Different 'Divine Dance forms'
V Subrahmanian
சிவபெருமான் ஆடிய ஆடல்கள்:
கொடு கொட்டி ஆடல். (திரிபுரம் எரியத் தேவர்கள் வேண்டிக்கொண்டபொழுது, வடவைத் தீயை தலையில் வைத்து வெற்றிக் களிப்பால் கைகொட்டி நின்று ஆடிய ஆடல்)
பாண்டரங்கக் கூத்து. (இறைவன் திரிபுரம் எரித்த சாம்பலை அணிந்து ஆடிய கூத்து)
முருகப் பெருமான் ஆடிய நடனங்கள்:
துடிக்கூத்து (சூரனைப் போரில் வென்ற பின் கடல் அலையே அரங்கமாகக் கொண்டு துடி கொட்டி ஆடிய துடிக் கூத்து).
குடைக் கூத்து (முருகன் தன் வெண்கொற்றக் குடையை சாய்த்து, சாய்த்து ஆடியது)
திருமால் ஆடிய கூத்து:
அல்லியத் தொகுதி என்னும் கூத்து. (குவாலயா பீடம் என்ற யானையின் கொம்பை ஒடித்ததற்கு நின்றாடிய கூத்து).
மல்லாடல். (மாயவன் மல்லனாய், வாணாசூரனைக் கொன்ற பின் ஆடிய மற்கூத்து).
குடக்கூத்து. (காமன் மகன் அநிருத்தனை மீட்டற் பொருட்டு உலோகம் மற்றும் மண்ணால் ஆன குடங்களைக் கொண்டு மாயோன் ஆடிய விநோதக் கூத்து).
மன்மதன் ஆடிய நடனம்:
பேடென்னும் கூத்து. (பேடாடல்) (ஆண்மை திரிந்த பெண்மைக் கோலத்தில், தன் மகன் அநிருத்தனை சிறை மீட்டுக் காமன் ஆடிய நடனம்).
துர்க்கை ஆடிய நடனம்
மரக்கால் ஆடல். (அசுரர்களின் கொடுந்தொழிலைப் பொறுக்க முடியாமல், அவற்றை வெல்லும் பொருட்டு, மரக்கால் கொண்டு ஆடிய ஆடல்).
திருமகள் ஆடிய நடனம்:
பாவைக் கூத்து (திருமகள் கொல்லிப்பாவை வடிவாய் ஆடிய பாவைக் கூத்து)
இந்திராணி ஆடிய ஆடல்:
கடையக் கூத்து. (வயல்வெளியில் உழத்தியர் வடிவுகொண்டு ஆடியது கடையக் கூத்து).
Nagaraj Paturi
Picture shows famous dancer Jyotsna Jaganathan
Silappathikaram is considered the best among the five Tamil epics. Kovalan and Kannaki were the hero and heroine and Madhavi was Kovalan’s mistress. She was a famous dancer. She was the daughter of Chitrapathy. Madhavi learnt dance from the age of five and mastered the art of classical Bharatanatyam at the age of twelve. When she performed at the annual Indra festival in the ancient Chola port city Kaveri Pumpattinam, the king gave her the royal medal and 1008 gold coins. Kovalan, who was a great lover of fine arts fell for her.
The Tamil epic Silappathikaram is an encyclopaedia of Tamil culture. It gives graphic description of all Tamil arts such as Bharatanatyam and Tamil Music. The commentators added wealth of information in their commentaries. The epic describes the Tamil country of second century C.E.
It is very interesting to know that all these dances are about Hindu mythology.
Madhavi performed eleven different types of dances according to the epic. They are:
1.Alliam: This is a dance about Lord Krishna’s victory over the mad elephant.
2.Kodukotti : This is the dance Lord Shiva performed after burning the triple cities of Asuras/demons
3.Kudai: This is about Lord Skanda’s victory over the demons
4.Kudam: Kannan performed this after winning the release of his grandson Anirudh from the prison of Banasura.
5.Pandarangam: Brahma was entertained by Siva with this dance after Shiva’s win over the Triple Cities of demons.
6.Mal: This describes the wrestling contest between Bana and Lord Krishna
7.Thudi: This is Skanda’s dance after defeating the demon Suran
8.Kadayam: This is the dance performed by Indrani at the north gate of palace of Banasura.
9.Pedu: Manmathan’s dance dressed as a eunuch to secure the release of his son Anirudh.
