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Bhagavata Mela Natya/भागवत मेऱा ना絍य in the Tanjore District of Tamil Nadu, and the Yakshagana in Karnataka on the West Coast

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Bhagavata Mela Natya/भागवत मेऱा ना絍य in the Tanjore District of Tamil Nadu, and the Yakshagana in Karnataka on the West Coast Paper: 2 Relationship Of Dance And Theatre, Study Of Rupaka And Uparupaka, Traditional Theatres Of India Module 30 Bhagavat Mela Natakam Every country in the world has its uniqueness and specialty. A subtle, diverse culture, universal values and spirituality have been India's gift to the world. Sadly, today most of our rich cultural heritage has been lost due to migration of people from their native places to cities and other countries. The remnant treasure also remains largely inaccessible due to lack of time, language constraints and more so because we are unaware of the worth of this legacy. Yet there are some thin fibers that still connect us to our ancient culture we should be proud of. Indian theatre or Natya had its origin in expository dance. The first actor, Nata, was an actor-dancer who portrayed dramatic incidents by means of gesture and dance, with song and musical accompaniment. The Natyashastra states that drama must contain Nritya (expository dance), Geeta (song), and Vadya (instrumental accompaniment). Indian drama gives importance to gesture in place of the spoken word. It is meant to be seen by the spectator rather than heard. Very little of this glorious dramatic art is now to be seen. The Sanskrit theatre is a hereditary art of the Chakkiyars/चाकियार of Kerala temples, a source of Kathakali dance drama in Malayalam language. The vernacular drama also survives in Andhra Pradesh in the Kuchipudi dance drama of Brahmin Bhagavatas/भागवत; the Bhagavata Mela Natya/भागवत मेऱा ना絍य in the Tanjore district of Tamil Nadu, and the Yakshagana in Karnataka on the West coast. Bhagavata Mela is a form of dance-drama. It is graceful with, mellifluous vocal and instrumental music to add color in its overall performance. It also contains dialogues of high diction and suggestive abhinaya. There are other symbolical, descriptive actions. Whenever there is a violent scene of war and killing in drama, the scenes are not enacted but only narrated as an incident. The Bhagavata Mela is full of dramatic interest. It is enhanced by using classical music and dance. Dialogue of high diction and suggestive strained abhinaya and other symbolical action are its hall-marks. Every actor is well trained in Bharata Natyam. Bhagavata Mela Natakam is popular throughout the Tamil Nadu State. It has originated from Mellatur/मेऱातुर in Thanjavur district, Tamil Naidu. The term Bhagavata Mela signifies the troupes, which perform the stories of the Bhagavata, i.e. the myths about the incarnations of Lord Vishnu, from the famous Bhagavata Purana. It is performed as a part of the annual जयꅍती in the month of ﴂfestival of Narsimha Jayanthi/नसृ सह May-June. A large flat canopy and a small stage are put up in the streets in front of the temple and the dramas are performed on it. This is done to dedicate the deity installed in the front hall of the temple. Bhagavata mela is a form of dance drama. Dance drama or Natya, according to the Sahityadarpana/साहह配यदऩपण, is a "poem made visible". Indian Natya has a poetic form and is acted in a rhythmic manner. Just as poetry differs from natural speech, so Natya differs from natural actions. Lokadharma/ऱोिधमप refers to that which is realistic and popular Natyadharma/ना絍यधमप means that which is classical, conventional, and governed by codes and formalities. In the history of Indian music three kinds of dramas are discernible. They are namely: nataka/नाटि, nrtya nataka/न配ृ य नाटि, and geya nataka/गेय नाटि. Nrtya natakas are earlier than geya natakas and adhere strictly to the Natya Shastra treatises. Even during the rule of Cholas in Tamil Nadu, especially Thanjavur, geya natakams and sadir were a regular feature in the temples and Royal Court during festivities. It is believed that these performances were mostly of grand operas. Such performances and the performers were patronized by the kings. From the 9th century when marked development and growth of regional languages took place, the Sanskrit theatre tradition too was getting adopted to regional languages. An excellent example of one such work is Jayadeva's "Gita Govindam". Came into being as a result of Bhakti Movement to counter the milieu, it occupies a key position in the history of both music and dance that led to the flowering of a classical musical dance-dramas in the local languages, in different parts of the country. Yakshaganas of Karnataka, Kuchipudi Bhagavata Mela natakams of Andhra Pradesh, Koodiyattam of Kerala, Ariya Koothu/अररया िू थु, Bhagavata Mela and Kuravanji natakas of Tamil Nadu stand an axiom. Yakshaganas, Bhagavata Mela and Kuravanji natakams are nrtya natakas. The Yakshaganas and Kuravanji natakas happen to be popular varieties, while the Bhagavata