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Home , Arangetram, Bhagavata Mela, Bhangra (dance), Ceremonial dance, Chande, Chandrahasa

VIVEKANANDA KENDRA PATRIKA OF DANCES OF INDIA

CONTENTS

1. Acknowledgements 1

2. Editorial Dr.Padma Subrahmaniam 3

3. The of Ananda K. Coomaraswamy 15

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

5. The Spiritual Background of

Indian Dance 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 in Indian Dance and Dance- Mohan Khokar 54

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

12. Dance V. 62

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

14. Mela - Dance-Drama S. Natarajan 72

15. Koodiyattom D. Appukuttan Nair 74

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

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

18. Mohiniaattam Dr. (Smt.) 97

19. Smt. 102 VIVEKANANDA KENDRA PATRIKA DANCES OF INDIA

20. Dance can Play a Therapeutic Role Smt. 105

21. Bayalata K. S. Upadhyaya 108

22. A Glimpse Into Dance Dr. Minati 115

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

24. 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 144

29. Vivekananda Kendra Samachar 146

30. Folk-Dances of Parul Shah 169

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

32. Folk-Dances of Sudhir K. Sharma 178

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

34. Natya Tradition in Sucheta Bhide 184

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

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

37. Manipuri Dance 194

38. Folk-Dances of Arunachal Pradesh Niranjan Sarkar 196

40. Assamese Dance Pradeep Chaliha 205 VIVEKANANDA KENDRA PATRIKA 1 DANCES OF INDIA

Acknowledgements

his volume of the Kendra Patrika on 1. Traditions of Indian Folk-Dance “Dances of India” is expected to be by Dr. Kapila Vatsyayan, Tof lasting and cherishable value. Publishers: Indian Book Though performing artists and exponents Company, New . 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, 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 Kalarnandalam, Cochin-11. picture, one has to necessarily reproduce certain ,widely accepted and standard 6. Bharatiya Bhavan, Bombay articles connected with the theme. This for perrmssron to reproduce could be done only with the generous help articles from their Bhavan’s and co-operation extended to us by the Journal and from their, book various publishers of books and ;magazines. “The 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 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

he earliest extant literature on the compendious work dealing with all these subject of Indian Dance is ’s elements in totality and running to thirty- Natyasastra. There seems to have T six chapters. It is highly probable that this been some Nata 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 , which society. is itself a fusion of the ’ . Vedic yagna and the non-Aryans’ Agamic , 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, ’s 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 and defined it as a which indicated this composite whole. The representational kind of Nritta. But term was always referred to in its Bharata’s period had of only Nritta triple aspects viz., Gita (song), 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 and perhaps only The Natya sastra is an unsurpassed after ’s time. During Bharata’s 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 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 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 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 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 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 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 . 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 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. Bharata’s 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., Nandikeswara’s 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 Bharata’s 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 . 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 Bharata’s 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 Samyuta—com- 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 () 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 Bharata’s 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 one’s 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 Bharata’s 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 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 Bharata’s Nritta is all embracing. mean that Natya which follows Bharata’s 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 Bharata’s 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 Devi different shades of the same colour. Are and the 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 , Vazhuvur, format of the action are the same, due to etc., as Bharatanatyam and the the inherent differences in nature of the of , 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 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 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, , jewelry and intellectual, emotional and spiritual. for each character.

The level of Nritta is directly proportional Satvikabhinaya is perhaps the most to the level of the dancer’s 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 , in dance too, the body is trained in actual life, it is most natural that the only to be forgotten about. The dancer’s 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 , 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 Bharata’s 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 . Arabhati Vritti. Satvati Vritti depends mainly They are said to have been created by on the strength of the emotional content. Lord 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 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 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 Bharata’s 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 · 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 Bharata’s 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 . 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 Bharata’s 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 Bharata’s Natya in their conception 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 , 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 Bharata’s 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 Bharata’s 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 Bharata’s 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.

