliest (932 A.D.) reference to long time, many of the historians were under
dancing girls in Kerala using the word the impression that it was in Swaatis court
nangayar. There is also an epigraphic and at his instance that Mohini Aattam
record of 934 A.D. from Nedumparam Tali came into being. Almost everyone based
prescribing the quantum of payment to the their opinion on the fact that Swaatis
nangayars and nattuvanaars (dance- exquisite lyrics were predominantly used
masters). A book called Vyavahaaramaala in Mohini Aattam. Also, after Tanjores King,
in Sanskrit written in 16th century A.D. Sarfojis death, two brothers--Ponniah and
has a Malayalam commentary written in Vadivelu-(of the renowned Tanjore Quartet
1709 A.D. where it prescribes the royalty responsible for shaping todays Bharata
to be paid to Mohini Aattam players and Natyam repertoire) migrated to Swaatis
other artistes. Later, Kunjan Nambiar, the court. Swaati himself was a musician and
creator of Ottanthullal a poet of exceptional merit.
mentions Mohini Aattam. It seems certain that with
The reference to Kunjan his highly developed
Nambiar brings us to the aesthetic and artistic taste,
glorious period of the Swaati realised the great
Travancore Maharajahs. The potential of this lovely art
most note-worthy for Mohini and accorded it patronage
Aattam being Sri Kartika and improved its status.
Tirunaal Ramavarmaa (1758-
This would easily explain the
98 A.D.) who wrote the
fact that the Mohini Aattam
Balaramabharatham, a
repertoire runs parallel to
standard work in Sanskrit
that of Bharata Natyam,
based on the Natyasaastra
which is very natural since
with a strong bias towards
the Tanjore vidvaans would
dancing. The king himself
influence the entire process
mentions that he is writing
and Swaatis kritis would
on the prevalent practice of his times. Also
naturally provide fitting accompaniment.
Ullur S. Parameswara Iyer in his Kerala
And yet there are a few dissimilarities.
Sahitya Charitam (Part III pp. 327) writes:
The Maharaja (Kartika Tirunaal) was very Similarities and Dissimilarities
pleased on witnessing Dasiyaattam which
A traditional Bharata Natyam recital today
came from para desa (Tamil-nadu). He
has the following items-Alarippu,
arranged with Karutedat Chomatiri, one of
Jatisvaram, Sabdam, Varnam, Padam,
his courtiers, to promote and spread in
Jaavali, Slokam and Thillanaa. But in Mohini
Kerala this art form in the name of Mohini
Aattam, we find that there is no item similar
Aaattam for the first time.
to Alaarippu and instead Cholluketta is
And now we come to Kartikka Tirunals danced as the invocation. But this practice
VIVEKANANDA KENDRA PATRIKA 101 DANCES OF INDIA

appears to date back to the ancient times. more exuberant and eloquent than the
The Chollukettu is followed by a Svarajati detached representations of Bharata
or a Jatisvaram. The Sabdam that follows Natyam. Soft, imbued with grace and
in Bharata Natyam is absent in Mohini delicacy it appears to be richer and more
Aattam; it appears that it has got merged dynamic. Mohini Aattam has the emotional
into the Chollukettu. Then comes a depth of Kathakali and the visual and
Padavarna -a taxing item in both the styles ennobling appeal of Bharata Natyam.
which beautifully blends nritta (pure dance)
A special mention must be made of the
and nritya (expressive dance). There are
nayanaabhinaya of Mohini Aattam. The
Padams in plenty in Mohini Aattam. The
merrily dancing eyes and the gaily fluttering
other items are Slokam, ]aavali and
eye-brows of a Mohini Aattam dancer
Tillaanaa.
create a devastating atmosphere full of
One of the most glorious and individualistic mischief and bewitchment-totally suitable
characteristics of Mohini Aattam is that it to Mohini, the enchantress who has come
uses almost all the major languages of the to enchant. Yet this enchantment does not
South as also Sanskrit. mean overstepping the limits of decency
and decorum. Rather it is human activity
Technically, the basic posture of the feet
of the highest order; of decency and
resembles that of Kathakali excepting that
decorum which create a rare feeling of
the loot is planted flat on the ground and
satisfaction and happiness without arousing
not on its edge as in Kathakali. The foot-
the base feelings or hurting the sensibilities
work greatly resembles Bharata Natyam but
of ordinary decent human beings. The
there is no vigorous stamping as in Bharata
Mohini casts the net of her maaya and
Natyam.
envelops the entire audience stilling their
The body movements are rotary-very inherent asurik tendencies . Mohini never
graceful and flowing giving a fullness to lure, only enchants.
the torso which balances the upper and
It is worth mentioning here that at the
the lower parts of the body in perfect
turn of the present century this lovely
harmony giving to Mohini Aattam the
dance style had reached SUI such a pass
fascinating picture of the undulating palms
that only three or four items from its once
of the Kerala sky-line and its rippling back
rich repertoire were practised. But due to
waters. The simple and soft costumes and
the efforts of a few dedicated dancers,
jewellery identify Mohini Aattam with the
the present author being one of them, this
soft pastoral charm of Kerala.
dance style is coming into its own and is
The rich abhinaya of Kathakali is softened accepted as one of the major classical
and made more subtle and yet it is definitely dance practices of our country.
VIVEKANANDA KENDRA PATRIKA 102 DANCES OF INDIA

Bharatanatyam
SMT. CHITRA VISWESWARAN

E
ach nation in this world is and music; in Indian art these three are
characterised by certain closely related and can never be completely
features peculiar to that particular diversed from each other. The dramatic
country. With India what is decidedly scriptures of our country are said to have
striking is the attitude towards life and all been brought into being by Brahma at the
that forms part of it. The Indian mind tends request of the lesser gods. The blessed
to interpret all happenings in the world in Brahma framed the Natya Veda culling parts
philosophical terms. And Philosophy here from the four Vedas. From the Rig Veda he
is in turn closely connected and interwoven drew forth words, from Sama Veda, singing,
with Hindu religion. In India these two fields from Tajur Veda, gesture and from Atharva
run along parallel lines that often fuse into Veda, flavour (vide Chap. I,Bharata Munis
one. They can never be separated and Natya Sastra ). Brahma taught this
they form the very essence of our science of natya to Bharata Muni and his
sociology and education. To us they are hundred sons and Bharata compiled the
not merely subjects of abstract study to rules and norms of this artistic science (or
be confined within the portals of educational one may say a scientific art) into his famous
institutions. Rather, they form the very treatise Natya Sastra .
woof and warp of our society upon which
All classical dances in India can be traced
our way of life is hinged.
back to this Natya Sastra. Due to varying
It is then but natural that art too has local and social factors that always
religious and philosophical undertones. In influence art, dance in different regions
ancient India it formed an important part took on various hues. For instance, the
of religion and was essentially a mode of Kathak dance of the North was usually
worship, Natyam, vadhyam, and gitam performed in the courts of royalty.
were the paths that led one to the Repeated invasions, political and religious
attainment of moksha or spiritual salvation. upheavals kept the art away from temples.
The South was comparatively unaffected
It is of great interest to note that the
by these frequent political and social
origin of dance in our country is traced to
changes and so the popular classical dance-
divine causes. The sacred art of dance is
form, Bharata Natyam, was largely
said to have been the brain-child of
practised there in temples, though later
Brahma, the creator in the Hindu Trinity of
on performances in courts also became
gods. The term dance is used in our
common due to royal patronage. Social
country for want of a more appropriate
factors such as those mentioned above
equivalent of the Sanskrit natya which
have gone a very long way in moulding
embodies a combination of dance, drama
VIVEKANANDA KENDRA PATRIKA 103 DANCES OF INDIA

dance-forms into what they are today. time measure. Alarippu, Jathiswaram and,
Thillana are apt illustrations of this group.
Bharatanatyam, which is the cultural
heritage of Southern India, especially of Here no meaning is conveyed and the
Tamil Nadu, is said to have derived this fundamental emotion is that of spiritual joy
name from Bharata Muni himself. Secondly, and ecstasy. These dances can be either
Bharata itself means dance. Yet another done with or without music. Originally,
school of thought propagated by Vedanta Alarippu was performed only to the
Desikar declares that the word Bharata is utterance of drum syllables. In present
actually an acrostic comprised of the times these syllables are set to music and
syllables bha, ra and ta which
respectively stand for bhava
(facial expression), raga (musical
note) and tala (rhythm); these
three certainly form the essential
aspects of Bharatanatyam and
there can be no dispute regarding
their Importance.

A dancer portrays emotions and


expresses ideas through the
vehicle of her art. Naturally the
portrayal would carry no weight
if devoid of facial expression.
Tala or rhythm, lies at the very
foundation of all dance-forms.
Without a complete awareness of
tala, a dancer can perform no
dance at all, for it motivates the
artistic presentation. Lastly,
inspiration is necessary for the
dancer and this comes through
the medium of music which is
always a must in a Bharatanatyam
recital. Besides, what is dance but
music of the body. There is music in dance
provide a melodious background to the
and dance in music.
dance.
Technically speaking, Bharatanatyam has
In Nritya a fusion of Nritta or pure dance
been divided into three distinct categories:
and bhava or facial expression can be
Nritta, Nritya and Natya . Nritta is pure
perceived. Varnam, the most elaborate and
dance where the spot-light is on tala or
intricate piece in Bharatanatyam recital
VIVEKANANDA KENDRA PATRIKA 104 DANCES OF INDIA

which poses a challenge to the capacity Karanas and Sthanakas expounded in


of the dancer belongs to this category. the Bharatarnava and Natya Sastra find
Here intricate combinations of adavus (or expression in the medium of this classical
steps accompanied by limb movements) dance mode. In this respect it is revealing
are interwoven with lines of the song. to study the sculptured carvings in the
Expression through the language provided temples of Southern India. Of these
by the lines of the song is seen here. temples, the most significant from this point
of view, is that of Siva-Nataraja at
To the Natya category belong dance-
Chidambaram. In this temple are found
dramas wherein each character is
reproductions of the 108 Karanas spoken
represented by a different dancer. Though
of in the 4th chapter (Thandava
essentially a style distinguished by solo
Lakshanam) of Bharatas Natya Sastra .
presentation, Bharatanatyam is well-known
Vazuhvoor Ramiah Pillai has played an
for some of the traditional dance and
important role in incorporating these
ballets performed over the past few
sculptural poses in Bharatanatyam, for
centuries. To this class belong the
these had gone into oblivion in the recent
renowned Kuravanji ballets, of which
past. His master-piece of artistic creation,
Cutrala Kuravanji, is the oldest extant
Natanam adinar , set to the song
composition. Today we find a number of
composed by Gopalakrishna Bharati, is full
new dance-dramas being staged many of
of these Karanas and help in making the
which are commendable productions.
dance striking and appealing.
These are then the distinct classifications
The various schools of Bharatanatyam may
found in all schools of Bharatanatyam. The
differ-but this difference is just superficial.
style with which I am directly associated
Fundamentally they are all the same and
is a substyle of the Tanjore School of
along with all other forms of our art pertain
Bharatanatyam and is called the Vazhuvoor
to and pertain towards one spirit-a spirit
style. Needless to say, like all the other
that can be called Divine; a spirit that is
modes, this one is also characterised by
omnipotent and omniscient. Because of this
Angasudda (perfection of limbs and
universal and spiritual quality it appeals to
movements), bhava and tala. But just as
one and all. The painter finds colour in it;
every school of any art lays emphasis on
the sculptor, beauty in the form; the
some aspect dear to it, this style gives
religious, a spiritual appeal, and the
importance to grace; the very grace in
philosopher, esoteric implications. It is thus
gesture that Nandikeswaras Abhinaya
a universal art. As long as man can feel,
Darpana throws light on; the very grace
as long as he can pray and think, this divine
that transcends all art which is
art will continue to live and capture the
aesthetically appealing and spiritual is
hearts of millions.
found here. To this effect the sinous and
lyrical lines of South Indian temple sculpture
are adapted, to suit the dance-form. The
VIVEKANANDA KENDRA PATRIKA 105 DANCES OF INDIA

DANCE CAN PLAY A THERAPEUTIC ROLE


SMT. SUDHARANl RAGHUPATHY

T
o-day, dance all over the world are within us and a systematised and
has reached the height of sytlised form of movement, synchronised
perfection and finesse and has with rhythm, acquired through training,
evolved into such a great art that it has make dance an entertainment projected
become one of the major factors on the stage.
representing the culture of a country. In
Can all of us dance? Why dance! Can all of
fact, Bharata Natyam of South India is
us walk, run, jump in the normal way known
considered one of the most highly
to us since creation? Can we say that
developed arts in the world and a very
since, God created man in his own image,
vital form of art reflecting the ancient
we are all perfect? According to Darwins
culture of India.
theory, man occupies the highest rung in
Dance has been a vehicle of culture from the ladder of evolution. Why then do we
ancient times. It was not only a means to see deformities? Mans child is said to be
propitiate the gods, but also an the most hapless of living things. It has to
entertainment, for various social functions be fed and nurtured for quite a few years
like birth and marriage. With the passage till the child becomes independent: Why
of time, the dances acquired new forms then are deformed children born? Many
and became more systematised. There reasons have been given. (I) Genes;(2)
sprung folk, tribal and ritual dances and Marriages within the family; (3) Diseases;
.the more sophisticated court and classical (4) Malnutrition and (5) Drugs.
dances.
The result is that the child is not accepted
Since the art of dance is audio-visual, by society and it is unable to become a
certain standards in beauty are considered part of it. For no reason of its own it is
necessary for a dancer; also perfection of rejected. Can this be prevented? Can this
the limbs. The female form has always problem be over-come? Great strides have
fascinated man, including sculptors, been made in the field of medicine to
painters and poets and the female dancer overcome the deformities. Is this possible
seems to be more prominent in the field, through dance? Since it is a physical
though of course there are male dancers involvement, can it be used as a corrective
also. for deformities?

