Ind Culture Dances of India PDF

VIVEKANANDA KENDRA PATRIKA
DANCES OF INDIA
DANCES OF INDIA
CONTENTS
1.
Acknowledgements
2.
Editorial
Dr.Padma Subrahmaniam
3.
The Dance of Shiva
Ananda K. Coomaraswamy
15
4.
The Gift of Tradition
K. S. Ramaswami Sastri
20
5.
The Spiritual Background of
6.
Indian Dance
Rukmini Devi
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
25
9. Waiting in the Wing

10. The Ramayana in Indian Dance
and Dance-Drama
Usha Jha
47
Mohan Khokar
54
11. The Art and The Artist
K. S. Ramaswami Sastri
60
12. Kuchipudi Dance
V. Patanjali
62
13. The Veedhi of Bhagavatam Andhra
Dr. V. Raghavan
69
14. Bhagavata Mela - Dance-Drama
S. Natarajan
72
15. Koodiyattom
D. Appukuttan Nair
74
16. Origin and Development of Thullal
P. K. Sivasankara Pillai
77
17. Kathakali-The Total Theatre
M. K. K. Nayar
81
18. Mohiniaattam
Dr. (Smt.) Kanak Rele
97
19. Bharatanatyam
Smt.Chitra Visweswaran
102
DANCES OF INDIA
20. Dance can Play a Therapeutic Role
Smt.Sudharani Raghupathy
105
21. Yakshagana Bayalata
K. S. Upadhyaya
108
22. A Glimpse Into Odissi Dance
Dr. Minati Mishra
115
23. Mayurabhanj Chhau
Dr. (Mrs.) Kapila Vatsyayan
121
24. Kathak Dance as an Art -Form
Dr. S. K. Saxena
132
25. Udayshankar
Moni Bagchee
135
26. Temples as Patrons of Dance

27. Therukkoothu-The Folk-Theatre of
Tamilnad
Dr. K. V. Raman
138
Smt. Shyamala Balakrishnan
140
28. Chakkiyar Koothu
Mrinalini Sarabhai
144
29. Vivekananda Kendra Samachar
146
30. Folk-Dances of Gujarat
Parul Shah
169
31. Folk-Dances of Punjab - Bhangra
Dr. (Mrs.) Kapilavatsyayan
175
32. Folk-Dances of Haryana
Sudhir K. Sharma
178
33. Folk-Dances of Madhya Pradesh
181
34. Natya Tradition in Maharashtra
Sucheta Bhide
184
35. Folk-Dances of Rajasthan
188
36. Folk-Dances of West Bengal
192
37. Manipuri Dance
Darshana Jhaveri
194
38. Folk-Dances of Arunachal Pradesh
Niranjan Sarkar
196
40. Assamese Dance
Pradeep Chaliha
205
DANCES OF INDIA
Acknowledgements
his volume of the Kendra Patrika on

Dances of India is expected to be
of lasting and cherishable value.
Though performing artists and exponents
in the field are comparatively few in number,
there are thousands who love and admire
the excellent heritage of our culture,
namely, the dances of India. As the topic
itself indicates, it is not a subject on which
everyone can write authoritatively.
Therefore, it was very essential to invite
contributions on different topics from the
artists and exponents of dance in different
parts of the country. With a deep sense of
gratitude, we express our hearty thanks
to all those artists who extended their
valuable help and co-operation promptly,
and made our venture a good success.
They not only sent articles but also helped
us with a good number of relevant photographs, which have added much to the
richness and quality of the volume. Besides,
on a subject like this, when the attempt is
to try to give a fairly comprehensive
picture, one has to necessarily reproduce
certain ,widely accepted and standard
articles connected with the theme. This
could be done only with the generous help
and co-operation extended to us by the
various publishers of books and ;magazines.
While thanking them earnestly, we give
below the names and addresses of the
publishers who have helped us by giving
their permission to publish in this volume
whatever portions we required:
1.
Traditions of Indian Folk-Dance

by Dr. Kapila Vatsyayan,
Publishers:
Indian Book
Company, New Delhi.
2.
Lesser Known Forms of