10.Marakkal: When demons sent poisonous creatures like snakes and scorpions against Goddess Durga she danced with stints (Stick dance). This is known as Marakkal literally “wooden legs”.
11.Pavai: Goddess Lakshmi’s dance against the warring demons.
First six of the eleven dances are done in standing position and the other five are performed in lying position. There is an interesting thread that runs through all these mythological episodes. This is about a fight between the good and bad and the ultimate victory of good over evil.
Ilango, author of Silappathikaram, did not stop with Matavi’s debut performance. In three other places in the epic he narrated the hunters dance during worship of Durga, cowherds dance praising Lord Krishna and tribal dance.
Ancient Tamils were so familiar with all the Hindu mythological stories. They liked to watch such stories. This is confirmed by a lot of references to Hindu Gods and Goddesses in Sangam Tamil literature. Tamils are not only ardent Hindu devotees, but also lovers of all fine arts. Chidambaram temple stands as a monumental proof for this with all the 108 dance gestures (abhinaya) sculpted in stones.
Like Bharata, the author of Sanskrit treatise on Bharata Natyam, Silappadhikaram also gives a description of dance stage and location for the stage.
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Krishna Kumar Pillalamarri
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Radhakrishna Warrier
Sent: Monday, October 7, 2019 11:52 AM
To: Bharatiya Vidvat parishad <bvpar...@googlegroups.com>
Subject: Re: {भारतीयविद्वत्परिषत्} Different 'Divine Dance forms'
Siddharth Wakankar
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Ramaratnam S.
Ancient Tamil literature mentions three types of koothu. One is Āriyakoothu and the second one is Santhi Koothu and the third one is Sakkai Koothu. In the Vanji kandam of Silappatikaram there is a mention of a koothu called Kotticcedam by a male dancer called Paravur Kootaccakkaian.
We have an ancient Tamil inscription referring to Ariyakkoothu exclusively performed by men.
Dr. Padma Subrahmanyam refers to a certain male dancer called Kumaran Srikantan who performed the Ariya Koothu. The inscription is in the temple of Tiruvavaduthurai belonging to the 9th regnal year of Raja Raja I. It mentions that an endowment of land was created and called as ‘nritya bhoga’ to Kumaran Srikantan, and this was given for his performance of Ariya Koothu in six parts/sections.
We have reference to another dancer performing Ariyakkoothu, that is, Kirttimaraikkadan alias Tiruvelai-araichchakkai. The Tamil inscription is present in the Mahalingaswami temple in Tiruvidaimarudur on the north wall of the central shrine. It is dated to the 4th regnal year of Parakesarivarman (Aditya II Karikala son of Sundara Chola Parantaka II).
Dr. Padma Subrahmanyam further describes how this Ariyakkoothu was is part of the Pancha Marabu, by the author Arivanar and hence the name Ariyakkoothu. He describes the seven varieties of Koothu (Tandava, Nritta, Natya, Kuravai vari, Kolam, and Vagai) in his book as being based on Bharata’s Nāṭyaśāstra.
There was another kind of dance performed called Santhikkoothu. This was performed by both genders. Silappatikaram has detailed descriptions of Santhikkoothu. In the Somanatha temple, Attur, Tiruchchendur Taluk in Tirunelveli district, the Tamil inscription is located on a pillar in the south veranda of the first prakaram. It is dated to the 16th regnal year of Jatavarman Srivallabha. The male dancer called Soman performed Santhikkoothu. The third type of dance performed by both genders was Sakkai koothu or Chakkai koothu. Cakkai koothu is still being performed as Chakkiar Koothu or Koodiyattam by the males of the Chakkiar community in Kerala.
A certain Sakkai Marayan Vikrama solan or Chozhan is mentioned as having performed Sakkai koothu in the Kamarasavalli/Kamaravalli temple. The Tamil inscription says that he was rewarded for performing the dance thrice on the Tiruvadirai nakshatram day in Marghazhi and Vaigasi. The birth star of Rajendra Chola I.
In another Tamil inscription in the temple of Varamuleswara temple, Kilappaluvur, Udaiyarpalayam Taluk, Tiruchirapalli district the sakkai koothu is mentioned. But, it does not mention the name of the dancer.
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Ramaratnam S.
V Subrahmanian
Nagaraj Paturi
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Nagaraj Paturi
V Subrahmanian
Sri Subbu-ji,In the Natyas'aastra tradition of Sanskrit works,Nrittaratnavali by Jayappasenani (13th century AD)deals with a huge list of such forms.Forms are classified into Marga and Desi.This book has a big list of Desi forms.
