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Home , Bhagavata Mela, Chande, Kathakali, South India, Yakshagana

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 Tradition

Dr. B V Post-Doctoral research fellow, Women Studies Department, University, Shankarghatta, .

Abstract: In the cultures of the , 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 . The themes of the first evidences of ritual dance drama performances are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the and the and in other sites, which are various dated 20,000- ancient Scriptures known as the . 5000 bce. The ancient remains of Mohenjo-Daro 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 . The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest . and broken torsos are all clear indications of dance In this paper I am dealing with 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 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, , 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 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 performed depravity, all the demigods requested , 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 . 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 ’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 , Kathakali is the most well known dance drama mine, dance and . This is expounded to the from the 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

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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 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, , Manipuri, yakshagana Bhagawata meala of . 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 - 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 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 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, 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, 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 . related to Gandaragrama and Ekkalagana, one link Yakshagana, an operatic dance-drama and between the three styles in the term . It over four hundred years old. Its temperament and refers to the third note of the scale which was 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. Slowly the form took the name of Yakshagana music could only be sung by the the style of musical composition. Gandharvas because its pitch was so high. A In south Kanara the term Yakshagana similar statement was found by A K Fox refers both of a style of singing and to the local strangways in Sarangadeva’s Rathnakara

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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 that scale exists in heaven not on earth. In the teller. Yerukalasani, the yakshagana of the sole archives of the university of Madars, a copy of a A type thus developed into a regular ballet form D 1556 incription found on a Lakshminaraya containing a number of characters with distrinct Temple in Kurugod, Somasamudra, , parts of the their own. Kuchipudi artists Karnataka state records that an endowment of land embellished the ballet further by introducing was given for financial support of the performers, classical dance forms sabdams and Daruvus into it so that the people could enjoy the performances of in order to give full scope to the four types of Talla in the temple. The term Abhinaya. Talamaddale means stories song in Yakshagana Costume and make up style of music the emphasis is places on vocal The male costume can be grouped into aspects to the exclusion of make up, constume and two major divisions. The romantic roles like dance. The musicians sit center stage with the Karna, or or Gandarva and demonical roles actors on the either side facing each other, like . Romantic roles are colorful and interpreting the songs and acting out the roles with pleasing and this element is worked out in red, hand gestures and facial expressions. If this, same orange, black and gold. The face makeup was procedure was followed in A D 1556 this might pink or yellow in olden days. When oil lamps were have been the first step in the development of used to light the stage. The black of the Eye and Yakshagana Badagatittu Bayalata. The maddale of Moustaches is accentuated. Those are set ballet work is such as to land itself to exquisite foot ornaments on the body, clad in either a green work. It is fairly elaborate and a good dancer of bodies or its complementary color. Kings wear a Yakshagana needs years of practice. The Nritta is well designed golden crown, other roles wear a accompanied by another called chade during mundas or turban. It is like a lotus leaf in shape, depictin of valour or battle. There are greatful clothed in red or black with radiating lines of body flexions and swaying that go to blend with golden ribbon. The size and color of this turban is foot work. On the whole rhytem is its essence. depended on the glamorous kirata, it is larger still The elements of heroism is very well developed in and may be slanting front ways or side ways. theses ballets. Female roles alone portray large The worn is a type of chequered movements and howma and clown its lighter with cloth in orange, red and black that will modes. From what one can see of the ritual dance, contrast with the upper gold and reds. There is called vaidya dance (Doing naga workship) that trapping round one’s waist and a sovil like cloth of inspired yakshagana dance. It is capable of all plain red and white at the back. The dhoti is tucked round use and can be one of the most gracefull and up in such a manner that the dances is lower body meaningfull of Indian rhythemic dances as separate shows pattern of the shape which is complemented from dances that attempt to do the function of by responsive movements of the bhands. The languages. As such its appeal is universal. costumes and movements are mutually supporting. Kuchipudi Bhagavatulu In demonical role the facial make up is Established themselves at Melattur, as has been very intricate. It has some resemblance to mentioned earler and they were enacting kathakali technique but is painted by the artists to Yakshagana s well in Telugu besides these himself unaided. It is mask like appearance, but artists, a number of Raja nartakis who plastic in use . It creates the richest element of had also immigrated to the south, were patronized fantasy. The demonical roles wear weistis below by the Tanjaur Durbar and were performing a the waist, the same type of chequered cloth worn variety of dances like Durupada, champada, by romantic roles but having larger squares. padakelika, Madana Baladhyutam, etc.,. The Yakshagana literature famous kavis and Kavayithri’s of the Tanjoro There are two kinds of yakshagna durbars are telugus and composed prabhandas and literature. The ritual songs, poems and prose . contained in one book. Yakshagana sabhalakshna Yakshagana was originally an old form of mathu prasangapithike and the stories that are Desi ballet meaning. There by that it was not of contained in the prasangas. Numerous individual very high order. It was written in Desimeters contributions by different poets. Each prasanga drupada, Kandam, and sisam and contained contains passages written in poetry, song, patterns different Desi types of songs, like Yela, Dhavala that are typical of yakshagana and prose. But there and arthachandrika. The composition was mainly are no rules regarding the arrangement of these descriptive in style formely, only one artists danced elements in the prasanga. The poet is free to write the whole story and interpreted the various in any poetic matter or song pattern he choses and characters. In the next stage two primary to combine those elements in any order he select, characters one male and one female were introduced. Then came in the clown and fortune