Performing Arts in India. Edited
by Durgadas Mukhopadhyaya.
Publishers: M/s. Sterling
Publishers Private Limited,
New Delhi.
3.
The Art of Dance from the

Voice of Samanvaya. Publishers:
C. P. Ramaswami Aiyar
Foundation, Madras-LB.
4.
The Dance of Shiva by Ananda

K. Coomaraswamy , Publishers:
Sagar Publications, New Delhi.
5.
Origin and Development of

Thullal by P. K. Sivasankara
Pillai from Kalamandalam
Annual (1970). Publishers:
Kerala Kalarnandalam, Cochin-11.
6.
Bharatiya Vidya Bhavan, Bombay

for perrmssron to reproduce
articles from their Bhavans
Journal and from their, book
The Sacred Dance of
India by Mrinalini Sarabhai.
7.
Folk-Dances of Arunachal
Pradesh by Niranjan Sarkar.
Publishers: Arunachal Pradesh
Administration, Shillong.
We are very thankful to artiste Kalpana

who managed to get a good. number of
valuable photographs which have been
used in this volume. Our thanks are also
due to SITRA who did the cover design in
spite of his heavy pre-occupation with
other commitments. We are indeed very
thankful to M/s. Rajsri Printers for their
neat handling of the work and the speed
DANCES OF INDIA
with which they executed the whole

volume. While every care has been taken
to see that no party is left out in our
acknowledgement for their meritorious
assistance and co-operation, we earnestly
solicit forgiveness for any mistake of
omission or commission which, of course,
has not been deliberate.
DANCES OF INDIA
BHARATIYA NATYA AND NRITTA

Dr. PADMA SUBRAHMANIAM
EDITORIAL
he earliest extant literature on the

subject of Indian Dance is Bharatas
Natyasastra. There seems to have
been some Nata Sutras even before this
Sastra was penned. But they have either
been lost or got dissolved into the present
Natyasastra. The term Natya encompasses
in itself all the artistic elements of the
Theatre Art. Dance was only a part of
drama in ancient India. But drama itself
was mostly danced. There was hardly any
bifurcation between these arts in the true
Hindu theatre. Like the Hindu religion, which
is itself a fusion of the Aryans . Vedic
yagna and the non-Aryans Agamic puja,
the Hindu theatre also took the form of a
homogeneous presentation of dance and
drama. Dance seems to have been a
favourite sport of the non-Aryans, while
drama, with its literary beauty was the
Aryans love. The art of dance developed
as drama through its getting mingled with
the Aryan culture. Natya was the term
which indicated this composite whole. The
term Sangita was always referred to in its
triple aspects viz., Gita (song), Vadya
(instrumental music) and Nritta (dance).
All the earlier works on Sangita had
chapters on everyone of these elements.
Natya included these three plus drama too.
The Natya sastra is an unsurpassed
compendious work dealing with all these

elements in totality and running to thirtysix chapters. It is highly probable that this
composite work was written during the
course of a few centuries, by authors of
the same pen-name. Hence this work may
be considered as an extraordinary
compilation of a series of supplemental
treatises on the subject. This clearly proves
the exclusive importance that the nucleus
of the original treatise on Natya and its
author Bharata enjoyed in the ancient Hindu
society.
Natya, in its complete form consists of
music, dance and communication through
expression. Of these, the second and third
elements are known as Nritta and Abhinaya,
respectively. The Natya- sastra describes
all these elements in great detail. Later,
authorities like Saarangadeva (12th
century A.D.) recognised another form
called Nritya and defined it as a
representational kind of Nritta. But
Bharatas period had the arts of only Nritta
and Abhinaya as parts of Natya. Nritta
could be handled in two ways, viz., Uddhata
(gracefully forceful) and Sukumara
(gracefully soft). These obtained the
names of Tandava and Lasya perhaps only
after Kalidasas time. During Bharatas
period, the term Tandava seems to have

