Orissa Review * May - 2006

Glimpses of ³Performing Art´ Heritage in Orissan Inscriptions

Dr. D.B.Mishra

The reference of "Performing Art" heritage in the (assigned to 1st Century B.C.) refers to the vast corpus of earlier Orissan inscriptions, except arrangement of festivals (usava) and social the Hatigumpha inscription of Kharavela (1st congregations (samaja) along with performances Century B.C.), is almost absent. However, the of acrobatism (dapa), dance (nata) as well as Hatigumpha inscription vocal (gita) and instrumental provides us with a fairly good (vadita) in the capital city idea about the practice, nature (Nagari) in third regnal year and development of music, by the Emperor Kharavels, dance and dramaturgy. No who himself was well-versed other record of Orissa in the art of music (Gandhava- thereafter till the advent of the Veda-Budha). The capital city Somavamsis in mid-9th was described as playing, as it Century A.D. makes even were, with the performances. astray allusion to it. It were the The reference of the patronage inscriptions of the Imperial of the Emperor and its Gangas to a great extent and popularity among people is those of the Gajapatis to a amply corroborated by three reasonable extent shed contemporary panels of welcome light on the dance-scences of Khandagiri- advancement of the art. In fact, Udayagiri. The most enjoyable the inscriptions of the imperial of them is the one in the lower Ganga and Gajapati kings storey of Ranigumpha in which (circa 11th-16th century AD.) contain profuse the danceuse expresses the purport of the song references to various strands of the art which if by a posture (mudra) with her right hand while interpreted and dealt with in an in-depth manner, stretching her left hand which is adorned with with the support of plastic art and literature, may armlets and bracelets. She has bent her right leg bring out the attainment of our ancestors in that in a pose in which the fingers of the feet touch the regard by tracing the evolution down the ages. ground. The beatific smile on her lips and the The Hatigumpha inscription.1 One of the jubilantly expressive eyes, the two strands of hair- earliest lithic records of early Christian time plaits on the sides of her back, the rhythmic ups

22 Orissa Review * May - 2006 and downs of the necklace and the anklets on the arts since very early times anterior to legs lend a rare glamour to her deportment and Kharavela'reign. It may be pointed out in the performance. She is accompanied by four female context that we have come across four types of figures- one playing on the (venu), another musical instruments, viz.,Tata- (many on a many stringed harp, the third a mrdanga stringed harp, harp played by plectrum and lute), and fourth a dhakka. The stage performance is, Vitata-Vadya (mridanga, dhakka), Sisira-Vadya in deed, a unique piece of performing art. It was (venu or flute) and Ghana-Vadya (cymbals or said to have been performed on a stage. Manjira).Further, in the musical concerts the role A similar scene of dance is carved in a cave of the vocalists in setting the tune of the music for of Aurangabad (Maharastra). The daughter of Svara (musical notes), Tala (time-measure) and Mara is found dancing in front of Buddha while pada (significant words) appears to be crucial. It four female musicians accompany her in various may be pointed out that 'Gandharva Veda' has musical instruments. N.K. Sahu2 been defined by Bharata Muni3 is of the view that both the art of (who has been variously assigned Aurangabad and Khandagiri- a time between 3rd-2nd Century Udayagiri are contemporaneous B.C. to 3rd - 2nd Century A.D.) and that the music of Kalinga had in his Natya-Sastra, the earliest spread to the Deccan in the reign available treatise on music and of the Satavahanas. dramaturgy as the happy blending of Svara, Tala and Pada. Some of The second scene of dance, our present critics interpret that found in the upper storey of Ranigumpha, with two women Gandharva did not include dancers and three with musical dance in its fold as the latter is instruments, is performed in an basically an imitative art in as open-air theater, in contrast to the much as it endeavours to convey earlier panel which exhibits a to the spectator either singly or special stage. The fact that it has combined - form, an object, a been witnessed by the Empress situation, a feeling or a mood and another royal female contained or depicted in a song personage, probably the guest of honour of the which it follows, or independently when dance occasion-exhibits the love and the patronage of goes sans song. As such, it is at least party a the Emperor for dance and music. spatial art fundamentally different from music, 4 The third scence of dance found in the Totua in its pure form, is an art in time. Gumpha (No.2 of Khandagiri) represents a man The reference of "Gandharva-Veda-budha- playing on a vina (lute) while the girl dances to dapa-nata-gita-vadita" has many significant the rhythm of the music with her left palm upraised connotations. First of all, as pointed by Sri D.N. and right hand downwards in a dramatic pose. Patnaik,5 Further, the reference 'Tauryatrika' «««.. music, in its earliest (Music,Dance and Drama) Hatigumpha form, was a type of music devoid of dance and inscription speaks of the heritage of performing was conforming to the ideals laid down in the