Rhythm and movement are the life-breath Therapy and Exercise


of dance. At some time or another each
An affected child becomes the butt end of
one of us has exhibited our emotions
ridicule by all other children who have eyes
through movement. Rhythm and movement
VIVEKANANDA KENDRA PATRIKA 106 DANCES OF INDIA

only for the naked truth. Children are no movements are recognised , Bharata lays
diplomats. An inferiority complex develops down the number of movements for the
in the deformed child because it feels eyes, eyebrows, cheek muscles, waist, hip,
different from other children. The affected chest, shoulders, knees and what not.
child can regain part of his self-confidence Surely, dance is a good exercise for the
through the expression of dynamic co- development of the body.
ordinated movement wiping out the inferior
There can be no dance without music.
feeling generated within the child and also
Music is an integral part of dance. Music
in the parents. It should help to boost the
can be very soothing to the nerves. Why,
morale of the parents of the afflicted
our tradition says that once when a great
children. It is also important that the
musician sang a particular melody, it
parents are in the right frame of mind to
brought rain and another singing a different
guide the children to feel normal.
melody melted rocks. If nature could be
Can dance movements be incorporated and stirred with music, then surely the rational
used as a probable corrective? A dancer is mind of man is bound to react
said to be the most coordinated person in instantaneously. We have melodies for the
the world. Can part of this coordination be different times of the day, for the different
achieved in the deformed children? seasons and so on, which touch the depths
of the soul. Hence Bharata Natya is referred
Bharata Natyam is considered one of the
to as an audiovisual experience.
most beautiful forms of dance in the world.
Why, it is a yoga in itself. Yoga in India Dance helps in (1) Concentration; (2)
from time immemorial was considered the Exercising the limbs; (3) Acceleration of
best medicine for good health and the circulation; (4) Correcting certain faults;
unique corrective for many physical and (5) Growth, physical and mental; (6)
mental ailments. Bharata Natyam is an art Relaxing the body and mind and (7)
wherein every part of the body is used - Imagination of the child, the most important
eyebrows, cheek muscles, toes and so on. aspect.
The earliest and greatest treatise on the
A child lives in a world of fantasy. Dance is
art is Bharatas Natya Sastra, a
a world of fantasy which is meaningful and
monumental work that deals with all aspects
gives an opportunity for self-expression.A
of dance, drama and theatre. As one reads
combination of all these factors may have
through the pages of the
a therapeutic value. Hence the experiment
Natya Sastra, one is wonderstruck at the to teach dance i.e. Bharata Natya with
variety of every possible movement of the properexercise, breathing, diet etc. as a
body and limbs conceived of by man and probable corrective work with pleasure.
so methodically systematised and codified
New Horizon
by the sage. It is no wonder then, that
when we view the various styles of dance Actually dance should be taught as part
in the world, similarities in some of the of deportment callisthenics, not just
VIVEKANANDA KENDRA PATRIKA 107 DANCES OF INDIA

therapeutic for the afflicted persons, but the style of dance learnt by the author,
also for the development of beautiful human but there are other reasons also. It seems
beings with a healthy and broad outlook to be the most balanced of dance forms.
on life, creating sensitivity and an As an author wrote: Bharata Natya is a
awareness of the outside. composite art of rhythm, music, poetry,
colour, sculpturesque poses, suspension of
Such a school seems to exist in Japan. It
movement, symmetry, everything in
is called Tokushu Gako meaning special
beautiful balance.
school. This is Japans special physical
culture for primary and secondary
school children. There are institutions
for each of the following:

(a) Eye (b) Mentally retarded; (c)


Deaf (d) Delicate children and (e)
Physically deformed.

The purpose of these schools is to


make the children physically
independent and to gradually
integrate themselves in social and
professional activities. Shiju Oka
provincial government, runs a special
school called Urishiyama for physically
deformed children. It has spacious airy
buildings with plenty of light. If
necessary, the walls could be removed
to make the rooms into a hall. Pulleys
and levers are used and also bar
exercises. Music and movements are
also taught. The Japanese are basically Hence this experiment of teaching dance
very artistic people. They convert not only for stage glamour and publicity
everything into a work of art. So even here but as a therapy and as a probable
the atmosphere is made beautiful for the corrective for physical deformities and
children to combine work and pleasure, to disabilities in children. In my experience as
reach the goal. a teacher in this field, a moderate
improvement is visible in the affected pupils.
A question may be asked-why choose
Time will prove how much more successful
Bharata Natyam? It may be because it is
this experiment will be.
VIVEKANANDA KENDRA PATRIKA 108 DANCES OF INDIA

YAKSHAGANA BAYALATA
K. S. UPADHYAYA

Y
akshagana Bayalata is an Nataraja Temple of Chidambaram.
exquisite folk dance-drama
That these dance-dramas were distinctly
played mostly in the South and
different from the Sanskrit dramas was
North Kanara districts of Mysore State. The
apparent. Sanskrit dramas were a
genesis of this folk art is s till a matter of
combination of prose and poetry in champu
controversy, but it can be stated that it
style and the characters therein had to
has much affinity with the various regional
learn by rote the dialogue and there were
forms of dance-drama performed in India
no dance movements. But in Yakshagana
such as the Kathakali of Kerala, the
it is different. Yakshagana is essentially a
Bhagavatha Mela of Tamilnadu, and the
dance-drama with the characters depicting
Veedhinatakam of Andhra Pradesh.
their roles effectively through dance,
Yakshagana is known in different parts of keeping step with the accompanying music.
Karnataka by different names. While in the
There is no historical and written evidence
plains of North Karnataka area it is termed
to trace the origin of the name Yakshagana
Doddaata, in old Mysore area it is known
given to this form of music. Scholars have
as Moodalapaya. Its more refined form
felt that like Gandharvagana, this form was
prevalent in the coastal districts of
named Takshagana. Gandharvagana
Kamataka is popularly called Yakshagana.
became marg music while Yaksha-gana
Akin to Yakshagana, there is another folk
became popular as desi music. Those who
art very popular in South Kanara district,
specialised in this form of desi natya shastra
namely, Yakshagana Bombeyaata (Puppet
were known as Yakshas, They became a
Show). This has also a hoary tradition of
community by themselves having taken up
over three hundred years.
this art as a profession.
The Origin
The Difference
Expert opinion of scholars on these various
It is quite natural and understandable that
form, of popular dance-dramas trace their
there are several similarities between this
origin to the Sanskrit dance-drama which
kind of dance-drama and the drama
was in vogue in India during the 4th century
traditions of the neighbouring areas. If,
A.D. Dr. Ananda Coomaraswamy a renowned
however, we examine these different
critic and research scholar, has opined that
traditions, part by corresponding part, we
ancient Shaivites were practising a Natya
shall find differences and distinctive
Sastra which was in no way inferior to the
peculiarities. Take the system of singing,
Natya Sastra of Bharata and that the
or the style of dancing, or costumes, or
centre of this Natya Sastra was the famous
the make-up techniques employed in each
VIVEKANANDA KENDRA PATRIKA 109 DANCES OF INDIA

and make a comparative


study; the individual
character of each of
these traditions stands
out unmistakably. For
instance, in Yakshagana
Bayalata there is
dialogue but, the
Kathakali, Ottanthullal
and Ramanattam
traditions employ
gesture instead.
Kuchipudi is particularly
full of these.

The Main Features

Let us now consider the


main features of
Yakshagana. Firstly, it is
a dance-drama
combining dance and
music. It must,
therefore, have a story, a theme. The story prasanga and there are today about 125
is taken from the Puranas mainly dealing such prasangas.
with the ten incarnations of Vishnu and
Devidasa, Parthi Subba, Venkata,
that is why this is otherwise called
Nagappaya, Rama Bhatta and other folk
Dashavatara Aata. The theme is the
writers have composed a number of well-
triumph of good over evil, or right over
known prasangas, influenced as they were
wrong, of the gods over the demons.
by political works of Kannada poets, Kumara
Each story is in the form of a minor epic Vyasa, Kumara Valmiki and others. All these
containing about two or three hundred writers belonged to the 17th century and
stanzas in the various metres. These are after.
set to music and sung by the Bhagavatha
So far as the music is concerned, though
to the accompaniment of two percussion
only a few ragas are at present in vogue,
instruments called chande and maddale.
eighty known ragas have been identified
The maddale is a variation of the mridanga
by experts as having been used. The main
but the chande or chande vaadya is peculiar
feature of these is their emotional appeal.
to Yakshagana and is especially used in
There are different ragas to express the
warlike scenes and scenes of terror. Each
emotions of anger, heroism, pity, horror,
of such stories set to music is called a
fear etc. An angry raga accompanied by
VIVEKANANDA KENDRA PATRIKA 110 DANCES OF INDIA

the frenzied beating of the chande and at least 8 to 10 times.


the appropriate dance of an actor may
The second feature of the Yakshagana
resemble the challenging roar of a lion in
dance-drama is that there is no pre-
burst of fury and have a blood-curdling
meditated prose dialogue. It is improvised
effect on the spectator. The minimum
by the actors and is based on the musical
duration of a prasanga is about 3 to 4
stanza, sung by the Bhagaoatha, While the
hours.
Bhagaoatha sings a stanza, the actors
Although these ragas bear the same names dance and when he stops singing they
as those in Karnatak music, they are interpret the stanza in the form of a
entirely different in the mode of style of dialogue or a monologue as the case may
singing. The derivation of the raga is so be. Thus each stanza of the Prasanga is
vastly different from that of Karnatak music elaborated and expounded by extempore
that Yakshagana music is distinctly a dialogue. It may also be noted in passing
separate system altogether. that all female roles are played by male
actors.
The distinct features of Yakshagana music
are that, though the swam prasthara may Thirdly, the dance form of the Yakshagana
be the same as either Karnatak or is peculiar to this art. It is more primeval
Hindustani style of classical music, the than refined. Like the ragas, it highlights
gamaka and alapana style here is unique. primitive human passions and emotions,
We should be proud that the suddha especially fury and terror. These two
Yakshagana music remains evergreen only emotions are more constantly evoked as
in the Kanara districts. This system is the stories deal mostly with battles, scenes
transmitted by the guru to the disciple, of violence and carnage. There is a variety
who was to devote a lifetime of labour in of foot-work and movements which
order to master it. As already noted, the appropriately express these emotions. The
main feature of this system of music is its actors dance to the music sung by the
emotive power. Bhagavatha and to the resounding beat of
the chande. In Bharata Natya terms, the
War-like emotions are derived by ragas,
dance form can be said to be more of the
Gandharva, Bhairavi, Kambhoji etc. The
tandava variety, although there are lasya
ragas Nilambari, Anandabhairavi, Todi,
movements also.
Saveri, Regupati, Punnaga Thodi, Mohana
Kalyani etc. depict the emotion of sorrow. Adaptation of Themes
Madhyamavathi, Todi, Arabi, Sri,
Bharatas Natyashastra has in itself various
Shankarabharana etc. depict pity.
special features of the different dance
Nadanamakriya, Mukhari etc. excel in the
traditions of this great country, in a more
depiction of the terrible and the bizarre,
or less codified form. The 108 Karanas,
and others like Mechu, Kore and Davalara
the 33 pindi bandhas, 32 varieties of charis,
also are in vogue. During the course of the
niraalamba charis, 6 sthanas, the prayoga
entire performance of the one-night
nyayas-Bharatha saathiva, vaarshajanya
session, the sruti will have to be altered
VIVEKANANDA KENDRA PATRIKA 111 DANCES OF INDIA