been a synonym of Nritta. The Aryans seem
to have freely incorporated the art of Nritta
into their Natya. Ever since then, Natya
was almost suffused with Nritta. Its actual
place in it is revealed through the study of
the nature of Natya.
The goal of any Natya is only to create
Rasa. Rasa is the enjoyment of an aesthetic
bliss derived through witnessing or reading
a production. The process through which
this is achieved is the sub- structure of
the varied rules analytically laid down in
the Natyasastra. The Bhava, i.e. feeling,
contained in a situation and the character
involved has to be expressed by the actor
or the writer, as the case may be, in such
a way that it can be understood by the
onlooker or reader. Unless the feelings and
ideas are communicated, the audience
cannot share those feelings, which
ultimately is responsible for evoking Rasa.
The art of communication is called
Abhinaya. There are four mediums of
expression available for the artists. This
analysis, given in the Natyasastra, is so
accurate and universal that it is valid even
today, for any production in any part of
the world. The four Abhinayas are: Angika
(physical), Vachika (verbal), Aharya
(external) and Satvika. (internal)
Angikabhinaya is the art of physical
expression. The entire human body has
been analysed in the Natyasastra as Angas
(major limbs) and Pratyangas (minor limbs).
Later, authorities added to this classification
the Upangas (subsidiary limbs) which in
turn, were divided as those belonging
exclusively to the face and those of the
other limbs of the body. Exercises from head
DANCES OF INDIA
to foot are prescribed for each limb, based

highly on kinetic principles. The student
was expected to master these individual
exercises and proceed to practising
combinations of movements of various
limbs.
These exercises are to be meaningfully
utilised to convey ideas and more important
than that, feelings. This is the essence of
Angika Abhinaya. Physical expression is a
part of human nature. The connection
between the psyche and the physic is so
intrinsic, that even the minutest vibration
of the mind gets easily reflected through
the body in daily life itself. For instance,
nodding the head is part of human
behaviour while reacting. The force, speed
and space of our pacing also reflect the
inner composure and conflicts. The art of
physical expression is hence beautifully
conceived, classified and codified by
Bharata, to artistically suit a dramatic
representation.
Angikabhinaya is of two categories. One is
the Padarthabhinaya while the other is
Vakyarthabhinaya. The former means the
expression of word to word meaning, while
the latter is a communication of the general
idea of a sentence or even the mood. For
the actual execution of these, three
mediums are given, viz., Sakha, Ankura and
Nritta. Sakha literally means branch; Ankura
is sprout while Nritta is dance. Sakha
indicates the availability of an entire
system of gesticulation through the hands.
A complete language of gestures has been
handed down by generations of artistes.
These hand gestures are of two kinds. One
is a group of Abhinaya Hastas and the other
is a set of Nritta Hastas. The former is
sub-divided as Asamyuta (single hand) and

Samyuta (combined hand) gestures. These
Abhinaya Hastas are used to bring out the
Padarthabhinaya. The practical application
of the given set of Abhinaya Hastas is called
Ankura. The second group of gestures
called the Nritta Hastas
are to be used in NrittaDance. These may be
used in the art of
Vakyarthabhinaya. The
most obvious requirement
for the actors was the
mastery
over
Angikabhinaya for, this
medium of expression was
used in full measure in
ancient Natya. This is
nothing
short
of
demanding dancing talent
in actors. The scenes like
Sakuntala watering the
plants or the bee
harassing her, or even
Dushyanta riding the
chariot, were all enacted
with suitable gestures and
movements. The Caris and
Gatis involving the legs
were to be used to
represent the various
characters and situations.
Their combinations called
the Mandalas were to be
used to enact fighting sequences. The
Angaharas which involve the Karanas were
primarily meant for invoking the blessings
of the gods and manes in the preliminary
of the play. They were also to be used
wherever the emotion of love dominated.
These Angaharas involve hand gestures.
DANCES OF INDIA
But the Mandalas are groups of dance

movements to be used along with holding
weapons like the bow and arrow. The
Nyayas or rules for such a handling are
also laid down. The actors were actually
dancers. All these prove that Natya was
enacted as Nritta in all
the practical sense.
Abhinavagupta is of
the opinion that Natya
and Nritta are not
different from each
other from the view of
actual practice. Of
course, unless one is
able to comprehend
the nature of the
Natya of those bygone days, it will not
be possible to digest
the idea of the arts of
drama and dance not
being different. The
Natya of ancient India
was a wholesome
combination of the
present day play,
opera and ballet. The
exacting nature of the
talent of the artistes
was in the form of their
being expected to
speak, sing and dance.
Bharata
has
mentioned only Natya and Nritta, while the
classification and rigid crystallisation of the
term Nritya, as understood today is not
found in his work. But Nritta itself can be
presented as representational or nonrepresentational. It can be a part of the
actual body of the play, or adorn the