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Bharata Natya Sastra, in case this Sastra was They represent apparently a main current compiled at a time earlier than the said of the traditional higher art of the aboriginal inscription. Considering the hoary antiquity civilization of the sub-continent of India. of the Hatigumpha inscription one may be For a long time after the Hatigumpha tempted to think that if the Natya Sastra was inscription, there is no such specific epigraphic compiled in the 2nd Century A.D., or still later, reference to dance and music till the time of the as some scholars opine, the conception and Somavamsis in mid-9th century A.D. However. definition of Gandharva was an outcome of The dance scenes of Parasuramesvar and the observation of prevailing Kapilesvar of 7th century A.D. clearly indicate during Kharavela's Orissa. However, during that dance and music were popular among the mediaeval period, particularly during the masses. In contrast to the female dancers and rule of the Gannga kings who came to Orissa musicians of Kharavela's time, we find three male from Southern India the music of Orissa seems figures performing dance in the upper part and to have comprised vocal music, instrumental four males playing on musical instrument below music and dance too. The Nata-mandapas or the panel - in both the temples. It shows that music the dancing halls constructed in almost every and dance were gradually becoming popular Orissa temple were meant for dance and music among males. The instruments like Venu (flute), which used to go together in front of the temple Sringa (horn), Karatala (Cymbals) and Vudvudika deities. were some of the popular instruments. N.K. 8 Many of the scholars are of the opinion that Sahu has observed that whereas the dance-scene contribution of Orissa to the Eastern Indian music, of Parasuramesvara is a folk-form that of Kapilesvara exhibits the traits of Bharata-natyam. which was known as "Odra-Magadhi" in Bharata's He has identified one of the dancers as exhibiting Natya Sastra, can not be denied. They think that Padmakosa mudra in her right hand and Gajahasta Odissi dance and song has been derived from it . in the left, the second as in the posture of making Secondly, that art as referred to in the hair-do and the third with Samdamsa mudra in inscription and (portrayed) on the rock-shelters her right hand. Whereas in the Parasuramesvara of Khandagiri-Udayagiri are secular6 in nature in Temple, one dancer is dancing with two pieces contrast to those at Bharhut, Sanchi, Mathura and of scarf in his two hands, the second standing to Bodhgaya etc. which are religious in nature. The his right has placed his left hand on the buttock former are meant for the entertainment of the king and in his right hand he is hanging a kerchief and, and /or the people whereas the latter-as in the the third standing to the left is taking a turn of his case of Ajatasatru and Prasenjit pillars of Bharhut head towards the front while facing the opposite - depicting the dances of Gandharvas and side of the audience. Apsaras have been shown on the occasion of Contemporary Nataraja images exhibit a worship of Buddha's relics. The spirit of dance rare aesthetic and spiritual expression, what may and music which Kharavela instilled in the lives of be defined as Ananda Tandava mudra in the the aboriginals became a part and parcel of their terminology of Bharata Muni. Charming life-style, which continues as a precious artistic descriptions of public courtesans (dancing girls) heritage even to-day among them in Orissa. H. occur in the "Mangalacharana" portion of the Jimmerf 7 has rightly observed. Somavamsi inscriptions (Cir. A.D. 850-1100)

