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 flute (venu), another musical instruments, viz.,Tata-Vadya (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' «««.. Odissi 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 23 Orissa Review * May - 2006 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 Odissi music 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.