preliminary of the same. In any case, Nritta
was considered as a limb of Natya. In other
words, it is enlisted under Angikabhinaya
by Abhinavagupta, the commentator.
Sakha, Ankura and Nritta are the three
elements of physical expression. This
means that Nritta is the expression of ideas
through the movements of the entire body.
This aspect of Angikabhinaya has gone into
oblivion in the course of the past four or
five centuries. Angikabhinaya has come to
mean the mere art of hand gestures based
on the Abhinaya Hastas delineated in a more
recent work, viz., Nandikeswaras Abhinaya
Darpanam. The art of using the entire body
to convey ideas is Nritta according to the
Bharata tradition. Later, authorities
classified Nritya as representational and
Nritta as non-representational arts. But,
Bharatas Nritta was both re-presentational
and non-representational. It was an art to
be mastered by the actors and dancers.
Every major and minor limb was to undergo
exercises which were to be practised,
independent of each other as well as being
woven into one fabric. These Vyayamas
formed the foundation of Nritta. The limbs
of the body are classified as Angas-major
limbs which include the hand, chest, sides,
waist, hands and feet. Upangas are the
minor limbs such as the neck, elbows,
shoulders, belly, thighs, shanks, knees and
heels; the Upangas of the face are eyes,
eye-brows, nose, lower lip and chin. Later,
authorities like Sarangadeva classified the
limbs into three groups as Angas (major
limbs), Pratyangas (subsidiary limbs) and
Upangas (minor limbs). Exercises for each
of the Angas and Upangas are named and
described in the Natyasastra. These are
DANCES OF INDIA
so analytical that they almost exhaust the

possibilities of human ability. They create
an unlimited scope for the artistic use of
the body. The pedagogy of the technique
has been unfortunately lost along with the
technique itself. Bharatas Nritta is no easy
path. It cannot lend itself for celebrating
Arangetrams in six months! It does not
allow us to get satisfied with the mere
footwork technique of the Adavu system
of Sadir or any other isolated dance style
of today. The feet are only one of the
Angas and hence the steps are not the
end of this demanding style. Every limb
has to be under the control of the dancers
in the Bharata Nritta. In the process. of
this achievement, the first stage is the
learning of the Vyayarnas which are
exercises of the Angas and Upangas. Three
basic elements mark the second stage of
learning the Nritta. These are the Sthanas
(postures of the body), Nritta Hastas
(course of movements of the arms and
hands) and Caris (the specific way of
moving the leg). Then comes the
particularisation of the combinations of the
three elements of Nritta Hasta, Sthana and
Cari. Any such single combination is given
the name Karana. The Natyasastra has
enlisted and enumerated 108 such
combinations under the name of Karanas.
The Karanas should be understood as a
unit of Nritta. The foundation as well as
the pinnacle of Bharatas Nritta is the
Karana.
Before going into the details of the
Karanas, it is essential to grasp the concept
of its elements. Sthana denotes the Sthithi
or the static aspect. It is the definite
posture of the body which decides the
physical lines and the space the body

occupies. These Sthanas depend on the
varied positions of the feet. Sthanas are
based on the Padabhedas such as Sarna,
Parswa, Tryasra, Ancita, Agratalasanchara,
Suci and Kuncita. The Sthanas involve the
positions of the entire legs unlike the
Padabhedas which involve only the feet.
The knees play a prominent role in this
formation. Bharata has mentioned six
Sthanas for men in Chapter and three for
women in Chapter XIII.
This does not mean that
they cannot or should not
be used by the contrary
sex. In addition to these
standing postures, he has
given nine sitting postures
(Asanas) and six reclining
postures in Chapter XIII.
Sarangadeva has given a
list of fifty Sthanas
including Desi (Folk, Novel
and Exotic) postures. The
Sthanas of Bharata and
Sarangadeva do not
involve the hands. But
later works like the Naiya
sastra Sangraha prescribe
the hand gestures for the
Sthanas. Sthanas or
Sthanakas, as they are variedly referred
to, are in short definite positions of the
body in which the legs and hands are to
be moved in a Karana.
The second element of major importance
in a Karana is the Nritta Hasta. Hastas are
the hand gestures which can be broadly
classified as those of communicative
significance and others of mere aesthetic
DANCES OF INDIA
value. The former is called Abhinaya Hasta