and kaishiki, while using the weapons, the prathinayakas (villains) like: Kaurava,
atikranta, vichitra, lalithashankara, Ravana and other rakshasas, The classical
suchioidhdha, dandapada, oihritha, alaaiha mudras and foot-work displayed by the
and other mandalas expounded in jumps, important characters during this voddolaga
the face-to-face battle movements and scene and partially hidden behind a curtain
other gati pracharas are also identified in is something significant. Shivabhaktas like
Yakshagana by Bharata Natya experts. Hiranyakasipu, Ravana etc. very effectively
These features are still preserved in the display in tune with the tala, the various
various Yakshagana troupes here even to daily ablutions and pujas offered to
this day. Instances like, Gaya on his gagana sivalinga. Hastamudrika plays a significant
samhara, Kaurava entering the dwaipayana role in this type of abhinaya. Shikhara
sarovara Arjuna starting out on the chariot mudra is used to denote heroism and
for his vijay yatra in Ashvamedha Partia, authority; Mrigashirsha and kataka mudra
Kaurava on his ghosha yaatra and game- to denote. Danta Dhavana; pallava mudra
hunting expedition, Sita Rama-Lakshmana for Bhasmadharana; pataka mudra for
fording the river, Arjuna climbing the looking at the mirror; mushti mudra for
Indrakeela mountain, Babhruvaahana displaying strength, karatari mukhamudra
getting down into the patalaloka, lust to denote assurance of protection, are
ridden Keechaka entering his sisters among the six important mudras that could
Vanitha vihara, the last days ratharohana be noticed in the voddolaga scene. The
scene of Karna, who at the same time is various characters push aside the curtain
grief-stricken at the loss of his son and and enter the rangasthala (stage) with
roused with the revengeful spirit against foot-work of the mixed type of tandava
Partha, depicting the contrary feelings of and tandava lasya depending on the
veer a and roudra and such other scenes character of the hero or villian whom the
which are exhibited in different foot-work actor wishes to portray and also to depict
by the Yakshagana artistes. This will apply the essence of the story. A very special
also to the trivida rechakas, The feature of the voddolaga dance is the
Yakshagana artistes, it may be noted, did bidithige (chande beats), which is different
not become adept in the art by a thorough for each character who makes his entry
study of the Shastra, but learnt the art by into the stage. This feature of bidithige
hereditary talent and also by keen helps a spectator to identify the character
observation and practice. in voddolaga, even from a long distance
just by hearing the beats. An experienced
The theme for the prasanga having been
artiste of Yakshagana who might be an
drawn from Purana stories, in Yakshagana
adept in the various techniques of the
there is a special feature known as
dance-form, learnt either instinctively or
voddolaga, which presents the important
by observation, many a time, may not be
characters to the audience. There are
aware of the names of the characteristic
voddolagas both for nayakas (heroes) like
intricacies of the various mudras, steps or
Rama, Dharmaraja and also for
foot-work. They are ignorant of the
VIVEKANANDA KENDRA PATRIKA 112 DANCES OF INDIA

lakshanas or its history. make-up is that they are made from purely
indigenous materials-light wood, paddy
Costume and Make-up
stalk, arecanut bark, bamboos, waste jute,
A very important feature of Yakshagana, cotton etc. There are different kinds of
however, is the costume and aaharya bhujakriti, arm-bands, kataka, waist-bands,
abhinaya- make-up of the actors. It is at virakaccha etc. In fact, the make-up is so
once beautiful, colourful, bizarre, as also devised that characters like Lord Krishna,
frightening. The art of facial make-up or Arjuna, Babhruvahana, Ravana, etc. can
mukha varnik, as this art is called, has a be distinctly identified by their make-up.
long tradition. Different characters have a
Dress is generally of deep colours with
different facial make-up. The most
patterns consisting of squares with
terrifying to behold is that of the rakshasa
alternating colours. The most essential
character. The effect of fear and horror
feature of the costume and ornaments is
instilled in the observer is to be appreciated
the colour and glitter. The mere sight of it
only by seeing it. Words cannot adequately
is thrilling to the spectator who is
express the effect of make- up of such
transported to the glittering puranic world
characters. Head- gear and dress also
of gods and demons. The Gudigars, a class
playa distinct role in the make-up. There
of craftsmen of South Kanara and Shimoga
are different types of head-gear for
districts of Mysore State, have excelled in
different characters, such as the hero, a
this art.
king, a prince, minister, a rakshasa, a
kiratha, a gandharva, etc. The kore, The total effect produced by the rousing
turbans of a kiratha-gandharvas red music of the Bhagavatha, the rattling beats
turban, the impressive varnik of a Rakshasa, of the chande, the frenzied dance of the
Kamas black turban, the kedige mundale actors and their brilliant costume and
(small turbans) of characters like Arjuna, colourful make-up combine to transport the
Babhruvahana, Sudhanwa which are spectator in a crescendo of music and
prepared afresh on each occasion, beautiful dance to the din of ancient battle-fields
crown (mukuta) of Hamsadhwaja, and deeds of valour.
Kalamlabhoopa, and such other head-gears,
The Stage and Setting
have resulted in a valuable contribution of
Karnataka-like Chalukya and Hoysala shilpa- As the name itself suggests, Yakshagana
to Indian art- and cultural traditions. Dr. V. Bayalata (bayalu-field; aata-play), is a play
Raghavan, a great authority on Indology staged in open fields of paddy after the
has to say: Yakshagana make-up is monsoon when the harvest has been
decidedly more graceful, richer and more carted home. The stage-rangasthala as it
closely related to the ornamentation found is popularly known-is a square ground with
in our sculpture than the Kathakali make- a bamboo pole stuck in each corner to mark
up. off the outer edge; its only decoration
being bunches of fresh mango leaves, green
A unique feature of the items used in the
and tender, festooned from pole to pole.
VIVEKANANDA KENDRA PATRIKA 113 DANCES OF INDIA

About 30 to 40 feet from this is the green observes almost all the details given for
room, chowki, in popular language. Here, poorvarang abhinaya by Bharata in his
in the blaze of torches, now fast being Natya- shastra. Here it is called
replaced by petromax lights-the characters sabhalakshana. The first of these dances
do the make-up. It is a peculiar is the dance of the kodangis, or trainees,
characteristic of Yakshagana Bayalata that and begins after sunset. This is followed
each actor acts as his own make-up man by a prayer to Lord Ganesha. After puja in
and serves to impart an individualistic the chowki, the man who plays the jester
stamp to the traditional patterns of design. in the drama (vidushaka) carries the image
The torches and the brown soil and the of the deity to the rangasthala

deep green vegetation around, canopied accompanied by the Bhagavata and


over by the dark blue sky, provide a most drummers and offers it a ceremonial arati.
enchanting backdrop for the play. The argument of the drama to be enacted
is given at this moment through recitation
The Preparations
of one or two brief songs. The stage is
The play is preceded by a few traditional then engaged by two small boys made up
dances to keep the audience engaged as as cowherds (Bala Gopalaka), and they
well as to allow enough time for make-up. dance for a while, and when they make
In fact, the Yakshagana Bayalata is the their exit, two female characters come on
only traditional dance-drama which still the stage and do some lasya dance.
VIVEKANANDA KENDRA PATRIKA 114 DANCES OF INDIA

After these preliminary dances, the of the show depends. Every character
uoddolaga begins. Most of the important makes obeisance to him on entrance.
characters make their appearance in this
scene, but they stand with their backs to The play ends shortly before sunrise, with
the audience and dance behind a curtain the rise of the morning star in the distant
which only half reveals them. Female horizon. The Bhagauatha sings the final
characters do not show themselves in this benediction mangala, offers aarti to the
scene. After the Nayaka who gives the gods and returns to the chowki for prayer
voddolaga finishes his dance along with and thanksgiving to Lord Ganesha.
his retinue and is seated on an improvised Lack of Sponsorship
dais, the Bhagaoatha very respectfully
elicits a self-introduction of each character Every Yakshagana troupe is generally
as also the background of the story by sponsored or patronised by a temple.
putting questions. Sometimes, to propitiate the deity for
begetting a child, in time of trials and
The Different Roles stress, devotees offer to organise a drama
The stellar role in Yakshagana is known as by the troupe of the temple.
Eradane vesha (second role) because Those troupes which are mostly maintained
traditionally, Bhagavatha plays the first by the several temples in the two Kanara
role. Besides this, generally there are five Districts are today finding it a strain to
other roles. Purusha vesha (hero), Sthree maintain the tradition. On an average an
vesha (heroine), Rakshasa vesha (demons), artiste in a troupe is paid about Rs. 1,500
Hasya (jester) and Moorane vesha (third for the six months he is engaged by the
or minor roles). All these roles require contractor of the melas (troupe). This is
intense training in dance and diction and hardly sufficient for him to maintain himself
background knowledge of the Puranas. The and a family. So the artistes are either
training is mostly by observation and by giving up this profession or turning to
an expert in the art passing it on to troupes who perform solely with an eye to
someone in the family. popular appeal.
The most important person in the play is It is a pity that such a noble art as
the Bhagavatha. It is he who runs the Yakshagana which, if performed in the
whole show. He controls, guides and directs traditional way, should give pleasure to and
every little thing. He is the Sutradhara uplift a vast mass of our people, should
without whose approval nothing can have come to such a sorry pass. Unless
happen. It is he who sings the songs of we give some thought to this matter and
prasanga and it is on his rendering of them think of ways to keep the art alive, we will
and on his appreciation of the subtleties lose this precious treasure.
and conflicts in the play that the success
VIVEKANANDA KENDRA PATRIKA 115 DANCES OF INDIA

A Glimpse Into Odissi Dance


Dr. MINATI MISHRA

I
ndian art has its origin from It is a means of achieving unity in
religion,and philosophy. All the consciousness. It is a path towards God
forms of Indian art, be it music, and Salvation.
dance, painting, sculpture, architecture or
Dance and Religion
literature, have their roots deep in the
religion of the country. As such, Indian art Dance is intimately connected with religion.
is a spontaneous All original themes of
expression of sincere the songs adopted
devotion to god. The were only on gods and
word sadhana which their deeds. It was
means continuous always held in a
pursuit of meditation is brighter sphere and
very often associated was considered to be
with it. This association the path that could he
gives a perception of adopted for attaining
life-long devotion to moksha. It is like the
Indian art. Devotion union science, (Yoga
means complete Sastras) which is the
concentration to reach means of attaining
the goal. The artist in spiritual freedom.
his devotion is united
Dance being an art
with the Almighty and
with an origin of divine
feels himself as one
attributes is intended
complete whole.
for spiritual content-
The background of ment. Unless an
Indian dance is more aspiring student really
antequated than the understands the real
history of man or the point of view, believes
history of a nation. It in its divine origin, the
is the history of the truth of the Vedas and
soul of India. Dance is Shastras, he or she
not something meant cannot depict the art
for mere in its true sense. His
demonstration, but it is something aimed performance will be a pantomime, devoid
at self-realisation. Dance is a form of Yoga. of soul. Dr. Coomaraswamy says that there
VIVEKANANDA KENDRA PATRIKA 116 DANCES OF INDIA

by the lover. Truth is


reality as experienced by
the philosophers and
beauty is the reality, as
experienced by the artist,
and these are the three
phases of the absolute,
and it is through the
collective work of art that
the artist is able to
communicate his
experience.

There must have been at


one time one system of
classical dance in India.
One area might have been
cut off from the-other and
each area might have
developed a local medium
of its own. The influence
of folk-dance may have
been assimilated in this form and this could
is absolutely no room for any amateur in
have resulted in the development of new
the field. An Indian artist is a professional
characteristics in seclusion.
and often dances for an audience of
inspiring critics. The dance

According to the Indian view, the power Odissi dance which is the typical classical
to experience aesthetic emotion is inborn form of Orissa, has its origin in the temples
and it cannot be acquired by mere study. of Orissa. As the temples are the seats of
Dance is the rhythmic philosophy that gives cultural life in this State, the Odissi form
us tranquillity, patience, hope and unruffled of classical dance has rightly been
joy like a lamp in a windless place, that associated with its day-to-day activities.
does not flicker. All the forces of life are Odissi dance is a peculiar form of Indian
looked upon like a forest whose thousand dance. The rhythm, Bhangis and mudras
moving arms are led by Lord Nataraja, the used in Odissi dance have a peculiar
master of dance. Everything has its place, blending. It is based mainly on the theme
and every wing has its function; all take of infinite love of Radha and Krishna.
part in the divine concert, creating a most
The earliest mention of this form of classical
beautiful harmony. Religion and art are the
dance is found in the Natyashastra of
names of one and the same as experienced
Bharatamuni which dates back to sometime
VIVEKANANDA KENDRA PATRIKA 117 DANCES OF INDIA

between 2nd century B.C. and 2nd century time throughout India. Devadasis or dancing
A.D. Four styles namely, Avanti, girls dedicated to gods were attached to
Dakshinatya, Panchali and Odra Magadhi the temples in Orissa, Saurashtra,
were mentioned in this monumental and Maharashtra, Andhra, Tamil Nadu and
authoritative work. Kerala, The institution of Devadasis is now
extinct everywhere except in Orissa.
Again we hear mention of seven styles of
dance in Abhinaya Chandrika by Sri Devadasis in Orissa are known as maharis
Maheswara Mahapatra, namely, magadhi, meaning mahat-nari, We can find the
Souraseni, Karnata, Kerala, Odra, Gouda earliest mention of the deuadasis attached
and Panchanada. Here we can refer Odissi to temples in 9th century A.D., where the
dance to Odra style. inscription states that Kolavati, the Queen
of the Kesari King, Uddyota, built a temple
Siva and Parvati images found in Soro
of Shiva and dedicated dancing girls to it.
(Balasore) have used the abhaya mudra
The Ganga dynasty came thereafter to
which is the earliest of mudras to be found
power. Cholagangadeva who ruled from
in Orissan architecture. We can find the
1077 A.D. to 1147 A.D., built the temple of
mudras of dhyana, abhaya and bhumisparsa
Jagannath at Puri and employed Devadasis,
in the dancing Heruka in Tandava pose at
After Cholagangadevas death, An-
Ratnagiri, Orissa. For evidence, one has to
angabhimadeva came to power and he built
take the Konarak temple into consideration,
several temples and also built the
one of the last milestones of Indian
Natamandir in the Jagannath temple. It
architecture. Since the Konarak is a lasya
was intended for performances of the
conception, the dancing forms on the walls
maharis and musicians in honour of the
of this temple are also of laysa type. Every
Lord.
inch of the Natamandir is sculptured with
the carvings of dancing girls and musicians. Maharis are of two kinds: Bahar gani mahari
Dancers holding the drum, cymbals, mirrors, and Bheetar gani mahari, The bheetar gani
flute, show excellent expression of the maharis alone were allowed to enter the
dance-forms. The most fascinating of all Bada Devla or sanctum-sanctorum. They
is Alasa Kanya an expression of relaxation. were also allowed to sing duringBada
It is a magnificent example of sculpture. Simhara. The bahar gani maharis are not
The highest expression of Odissi dance was permitted to enter the innermost sanctorum
there in Nayika bhavas in Konarak temples of the temple. They danced in the
as well as in the Ananta Vasudeva temple Natamandir.
at Bhuvaneshwar. These are our evidences
Devadasis or maharis were the only ones
in stone. Let us now turn to living
who used to keep this dance tradition
evidences.
intact and kept it alive generation after
History tells us that the practice of generation. The maharis attached to the
dedicating dancing girls to the temples in Jagannath temple were all Vaishnavites,
honour of the gods, was prevelent at one but the maharis at Bhuvaneshwar were
VIVEKANANDA KENDRA PATRIKA 118 DANCES OF INDIA