24 Orissa Review * May - 2006 from the earliest dated record till almost the last. named Sutanu. The Ramgarh hill in Sarguja district The Gopalpur Charter9 dated first regnal year of (Chhatisgarh) contains two caves, namely, the founder of the dynasty, Janamejaya I Yogimara and Sita Vangira. The former was used Mahabhavagupta, in the description of as a residence by a cave-actress (Lena Sobhika), Suvarnapura - the capital metropolis - describes probably Sutanu where the inscription is found the place as one "where the best of public damsels as follows: dance rhythmically to the tune of the movement Sutanuka nama / Deva Dasi Kyi / Tam of their "Kalasa' (small water jar with beautiful Kamayitha valuna seye/Devadine nama/ constricted neck) like breasts (Vara-Vara- Lupadakhe Vilasini-kucha-kalasa). The description becomes more conventional (Varnaka) from his 6th regnal It is important for the cultural history of year (Kalibhana plates)10 onwards and, has been Kosala. However, a specific and significant applied to other metropolises like Murasima and reference of '' has been made in the Arama or Arama-Kataka as follows : Brahmesvara temple inscription13 of Kolavatidevi in the reign of Uddyotakesari Mahabhavagupta The jingling sound of the anklets on the (Cir.A.D. 1040 - 65). The inscriptions of feet of the numerous charming courtesans Meghesvara and Sobhanesvara of the Ganga frightened the flocks of pigeons (who) started reign also contain references of 'Devadasi'. flying with their fluttering noise (which) deafened the tenquarters (aneka-Vara-Vara- The Brahmesvara inscriptions (Verse 15) Vilasini-Jana-charana-nupura-rava trasta- narrates : paravata-svana-Vadhirita-dasa-diso«..) By her (Kolavati Devi) were dedicated It appears that the victor Somavamsi kings to Lord Siva some beautiful women, whose brought beautiful maidens as trophies of victory limbs were adorned with ornaments set in gems from the vanquished territories and kept them in and thus appearing as the everlasting but gem-studded mansions (amala-mani-krtrima- playful lightening, and who are restless with sadana) for either performing art of dance and the weight of loins and breasts, and whose eyes music or for prostitution to entertain the rich and were fickle and extended up to the ears and the aristocratic people.11 who looked lovely like the pupils of the eyes of men. The institution which became famous as "Deva-dasi"(literally maid of the god or temple) In the Ratnagiri Charte14 of Somavamsi king in Orissa is unique in the realm of performing art. Karna (Cir. A.D. 1098-1118), a donation of land It epitomizes of dance and music - which have was made in favour of Rani Karpurasri, the been first alluded in 1st century B.C. and continued daughter of Mahari Mahunadevi. Mahari has been in Orissa till almost 20th century A.D. They were interpreted a 'songstress or a dancing girl or a a class of special maidens attached to the temple Devadasi or harlot by A.M. Shastri. It is an Oriya for regular performance of dance in Orissan equivalent for 'Devadasi'. temples. The first of its reference, as said earlier, There are profuse references to the is found in the Ramgarh inscription12 of 1st century community of dancing girls of the temple-service B.C., or A.D. which narrates the love episode of in the Imperial Ganga and Gajapati records. They a young painter. Devadina and a 'Devadasi' were variously called Sani, Sanivaru, Sanulu,