and the latter type connected with Nritta
is called Nritta Hasta. The Abhinaya Hastas
are also of two kinds, viz., Asamyuta-single
hand gestures and Samyutacom- bined
hand gestures. Bharata has given a list of
24 Asamyuta, 13 Samyuta and 30 Nritta
Hastas. The main difference between the
Abhinaya Hasta and Nritta Rasta is in their
static and dynamic qualities. The original
form of the Abhinaya Hasta is static and
involves just the fingers.
This static form of Abhinaya
Hasta is motivated in
several ways to bring out
several ideas. For example,
the first Abhinaya Hasta,
Pataka literally meaning
flag, can be moved in
various ways to depict
ideas such as you, me, sky,
floor, clouds, opening or
closing doors, welcoming or
driving out and many other
such contrary ideas. But
each Nritta Hasta has a
definite course of action
involving the entire arms
and not just the palms;
thirty such actions are
described. These actions
depend on the four Hasta Karanas (four
ways of whirling the wrists). The thirty
Nritta Hastas are based on such rolling
actions of the hands and arms. The Nritta
Hastas of Bharatas period are now
obsolete; only a few are seen scattered in
the various dance styles.
The third element that constitutes the
Karana is the Cari. It has its roots in Car
which means to move ones self, go, walk

or roam about, get diffused and to continue
performing. The term Cari indicates all the
meaning given for its root. Bharata defines
it as the simultaneous movements of the
thigh, shank and feet. Hence, the Cari is a
movement which causes the action of the
entire leg. Thirty-two such Caris are
described under the classification of Bhu
Cari and Akasa Cari. The sixteen Bhu Caris
are the movements of the feet close to
the ground while the sixteen Akasa Caris
are movements, involving leaps, jumps and
extensions of the leg off the ground. These
Akasa Caris remind us of some of the Plies
of the Western Classical Ballet. Hence, it
is erroneous on the part of some scholars
to assume that Indian Dance has no
movements involving actions on the air or
having the extension of the thighs. This
wrong impression is caused by the fact
that these Akasa Caris have become
obsolete in the presently known traditions.
The Karana, being a combination of Sthana,
Nritta Hasta and Cari, is certainly a
movement and not a mere pose as normally
being misunderstood. Karana has its root
in Krn meaning doer, causer, doing,making,
producing, helping the act of doing and on
the whole, any action. The word Karana
also suggests the idea of being an
instrument, an element and an Anga or part
of something, and in dance, it is a unit of
action. We have words like Antahkarana,
meaning an inner part, i.e., the conscience.
We also have the popular usage like Manasa
Vaca Karmanaha tridha Karanani meaning
by the three means of thought, word and
deed. Hence, Karana is a means to some
end. Karanas are woven to form an
DANCES OF INDIA
Angahara (a chain of dance movements).

The major difference between the
technique of Bharatas Nritta and that of
our contemporary Nritta is in the use of
the legs, space and patterns. The
extension of the legs caused by the Akasa
Caris have been practically lost. All the
present styles depend on the foot-work
technique only. The use of the legs from
the root of the thighs down to the toes
has been out of vogue for nearly five
centuries. The various aspects of Bharata
Nritta are seen scattered in the so-called
regional styles and very often seen in the
neighbouring cultures of Ceylon, Burma and
Indonesia. The distinctions of the regional
dance styles of India are because each of
them has just either retained or
concentrated on the isolated aspects of
Nritta. The Kathak has the Sarna Sthana
as its main stay, while the Sadir and its
sister styles have the Mandala Sthana.
The Vaisakha and Vaishnava are seen more
in the Kathakali. The Hasta Karanas and
some Nritta Hastas are retained in Manipuri
while the South has managed to preserve
all the Abhinaya Hastas. In the eyes of
those who have studied the practical
aspects of the Naiya sastra, almost any
dance style of our country reveals a basic
unity in the apparent diversity. Almost
every dance movement can be explained
against the backdrop of the Natyasastra.
The unlimited scope offered in this text,
when used in practice, gives room for
unending variety.
The new term Bharata Natyam for the older
term Sadir has created a fair amount of
confusion in regard to its antiquity. This
style is just one kind of Bharata Natyam,