attached to Shaiva temples while those at introduced. It emerged from the Satasahi
Jhankad and Kakatpur, were dedicated to Akhada at Puri. The Vaishnavite followers
Shakti, did not approve of dancing by women.
Hence, boys dressed as girls began to
On the copper-plate
dance and for the
inscription of
first time Odissi dance
Purushotam Deva, it is
came out of the
mentioned that there
temples and began to
were two
be performed in public.
Sampradayas of
During this period,
Nachunis-one of them
Vaishnava poets
was from the South
composed innumerable
and another from
lyrics in dedication to
Orissa. They used to
Radha and Krishna
dance along with Sri
and the Vaishnava
Jayadevas Geeta
poets chose this
Govinda. Before Geeta
dance of Gotipua as a
Govinda was
medium of publicity of
introduced, maharis
their cult. In the
used to dance only the
Gotipua system as
Nritta portion
contrasted to the
(rhythmic) and
other forms, one can
abhinaya with
find a jerk in the
mantras. But after
movement in place of
Jayadevas Geeta
the smooth transitions
Govinda became the
from one movement to
part and parcel of the
another.
rituals, the maharis
performed abhinaya At present this Odissi
with different bhava dance has been
and rasas. Another reshaped and is
exponent of Odissi presented in a lyrical
dance is Ray and most graceful
Ramananda. He was a style.
musician, dancer, and
Odissi dance includes
dramatist. He taught this dance and
both Tandava and lasya elements.
presented Jagannath bhava Nataka before
Sabdaswara-pata and-Bandha are of
Lord Chaitanya and convinced him that
mainly Tandava style and exist m a crude
singing and dancing are also forms of
form in some remote places and It needs a
prayers.
good deal of refinement. Sabdaswarapata
Then we find that the Gotipua system was are of various types .relaxing to different
VIVEKANANDA KENDRA PATRIKA 119 DANCES OF INDIA

deities such as-Shiva, Kali, Vinayaka, etc. are many others mentioned in Abhinaya
Chandrika-such as Abhimana, Sukachanchu,
An example of Sabdawaswarapata relating
mardala, Akunchana, Sarakhepa, etc.
to Shiva:-
Dharigida Giditaka Narigida Giditaka Odissi has a rich variety of mudras which
Nada udaya vira diga digambara are based 011 Natyashastra, Abhinaya
Sankara rupabhaya Darpana and Abhinaya Chandrika. Hand
digi digi kesa-tandava trisuladhara gestures play a very important role in Odissi
ta jhen ku tin jhen ku dance as they are used in conveying the
jhana jhana ta tijhana ta .... etc, meaning in abhinaya and are used in
rhythmic (Nritta part). According to
Odissi dance is taught on the technique
Shastras, we use-
laid down in Bharatas Natya Shastra,
Asamjukta hasta (Single hand)
Nandikeswaras Abhinaya Darpana and Sri
Samjukta hasta (Double hand) and
Maheswara Mahapatras Abhinaya
Nrutta hasta (Dance hand).
Chandrika.
Apart from the Shastras, there are some
The main bhangi of this form of dance is
traditional mudras which are not mentioned
Tribhangi supposed to have been taken
in any other Shastras-

They are Gabakhya, Bana, baloya,


tambula, etc.

In Odissi dance we have Nabatala system:


They are
1) jhampa-7 beats
2) dhruba-14 beats-According to
tradition it is known as sarimana
3) matha-10 beats
4) rupika-6 beats
5) tripata-7 beats
6) ata (Kuduka)-of 12 beats
7) ekatali-4 beats
8) ada tali-7 beats or 14 beats
9) adi tala-8 beats

Apart from these talas . .we have Fati tala


from the Tribhangi of Sri Krishna and the which is of 7 beats and Nisaruka. tala.
Chhauka pose (half-seated) of Lord Different chhanda like jhoola of (Tisra
Jagannath. There are other important chhanda) and Pahapata of chatusra
bhangis such as Adabhanga, abhanga, chhanda have got their own unique beauty
Atibhanga which are very much special to in Odissi dance. These talas may vary
Odissi dance. Besides these bhangis, there according to different jatis, such as tisra,
VIVEKANANDA KENDRA PATRIKA 120 DANCES OF INDIA

Chatusra, Khanda, misra, Sankirha. sung in some raga and is developed in


Different types of bhavas, rasa, Nayaka, different varieties. Sargams mayor may not
Nayaka, caris, mandalas, bhramari, he added. Bols with rhythmic syllables ceme
Karana., Utbhavana, etc., playa very in between to enrich the beauty of the
Important role In Odissi dance. Ekapada item. A number of passages of Nrutta are
bhramari and biparita (opposite) bhramari performed In stylised poses and
are inevitable in this dance. movements.

Odissi embraces Nruua, Natya and Nruiya Pallaui is again divided into two kinds:-
in different Items of its repertoire which is (a) Vadya Pallavi (b) Swara Pollavi.
as follows: .
4. Abhinaya: The fourth item is
1. The first item is mangalacharana:- abhinaya.

This is a dance where the dancer dedicates This is done through facial expressions
herself to the Lord and begs excuse from depicting different bhaoas and rasas with
the Mother earth for stamping her feet on the help of different hastes and action to
her, begs apology from the audience for bring out the meaning and mood of a song.
any shortcomings and salutes to her Guru. No performance is complete without the
This item is divided into three parts:- performance of an ashtapadi from the
a) Bhumi Pranama Geeta Govinda by Sri Jayadeva. Songs by
b) Deva or Devi Stuti Oriya poets such as Banamali,
c) Sabha Pranama Gopalakrishna, Kavisamrat Upendrabhanja,
Kavisurya Baladeva Rath are performed by
2. Then follows :Sthayee Nrutya or
the dancers depicting various moods.
Batu Nrutya
5. Last item is Mokhya Nrutya:-
This is an item of pure Nrutta. It begins
This is an item of pure Nritta (rhythm) and
with a series of sculpturesque poses like
performed in a fast tempo, to the
veena, mardala, flute, manjira, etc. and is
accompaniment of rhythmic syllables.
performed in a very graceful and stylised
manner. The dancer becomes ecstatic, and through
the ecstasy the dancers soul and mind
3. The third item is Pallavi:-
are merged with that of god.
The movements of this dance are
Dance, be it of any kind, is considered as
extremely graceful and lyrical. This is
an effort to come near god and experience
accompanied by both music and rhythm.
true happiness.
Music and rhythm are given equal
importance as the dancer proper A tune is
VIVEKANANDA KENDRA PATRIKA 121 DANCES OF INDIA

MAYURABHANJ CHHAU
Dr. KAPILA VATSYAYAN

A
..... . t the outset one is obliged
to refer to the controversy over the
word chhau as used for the three
forms prevalent in Mayurabhanj,
Seraikala and Purulia. Some scholars
have been of the opinion that the
word Chhau is derived from the word
chhaya or shadow. This opinion was
held by many performers, including the
Raja of Seraikala, Others, however,
have strongly challenged this view and
have drawn attention to the fact that
the word chhaya is derived from (a)
the word Chhau which in turn may
well be connected with the Sanskrit
word Chhadma, meaning disguise, (b)
that the word may be derived from
colloquial Oriya where chhau means
to hunt or attack stealthily. The
secondary meaning of the word has
been considered as chauni, meaning
a military camp from which the present Hindi military class it would be reasonable to
word chaunl emerges or chauni which means accept the third interpretation although
an armour and finally chhank which means the idea of a disguise is inherent because
an attack. While it is not necessary to in at least two of the forms masks are
resolve the controversy, it is significant used.
that these forms should take their name
The Dance Tribes
from a function or a vocation rather than
from a caste as in the case of Bhagavatmela .....Mayurabhanj Chhau dance is prevalent
forms or from an activity of a whole in the South-eastern part of Orissa.
community in the process of a pilgrimage Adjacent to the State of Mayurabhanj lies
such as a yatra or procession theatre forms the States of Seraikala and Purulia, today
known to other parts of India. Judging from part of the States of Bihar and Bengal
the fact that many sections of society take respectively. Within the region there are a
part in all the three types of Chhau and large variety of tribes who, in turn, share
that in most cases they belong to the many common features with the tribes of
VIVEKANANDA KENDRA PATRIKA 122 DANCES OF INDIA

Madhya Pradesh and Bihar. These tribes should be a few miles away from the village.
range from the Munda group of the Austric
Two occasions are considered appropriate
and the Indid, even if anthropologists differ
[or the dance. One is about the Dusshera
on the classification.
time (this was introduced some years ago)
Agriculturally, many of the tribes of the and the other at the Chaitra Parva. For
region are shift-cultivators and same are our purposes this second occasion is of
tool agriculturalists. Many propitiation rites great significance. We may remember that
are common to this tribal group of people, the Chaitra Parva is celebrated throughout
and the agriculturists particularly have rites India as the great harvest festival. We see
which revolve around the installation of a immediately two simultaneous levels of
pole as a symbol of fertility. Many dances operation; the first, a takeover from the
of the Hos and the Oraons are held at a propitiation rites of the tribal groups on
place away from their actual living area the occasion of shift-cultivation and the
where the pole is installed before the Jhum other the rites and celebrations connected
(shift-cultivating rites) ceremonies begin. with agricultural harvest. Over these two
levels is superimposed a third one, for the
Linguistically, these tribes belong to the
ritual today comprises worship of Lord Siva.
Munda group of languages and are
It is important to note that there is no
inheritors of a non Indo-Aryan stream.
icon worship during the festival. The pole
A close look at the community which continues to represent Lord Siva. The
performs the Mayurabhanj Chhau dances devotees are called Bhaktas, a word which
show that although the dance is an also is often vulgarised into the form
expression of a village culture, it has carried Bhaktas.
forward many purely tribal elements. We
About a fortnight before the Chaitra Parva
may identify one or two of these elements.
festival, a select group of people are
The group of people who perform the enrolled for undergoing the ascetic
dances are almost without exception practices connected with the ritual. They
people who are called the Scheduled or fast, take a ritual bath, visit the temple of
Backward Classes. Among the categories Goddess Ambika and then proceed to offer
listed in the Constitution of India are the worship to Lord Siva at the consecrated
Nats, the Bhands, Bhumiyars, Paiks and place. Is this not reminiscent vaguely of
others. Mayurabhanj Chhau is performed the Kavadi and Karaga dances of South
by the priests from amongst the Scheduled India? The ritual concludes in the pata
Classes. Herein lies a tell-tale key of the ceremonies observed during the last four
interaction between different levels of days preceding the Chaitra Sankranti. The
Indian society ranging from tribal to village Bhaktas are not ordinary people. After their
and to the high castes. In the propitiation initiation they have to perform-a fire-
rite a connected with Mayurabhanj Chhau walking ritual called the nian pata, which
there it one which revolves around the we observe is absent from the Seraikala
establishment of a pole at a place which Chhau festival.
VIVEKANANDA KENDRA PATRIKA 123 DANCES OF INDIA