Irene Galstian
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----Nagaraj PaturiHyderabad, Telangana, INDIA.Director, Inter-Gurukula-University Centre , Indic AcademyBoS, MIT School of Vedic Sciences, Pune, MaharashtraBoS, Chinmaya Vishwavidyapeeth, Veliyanad, KeralaBoS Veda Vijnana Gurukula, Bengaluru.Former Senior Professor of Cultural Studies,FLAME School of Communication and FLAME School of Liberal Education,(Pune, Maharashtra, INDIA )
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Ramaratnam S.
Dramaturgical texts also speak of another set of 10 ‘ lāsyas’ that are suited to a drama or a dance drama. They are :
i. ‘Geya pada’ which is the presentation of a sublime song sung in a seated posture with the accompaniment of a stringed instrument like ‘vīṇā’. We have an example in the ‘gaurī gṛha’ scene of the play Nāgānanda.
ii. ‘Sthita pāṭhya’ is the performance of abhinaya to a love song in a fixed posture, sitting or standing. The love letter scene of Abhijñāana Ṥākuntala may be cited as an example.
iii. ‘Āsīna’ is that situation where a lady is found musing quietly in a pensive mood.
iv. ‘Puṣpagandhikā’ is a scene in which both men and women dance merrily. An illustration for this can be found in the play Ratnāvalī.
v. ‘Pracchedaka’ is a song sequence where the infidelity of the lover is set out in a suggestive manner by the heroine. The ‘haṁsapadikā’ scene of Abhijñāana Ṥākuntala is an example.
vi. ‘Trigūḍha’ is a dance by men in the disguise of women. An example for this can cited from Malatī Mādhava, where Mādhava appears in the disguise of Mālatī.
vii. ‘Saindhavaka’ is a ‘ lāsya’ in the course of which characters dance in a manner suited to their own folk traditions and sing in the local dialect.
viii. ‘Dvimūḍhaka’ is a dance in a circular pace.
ix. ‘Uttamottamaka’ is a type of dance which is accompanied by varied songs and is full of sportive movements and joyous feelings.
x. ‘Ukta – pratyukta’ is a competitive dance where the movements of one dancer is countered by another. In the episode of Gaṅgā – Gaurī, there is scope for this dance.
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V Subrahmanian
Ramaratnam S.
The Uparūpakas
Sanskrit Drmaturgical texts speak of not only the daśarūpakas, the ten types of major play forms but also the minor classifications called the uparūpakas. While the ten major forms are dialogue oriented, the uparūpakas are dance oriented. Some of them which are a mixture of both might be called the earliest dance drama forms. A brief account of the Uparūpakas will be helpful in assessing their relation to dance drama.
i. Ṥrīgadita:
Ṥrīgadita depicts love in separation. The heroine describes the qualities of the lover to her friend (gadita = telling) and pines for him. If he has offended her or deceived her, she may find fault with him and long for reunion. The theme is depicted through songs and dance. The Tamil Kuravanci is comparable to this Uparūpaka. In Kuravanci also the heroine pines for her lover, the deity of the local temple or the local king and lets her feelings out to her friend. But in the Kuravanci there will be an additional character, namely, a gypsy woman, a fortune teller who is introduced to the heroine. She identifies her lover and foretells happy reunion. This kind of a theme is found in the varṇam, padam and jāvali items of the South Indian dance.
ii. Durmilikā
The theme is clandestine love affair. The narrator is the cetī or the female go-between of the heroine who tells the audience about the secret love between the lovers. She plans for their union for a favour or a fee. Sometimes she may blackmail either of them or both to achieve her own ends. She sings and dances in between.
iii. Prasthāna
This Uparūpaka depicts the prasthāna or going away of the lover on travel. After their first meeting, the hero and the heroine have fallen in love with each other; as is usual, there had been a misunderstanding and love quarrel between them. But at the time of departure both find the separation hard to bear. The agony of separation increases at the onset of spring or winter. Description of seasons also takes place through songs and dances. According to theory there should be an element of vīra rasa at the end. Probably the hero may kill the enemies and comes back victorious to take the hand of his beloved.