if we take the term Bharata Natyam to
mean that Natya which follows Bharatas
work. It is partiality to associate the name
of this great sage with just one of the
styles that still retains the traces of his
Natyasastra. In fact, the present Bharata
Natyam is more of Nritta and Nritya in its
nature than Natya in its true sense. Every
style of dance has in it some aspect of
the Natyasastra still lingering. Hence, the
various styles may be referred to as,
Bharata Natyam in Manipuri style,
Bharatanatyam
in
Sadir
style,
Bharatanatyam in Kathakali style and so
on. In the eyes of one who has studied
the Natyasastra all the so-called major
dance styles of India appear like the
different shades of the same colour. Are
we not used to recognising all the substyles such as those of Thanjavur, Vazhuvur,
etc., as Bharatanatyam and the Gharanas
of Lucknow, Jaipur and others as Kathak?
It is only an extension of the same. The
evolution of the Karanas can be seen in all
these styles. Some examples are the
changed forms of Mattalli Karana in
Kuchipudi, Paraswajanu Udvrittam and
Mandalaswastikam in Sadir, many of the
Karanas involving Tribhang in Odissi,
Atikranta and Parswakranta in Kathakali,
Vartitam in Mohini Attam, Adhyardhika Cari
in Manipuri, Karanas involving Bhramaris
in Kathak and Vivrttam in Yakshagana. The
use of the entire legs and arms in the Caris
and Nritta Hastas give the Karanas definite
character. These do differ from the
established and well-remembered classical
traditions. It is natural that the
performances of these Karanas disturb
those who are soaked in any one of the
DANCES OF INDIA
most angular sub-styles of the Sadir. The

fact is that Bharatas Nritta is all embracing.
A resurrection of the lost technique has
proved that Bharatanatya in its true sense
is Bharatiya Natya.
Another interesting factor of Bharatas
Nritta is that it is suitable for both the
sexes. The same set of 108 Karanas are
meant for both the male and the female
dancers. There are no separate movements
for Lasya and Tandava. In fact, the term
Tandava is used only as a synonym of
Nritta in the Natyasastra. This Tandava is
common for both the sexes. The chapter
dealing with the Karanas is called Tandava
Lakshanam. The Katanas are called Nritta
Katanas. Though their origin is attributed
to Lord Siva, it is handled by Parvati Devi
and the apsara women too. Hence, we
must realise a basic fact, that though the
format of the action are the same, due to
the inherent differences in nature of the
male and female, the ultimate effect is
different when they are performed. The
forceful style of presentation is given the
name Uddhata and the soft execution of
the same is called Sukumara. Hence,
according to Natya- sastra, Nritta or
Tandava may be performed as per the
Uddhata or Sukumara usage. It should also
be kept in mind that the Uddhata and Sukumara usages are not to be compartmentalised for the male and the female dancers.
As and when necessity arises, these can
be interchanged in consonance with the
character and the situation.
Dance, Gymnastics and Acrobatics have
all often got mixed up in the course of
their development. This is true of the dance
of every part of the world. In fact, some
10
DANCES OF INDIA
of the more acrobatic Karanas must be

viewed from the point of view of exercise
and in the case of Natya, their proper use
in the relevant sequences. For example,
the somersault was meant for fighting
sequences and certainly not for being
included in the Angaharas to represent love.
The movements which are more of
acrobatic nature were actually termed as
Adhama-inferior in a later work called
Mahabharata Chudamani. The ideal Nritta
is that which emanates beauty and joy at
the various levels of human understanding
and perceptions such as physical,
intellectual, emotional and spiritual.
but not the least Satvikabhinaya-an