They perform another rite where the dancer. The ustads and musicians are given
devotee is suspended by his feet on a pole new dhotis to wear. The preliminaries over,
over a flaming fire. This ritual is called jhela the whole assembly performs the ritualistic
nata. Finally, they hang in suspension by pranamic dance.
their arms while a pole makes a complete
A characteristic feature of the dance is an
revolution of a T shaped structure. There
offering of the leaves of wood-apple and
is also some walking on thorns. These and
flowers mixed with the earth collected from
other ceremonies come only on the 26th
the practising area of the dance. All these
day of the month of Chaitra when a pitcher
are tied in a piece of red cloth which is
of water is brought out to herald the
kept inside a proscenium stage-19th
beginning of the festival.
century building. Each dancer offers his
The earthen pitcher is painted crimson with pranams to these articles which were first
vermillion and is sanctified with mantras. offered to the Lord Bhairava. Without
The ghata represents Maha Shakti and is pausing to describe the performance of the
called Fatra Ghata. Mayurabhanj Chhau, let us speak at this
stage of the other rituals connected with
It is perhaps not necessary to dwell further
the performance. At the end of the ritual,
on the significance of these rituals which
at midnight, another pitcher or pot, this
precede the dance festival. Here is an
time called the nishi ghata or the night
amalgam of ancient rites, fertility ritual and
pitcher, or sometimes also the Kamana, the
deity worship. A dance emerging from this
desire ghata is worshipped. In many ways
background would naturally not be termed
this ghata also represents Shakti. Another
classical. However, even from this
ritual connected with the dance is the
brackground could it be termed folk?
offering of a specially prepared dance to
While we may not answer this question at the Sun-god. This is performed some time
this stage, let us now go on to the dance during the festival. Perhaps it is pertinent
itself. On the first day of the festival which to recall here that sun worship is common
roughly coincides with the last three days to many tribes, villages and to the
of the month of Chaitra corresponding to sophisticated, high-class Brahmins of
April 11th to l3th, the Chhau dancers Orissa.
proceed not to the area where the ritual
The Dance Proper
has been performed but to the temple of
Bhairava. The teachers or the gurus of the Now to the dance itself. There are many
dancers are not called gurus, but are called ways in which we can analyse the form
ustads, Obviously some syncretism has which is presented before and after the
taken place. The ustads and musicians rituals described above. We can look at it
worship Bhairava and also initiate new from the outside to find out whether it has
dancers on that date. any relationship to other forms prevalent
in the area or any connections with forms
The initiation is done through tying a piece
outside the region of Orissa. We can look
of red thread on the right wrist of every
VIVEKANANDA KENDRA PATRIKA 124 DANCES OF INDIA

at it from the inside, that is only from the and those revolving around Siva and
point of view of movement and the Krishna. In addition there are dances which
treatment of the human body which is the definitely depict only martial drill. These
instrument of expression again with a view include numbers like the astra danda.
of investigating these relationships and Besides the above theme there are also
connections. others which revolve around everyday life,
such as hunter dances and the trick dances
There is no known recorded history of
using poles, ropes and pots.
Mayurabhanj Chhau. There are also no
texts. In short, from the outside, it would The occasion of the dances, the themes
appear that the form is purely desi, folk or of the dances and the postures and stances
popular, dependant or oral traditions. clearly establish the relationship of
However, a close look at the chronicles of Mayurabhanj Chhau to dances prevalent
the Kalinga kingdom and of their in the regions of Seraikala and Purulia. It
principalities tell us of a flourishing martial also exhibits the processes of multi-layering
tradition where warriors were maintained of many moments of historical
in large numbers called Paiks. The sculptural developments. It may also be possible to
tradition reinforces this evidence by the establish the relationship of Chhau with
prolific depiction of war-scenes; shield and other dance-drama forms of India,
sword play and acrobatics. This ranges from particularly the Jatra of Orissa and Bengal.
the reliefs of Khandagiri and Udayagiri A distant similarity of narrative and
caves to the medieval monuments of dramatic form can also be seen with some
Bhubaneshwar and Konarak. Much later in forms of the Andhra Pradesh and the
the 17th, 18th and 19th centuries, the Karnatak regions.
scroll-painting tradition of Orissa called pat
This external evidence has to be correlated
painting emerges. While the Krishna theme
with the actual techniques of the dance.
dominates the content of these paintings,
Once we enter into the dance style itself,
there is evidence here also of the
we find that it has shed almost all features
Ramayana and the Mahabharata. Many
of tribal, folk and village dance and has
characteristic postures and stances of
acquired a distinctive stylisation which is
Mayurabhanj Chhau have a close affinity
a characteristic feature of the dance forms
with the stances and postures arrested in
commonly termed as classical. The normal
stone, line and colour in these reliefs and
yardsticks of identifying a dance form as
in these paintings. From the evidence of
classical have been the existence or non-
sculpture and painting, it would appear that
existence of a rich body of composed
the Mayurabhanj Chhau dancers were not
poetry, namely the sahitya. A second
unaware of the principles of the treatment
yardstick has been the existence or non-
of the human form, as it is known to the
existence of a musical composition which
sculptors of the great tradition. In content
is based on this sahitya and set to a raga
also, the Mayurabhanj Chhau incorporates
system. A third criterion has been the
the dances of Mahabharata, Ramayana,
existence or non-existence of a complex
VIVEKANANDA KENDRA PATRIKA 125 DANCES OF INDIA

system of mnemonics set to a particular Paji. The dialogue between the two which
metrical system, namely the tala. The is an amalgam of dialogue, mime and
fourth criterion has been the existence or movement is called the Vidusaka Pranalika,
nonexistence of a self-imposed limitation again reminding us of the nata-nasi or the
of movement in relation -to space. Finally, sutradhara and nati of the Sanskrit theatre.
there is the last touchstone of the
relationship of the word to the note, the
word and the note to the rhythm, and the
word, the note and the rhythm to the
gesture. Mayurabhanj Chhau can be
analysed from all these points of view and
also from the point of view of its own
distinctive principles of movement and with
the question whether or not it responds to
any of the criterion enumerated above, and
the final one of the principles and
conventions of improvisation.

The dance begins with Rangabaja. This can


be performed behind the screen or in full After the characters appear in their specific
view of the dancers. It is essentially a dharana, the nach begins. The word nach
musical invocation, almost reminiscent of is obviously derived from nritta; in this
the Purvaranga and the Parvappada of portion there is the introduction of the
Kathakali. The dhumsa sounds, the dhol theme but little dramatic action or the
and the mahoori create the mood; their taking forward of the .story. The dance
collective permeation is both powerful and content of the dance style is contained
a necessary prelude to the dance. Today for the most part in this section of the
it is performed in full view of the evidence. dance. The first of these is the Rukmara
This is followed by the instrumentalists nacli, a close parallel of the Parikhanda
playing a tune to which the different exercises of Seraikala. Natki is the final
characters appear on the stage. This phase performed to au accelerated tempo,
phase is known as the Chali meaning where the dramatic action is heightened.
literally walking. The characters appear in Although there is some weal
their different dharans or stances. The accompaniment, sahitya is very thin and
particular stances and gaits establish the minimal: the dance-drama is presented in
character without the aid of masks in the in to the accompaniment of a wind
contrast to the other forms of Chhau, instrument called the Mahoori, a type of
namely the Seraikala Chhau and. the Purulia Shahnai, a string instrument called Teula
Chhau. After the Rangabaja and before the and to a variety of percussion instruments
opening of the actual play, there is the such as the Dhol, the Chadchadi, (a short
appearance of two characters called Kaji- cylindrical drum played with two thin sticks)
VIVEKANANDA KENDRA PATRIKA 126 DANCES OF INDIA

Nagada and a Dhamsa, a bowl shaped large along a central median (the madhya sutra),
drum played with two blunt and heavy in the tribhanga it is unequally divided and
sticks. The Dhol leads the drums; the there are three distinct deviations from the
melody is played by the Mahoori, the Teula central median. All topkas, uflis and bhangis
and sometimes a bamboo flute. The tunes emerge from these two basic stances.
played by these instruments have a great Although there is a close affinity between
deal in common with both the folk tunes the Orissi and Mayurabhanj in respect of
and Orissi songs. Some ragas and raginis the basic stances the manner of building
of Hindustani classical music can also be up a movement varies greatly. All the units
discerned. Mayurabhanj artists claim 36 of movements are again classified [from
raginis, However, there is here no word- the point of view of the nature of the
note and basic tala relationship as in the movement, i.e. (i) strong and precise, (ii)
classical, what we have termed at the neo- quick, terse and cutting and (iii) fluid, liquid
classical forms. There is only a general type and elastic. These are known by expressive
of relationship between the sung or played terms such as the Hathiyara dhara (holding
melody, the tala and the dancers gestures. of weapons) Kalikata (softest end of a
There is, however, great complexity in the spring) and bhanga (bending). The first
playing of the percussion instruments. denotes stances and open positions and
There is rigorous system of tala and of strong masculine movements of sword and
bols maemnonics which arc interpreted and shield, the second the nature of terse or
presented by the dancer. There is also cutting movement with abrupt stops, and
counterpointing between the rhythmic the third fluid liquid torso movements which
syllables of the dhol and the chadchadi. are continuous. One type of movement can
be distinguished from the other, even if
The dance itself, like Seraikala Chhau can
they are poised in a different order. While
be broken up into topkas, uflis and bhangis,
no parallels in terms of tandava and lasya
Like other classical styles of Indian dance,
can be discerned, it may not be too far-
Mayurabhanj Chhau begins with two basic
fetched to see that Hathiyaradhara and
stances or postures. These postures are
Kalikata suggest tandaoa movements and
quite distinctive but have a strong affinity
Kalibhanga, lasya movements.
with the stances of the sophisticated
Orissi. Bharatanatyam can be understood Thus there is nritta. nritya and natya and
as a rhombus or a series of triangles in tandava and lasya, The torso is used in
space, Kathakali as a square or rectangle, synchronisation and in counter-opposition
Manipuri as a figure of eight and Kathak at to the movements of the lower limbs. The
a straight line, Orissi as a tribhanga, leg movements are more definitely broken
Mayurabhanj Chhau in contrast, has an up into a few distinct categories judging
open tribhanga and Chaska (akin to an open from their name, the path of movement of
grand plie of western ballet or the mandala the lower limb, the foot, particularly, the
sthana) as a basic motif. While in the chauka ankles and the toes. Some uflis derive their
the weigh t of the body is equally divided name from the functions of an Oriya house-
VIVEKANANDA KENDRA PATRIKA 127 DANCES OF INDIA

wife, both as she prepares the mud-house (ix) Thamka-walking lyrically.


floor and as she decorates herself. These
Those that suggest other functions or
are Gobar-koodha (picking cow-dung from
operations are:
the floor), (ii) Gobar-gola (mixing cow-dung
in water), (iii) Chhadadia (spreading the (i) Kantaka-cutting clown the thorny,
cow-dung mixture on the court-yard), (iv) shrubs
Choonchadia (plastering the floor with cow-
(ii) Kanta-nikala-removing the thorns from
dung and water), (v) Chinchra (scrapping
the path
the earth), (vi) Kharka (sweeping the floor
with a broom), (vii) Thoontida (decorating (iii) Batachim-splitting a bamboo in two
the floor with rice paste as in Kolamas).
Those that represent martial movement
Others take their name from household are:
chores, such as:
(i) Antemoda-to kill by trampling on the
(i) Basan-maja-cleansing utensils
abdomen: this may well indicate only the
(ii) Haladia bata-grinding turmeric on a movements of the abdomen.
stone slab
(ii) Khanda hana-sometimes also called
(iii) Dhan Koota-pounding paddy Jitahana-implying killing with a sword.

(iv) Dhan Pachhuda-winnowing the de (iii) Habsa-to kill with a heavy instrument.
husked rice
(iv) Uska Janka-to lift up and then to press
A few relate only to toilet, such as: hard.

(i) Gadhua-pouring water on the body Lastly, there is a group which suggests
the gaits of animals. There are:
(ii) Matha jhada-after the bath drying the
long hair by a jerky movement of the towel. (i) Harin-dian-leaping gait of a deer

(iii) Moonh pochha-wiping the face with a (ii) Shaula-dian-fish jerking out of water
towel
(iii) Baga topka-crane stalking
(iv) Sihtaphada-parting the hair with a
(iv) Baga Machha khoja- crane searching
comb
for fish
(v) Sindhoor pindha-putting dot of vermilion
(v) Masikadchiti-monkey somersaulting
on the forehead
(vi) Hanuman-panipia-monkey drinking
(vi) Jhoontia maja-cleansing the toe-ring
water
(vii) Udhooni chata-putting the two ends
(vii) Bagh-panipia-tiger drinking water
of a scarf over the shoulders
(viii) Chingdichitika-jerks of a lobster when
(viii) Chhalka-walking ecstatically
pulled out of water
VIVEKANANDA KENDRA PATRIKA 128 DANCES OF INDIA

(ix) Chheli-dian-goat jumping suggested through the movement. This


particular movement is in non-existent
It will be obvious from the groupings of
styles.normally called classical. In both
these uflis that they can be such as to
Seraikala arid Mayurabhanj, it constitutes
incorporate agricultural functions, daily
a very important aspect of the style.
routine, war-drill and animal gaits: besides
Indeed the entire movement vocabulary of
there are those of the walking of human-
Mayurabhanj Chhau is based on it.
beings and some emotions. Again layers of
artistry from pure representation to The Mayurabhanj Chhau emphasizes this
abstraction is seen. When analysed from movement more than any other dance style
the point of view of movement one finds in India and achieves a classical perfection
that these

uflis are reminiscent of the Charis


(Bhaumis and akasaki of the
Natyasastm) some sthanas (such as
the mandala sthana) and the special
category of karanas described in the
Natyasastra as the Vrischika karana,
the last two are most significant. We
had observed a similar pattern in the
case of Seraikala.