Bharata’s 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-, , nature is a testimony to the unparalleled and . 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 Bharata’s 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 , 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

intoxicated energy, in honour of the pre- he Lord of Tillai’s Court a mystic Aryan hill-god, afterwards merged in Shiva. dance performs; What’s that, my A great motif in religion or art, any great dear?” T 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 Shiva’s dance, it became Shiva is , 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 , 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 :

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, “ plays on the Vina, Indira on when he wrote: the flute, Brahma holds the time-marking “It would seem that dancing came into cymbals, begins a song, 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 “, , 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 Shiva’s 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-. 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 soon directed against Shiva, and they trampled under Shiva’s 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 or . 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. . Then He began to dance; but Representations of this dance are common there rushed upon Him a last monster in amongst ancient , 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 creature’s 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 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 . Some of right ear, He wears the peculiarities of a man’s ear-ring, a the Nataraja images, woman’s 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, , particular. What is the bracelets, finger meaning of Shiva’s and toe rings . The Nadanta dance, as chief part of His understood by dress consists of Shaivas? Its essential tightly fitting significance is given , 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 Mamunivar’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), 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 , 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 Shiva’s 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. 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 Shiva’s dance explained. In Shivajnana Siddhar, Supaksha, , 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 Lord’s 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 Shiva’s dance is so clearly expressed in Shiva is a destroyer and loves the burning Skryabin’s Poem of Ecstasy. ground. But what does He destroy? Not merely the heavens and earth at the close This aspect of Shiva’s 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 Shiva’s 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 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 Shiva’s 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 Shiva’s 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

ll over the world we have crude sage Bharadwaja’s (hermitage). folk dances as well as classical describes Swayamprabha’s friend Adance. We find the figures of Hema as Nritta Gita Visarada (Expert in dancing women in the ruins of dance and music). In ’ s harem there and Mohanjo Daro. In the , Goddess were similar experts as Nritta Vaditra (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 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 Bai’s and through him to Bharata and others, devotional dances are well-known. and Lasya (the graceful feminine type of ]ayadeva’s 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 , Nagarapadalam stanza 62). 108 Kananasor dance Literature Galore poses are beautifully sculptured in the at Chidambaram. There is a dance Bharata’s 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 of dance. The Tamil word Nattuvangam means the Kalidasa’s 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 Purana throw give us the very quintessence of the much light on the art. Other important teaching as well as the learning of the works are Dhananjaya’s Dasa Indian art of Dance. Roopaka, Sargadava’s , Thulajaji’s Sangita Saramitra, Bala Kanthenaambayedgeetam Ramavarma’s Bala Bharata, Haripala ’s Hastenaartham Pradarshayet / Sangita Sudhakara, Veda Suri’s Sangita Chakshubhyaam darsayedbhauam Makaranda, Rasamanjari etc. Paadaabhyaam taalamaacharet // 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, 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 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 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, , 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 Harischandra’s 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, classical dance art of . 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 in the temples at themes are the stories of , Angkor Vat and Prambanan and Borobodur Harischandra, Dhruva, Markandeya, Usha, and also particularly in the music and dance Rukmini, 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 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 . 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 (Siam) and dance depicts the Ramayana story. There Cambodia and also in 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

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 Odance 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 of . 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 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 . 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 , 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 , 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. 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. India’s 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 one’s 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 and the Rasa Lila of Owing to the lack of devotion, there is Gujarat, the Kaikottikali and 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 Nataraja’s 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

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. Dnot 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 years Ruth St. Denis was much interested and -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 . 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, , E. Krishna Iyer, Menaka, 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 based and performed several Indian dances in on Indian themes. In fact it can be said America, such as The Cobras, The , 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 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 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 Shankar’s by introducing Manipuri dance as a subject admirers in Europe and America, and here, of study in Santiniketan. apart from providing training in Shankar’s 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 , 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 Shankar’s 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. Shankar’s 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 Shankar’s 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 Shankar’s 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 Shankar’s example was soon followed by theatre organisations came into existence, several other dancers in India. One of the such as the ’s 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, , 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 world’s 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 , 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 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 and the , as a matter sound of the drum, to burn their sins, and of fact, speak of the Maha- 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 , 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 Natesa’s 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 , 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 , 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 Gopinath’s 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 , 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 artist’s 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 Kalidasa’s 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 , 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, , Rumba, 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 person’s 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 , 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 , whether in sculpture of those Indian art. great forms of Nataraja, Krishna and , 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 , mandapams, stone particular art, say the Indian art, to the and wood carvings at Madura,Tanjore, limits of Indian possibilities in sight of those , 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 heaven’s 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

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 T 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 one’s 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 , 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 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- 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 , the tree, the To quote Shri Junjunni thunderbolt, Indra, the from his monograph on the pandanus flower, flame of (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 wouldn’t 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 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 doesn’t 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 or a Tulsi pada her condition to the nayaka. in 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,

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 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 India’s history, India’s 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:

Organisation No. of 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 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 Shibir 23.05.09 29.05.09 333