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Langalu, Kumari, Gudusani etc. The temples another inscription of Srikurmam refers to 30 became the nucleus for the growth of dance, song daughters of some Nayaka family dedicated to and music. A Madhukesvara temple inscription15 the Lord.25 The Panchadharla record26 describes of Chodagangadeva reveals that he made that the daughters of Narasimhadeva, the arrangement for a service called 'Trikalinga Chalukya ruler of Elamanchalli, by his Bhogastri Bhoga' with provisions of maintenance for (concubine) were made Devadasi and an dancers, musicians and vocalists. Besides, his inscription of Simachalam 27 states that daughter Narendrasvara inscription16 and his general of Arjunadeva of Oddadi was dedicated as a Vanapati's inscription of the Bhagavati temple of temple servant. C.V. Ramachandra Rao28 has Dirghasi17 state the arrangement of dance, music observed: and dance-hall. It may be pointed out that 'Nata- In the medieval society, they were mandapa' (dance-hall) became an important assigned a respectable place in the social order, additional feature of the Orissan temples from and their profession did not carry any Ganga time onwards. Anangabhima II employed disapprobation with it. With all the for dance and music in Meghesvara disapprobation that it may earn from the and Sobhanesvara temple as known from the puritan critics of the present day, the inscriptions of the respective temples. A institution of dancing girls did the greatest 18 Simhachalam inscription informs us that service to the arts of dance and music by its Narasimha I's general Aktai erected the single minded devotion to those arts. Natyamandapa of the temple in Saka 1160 (1238 A.D.) and the king appointed one hundred of The courtesans of the Later Imperial "Kumaris" to sing in the temple.19 Narasimha Gangas and the Suryavamsi Gajapatis were Bharati Sripada, the great Vaisnava saint and known as "Sampradaya-Mubhari" or "Lanjalu" exponent of Madhava Mahavada arranged for (fully dedicated to temple service) and "Sanulu" 'Nama Samkrittana, at Simachalam with two flute- (part-time employment). players and eight musicians as known from an It is interesting to note that there was a inscription dated Saka 1281.20 Whereas Govinda Telenga community of dancing girls in the Jiyana also arranged for 'Nama-Samkirttana' Jagannatha temple of . Gajapati Prataparudra according to the rules of Oriya Sampradaya in who himself has been adorned with the title of the temple in Saka1312.21 Pandita Dasa, " Sahitya Samlapa" has issued a command Narasimha II's minister appointed two female in an inscription dated 1499 A.D. that all the flute-players and ten singers in Srikurmam.22 groups of dancers, including the Telanga girls Narasimha III's queen Gangadevi appointed a should henceforth dance only with the chanting group of eighteen musicians as revealed from an and Tala of the Gita-Govinda29 (by ). inscription of Saka 1272.23 Many more instances He has further ordered in an inscription of Anka may be quoted from the Ganga inscriptions in this 430 that music and dance of Gita-Govinda should regard. continue in the temple from the evening rituals Sanivaru or Sanulu community of dancing (Sandhya dhupa) till the 'Bada Singhara', so that girls (Nrutyangana) belonged to both Sudra caste other concert group, viz., 'Bada Sampradaya', as well as to respectable families whereas a 'Puruna Sampradaya' and 'Telanga Sampradaya' Simachalam inscription refers to the fomer,24 could learn the music and the dance forms of Gita-

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Govinda. A stipulation that if any 'Parichha' would illustrious Bharata, the composer of Natya arrange any other music or dance (other than that Sastra), "Cappannam Beyakara (Versed in 56 of Gita-Govinda) he would sin against Lord ) and 'Todaramalla' (A honorific title, a Jagannatha - was appended in the inscription. The badge) in the Simachalam temple inscription dated reference of a 'Bada Sampradaya' is also found Saka 1343.39 Further the inscriptions mention in a temple inscription of Govindadeva about 'nattuvas' or choreographers who were (A.D. 1534-46).31 Similarly, the reference to maintained by the donations made by the people 'Natua Sampradaya' is found in a number of to the temple treasury.40 inscriptions.32 Very interesting information about By the time of Kapilendra Gajapati, it may composition of temple orchestra are gleaned from be pointed out in the context, that about 80 the Simachalam inscription (Saka 1272)33 of musical instruments had been in use as revealed Gangadevi, referred to earlier. The troupe or choir by the Sarala Mahabharata of Orissa. The climax of 18 consisted of 8 dancers (patralu), 2 drummers of musical attainment was attained in the reign of (madatikatyelu), 1 vocalist (gayani) one woman each for the instruments viz., a flageolet Prataparudra Gajapati who both patronized and (tukinamu), a conch-shell (sankhu), a Kettledrum practiced music in his reign. As pointed out earlier, (avarjamu), drum (bheri), a blow-pipe (mihvuri), like Samudragupta who took the title of Kaviraja, Brahmamihvuri, a kind of trumpet (kahali); he took the epithet of 'Sangita-Sahitya-Samlapa'. besides a pair of women with bronze cymbals Chandrika Devi, daughter of the Ganga emperor (Kamsya talamu) who were not counted in the Anangabhimadeva has been described as an repertoire. Similarly, a repertory in a Srikurmam adept in dance and music in the Ananta Vasudeva 41 inscription34 of a governor (Daksina Desadhikari) temple inscription. The ministers, nobles and of Narasimha II, consisted of 30 dancing girls high officials vied with one another to attain (sanulu), 1 choreographer (mattuva), 6 drummers personal excellence as well as in extending (madylakandru), 1 kettledrum beater (avajakadu), patronage to dance and music. Mention may be 1 Karadakadu, 1 kahalakadu and a leader of the made of Narayana Senapati (Simachalam 42 troupe (melunayakudu). inscription, Saka 1213) who provided 5 nibandhas of money to 2 male singers and 4 female It appears that all and sundry were not singers. The Brahmin minister of Odaddi was admitted into the community of 'Sanulu' or known as ''.43 Pratapavira 'Devadasi'. The inscriptions repeatedly speak Gangaraju, a feudatory of Gangas in Janturunadu about the beauty and the dancing-girls as 'Yosita has been described as a 'Sarigitajna'.44 One sundarangi',35 'lavanyaguna sampanna'36 and Krisnadedva is decorated with the title praised for their faces as resembling the moon "Sangitabodhi Chandra"45 (the moon in the ocean (purnacandranana)37 and for eyes as 'Vama of music). Narasimha VI's queen Uttamadevi's vilocana'.38 Very likely, before their entry into the uncle Tammana is mentioned as "Talambudhih" dancing community they had to take lessions from (an ocean of musical-measure).46 eminent Gurus, as in present day, some of whom were attached to temples or royal courts, like The foregoing discussion reveals that Ranganatha Vaggeyakara who had been Performing Arts, as in present time, was very decorated with various titles, such as, 'Abhinava popular in ancient and mediaeval ages. It is Bharatacarya' (a brand-new preceptor like the unfortunate that no treatise of early times on music