As pointed out earlier, the Vrischika


Katana is suggestive of a class of
movement, derived from its descriptive
name meaning scorpion legged. They
are varied such as the Vrischika lata,
Vrischika urdhva lata and many others.
They are found on the walls of many
temples. They are captured in stone in distinctive to it. Without using a sastric
India from the earliest times, beginning with terminology the dance style incorporates
the Khanda-giri vidyadhara. This is followed many elements of high classicity. Judging
by the flying gandharvas on the stupas of from the many ways in which the extended
Sanchi, Amaravati, Nagarjunakonda, leg is used in this style and in the depiction
Deogarh, Elura, Ajanta, the medieval of the dance in sculpture and references
monuments of Virupaksha, Khajuraho, to it in dance texts it would appear that
Bhubaneshwar, Konarak, the southern the movement was popular in India from
monuments of Mamallapuram, Halebid, and the 2nd century B.C. and that certain
Sarangapani. Here are dance poses which dance styles must have used it to great
depict one extended leg while the other is effect. At some point possibly about the
in folded: an elevation from the ground is 13th-14th century it lost popularity. From
VIVEKANANDA KENDRA PATRIKA 129 DANCES OF INDIA

the pure visual impression of contemporary Nataraja, Parashurama. Epic and puranic
Mayurabhanj it would appear that the stories constitute the theme of group
dance style preserves a movement pattern dance-drama, such as Tamudia Krishna,
of great antiquity. However, in the absence Garuda Vahan, Kailash Samudramanthan,
of any further textual evidence on the Ahalaya Uddhara, Gita Upadesha, Kirata-
subject no further deductions can be made. Arjuna, and Kailash Leela. There are two
Nevertheless, this feature of the dance groups performing these-the Uttar Sahi and
style gives a distinctive quality which the Dakshini Sahi and their repertoire differs
distinguishes it from any other style. somewhat, although there are many
Whether this is the contribution of tribal common features.
dance, or martial exercises, or the
In each of these numbers, the evolved
reflection of a classical tradition related to
vocabulary of dance movement, along with
the Natyasastra, its kinetic value is
a clearly identifiable structure of
dominant. While many dance poses
choreography both in body movements and
arrested in stone cannot be identified with
floor choreography is in evidence. While a
any of the contemporary classical styles,
dance like the hunter or shikari is vital and
they can be seen in Mayurabhanj Chhau.
powerful, numbers like on Phul-Mali are
From an initial standing, a tribhanga or a graceful and lyrical. The number on
chaska, (i.e. the santa sthana, or vaisakha Nataraja is perhaps the most authentic
or the mandala sthana of the Natyasastra survival of the various poses of the tandava
terminology,) many extensions of one leg described in the Natyasastra and the
and elevations and pirouettes are achieved. Agamas and seen on the sculptured walls
Space is covered in figures of eight or of temples. Many dancers of the neo-
spirals, and the sculpturesque pose at the classical styles have of late tried to
end of a sequence is characteristic. reconstruct the Karanas on the basis of
Although there are many common points their representation in Brahadesvara,
between Seraikala and Mayurabhanj, the Sarangapani and Chidambaram. The result
latter exhibits a complexity of movement has been of academic interest without
in the treatment of the torso, and the lower achieving an inner artistic coherence. The
limbs. While Seraikala is lyrical, Mayurabhanj Mayurabhanj Chhau Nataraja number is
leaves the impression of a strong, well conclusive proof of the fact that the
defined movement: seemingly unplausible poses, with many leg
extensions and elevations, were no doubt
The repertoire of the dance style is also
part of a living tradition which has survived
revealing. It extends from simple themes,
in the Mayurabhanj Chhau, The transition
such as hunting, fishing, as in the dances
from one pose to the other through a well
known as the Shabar Toka, Shikari to animal
defined path of movement would be a
dances like the Mayura nritya, to those
lesson in Kinetics for any professional
which revolve around nature such as Mali
dancer, and yet Mayurabhanj Chhau is
Phula to dances which revolve around. myth
considered a folk dance as opposed to the
such as Pavan Pootra Hanuman to
VIVEKANANDA KENDRA PATRIKA 130 DANCES OF INDIA

classical forms. This number along with which recall the pindi-bandhas of the
some others like the Gita Upadesh is further Naiyasastra tradition. Floor space is
evidence of our hypothesis, that often what fascinatingly divided between the Gopal-
we have considered as the classical part balas and Radha and her companions.
of high art it survives and is fostered in Diagonals, horizontal and vertical lines with
socio-economic milieu of the contemporary one line moving backward and the other
socio-economically backward groups or forward, the formation of pairs in a mandala
levels of society which we consider as the and the overlapping of circles makes the
tribal or rural. As we have said before one number a rich piece of choreography. In
explanation of this may be that the tradition the Gita-Upadesa without the use of the
of the arts was a pervasive tradition text of the Gita, the tenth and eleventh
irrespective of socio-economic hierarchy cantos become alive with a poignancy and
and that while the pace of change at the vibrancy which make it clear that the group
more affluent levels in some matters was of dancers, tribal or schedule castes are
faster although in adhering only not unacquainted with the moral and
intellectually to the texts on the socio- ethical values of the Gita. Will we say that
economically backward group it has this is the travelling of the high or great
continued over a longer period. It also tradition to the rural or tribal levels, or will
points to the fact that we must not we call this the continuation of what we
consider either the Naiyasastra or classical term as the great tradition in a socio-
Indian iconography an exclusive preserve economic milieu, which otherwise is the
of the upper classes. As Kosambi has preserve of the little traditions? Also this
pointed out in his book, Myth and Reality, and other numbers tell us of a continuum
tribal elements entered into the making of between tribal, rural and pre-industrialized
myth and legend which we today identify urban society, and we do not see that the
as only classical or high. The Nataraja as tribal society is divorced from the sacred
a number would perhaps also be an eye matrix. The vibrancy and vitality of these
opener for many a scholar of Indian continuities also tell us that these dances
iconography whose work has been are not mere messages received from high
restricted to textual and sculptural class society-a point made by many
evidence of the nritta murtis. The sociologists; instead they speak of a
Mayurabhanj Gander sustains a tradition common inheritance which is fostered
perhaps unselfconsciously and is not aware through the ritual and the dance instead
of its historical value and aesthetically of the spoken and the written textual word.
satisfying qualities, but this does not make The difference is at best a difference of
the quality of this art inferior or of doubtful the methodology of understanding while the
scholastic values. Mayurabhanj Chhau, etc., know the
heritage through the ritual, the movement
The treatment of the theme of Tamudi
of the dance, and the sound of the music
Krishna is similar with many interesting
without cerebration and intellectualisation,
interlocking patterns of group dancers
the literature society knows it only through
VIVEKANANDA KENDRA PATRIKA 131 DANCES OF INDIA

the word written and not through the whole area, and with other forms at particular
range of the experience of life. levels in adjacent areas.

The tradition has been maintained by the To go back to our initial analogy of the
Ustads, whose genealogies can be traced spheres and the levels of the disc, it would
back to 200 years or more. The genealogies appear that Mayurabhanj Chhau stands in
of the princely states who patronized the an intermediary position like the Lai-Haroba
arts can also be traced back to a few of Manipur. It is connected one side with
generations. There was also much the danda nata of the Chhaddiya dancers
interaction between Seraikala and of the Ganjam and Narendrapura districts
Mayurabhanj during this period. and is also connected with the Gotipua
and the Mahari and Orissi tradition. While
Thus we have here a complex phenomenon
it sheds some of the characteristics of the
where tribal, village and the urban culture,
Chhaddiya, etc., it assimilates or is
the Margi, the Desi, the Natyadharami and
overlayered with Indian myth and legend,
Lokadha- rami have come together to make
epic and the puranic content. However
a new whole. Many moments of historical
while incorporating the content and
past coexist and many processes of
achieving a stylistic form with a structured
acculturation and assimilation are in
grammar it does not use the sahitya or
evidence.
the literary word. The Gotipua, the Mahari
Here then is the problem before us: certain and now Odissi dance successively chisel
forms such as Chhau cannot be categorised the stylistic features of Mayurabhanj
as purely Margi or Desi or Sastric and Chhau, particularly movements derived from
prayoga exclusively if adjudged from the the tribhanga and the chauka but they
point of view of only one yardstick of either shed the epic dramatic content and become
sahitya, svara or the bhanga or tala. All solo forms, revolving around only the
factors, racial, ethnic, linguistic, cultural Krishna theme or Vaishnava cult. The word
and those of content and form of the sound and meaning relationship absent
particular style have to be taken together from Mayurabhanj is predominent in these
for a meaningful understanding of the forms. Together all move around a
Indian artistic pattern. Our analysis will distinctive regional Oriya axis.
have also shown the interconnections
This is almost a parallel phenomenon to
between this dance style and others in
what we had seen in the case of Manipur,
adjacent areas like the Seraikala Chhau and
i.e. of the interaction of the different levels
the Purulia Chhau. From the point of internal
of the disc. Also the other movement of
technique it shares many features with
Mayurabhanj Chhau as a distinct level
Odissi. Thus as in life, the dance form also
having connections with similar forms in
presents in a very significant manner, a
adjoining areas, such as Serai-kala and
distinctive form, which has connections
Purulia, is clearly in evidence.
both with folk and classical styles in the
VIVEKANANDA KENDRA PATRIKA 132 DANCES OF INDIA

Kathak Dance As An Art-Form


Dr. S.K. SAXENA

W
hat is Kathak dance? It is the
art, I may answer, of so
perfecting the use of body-as
gesture, movement, posture and pace-that
within and upon the unceasing flow of laya,
the dancer is (in the end) able to work up
the more or less articulate beauty of form,
expression and rhythmic utterance in
diverse and largely identifiable ways; and
is, in addition, free to vary the course of
dance in accordance with both the rasikas
responses and the friendly challenges or
stimuli that the drummer may at times offer,
Kathak is an art-form.

Is it at all proper to speak of Kathak as


features of import and structure are all
art? It may seem needless to project this
freely present in our experience of Kathak,
question; for, Kathak is already regarded
and even in the essentials of this dance
as one of our major classical dances. But I
form.
would here say that if we ponder how
Kathak is an art, we are likely to gain in Thus, to begin with, the body of the
two ways. First, it may help us see, if but danseuse does not here seem simply what
imperfectly, how creation is to be done in it does in everyday life. It is transfigured,
the region of this dance. Secondly, it could carefully adapted to the ends of dance.
enable us to discover or refine the criteria Our word for the body so adapted is ang.
for evaluating dance in this style. And when the role of ang in dance is said
to be pivotal, what is meant is that the
Now, Kathak is an art in so far as it shares
artist has to meet two conditions that are
the basic features that are commonly, if
inter-linked: first, that the dancing figure
not unquestionably, ascribed to all art. If
should look winsome all along; and secondly,
properly contemplated, art takes us away
that it should never lapse into mere every
from our everyday concern with things, and
day bearing. The first would require the
offers instead its own inner world for
artist to avoid free use of representations
indwelling and disinterested delight. Further,
of such gods and goddesses in, say,
what it comprises is no mere jumble, not
vandana as do not look good to the eye
even a mere juxta position of elements,
(as Durga, for instance); and the second,
but their intense organization. Now, such
VIVEKANANDA KENDRA PATRIKA 133 DANCES OF INDIA

to remain specially careful in respect of


posture during those moments of inactivity
that separate the completion of a pattern
from the beginning of another, or while
waiting to re-enact in dance an intricate
pattern being played by the drummer as a
kind of friendly challenge.

The break-away from daily life is effected


quite early by thhat with which a Kathak
recital often begins, and where the bodily
bearing is very different from its every day
manner. As for the rhythmic patterns, they
are not (as a rule) meant to copy anything
in life. And there is an element of make-
believe even in the basic bols of tatkar.
For, as they are danced, the syllables Tha,
Pra, Tha Tha, Tehi hardly sound different
from one another; yet they are taken to
The Important Elements
be different. Nritya, it is true, has to build
upon themes taken from the every day First, the distinctive gait of the taala being
world. But here too the Kathak has to keep used and the moment of its sarna may not
the difference between art and mere life. be hidden for too long in abhinaya. (I need
This can be done in three ways at least: hardly add that its rhythm-as
accompaniment and ingredient -is what
quite distinguishes dance from movement
in daily life).

Secondly, all the elements of a situation


from life being danced may not be
represented. Thus, in presenting a panghai-
ki-gat, the dancer need not portray, by
distorting his face, the (actual) strain of
pulling a full, big bucket from the well. If
such restrictions are not heeded, dancing
will forthwith lose its basic abstraction as
art, cease to engage our imagination and
will only appear amusing to the
knowledgeable.