04. Karyakarta Prashikshan Shibir 05.06.09 20.06.09 13

05. Yoga 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 Day at . 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 Day, there was an Akhand Ram Branch Centers: All the 219 Branch Nama 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 , Varga along with their parents. At Universal Brotherhood Day, 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 were organized. Vivekananda Jayanti on 12 Jan were At , Nityananadaji, Sri organized appropriately. They also 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 , , 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 . 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 and Sri Dibyasingha Deb, personality development camps at Bhopal, Gajapati Maharaj, , 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 Vichar A plot of land admeasuring Acre 0.481 Paricharcha program in Bhopal. About allotted by the Government of 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. , Pune, Nagpur, Jalgaon, Nashik and In Sambalpur District, for organizing the Pimpalad for 560 students. These were part activities of the Utkal 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 women’s 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 , 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 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 , 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 , 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 , Poojas In , , 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 Children’s 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 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, , 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 of Mt. Everest. Shri. N. Kumaravel, Principal, VKV Banderdewa, were awarded Government of 5. Shri K.Kumar, Editor, Arunachal India’s National Teacher’s Award and CBSE Front. Teacher’s 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 , 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 (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 & 2.Lump sum 1,05,443 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 & Vani, Tamil monthly in first class out of 73 appeared. In class 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 and reprints in Valliyoor, had 608 rural students. Out of Bengali (1), English (8), Hindi (2), 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 Eknathji’s 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 . 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 , 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 , 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 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 India’s leading security experts, diplomats, 2.In-patients 1,753 scholars and philanthropists collaborate towards functioning of this foundation. By 3.Operations cases 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 resolution. 8.Physiotherapy service 2,265 9.Yoga service 2,529 Objectives : Analyse India’s 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 India’s 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. India’s 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 India’s 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 India’s viewpoint Studies – A hub for VIF’s 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 VIF’s 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, India’s 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 India’s freedom’ on the birth Website : www.vifindia.org. anniversary of Netaji Subhash 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 China’s increasing role in India’s international relations and diplomacy strategic calculus. Exhaustive postings of news from 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 ‘ beyond the London Conference: Features on security and strategic affairs India’s Options’. such as left wing extremism, terrorism, 07. A talk by Shri 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 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, 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. , 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 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 120 Training in Sustainable Agriculture 10 405 Training in Production & use of High potncy compost etc. 332 Training in Azola Technology 20 270 Livestock Management 350 Training in Capacity Building for technology adoption 384 Training in Nutrient management for better farming 123 Training in Agriculture 120 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 123 Training of TWAD officials 266 Training of officials in PDS and human relationship 382

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 , 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 243 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

he important inroad by which or dancing are different in has entered the daily life of content, theme and style. But they are Tpeople 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 has various races, linguistic groups, different geographical and climatic conditions and many which give rise to rich 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 . 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 (festival plains, bare rocky hills, flat salt-soaked of colour), (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 , 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, , 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. flourished here country Rasa are danced in different for centuries. 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 , in the 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 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. Krishna’s 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 women’s 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 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 woman’s womb. An earthen pot with holes and , 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 from the Goddess Aroba. It is or iron pipe, about performed for a foot long. At the nine nights at a end tiny 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 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 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 There is a tribal belt running in the South- (Ghaghra), a backless (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

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 Bthe 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 (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 (tahmat-), a 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 . 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 and other wind instruments are in evidence in the Karthi.

Gidda

The Gidda is an exclusively women’s dance, a counterpart of the men’s 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 . 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

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 I 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 dyer’s 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 women’s 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’ . powder provide the extra-visual appeal to The “” 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 women’s 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 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). . 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 women’s 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

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 M these dances. Besides the hunters, there Andhra Pradesh, Maharashtra, Uttar Pradesh and Rajasthan. It shares physio- are the 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 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 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 other’s 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- 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 two’s. 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

oday Maharashtra does not have inscriptional references show that the any living classical dance Mahalakshmi of Kolhapur was the family Ttradition 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 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 sculptures of the 6th and 7th century. Cave No. VII has a beautiful panel showing a with six female musicians. This dance posture can be identified as ‘Katisamam’ according to ‘’. 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 Parvati’s ‘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 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 (today’s 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 ’s 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. Sharangadeva’s 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 ‘’ 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 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 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), (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 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