iv. Kāvya or Citrakāvya
There is only a small difference between the two. The ‘kāvya’ is sung in one raga, while the ‘citrakāvya’ is sung in a variety of ragas. The songs and the corresponding dances delineate the erotic sentiment. The Gītagovinda of Jayadeva may be cited as an illustration of this type. It may be noted that even today dance dramas on Gītagovinda are presented quite often by the artistes.
v. Bhāṇa or Bhāṇikā
The composition of a Bhāṇikā may be called as a nṛtyaprabandha. The songs may be in praise of deities like Ṥiva, Rāma or Kṛṣṇa. The singer may also narrate a few episodes in the middle. The dance will consist of energetic jumps and leaps to indicate the emotions. The instruments played in soft or strong mode and the choice of tune will aid the depiction of the sentiments. According to Abhinavabharatī, Bhāṇikā is didactic in nature. The actors will take the role of certain animals and depict the stories. Stories from Pañcatanta or Hitopadeśa may perhaps be depicted. The message of the stories may be conveyed in a contrived way by the employment of figures of speech like Dṛṣṭānta and Anyāpadeśa.
vi. Goṣṭhī
Goṣṭhī is probably derived from ‘goṣṭha’, meaning ‘hamlet of the cowherds’. According to some of the dramaturgical texts, ‘goṣṭhī’ represents the sports of young Kṛṣṇa in the cowherd kingdom of Gokula, on the banks of the river Yamunā. Kṛṣṇa’s childhood exploits like ‘kāliya nartana’ and the lifting of ‘govardhana’ mountain may form the theme. It is full of songs and dances.
vii. Hallīsaka
Hallīsaka is a dance form wherein one person dances in the middle while others form a circle around him and dance. It is ideally suited for depicting Gopi dance. It is identical with the Garbha dance of Gujarat, Kummi and Kudicchappattu of Tamil nadu and Kaikottikali of Kerala. The beat is kept by the dancers clapping their hands.
viii. Nartanaka
This dance is similar to the Nautch. A danseuse sings and renders through gestures, the content of the song. The varieties of this dance form are – Śamyā, Lāsya, Chalika and Dvipadī. Chalika is mentioned in Mālavikāgnimitra. It is probably derived from the word ‘chala’ meaning deception or covering up. A damsel conveys to the audience her love under the pretext of performing abhinaya for some composition. According to Viṣṇupurāṇa, the songs in Nartanaka may be rendered in different dialects and the dancers will wear manifold local costumes. Śamyā is similar to the ‘kol attam’ of Tamil Nadu. The dancers keep the beat with small sticks. ‘Dvipadī’ is high speed dancing for ‘laya’ oriented songs.
ix. Rāsaka
Rāsaka is similar to Hallīsaka; the difference is that in the latter there will be only one male dancer dancing in the middle but in the former there will be many male dancers. According another opinion, Rāsaka is a dance consisting of only female dancers. They group and regroup to form different geometrical patterns while dancing.
It is clear from the description of the Uparūpakas that some of them are suitable for independent dance drama format while the rest may form part of it.
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Siddharth Wakankar
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Irene Galstian
Thank you. I’ll focus on the 1st edition.
Best wishes,
Irene
ajit.gargeshwari
- Natya Sastra Abhinava Bharati Abhinava Gupta Ramakrishna Kavi Ramaswami Sastri K.S.Volume 1 Oriental Institute, Baroda, GOS 36, 1956 Second Edition
- Natya Sastra Abhinava Bharati Abhinava Revised and Ed.Krishnamoorthy K. Volume 1 Oriental Institute,Vadodara, GOS 36, 1986 Second Edition
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi Volume 2 Oriental Institute, Baroda, GOS 68, 1934 First Edition.
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi Revised & Critically Ed.Kulkarni V. M., Tapasvi Nandi Volume 2 Oriental Institute, Vadodara, GOS 68, 2001 Second Edition.
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi , Volume 3 Oriental Institute,Baroda, GOS 124, 1954 First Edition
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi Revised & Critically Ed. Kulkarni V. M., Tapasvi Nandi Volume 3 Oriental Institute, Vadodara GOS 124, 2003 Second Edition.
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi, Pade J.S. Volume 4 Oriental Institute, Baroda, GOS 145, 1964 First Edition
- Natya Sastra ) Abhinava Bharati Abhinava Gupta Ed. Ramakrishna Kavi, Pade J.S. Revised & Critically Ed. Kulkarni V. M. Tapasvi Nandi Volume 4 Oriental Institute, Vadodara, GOS 145, 2006 Second Edition.
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Siddharth Wakankar
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