27 Orissa Review * May - 2006 and dance forms of Orissa has been Prataparudra's 'Dasagriva-vadha' and 'Janaki- available.However, references are available in such Pramoda': Dibakara Mishra's 'Parijata-harana', medieval literary works as 'Ekamra Purana', 'Veni-Samhara,'Prabhavati'; "Sri Jagannatha 'Svarnadri Mahodaya', 'Durgotsava Chandrika, Ballabha" by Ramanand Raya etc. were some of 'Parimala Kavya, Dandi Ramayana, Sarala the significant compositions, and were probably Mahabharata, Kavi Kalpadruma, Rasa played on stages or in open-air. In the context, Kalpadruma etc. However, the poses and the Damodar Hota50 has pertinently observed postures of the dancers, the musical instruments All these dramas embellished with portrayed on the caves and temples, the musical colour bespeak the continuity of the references to various types of communities, the tradition of Udra form, of Classical Music in patronage of kings and royal personages and, the Orissa. "Sri Jagannatha Ballabha Nataka" by institution of Devadasi, go a long way to depose Raya Ramananda can be taken as a bright the attainment in the field. example to prove this fact; the songs we come The epigraphic references, corroborated by across in this work, are in the form of plastic art, suggest that present tradition of 'Prabandhas' based on and Tala'. The classical dance and music is the "outcome of authors of later periods referred to this work continuous evolutions". Bharata Muni very likely are Krisna Dasa Badajena Mahapatra, standardized Indian dance and music on the basis Raghunatha Nanda, Gajapati Narayana Dev of geo-musical significance into 4 types, viz., Harichandan etc. We are prompted by the Avanti, Daksinatya, Pancali and (U) Odra- above facts to conclude that 'Udra Paddhati' of 'Prabandha gana continued to flourish in Magadhi. The last one, named after Orissa- Orissa till 19th century A.D. unabatedly. Magadha or the Eastern Region has been classified into 32 Melas on the basis 'Ragas' on In fine, it may be said that classical dance genus-species 47 like Dhanasri, Kokila, Asavari, and music grew from early Christian time from Mahallara, Todi, Bhairavi etc. and 14 Talas like the Cave-palace of Kharavela and continued Adi, Jati, Eka, Jhampaka, Rupaka etc.48 and 15 down the ages till 16th/17th centuries A.D., varieties of composition styles (Paddhati) Viz., Sri particularly in such famous temples as , Divya Manusi Prabandha, Bhajana, Simamchalam, Srikurmam and Jagannatha with Janana, Champu, Tribhanga, Vyanjani etc. set to patronage of the royal and religious personages Ragas and Talas. Oddisi is a variant of Indian and loving participation of the people. The temples classical music and has evolved from the Odra- proved to be the veritable cradle of the dance Magadhi. and the music whereas open-ground and stages proved to be the theater of operation of the plays. 49 As regards dramaturgy 'Anargha- These performing Arts grew luxuriantly in Orissa, Raghava Nataka' by Murari Mishra (8th/9th contributed significantly to Indian classical forms Centruy A.D.), the oldest available, was and further flourished as one of the most advanced performed at Puri on the occasion of the Yatra of form and, earned name and renown not only in Sri Purusottama. Prabodha Chandrodaya by Orissa or India but also in abroad. The performing Krsna Mishra (mid-11th Century), 'Chandrakala' Arts of Orissa, with a long and hoary tradition of by Viswanatha Mahapatra, 'Parasurama Vijaya' evolution, have proved to be a priceless artistic by Kapilendradeva (1435-66); Gajapati heritage of the country.