thnologically, Rajasthan presents is vigorous and there are no languorous a varied picture: there are many movements. Etribes 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 women’s 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 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 . 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 man’s dance. course of the dance, many imitative actions signifying the 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 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 dancer’s 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 and have very large dancer, dressed as a beautifully printed bridegroom in flowing .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 () 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

he is all too the deity. Different groups meet, sing songs well-known to be retraced. near the river-bank or the pond and T 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, 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 men’s dance which is against this ethnic and historical accompanied by drum () and cymbals. background. At the time of the transplanting of the paddy only women sing and dance the Makara 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 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 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 , 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 boatman’s have music - the 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 . 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

anipuri dancing developed in the North-eastern part of MIndia, 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 , 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 and artists delved deep into the Vaishnavite Sangeet 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 music—e.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 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 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, , 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 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

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 Dbeads 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 victim’s 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. . 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 chief’s 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 husband’s 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 other’s 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 , 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 goat’s 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 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 goat’s 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 boar’s 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 khapak’s 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 goat’s hair. The sides of the The basket is decorated with coloured head are shaven. straw tassels, monkey skulls or wild boar’s 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 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 woman’s 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 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 girl’s father they do not wear the is a subject, and the costumes. The well-to-do king’s 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 king’s 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 king’s 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 King’s 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 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. Tis 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 , “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 “” 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 “- vamsa”. The Vishnu temple of Madhaba at make-up of a 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 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

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 didn’t think all professional dancer. I spent N 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 Lucknow’s 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-it’s 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 didn’t 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 don’t even get a chance to dance. relaxing in the only air-conditioned room that Lucknow’s “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 one’s 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 one’s 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 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 audience’s affections. For each one of one’s 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 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. , 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 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. Today’s arangetram, like today’s 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 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 dancer’s 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 Pillai’s 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 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 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 India’s 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 , 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 !” 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 Bombay’s 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 (Tomorrow’s “One has to keep spending out of one’s Artists) festival every year. He is able to own pocket”, she explained. VIVEKANANDA KENDRA PATRIKA 52 DANCES OF INDIA Then what, in today’s 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 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 launching contacts. But impresarios and Sancharini charges no young dancers, money-no impresario’s 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, shouldn’t 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 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 one’s 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 daughter’s 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 one’s 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 don’t 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 one’s personal to help the artist. It has contributed a life and sacrifice all for the sake of one’s 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 ’s 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 don’t 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 shouldn’t one dance for money? Was 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

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 T these centuries to discover this. the theme into a coherent, integrated The ink had not dried on Valmiki’s 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 , 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 . 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 , 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, , 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 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 , 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 the role of Rama is taken by Krishna’s son, came to be written. Several situations in . 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 Bhavabhuti’s 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 Abhinavagupta’s great commentary on the a dancer and an adorable one at that; his work, the , 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 , 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 dance-drama 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 night’s 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 , 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 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 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 , 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 , Vadh, or the curse of the blind sage on Debendra Shankar, , Sachin Dasaratha, and ending ‘With Rama’s 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

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 T 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 Bharata’s Natya Sastra. It is the soul of the art. Art and artificiality is a difficult but 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 dancer’s 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

fall-out of the recent cultural explosion is regional chauvinism. AEven 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 feature—sublime 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 form’s 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 style’s 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. , 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 , 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 -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 Siddhendra’s 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 Bharata’s Krishna’s consort) and her maid Madhavi. formulation of classical drama. The performers here however, derive scientific Pagati Vesham sustenance from Nandikeswara’s 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, 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, 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 night’s 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 Indra’s 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 Raya, the ruler of , 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 Bharata’s 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 Teertha’s 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 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. Jayadeva’s 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, 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 can’t 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 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 Bharata’s first style, it is rather difficult for one to emerge dance-drama, 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 , portrayer of Satyabhama. , Kuchipudi is a popular dance form now. Raja and Radha 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

arnatak music and dance still own repertoire of detached pieces and have strong bonds with Andhra. love-songs. By crossing the features of K 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 , 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- 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 , 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 Vidhushaka’s 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 -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 Vidhushaka’s 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 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 dancer’s 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

hagavata Mela dance-drama, Melattur Venkatarama Sastri were in vogue though curiously enough now not only in Melattur but also in five other B 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 Bharata’s 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 one’s 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

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 Konly 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 , 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 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 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 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 - 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 Ravana’s war with the Devas and the pointed satire at the way of living of ; 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

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 K 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 , 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 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 palm, with frills of the same material adorning his wrists.