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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 the poetic meters used are of two different to attract coastal region the home land of the languages. Sanskrit and . institution. Nowadays there is craze of speech in a MUSIC and Dance Yakshagana play which has endangered the dance `Music is an integral of Yakshangana their dance and acting. Similarly, stories with Badaga thittu Bayalatta, because the words, the historical, folk and allied thems which donot at all songs and poems tell the story and rhythm of the suit the yakshagana ethos, have been made in songs dictate the timing of the percussion prasangas. The Yakshagana art is being influenced instruments are the dance. The vocal music of this by Drama and cinema. Some Bhagavatha’s have dance drama includes poems and songs written taken singing in classical music style. While especially for the presentation in Yakshagana style yakshagana may consider and adopt changes for its and the folk and devotional songs which are a part betterments it cannot to do so, at the cost of loss in of everyday life in south kanara. The Musical its conventions and traditions which give it an instrucments in Yakshagana badagattitu Byalata are identity of its own. the tala, the Maddele, the () and the Sruthi (Harmonimum). The Tala is used to keep HINDU PAPER REVIEW ABOUT the timings when there is dance. They are two inch YAKSHAGANA ARTISTS diameters, thick metal cymbals that the Bhagavata M. Prabhakara Joshi, Yakshagana artist beats together in various ways according to the and critic said artists need to re-dedicate rhythm and mood of the song. themselves to bring change in yakshagana and The Maddale is first played during the make this art form more appealing to the national drum song caukada abbra, that tells the villagers and international audience. This art should be there will be a Yakshagana Badagatittue Bayalata better packed and documented and it requires lot of performance that night. The Chande joins the funds, which the academy cannot give, artist should Maddale for the Caukada Abbra the announcement look for corporate sponcership. Changes needed to drumsong. Then in the initial song, the abbara be brought in the way artists dress up, the style of bidtige and the prasanga pitike, therefore it narration and other aspects of the fine arts. We do penetrating, powerful and high pitched sounds. not think twice while tying gejje as we are involved The Chande is palyed only at certain movement. in it. But there are people watching it. We need to K Shivarama Karanth started Yakshagana be aware of it. Partha subba, who is known as or Yakshagana ballet with a view to popularizing founder of Tenukuthittu Yakshagana, introduced coastal Yakshagana in all part of the world. This Chande and Maddale instruments and gave a new has given yakshagana a new dimention and it has dimenstion to Yakshagana presentation. The spririt acquired world fame. This Ballet originated in of Partha subbaq within artists should awaken he Shivarama karanths wish to make Yakshagan said. accessible even to the non-kannada spakming public. In 1971, he started a center called Yakshagana Kendra in Udupi, on the request of the References: . He travelled to quite a few foreign countries and gave successful 1. Yakshagana : A dance drama of India – performances. The duration of the performances Martha Bush Ashton- Abhinav has been drastically brought down to two and a half publications, Newdelhi. to three hours. Saxophone, Clarionet and Violen 2. Yakshagana: By shivarama Karanth, have been brought in and used with all the three 3. Indian Dance Drame tradition—Dr. varities a maddale for the background music. Geetha BV Changes have also been made in dance movements 4. Panorama of Indian Dances---By US without obstructing and meaningful communication Krisha Rao, and U K Chandra Bagadevi. of the - Bhagvatha’s songs. Foreign and non 5. Kuchupudi Art –By kannada speaking India audience appreciated this Sunil Kothari/Abhinav Parischa, Abhinav venture. But at this ballete in the name of publications-2001. reformation gave up speech on of the most 6. Natyashastra- --By Manmohan gosh. important components of Yakshagana. It has failed

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