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References: 30. E.I., LXII, 1893, pp. 88-104. 1. E.I., XX (1929-30), Gandhava-Veda-Budha 31. OHRJ, V, No. 4, Jan. 1957, p. 217. dapa-nata-gita-Vadita samdasanahi usava 32. S. I.I., VI, No. 1049, 1052. samaja Karapanahi ca Krdapayai Nagarim (L- 5). 33. Ibid, 1052. 2. Sahu, N.K.-Odia Jatira Itihasa, Vol.I, P. 133 34. Ibid, V, 1188. (, 1974). 35-38. Ibid, VI, 1052, 1137, ibid, 1197. 3. Natya Sastra, Canto 14. 39. Rao, C.V. Ramachandra, op.cit. 326. 4. Beuria, N. (ed)- Orissa State Gazetteer, II, P.141 40. S.I.I., VI, 1049, 890, 1134 etc. (Govt. of Orissa, 1991). 41. EI, XXX, 19. 5. Ibid, P. 142. 42. S.I.I., VI, No. 904. 6. Sahu, J.K. : Odisara Samskrtika Itihasa, II, P. 51 (Bhubaneswar,2001). 43. Rajguru, S.N. - Odisara Samskritika Itihasa, IV, p. 121 (Bhubaneswar, 2001). 7. Jimmer, H. : The Art of Indian Asia, I,P.224. 44. S. I.I., V, No. 1150. 8. Sahu, N.K. : op.cit., p. 317. 45. Ibid, VI, No. 725. 9. Orissa Historical Research Journal, XXXIX, Nos. 1-4, pp. 115-18, Text LC 12-13. 46. Ibid, 769. 10. Rajguru, S.N. Inscriptions of Orissa, IV, No. 17 47. Acharya, TG. Patra- Oddisi Sangita Prakasha, (Bhubaneswar, 1966). Vol. 1. 11. Sahu, J.K. : Odisa Itihasa, I, pp. 243-44 (Cuttack). 48. Das, K. - Gita Prakasa ; Rath, R.N. - Natya Monorama; Gajapati Narayan Dev- Sangite 12. Indian Antiquary, XXXIV, pp. 197-98. Narayana; Harichandan-Sangita Muktavali; 13. Rajguru, S.N. : op.cit. No. 39. Hota, D - Kisora Candranana Campu Lahari etc. 14. Ibid, No. 40. 49. Misra, N.M. - Odisa ki Natak aur Rangamanc. 15. South Indian Inscriptions, V, No. 1010 (hereinafter call S.I.I.). 50. Das, M.N. (ed.) Sidelights on History and Culture of Orissa. P. 772 (Bhubaneswar, 1978). 16. Journal of Andhra Historical Research Society, XII, Pt-I, p. 16. 17. Epigraphia Indica, IV. P. 318. 18-27. See S.I.I., Nos. 1142, 1197, 890, 722, 1037, 1052, 1202, 1188, 668,876. 28. Administration and Society in Mediaeval Andhra, P. 303 (Nellore, 1976). 29. Journal of Asiatic Society of Bengal, LXII, Dr. D.B. Mishra is the Reader in History in G.M. College, p. 97. Sambalpur.

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