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Indian Dance Drama Tradition Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario. called Yagna. The ritual’s movement pattern was dramatic from inception to conclusion. The cosmos was symbolically recreated for the duration of the INTRODUCTION performance, and the movement of the universe in Dance has been part of human existence as its process of involution, evolution and devolution an expression of life itself. As a voluntary outlet of was suggested. The rituals ultimate conclusion was human emotion and expression dance preceds the ritual burning of the sacred enclosure. speech. Facial and other gestures and movements The concern of the vedic poet was also focused on of various limbs were forms of communication images of dance and drama as evidenced by the even before verbal codes could take shape. Dance innumerable textual references to these arts, some in India has grown against a specific background members of the vedic pantheon were dancers, usa, sentiment. Dance styles as practiced today in the goddess of the dawn, Indra, the god of the different regions of India are different from one thunderbolt, and the two sets of twin gods, the another. But they all seem to have a common Maruts and Asvins. origin. The rural setup gave rise of folk dances Archaeological remains from the mauryan period which were performed during harvest and provide evidence of the prevalence of ritual dance ceremonies. Fine arts in their classical form grew and dance drama. The terra-cotta figures of the under the umbrella of the Hindu religion. The dancing girls, the drummer and others of this dance art, infact , is in our blood. It nourishes us. period suggest preoccupation with ritual dance. It provides as with intellectual and aesthetic The tradition continues in the Sunga, Stavahara, entertainment. Our religious and social believes and Keeshan periods. The frequency of ritual and celebrations are deeply linked with it. Our performance is evident from the architectural temples and shines are embodiment of it. remains of sacrificial enclosures, sculptural reliefs, Indian mythology has it that in the earliest and literary evidence. times, when people had fallen into great misery and In India we have many dance dramas performed depravity, all the demigods requested Brahma, the from ancient times. creator, to invent a new Veda, simultaneously Yakshagana is the oldest dance drama tradition in entertaining and didactic which would lift the Karnataka. The dance drama clings to the past in people of the age out of this rut. So, Brahma, its permilinary rituals, probably inspired by taking the essence of the four existing Vedas Bharata’sNatyaShastra and its stories most of (ancient Scriptures), created the Natya veda or the which are based on the ancient epics and legends. Science of dramatic art, which includes music, Kathakali is the most well known dance drama mine, dance and theatre. This is expounded to the from the south India state of Kerala. The word Yogi Bharata, who wrote the first known theater on Kathakalli literally means ‘story play’ it is known the subject (Natyashastra) and the inturn trained Imperial Journal of Interdisciplinary Research (IJIR) Page 23 Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society disciples who propagated the art, thus came dance dance-drama in which this style sung. The into being. With the passage of time, and the dictionary defines yaksha as the same of certain constant search of the people for new pastures, demi-gods attending on kubera, god of wealth. dance not only developed widely, but took on new The term yakshagana has been used to forms, coming to be known by different names in describe a number of other dance-drams in other different regions, but sharing the same fundamental regions of India, such as Yakshagana Tenkutittu, hand gesture, foot movements and facial Yaksha gana Badegattitu and Yakshagana Dodaatta expresseions. Today there are eight major dance of Karnataka State, Yakshagana Kuchipudi of forms existing in India. They are Bharathanatyam, Andra Pradesh and Yakshagana kuravanji and Mohiniattam, Kuchipudi, Kathak, Manipuri, yakshagana Bhagawata meala of Tamil Nadu. At Kathakalli, Oddissi and Saatriya. Each distinctly no time in its recorded history did Yakshagana beautiful and typical of its region and rellgiously enjoy the patronage of royalty. It must have been traditional in the use of Elaborate music, rich born of village society and has survived the jevellery and colorful costumes. developed with they support of local patronage. In India the word Dance-Drama or Nritya- Only in the last fifty years has there been a Natya is very common but one fails to understand spasmodic interest of the state and central that their Nritya and Natya are one and the same government in the preservation of Yakshagana. We and it has been defined as such in the Sanskrit fine earliest reference of the yakshagana in treatises dealing with dramaturgy, dancing and karunada works of 1105 and 1185 though in a aesthetics by great ancient savants. The back disparaging way. During 17the century we find the ground of Indian Ballet is more than the history of major composer of Yakshagana among whom its people or of the nation. Ballet, according to an mention should be made of Devidasa of Udupi Indian artists is not something for demonstration, (1640), Nagappaiah of Dwajapur (Modern but something for realization. It is the path by Koteshwara) of same period and subha of Ajapura which we come near God and attain salvation. (Brahmavasa) who lived in about 1680 and was a Ballet in India, with its continuous history court poet too. The 18th and 19th centuries also of more than three thousand years, grew and was produced certain renowned dramatists and nurtured within the precincts of the temples. This composers. Although no specific sources are cited has given the ballet its distinctive quality and till RP Diwakar, the chief Editor of Karnataka through this country it has been a satisfying concept time, the ages, concludes that there are references to there were variations, each region had it own pantomime and doll shows are early as the twelth attitude but the difference were not deep rooted. century which proves the exsistance of a Karnataka For eg: in Kathakali, Bhagavata mela nataka, theatre that catered to the masses. The shows were yakshagana and in the other ballets of the south as performed out of doors and the plays based on the also those of Orissa, manippur, Up, Assam and Epic and historical themes, contained Music, other states and basic religious structure remains dance and dialogues. With the little historical date the same. Moreover in the folk ballets throughout that are available Karanth the country the common people’s belief in religion, has conjectured a possible origin of the their social problems, joys and sorrows and Yakshagana style of Music which might have been tribulations are similar there is oneness. the first element of this dance-drama to develop. In this paper I am focusing only on He suggests that its earliest form was Yakshagana dance drama tradition and its present Gandharagrama which developed into Ekkalagana scenario. and finally evolved into style known as Yakshagana. Gandaragrama was prevalent before YAKSHAGANA the Natyashastra but was not discussed in the text In south India between Keral and was no longer a frequently performed style of Maharastra lies Karnataka. In west coast strips has Music. There are ground for supporting that the the gorgeous folk theater Yakshagana, which Contemporary Yakshagana style of Music remotely means music of the heavenly Yakshas. related to Gandaragrama and Ekkalagana, one link Yakshagana, an operatic dance-drama and between the three styles in the term Gandhara. It over four hundred years old. Its temperament and refers to the third note of the raga scale which was tandavas full of valor, anger, and terior. Its songs name so probably because it was the Sruthi note of literary compositions set to a distinct type of music Gandharagrama music. According to Karanth there were sung and danced in temple countryyards and was once a saying among the local people that village squares.
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