outcome of the psychological states of
mind. Vachikabhinaya includes the dialogues
and songs. It may be prose or poetry. Voice
modulation and its control, playa major role
in this form of communication. The
Natyasastra gives even the rules of
prosody. The language employed is also
expected to suit the various characters.
All the plays of our contemporary theatre
seem to utilise only Vachikabhinaya and
that too devoid of songs. The
Aharyabhinaya included the specific facial
make-up, colours, crowns, jewelry and
costumes for each character.
The level of Nritta is directly proportional

to the level of the dancers realisation of
her own inner personality; this is quite apart
from her physical beauty or even skill.
Satvikabhinaya is perhaps the most

important, yet the most difficult mode of
expression. It cannot be gained through
mere learning or practice. It needs an
innate sense to feel the various situations.
It depends on the mental involvement of
the performer backed by a clear intellectual
grasp of the characterisation to be
portrayed. Sat literally means mind. Even
in actual life, it is most natural that the
inner feelings get reflected in the face.
Apart from the facial expressions, the eight
Satvika conditions are said to be stupor,
perspiration, horripilation, change of voice,
trembling, change of colour, tears and
fainting. The four-fold art of Abhinaya can
further be classified as Natya- dharmi
(stylistic) and Lokadharmi (realistic). The
Natya was the combination of both these
modes of expression. Natyadharmi pertains
to the conventions of the stage. For
example, walking around the stage may
denote a change of place. The use of
dance in drama is itself Natya- dharmi.
The convention in a play, according to
Nritta is a spiritual experience for the ideal

dancer and the ideal audience. It is a means
through which the dancer achieves a
shedding of her body consciousness. As in
Yoga, in dance too, the body is trained
only to be forgotten about. The dancers
self, integrated with the universal dance
of all the constant Cosmic Activity, liberates
her from all the shackles of this earth. The
dancer herself becomes a microcosmic
being, experiencing within herself unlimited
freedom and bliss. The result of such a
Nritta is the same as that of Yoga and
Yagna.
Apart from the art of Angikabhinaya in which
Nritta also IS meluded, Indian theatre has
long recognised the use of Vachikabhinayaverbal expression, Aharyabhinayaexpression through external elements like
costumes, make-up and scenery and last
11
which persons are supposed not to hear

words uttered in proximity, or to hear what
has not been uttered at all, are all part of
Natyadharmi. In this conventional stylistic
mode, the actor may dance instead of
walking. In short, anything which is beyond
the purview of realism, but presented in
an artistically appealing manner is
Natyadharmi. If, on the other hand, the
play depends on natural behaviour,
presented as simple acting with no
flourishes of even physical expression, it is
called Lokadharmi.
A deeper insight into the Natyadharmi and
Lokadharmi modes reveal that the former
is formal and perhaps easier to be handled
whereas the latter is informal, but requires
a consummate skill, understanding, mental
involvement, imagination and sobriety. The
former can be taught, but the latter has
to be felt and hence it requires an artiste
of greater experience in communication. It
is also true that Lokadharmi, when treated
well, is more easily understood even by an
uninitiated audience. But the Natyadharmi
reaches only those who are at least fairly
well versed with the conventions of the
stage. The use of hand gestures is directly
proportional to the degree of Natyadharmi.
It is interesting to note that Bharata has
stated that in superior persons, hand
gestures should have scanty movements,
in mediocre ones, there should be medium
movements, while in the acting of ordinary
persons, there should be profuse
movements of hand gestures. But when
different occasions or time present
themselves, wise people should make varied
use of the hand gestures. Bharata has also
mentioned that the hand gestures are to
DANCES OF INDIA
be totally discarded when ne has to enact