3. : This has a slow narrative style for singing, with slow was . 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 -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. Nambiar’s 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 Nambiar’s 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 poet’s 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 . VIVEKANANDA KENDRA PATRIKA 81 DANCES OF INDIA KATHAKALI- The Total Theatre

M. K. K. NAYAR

olour, intensity of detail, stylised movements and rarity of Caesthetic 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 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 (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 one’s 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 . 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 . It was a full-time abounded in social satire. The 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 Samvarana and Subhadra Malayalam, as a distinct language, had Dhananjaya of King Kulasekhara Perumal come to stay by then. Ezhuthachan’s 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 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 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 Krishna’s 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 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 one’s 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 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 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. Jayadeva’s 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 Maharaja’s 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 Raja’s 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 Thirunal’s 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. Krishna’s 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 , 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). Krishna’s 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; (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 , 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 bird’s 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 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 Hanuman’s 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. Hanuman’s 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 o’clock 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 , 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 Warrier’s play on the story of King developed from Ravana picking up his Nala spread over four days is reputed to famous , 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 Guru’s 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 actor’s 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 Sadler’s 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 Arya Vaidyasala, Financial Times, “This amalgam of located at about sixty kilometres from everything from low comedy to the noblest , Founded by a great expression of man’s 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 , 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

he mighty ocean churned on and on. daanauas, true to their creed, grabbed the These were no ordinary disturbances amrita. Tarising 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 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 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 Swaati’s 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 Swaati’s nangayars and nattuvanaars (dance- exquisite lyrics were predominantly used masters). A book called Vyavahaaramaala in Mohini Aattam. Also, after Tanjore’s King, in Sanskrit written in 16th century A.D. Sarfoji’s 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 today’s Bharata to be paid to Mohini Aattam players and Natyam repertoire) migrated to Swaati’s 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 Swaati’s 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 Tirunal’s 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

ach nation in this world is and music; in Indian art these three are characterised by certain closely related and can never be completely E 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 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 Muni’s 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 ‘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 Bharata’s ‘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 Nandikeswara’s ‘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

o-day, dance all over the world are within us and a systematised and has reached the height of sytlised form of movement, synchronised Tperfection 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 Darwin’s . 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? Man’s 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) ;(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 Bharata’s 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 Japan’s 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

akshagana Bayalata is an Nataraja Temple of Chidambaram. exquisite folk dance-drama That these dance-dramas were distinctly played mostly in the South and Y 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 -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 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 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 , 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, Bharata’s 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 is used to denote heroism and for his vijay yatra in 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 sister’s among the six important mudras that could Vanitha , the last day’s 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 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 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-gandharva’s red music of the Bhagavatha, the rattling beats turban, the impressive varnik of a Rakshasa, of the chande, the frenzied dance of the Kama’s 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 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.

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 I 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 at Puri and employed Devadasis, in the dancing Heruka in Tandava pose at After Cholagangadeva’s 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 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. 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 Jayadeva’s Geeta poets chose this Govinda. Before Geeta dance of 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 . But after movement in place of Jayadeva’s 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 , 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 Bharata’s Natya Shastra, Asamjukta hasta (Single hand) Nandikeswara’s Abhinaya Darpana and Sri Samjukta hasta (Double hand) and Maheswara Mahapatra’s 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) -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) 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 , 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 dancer’s 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

...... At 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 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 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 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 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 dancer’s 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 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 of from the many ways in which the extended , 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 , 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, . 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 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 . 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 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

hat is Kathak dance? It is the art, I may answer, of so Wperfecting 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 -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 dancer’s 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: “Bhavan’s Journal” November 6, 1977. MONI BAGCHEE

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 I the 12th of July. Uday Shankar had finality only robs it of life’s 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 ) 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 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 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 life’s 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 dancer’s Shankar, Devendra Shankar and the career. He was asked to do a duet dance maestro (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 month’s 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 Coomaraswamy’s 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 , 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. “”, “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 Tagore’s “ 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

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 T (or Natana-Sabha), Nritta 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 (), 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 Krishna’s dance Koothu was performed in a Siva temple at with the . 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, , 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 .In the 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 ), 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

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 Tthe 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 character’s 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 Bheema’s 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 , 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 woman’s 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. Bharata’s 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

he first of the sophisticated, stylised and scholastic dance- T 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 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 Jayadeva’s 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 dancer’s 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 and employed frequently. One of the loveliest , 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 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 maiden’s worship of Manmatha God of is that women, not only sang but also took Love.