Mela nataka is a refined classical dance drama. The Maratha Rajas not only took to the Telugu language but themselves acquired remarkable degree of proficiency in composing and became reputed authors of a large number of literatures in Telugu. Like Nayaks, Maratha Rajas too patronized poets and scholars in Telugu language by donating free gifts of land, property and founding colonies for establishing scholarly families. According to Madura kavita/मधुर िववता of Telugu literature, the language, meter and sentiment are "Desi" and are characterized by music and dance elements, and are enacted before an audience from which developed, later on, the refined musical plays. And Bhagavata Mela falls in this form of plays. The tradition of Bhagavata Mela natakams of Tamil Nadu employed the art of music and dance in rich flavor using themes from "Srimad Bhagavatam/श्रीमद भागवतम" and other "Puranams" to extol the principle of Bhakti. To maintain the purity of purpose, only men called "Bhagavatulu/भागवतुऱू", Bhagavatar", participated in this art and thus the tradition came to be known as "Bhagavata Mela". Obviously, the Bhagavata Mela Natakams are considered a cult and therefore, are performed only within the precinct of temples, even today. Thus the Bhagavata Mela tradition took roots in the Tamil ,डऱमﴂcountry, especially in the then Cholamandalam/चोऱाम during the early part of the 16th century. But no vestiges are found to establish that the tradition of Bhagavata Mela of Tamil country is of Andhra origin. Once popular throughout the Tamil Nadu, Bhagavata Mela, is now confined to a single village, Melattur in Thanjavur district. It is held as a part of the annual Narasimha Jayanthi festival in May-June. A large flat thatched canopy and a small stage are put up in the streets in front of the temple and the dramas are enacted to dedicate the deity installed in the front hall of the temple. PLAY PRESENTATION Firstly, the performance starts with the appearance of the गी or buffoon. Konangi dances for a few minutesﴂKonangi/िोना and requests the audience to see the forthcoming play patiently. The play is followed by a group of musicians who sing गऱम, which is an invocationﴂthe Todaya-mangalam/तोड़ाय-म song. After that, an introduction of the drama to be enacted is told in short. A performer in the dress of Lord Ganesha then appears in front of audience to bless the play. A young boy wearing the mask of Ganesha dances to the accompaniment of background music to give the feel of Lord Ganesha. The arrival of the Lord Ganapati sets the stage for an auspicious start to the performance. Each actor or character is then introduced. After this elaborate introduction, the actual drama begins. The drama contains mainly dialogues of Prahlad/प्रहऱाद, Hiranakashapu/हहराꅍयक्श्यऩ ू (father of Prahlad) and Narsimha. The story places its own demands on the actor portraying Narsimha. The actor prays and fasts before donning the mask of the god, and at the close of the performance, all the performers (Bhagavatars or Bhagavatulus) circumambulate the deity within the temple and the street. The musicians follow them, singing devotional songs. Next to be honored, with flowers and sandal paste, are the teachers of this dance-drama. This festival is celebrated to signify the victory of Prahlad over his evil father, the king Hiranyakashipu through the intervention of Vishnu in his man- lion avatar (incarnation). The drama is characterized by natural, flowing movements that enhance the body- language used to convey the main theme. The actors are always male. The performance commences with the appearance of the Konangi or buffoon. He dances for a few minutes and requests the audience to witness the play patiently. A group of musicians then sing the todaya-mangalam or invocation song followed by the introduction to the drama that is to be enacted. Lord Ganesha then appears to bless the play. A young boy is usually made to wear the mask of Ganesha and dance to the accompaniment of background music. Each actor or character is then introduced. After this elaborate introduction, the drama begins. MELATTUR BHAGAVATMELA NATAKAM The little village of Melattur, 18 kms from Thanjavur in Tamil Nadu, is considered to be the cradle of Tamil culture. It gets enveloped in a spurt of feverish activity every mid-summer during the Bhagavata Mela Nataka Utsav organized in the sannidhi/सन्ꅍनधध of Lord Sri Varadaraja/श्री वरदराज , the presiding deity of the village, on the occasion of Sri Narsimha Jayanti. Indian performing art forms born in a land teeming with gods and legends is intimately connected with religious, literary and mythological traditions. A valid study of any form of Indian art - be it music, dance, painting or folklore - could be undertaken only through learning (perhaps one should say experiencing) the innumerable sources and concepts of Indian culture, its rituals, legends, metaphors, its epochs, dynasties, styles and the kaleidoscopic media through which the art expresses itself.
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