Finally, whatever is taken for treatment


from life should be show n with such loving
VIVEKANANDA KENDRA PATRIKA 134 DANCES OF INDIA

illustrate, when the basic bols are being


danced, the eyes-and/or the open palms-
may tend to turn heavenward where the
syllables are Tha, Pra and so be true to
the phonetic openness of the syllables;
and the look may quite aptly droop or/and
the arms curve inwards-where this
character is replaced by the gently self-
gathering quality of Tehi (I have here in
mind what the late Sri Lacchu Maharaj
actually did, with remarkable effect, in the
All India Kathak Dance Seminar held at
Jaipur in 1969). But, in a simpler way, the
care for detail, such delicate etching of
requirement in question is met even by
line and movement with fingers and arms-
average dancers. Thus, where the syllable
and, what is more, with such a definite
to be danced is Throm or Kadaan they do
and expressive use of glances and bodily
manage to produce some semblance of the
turns-that contemplative attention may
heard character of the bol (say) by using
yet remain glued to what is shown on the
two hands above the head to work up the
stage, instead of moving away, due to lack
effect of bloom or sparkle, and by regulating
of visual charm, to what it indicates in life.
footwork suitably Or, as is borne out in the
If thematic items are danced in the manner
dancing of beautiful, little tihayis and bits
here suggested, the representational
of footwork by Birju Maharaj-which he often
element will only help us follow what is
does quite early in the recital, may be
danced, not take us away to matters extra-
immediately after the opening invocation-
aesthetic. Nor is the inner disposition of
ang may be manifest as the direct attuning
elements any less important in Kathak than
of the gestures in accordance with the
in the other arts. This I may develop as
varying manner of the movement of
follows:
rhythm. Here, the intentional avoidance
First, the ang is to blend not only with (a) of a rhythmic stress is also visible joy (or
the meaning of the theme but with (b) the mischief) suffusing the dancers visage;
varying accentuation or flow of rhythm, and the completion of a dainty pattern
and the auditory character of its bols. The danced itself brings about an upward,
former need is quite common knowledge. finalising flourish of the hand. The gestures,
But the latter is a subtler requirement. It in such cases, are not codified mudras;
is met instinctively by those whose minds and ang is the body as responding to the
are deeply imbued with the sense of laya, feel of rhythm. The bodily expression, here,
and is not consciously realized by all those is of course identifiable, but it is inwardly
who profess to know Kathak dance. To affirmed and plastic, not rigidly set.
VIVEKANANDA KENDRA PATRIKA 135 DANCES OF INDIA

UDAYSHANKAR Source: Bhavans Journal


November 6, 1977.
MONI BAGCHEE

I
t was a memorable occasion. The of a stagnant ideal nor define it as either
year was 1937 and the date was Indian or Oriental or Occidental, for such
the 12th of July. Uday Shankar had finality only robs it of lifes privilege which
just returned to India from his triumphant is freedom. Truly so, culture knows no
tour of Europe. A grand reception was boundaries. And this is why Uday Shankar
accorded to him by no less a person than could put India on the cultural map of the
Rabindranath Tagore at Santiniketan. There world.
was a select gathering if I remember alright.
A legend in his own lifetime, Uday Shankar
Tastefully decorated, the whole
was born in 1900 in Udaipur, where his
environment was solemn in the best
family, originally from Jessore (now in
tradition of the place. The poet welcomed
Bangladesh) had settled. The eldest son
the dancer with the following words:
of Dr. Shyam Shankar Chowdhury, an
Your motherland welcomes you today not educationist with an average interest in
with a garland of victory but with one music and art (he was for sometime private
sanctified with her blessings. Do you tutor to the Maharajah of Jhalwar). Uday
receive the same today again and again, spent his childhood at Ghazipur to watch
from my hands. You have brought into the a cobbler dance, and he repeated it at
open, Indian dancing from the cloistered home. Dressed as a girl by his mother who
darbar halls of the Maharajahs and temple had no daughter, he danced to whatever
sanctuaries, lifting it to its former dignity music he heard. His younger brother Ravi
of an art form. The spring breeze coaxed Shankar is a noted sitarist. Uday was sent
the spirit of the woodlands into multifarious to a school at Varanasi and then to the J.
forms of exuberant expression. Let your J. School of Art, Bombay. In 1900 he went
dancing too wake up that spirit of spring to England with his father and was admitted
in this cheerless land of ours; let her latent to the Royal College of Art, London. He
power of true enjoyment manifest itself started his training in plastic art under the
exultant language of hope and beauty. guidance of Sir William Rothenstein, the
Principal of the College, and completed the
Uday Shankar did not disappoint the poet,
five-year course in just three years. He
nor his numerous lesser countrymen. As a
won the coveted Spencer Prize and many
dedicated soul to his Muse, Shankar
other awards.
believed that there are no bounds to the
depths or to the expansion of any art, A Turning Point
which, like dancing, is the expression of
June 30, 1922 was a memorable day in his
lifes urge. We must never shut it, said
life which might have contributed towards
the great masters once, within the bounds
VIVEKANANDA KENDRA PATRIKA 136 DANCES OF INDIA

his final decision to choose a dancers Shankar, Devendra Shankar and the sitar
career. He was asked to do a duet dance maestro Ravi Shankar (who was then a
at a St. James Park function in aid of a dancer), his cousin Kanakalata, that
hospital. Amongst the distinguished talented French woman Simkie, and even
spectators was King George V himself. The his uncle, Kedar Shankar Chowdhury. In
sword dance was highly appreciated and 1935, he met Miss Amala Nandi whom he
he was congratulated by the King who married six years later. After an extensive
shook hands with him saying: Good, jolly tour of Europe, Uday Shankar took his
good. You have done very well.

He tried to master the Western technique,


but was dissuaded by Sir William, the
college Principal, who gave him a months
leave of absence and sent him to the
British Museum where a huge pile of books
on Indian art was placed before him. A
new world was opened before him and he
emerged from the museum altogether a
changed man. He had been deeply
impressed by the frescoes of dancing
figures. Art was not to remain his first love
any longer. He took on a job as a cabaret
dancer but had to leave it soon and search
for new avenues. The search ended when
he discovered the Nataraja image in Ananda
Coomaraswamys book on Indian art.

His Achievements

Although he faced considerable financial


company to U.S.A. and toured that country
difficulties and much hardship, Shankar
from coast to coast. It may be mentioned
succeeded in building up a ballet group for
here that many renowned musicians like
an Indian dance show. The first
Temirbaran, Krishnachandra Dev (that
presentation of that group
immortal blind singer of Bengal), Sachindeb
in India was at the Empire Theatre, now Burman, Ali Akbar, Bishnudas Shirali and
renamed Roxy, and he was immediately even Ustad Alauddin Khan joined him and
hailed as an artiste of exceptional sensibility he formed an Indian orchestra. He toured
both by critics and public. In the early round the world with his troupe holding high
thirties, Alice Boner, a Swedish painter, the banner of Indian dance and music.
helped him to organise a European tour
He founded the Indian Culture Centre for
with Indian dances and musicians. This
Dance, Drama and Music at Almora in 1939
troupe included his brothers Rajendra
VIVEKANANDA KENDRA PATRIKA 137 DANCES OF INDIA

with the ungrudging help of Leonard score in which no foreign instrument was
Elmhurst. It was a residential school where used. The school of dancing he originated
music and dance were taught in an entirely was the outcome of a rigorous training in
original and strictly scientific method. But and deep study of classical Indian dancing;
the centre had to be closed down during combined with his own creative genius. The
the Second World War. It was revived in result was a scintillating synthesis. His early
1965 in Calcutta and with the help of Smt. choreography, it may be pointed cut here,
Amala Shankar. It was around this time that drew much inspiration from Indian temple
the shadow-play Ramalila was first sculpture on the one hand and, on the
produced and it brought fresh laurels to other, the presentation technique of the
him. Western ballet. Notable examples of this
synthesis were his famous items like
It was during this period that the seeds of
Shiva-tandava , Gajasurvadh ,
the film Kalpana germinated in his mind.
Kartikeya, Indira, and Labour and
Though they hailed it as a landmark in Indian
Machine.
cinematography, it was a colossal financial
failure. In this film we have the motion His main achievement was the blending of
picture record of some of the famous dance the Indian classical style with the various
performances of Uday Shankar. During the folk- dances. Much of my inspiration came
Tagore centenary year of 1961, he from Indian mythology which I have re-
produced Tagores Samanya Kshiti in created with my imaginative ideas about
ballet form. The following year he was made dress, decor and music in its many
a Fellow of the Sangeet Natak Academy dimensions. Thus said Uday Shankar once
which earlier had awarded him the National to the writer of this tribute. That he lived
Award for Creative Artiste. Rabindra Bharati the life of an artiste is evident as much
University awarded Uday Shankar the from his successes, spanning more than
honorary D. Litt. degree in recognition of 40 years, with the world his stage, as from
his services in the furtherance of Indian his failures. His dance centre at Almora did
culture. Finally he was awarded the Padma not work ; it called for qualities or
Vibhushan in January 1971. Anna Pavlova organisation he did not have. He made a
discovered the talent of Uday Shankar and long film Kalpana which was brilliant only
she made this prophetic uttererance: I in parts; commercially it was what they
arn convinced that he is made for dancing. call a flop. He had to work right up to his
70th year. He could not help dancing, and
As a dancer, he was original, as a
dancing was pot work for him in the
choreographer, idealistic. His genius was
conventional sense, although his discipline
stirred, at the end of his career, by the
as a dancer and showman was famous. He
agonies of a diseased era. He was the first
danced his way through life, and he danced
person to present an Indian ballet with an
his way to death. The stage is empty.
Indian thellle, accompanied by a musical
VIVEKANANDA KENDRA PATRIKA 138 DANCES OF INDIA

Temples As Patrons Of Dance


Dr. K. V. RAMAN

T
he two institutions which
temples. Special pavilions were built in the
extended patronage to the arts
temples for the performance of dances-
of music and dance in ancient and
Koothambalam (or Natana-Sabha), Nritta
medieval India were the Palace and the
mandapa, and Natya mandapas. There
Temple-the former in the metropolis and
was a dancing-hall at Nagai called Natya-
the latter in rural areas. In the temple, the
salai in l062 A.D.
arts were part of the 64 offerings or Shoda-
sopacharas to the Lord Spiritual and the A record dated 1425 A.D. from Tiruchendur
same were extended to the Palace and (Tirunelveli district), speaks of gifts for
the Lord Temporal. From the seventh dancing girls who danced during the Maha-
century onwards, the temple vied with the puja and andikkappu. Even during the
court as more and more grants came in Pallava times, the Mukteswara temple,
pouring into the coffers of the temple. The Kanchi and the Adipurisvara temple at
simple place of worship became a vast Tiruvottiyur maintained a large number of
establishment catering to the social and dancing women (adigalmalar) and
cultural needs of the community. It is musicians for singing and dancing during
interesting to study how in South India the puja service and festivals. The women
the temples began to playa vital role in dedicated to dancing were called
fostering and cultivating the fine arts. deveradiyal, talicheri-pendugal; kuthis,
Because of their economic stability, royal These ladies on account of their proficiency
patronage and the social support, the in dancing were held in high esteem by the
temple flowered into a vibrant cultural society.
centre. That was the time when art and
The practice of employing dancing girls in
religion were inextricably intertwined. The
the temple increased during the Chola and
Lord was considered as the source of all
Vijayanagar times. Rajaraja the Great who
art and so art was sacred and spiritual. It
was an ardent patron of cultural and artistic
should be performed in His august presence
activities employed 400 dancing girls in the
and should be a humble offering to Him.
Brihadeswara temple he built at Thanjavur
The art should be a vehicle not only to
drawn from different parts of his kingdom.
delight but also to elevate the devotees
He made ample provision for their
to spiritual heights. This was the underlying
continuous service in the temple and
belief in integrating the arts like dance and
donated lands, houses and cash. A long
music with the temple rituals. Hence we
list containing their interesting names and
find land-grants given by the kings, nobles
titles is found among the inscriptions of
and the common folk for employing and
the temple. A number of singers, drummers,
fostering dancers and musicians in the
dancing masters were also employed to
VIVEKANANDA KENDRA PATRIKA 139 DANCES OF INDIA

assist in the performance of the dances.


The dance masters were respected and
honoured with titles like Nrittamarayan,
Nritta-perariyan, etc. The lands granted
to them were called Naituvakkani. The lands
granted to the dancers were called
Kuttukani. In the temple at Attur near
Tirunelveli, there was a theatrical hall and
a troupe of actors to enact dramas
(natakas) on the occasion of Avani-tirunal.
The hall was called Alagia-Pandyan Kudam.

The inscriptions also give details of various


dance models or styles that were practised
several sculptures of women dancers, single
by them. Thus at Thanjavur both Aryan
and in groups accompanied by musicians
and Tamilian models were performed. A
and drummers. The Vishnu temples at
Pandyan record mentions that Sakkai-
Tiruvallarai depict scenes of Krishnas dance
Koothu was performed in a Siva temple at
with the gopis. One has only to visit the
Dalapatisamudram by three women in the
Great temple, Thanjavur or the Sarangapani
month of Chitrai and Purattasi, At another
temple, Kumbakonam, to see the
temple (Tiruvengavasal) near Pudukottai
importance given to the dancing in our art
provision was made for the performance
motif. Why should all the Natya- Karanas
of Santi-Koothu by a lady. It is also stated
of the Natya-Sastra be sculptured on the
that she could perform nine kinds of
walls of the temple and around the
Koothus.In the Ranganatha temple at
sanctum? They are obviously meant to
Srirangam, members of particular families
delight the Lord and the devotees who go
called Araiyars perform even today dances
round the temple.
in the temple. They would wear special
dress and sing Tamil songs with hand The artistes and the devotees conceived
gestures and mudras. This is popularly of their gods as the masters of dance as
known as the Araiyar-Sevai. This seen from the beautiful icons like Siva as
particular practice was in vogue in many Nataraja (Kuthapiran or Adavallan), Krishna
other Vishnu temples also. as Kaliyanardhana or as performing
Navanita-Natya (dancing with butter ball),
In the temple sculptures also, we see a
Natya Saraswati (as at Halebid), Nritta
link between the temple and dance. Our
Ganapati (as at Gangaikondacholapuram).
artists took delight in depicting the dancing
The art of dance swayed the imagination
girls as ornamental friezes in the temple
of the artists in such a profound way that
structures. The basement of the temples
the whole temple pulsated with dance
at Tribhuvanam and Darasuram contain
forms investing divinity to the art.
VIVEKANANDA KENDRA PATRIKA 140 DANCES OF INDIA

Therukkoothu-The Folk-Theatre Of Tamilnad


SMT. SHYAMALA BALAKRISHNAN

T
he most popular form of folk-theatre of the rustic type. Whatever be the story,
in Tamilnad is the Therukkoothu or the inevitable characters are the
the street play. Yakshagana of Kattiakaran (Herald) and Komali
Karnataka is similar to the Therukkoothu. (Buffoon). The theme is usually a puranic
The theme of Therukkoothu is generally a story taken from the Mahabharata,
puranic story .The enactment is in typical Ramayana, Bhagavatha, etc. Invariably,
folk-style, by the folk, for the folk. It such themes have some moral and they
centres round the festivals and temples emphasise the importance of faith in god.
of the villages and is generally staged during Background music is supplied by an
the warm months, February and August. orchestral group consisting of a Mukhavina
What began as a pastime or recreation, (a small wind instrument like the
by the villagers for the villagers developed Nagaswara) a Thuthi (a bag pipe),
gradually into a professional art. Hereditary Mridangam and Tala (Cymbals).
actors belonging to particular families
The play usually begins with an orchestral
formed themselves into troupes and went
overture, followed by invocation songs
round from village to village, exhibiting their
addressed to various deities and, lastly, to
histrionic talents and receiving in return
the Guru (Teacher). This part of the play
money, grain and other articles of utility
will sometimes take even an hour.
from the villagers. Like many other folk
Immediately after this, the Kattiakaran
forms of Tamilnad, the Therukkoothu is an
appears and introduces the play in the form
all night show. It is enacted in street-
of a discussion with the Komali. Every
crossings (and hence the name, Theru-
character of the play appearing for the
Street+Koothu-Play), or on the threshing
first time on the stage comes behind the
floor in the fields. Nowadays a small
Thirai Cheelai piece of white cloth held by
shamiana of, say, 15 feet by 17 feet is
two persons. This improvised curtain does
erected in some places. No raised dais,
away with the need for a front curtain.
front screen, wings or screens, backdrops
The responsibility for providing indigenous
are provided. Lighting is by two or more
lights and Thirai Cheelai for the play
big torches placed at the two front
belongs to the dobhi of the village for which
extremes.
he is paid in grain or cash. Nowadays
Music, of the classical, semi-classical and petromax-lamps are also used. The
folk-types dominates the show, serving manipulation of the Thirai Cheelai is done
dialogues and conversation as well. in a skilful, artistic manner, creating
Occasionally, however, there are prose suspense and thrill in the audience. In the
renderings. Acting is accompanied by dance beginning closeups, so to say of the
VIVEKANANDA KENDRA PATRIKA 141 DANCES OF INDIA

characters head or feet, as the occasion of the performances. Thus, the play carries
may demand, are presented. The cloth is on, from about ten in the night to the early
then removed and the actor is. presented hours of the morning. Some plays, like the
fully to the audience. This type of front Mahabharata, drag on for many nights.
curtain is used also in Yakshagana,
Costume and make-up is an elaborate affair.
Kathakali, Bhagavatha mela and Kuravanji
Important characters like, Hiranyakasipu,
Natakas (which are semi-classical and
Duryodana, Dharrnaputra, Bheema, etc.
classical dance-dramas). The Kattiakaran
unlike the Sutradhara of Sanskrit plays who
appears only once in the beginning, appears
on the stage till the very end of the plays.
It is he who links the scenes and announces
the appearances of characters and scenes
in advance. The actor once again
announces his own arrival in the form of a
song and comes out of the Thirai Cheelai.
He then goes round and round singing and
showing gestures to the accompaniment
of loud music in the background. The
dancing, though simple, is brisk, and the
gestures very lively. Every line of the song
sung by him is repeated in chorus by those
of the music party. Not only the mridanga
and tala players, but his co-actors on the
stage also join in the choral singing! This
is indeed very interesting.

At intervals, the Kornali appears on the


stage and creates jokes and narrates wear headgears made out of light wood
comic stories by song, speech, grimaces called the Punna and lavishly decorated
and dance. While he thus spreads mirth with white and coloured mirror pieces and
and merriment among the audience, he gilt paper. They also wear huge ornaments,
affords opportunities for his co-actors to all made of the same stuff as the head-
rest and get ready for the next scene. He gears, on the hands, shoulders, neck,
also helps to break the monotony or chest, etc. Facial make-up is done with
heaviness of feeling if the theme is serious indigenous coloured powders known as
or pathetic. Sometimes an actor known as Aritharam. Female characters are also
Pala vesham (actor of many parts) also portrayed by men. Gentle characters use
appears, sings and acts and makes the yellow and white, decorated with yellow
audience laugh. These actors besides other dots. Red is used for the villain and white
factors mentioned add to the simple charm underneath red with black dots is also
VIVEKANANDA KENDRA PATRIKA 142 DANCES OF INDIA

painted. Blue mixed with black is applied exploding crackers at the time of entry of
on Bheemas face. Blue or Green is used heroic characters like Bheerna in
for Krishna. Thus, they have specific Mahabharata and by blowing out sparks of
colours for specific characters which help fire from the mouth (containing chemicals
both the actor and the audience in the in a mud-saucer) to denote extreme anger
appreciation of roles. The make-up, as, for instance Hiranyakasipu in Prahlada.
costume head-gears and other ornaments All these delight the simple-minded rural
of a therukkoothu performer remind us of folk and transport them to the land of sheer
the Kathakali of Kerala. Short skirt-like imagination. They sit gaping at the actors
dress full of pleats, pyjamas, dhotis, richly throughout the night or nights-the long
embroidered velvet coats, waistcoats, summer nights- enjoying thoroughly their
jibbas are all used. Actors without head- open-air-theatre with the sky as canopy.
gears wear turbans. Masks are occasionally The songs though simple, sometime contain
used as, for instance, in Hiranya Vilasam, big philosophic thoughts and ethical
for Narasimha. All characters wear ankle principles. The moral of a play is always
bells on their feet. that good will triumph and evil will perish.
These rustic plays have a large degree of
The lyrics and dialogues for a play are
direct elemental appeal capable of moving
generally written by a learned man of the
and uplifting the folk. Good Therukkoothu
troupe. Printed books of such plays are
troupes may be said to be mobile
available during village fairs and festivals.
educational institutions for they try to
The tunes of the songs are popular folk-
inculcate, through the medium of Art, in
melodies with occasional touches of
the minds of the masses, a deep love of
classical modes here and there. One could
god, good conduct, social virtues and a
spot out forms of ragas like Nattai,
capacity to distinguish the good from the
Devagandhari, Chenjuritti and Sahana in
bad. Their pent-up emotions find release,
their music. There is no voice lending: the
against evil-doers and in sympathy with
characters themselves sing their songs.
virtuous characters and in the end they
When an actor sings he holds the figurative
feel highly refreshed, elated, and enabled.
centre of the stage; the other characters
follow his song in chorus and become a North Arcot, South Arcot and Chingleput
part of audience, as it were. The same Districts in Tamilnad are famous for this
thing happens to another actor when his traditional art. There are parties in other
turn comes. Only one character dominates districts also, differing slightly in regard to
at a time, all others just helping to stress details. A Therukkoothu party generally
the importance of the former. This is an consists of 12 to 16 members. But I should
interesting technique in the subjective mention here of an interesting party in
rendering of the art. Coimbatore District consisting of only 4
members who enacted a drama that needed
The orchestral party sits on a bench placed
more than 10 persons. The accompani-
behind the actors. Grand effects are
ments were a Thuthi (bag-pipe)
produced by such simple devices as
VIVEKANANDA KENDRA PATRIKA 143 DANCES OF INDIA

Mridangam and Talam which were played up their old techniques and taken to
by 3 persons out of the 4. The fourth one doubtful modern theatrical methods. The
was dressed in a womans apparel and the music being replaced by hybrid film tunes,
accompanists played the other roles even the dialogues becoming more realistic and
as they were playing on their respective changes in their traditional costumes and
instruments! I wondered at the crowd that make-up too, have become common. It is,
had gathered and the interest evinced by however, heartening to find out that there
them in witnessing such a play which was are still a few who carry on their original
a little more than dramatic monologue. This traditions in spite of the difficulties they
tiny party somehow kept the audience have to face. One such troupe belongs to
spellbound and was earning genuine the Purisai Village in North Arcot District,
appreciation from them. On enquiry I found which is perhaps the best of all extant
out that there were several other such Therukkoothu troupes. The troupe known
parties travelling from village to village in as Raghava Thambiran troupe is led by Sri
the District. The actor and his Raja Thambiran and Natesa Thambiran,
accompanists received gift after gift, in (After the demise of Natesa Thambiran,
kind, from the audience. The simplicity of the troupe is led by his able younger
it all was so touching. brother Kannappa Thamibiran), both of
them belonging to a family of traditional
In the tradition of Indian Art, music, dance
Therukkoothu actors. The troupe has
and drama always went together. Bharatas
gained high popularity by their
Natyasastra, the oldest extant work on
performances at the Madras All India Radio
stage-craft, is also a treatise on dance
and at the III Folk-Dance festival conducted
and music. No wonder, therefore, that our
by the Madras State Sangitha Nataka
drama has to this day, largely kept up the
Sangam in 1961. The Sangam also
character of dance-drama or musical-
encouraged the troupe by giving them a
drama. (Ballet and opera correspond
very decent sum of grant towards
approximately to these). While the art of
purchasing new dress and make-up
the city has succumbed to prosaic ideas
materials, after which a grand performance
of the modernists who champion realism,
was also held in Madras City under their
the rural stage has, (thank! god!) more or
auspices.To enjoy such folk-arts, one
less preserved the poetic nature of the
needs genuine love and appreciation of the
art and has not given up the symbolism of
rustic simplicity of the art and the people
music and dance.
participating in it. There may be artificiality
Recently, however, a change is noticeable. in it. But it has to be enjoyed with a child-
In a survey of folk arts taken up by the like faith in its culture and tradition. These
Madras State Sangitha Nataka Sangam of arts fully deserve to be preserved for they
which Therukkoothu forrned a subject, it have been partly responsible for the
was painful to note that most of the unbroken continuity of our national
traditional Therukkoothu troupes had given heritage.
VIVEKANANDA KENDRA PATRIKA 144 DANCES OF INDIA

CHAKKIYAR KOOTHU
MRINALINI SARABHAI

T
he first of the sophisticated,
stylised and scholastic dance-
dramas of Kerala, was the
performance of a particular community
called Chakkiyars, who recited the ancient
Puranic stories in the temples. These men
were eminent scholars and in their
discourses, while quoting from the Sanskrit
texts, explained in Malayalam to the
people, the meaning of the sacred slokas
in a particularly witty manner. While Koothu
is a solo performance, the Koodiyattam,
is a dance-drama closest today to the
ancient traditions of the Sanskrit stage.
Usually the plays chosen are those of
Bhasa, but there are also the dramas of
the Pallava King, Mahendra Vikrama and
of Kulasekhara Varman. Though the Aharya
Abhinaya is of the same pattern as the
Kathakali, it is more simple in style, the
most marked difference being that the
actors of Koodiyattam speak, sing and
dance as in the Bhagavata
Mela Natakam of Andhra.
One of the important
characters of Koodiyattam is
the Vidushaka, who recites
in Prakrit and Sanskrit and
then explains the story in
Malayalam. Huge drums
called mizhavus are used as
accompaniment along with
cymbals (Kuzhittala) and
verses are recited in varied
ragas, each raga chosen for
its sentiment. The idakka is
VIVEKANANDA KENDRA PATRIKA 145 DANCES OF INDIA

part in the plays. They were called


Nangyars and belonged to the Nambiar
community. The Nangyars were experts
in music, acting and singing. Many of the
dance movements, as in the Natya
Shastra, have special names, but the
texts for the mudras are the same
Hastalakshana Deepika, as is used in
Kathakali.

After Koodiyattam, the intoxicating


lyricism of Jayadevas Gita Govinda swept
Malabar. This devotional poem with its
deepest roots in Sringara Bhakti
originated in Bengal and became a
favourite piece in Kerala, as a dance of
Krishna, Radha and her Sakhi known as
Ashtapadiyattam.

It was about A.D. 1660 that the Zamorin


of Kozhikode, Manadevan Raja, wrote
eight plays on the life of Krishna, to be
performed in his own temples, usually at
Guruvayur. The dancers make-up is similar
to Kathakali, though the chutti is smaller
and used also by women characters.
Beautiful and awe-inspiring masks are
also utilised along with the Kombu and employed frequently. One of the loveliest
Kuzhal, As in Kathakali, the conch is used items is the dance of Krishna with the
as an instrument whenever necessary. Gopikas and here the transition of the folk-
dance into the classical form can be
Usually only selected portions of the plays
clearly visualised. Apparently, this dance
are performed. After the period of training
is akin to the various Kalis of Kerala, the
the students give their primary recital.
Kolkali, like the tras of Gujarat, the
Selections from the Balacharitam are
Kaikottikali, danced by women during the
chosen for their first performance on the
Onam festival and the Thiruvadirakali, the
stage. An interesting fact in Koodiyattam
maidens worship of Manmatha God of
is that women, not only sang but also took
Love.

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