situations such as fainting, dreaming or
being terrified, disgusted or overcome by
sorrow and so on. Such scenes need to be
enacted through Satvikabhinaya.
This expression of inner feelings without
the use of gestures is closer to the concept
of Lokadharmi or realism. Hence the
situations and characters fully charged with
emotion are expected to depend only upon
Satvikabhinaya in the Lokadharmi style.
Bharatas Natya was a combination of both
the stylistic and the realistic modes of
expression, thus adding to its unending
variety.
Apart from the differences in the modes of
communication, Natya on the whole, is to
be constructed in one or a mixture of the
four styles called Vrittis. They are Bharati,
Arabhati, Satvati and Kaisiki. Here they are
interpreted from a practical point of view.
Bharati is the verbal style, depending mainly
on the beauties of Vachikabhinaya. Use of
flowery language as well as the slang
suitable for the specific characters are the
main features of this Vritti. The mere
reading of the play itself must be satiating
in the Bharati Vritti. Language and diction
with proper voice modulation mark the
strength of this style. Arabhati Vritti is the
forceful style characterised by a
predominance of combats, arousing the
psychological states of fury, hatred and
wonder. The combats are to be performed
through the use of Mandalas. Hence it
involves a fair amount of Natyadharmi with
Angik- abhinaya of the Uddhata or forceful
nature. It also needs pageantry and
glamour through elaborate scene settings,
12
costumes
and
make-up.
Hence
Aharyabhinaya plays a major role in the
Arabhati Vritti. Satvati Vritti depends mainly
on the strength of the emotional content.
The main feature are the moulding of the
characters, and story with enough scope
for Satvikabhinaya. This naturally amounts
to a greater use of Lokadharmi with only a
little use of gestures. Satvati has been
translated as the Grand Style. Perhaps
this description suits the glamour of the
Arabhati style. Sat denotes psyche and
hence Satvati Vritti may be understood as
the
emotional
style,
wherein
Satvikabhinaya dominates. Satvika also
denotes the Satvaguna-the superior
qualities of human thought and its
consequential behaviour, the other qualities
of a relatively lower gradation being
Rajoguna and Tamoguna. The play in
Satvati Vritti is expected to portray
characters of higher qualities. Even if there
are sequences of fights and personal
combats, they must be based on the
Nyayas (strict adherence to the proper
rules). Of course, the essence of all Indian
plays is the victory of the good over the
evil. The Satvati Vritti needs to suppress
even sorrow. This style, on the whole
should be taken to require subdued acting
(without being demonstrative) with a
realistic expression of feelings and
concepts of a superior nature.
The Kaisiki Vritti is different from the Satvati
Vritti in its Natya- dharmi character. Kaisiki
needs delicate emotions like, love,
portrayed through Angikabhinaya. It needs
the support of glittering costumes, lilting
music and cultivated dance, all melting
together to make an amalgam of
DANCES OF INDIA
pleasantness. It needs beautiful women,

like the heavenly damsels, the Apsaras.
They are said to have been created by
Lord Brahma to fulfil the requirement of
this Vritti. It is likely that it is the concept
of Apsaras that gave to the Indian stage
the Kaisiki Vritti itself. This idea of feminine
grace-Lasya-which has come down to this
day is certainly a product of the influence
of these imaginative dancing demigoddesses. The Kaisiki Vritti is still seen
having its sway in the Indian movies wherein
the heroine is unhesitatingly portrayed as
singing and almost dancing the pathetic
songs, even when portraying the
contemporary society. The stylism in the
Indian movie is the result of its inheritance
from the traditional Indian theatre. The
older Tamil dramas of this century were,
and are still marked by a profuse use of
music. Such musical dramas of Tamilnadu
have their own parallels in other parts of
our country.
The most amazing fact is the permanent
value of Bharatas analysis and
classifications of the art of dramatic
presentation. The ideas of the four modes
of communication, realism, stylism and the
four basic styles of the theatre art hold
good, for any part of the world and at any
point of time. Almost any production can.
be analysed against this basic backdrop of
the Natyasastra.
The Natyasastra does not stop with the
mere analysis of the Vrittis. It has also
given advice to artistes regarding the
choice of the specific styles, in a pure or
mixed fashion to suit the taste of the
audience of the various regions. These are
broadly classified under four Pravrittis,
13
taking geographic divisions into

consideration. These are called
Dakshinatya, Avanti, Odramagadhi and
Panchali. The geographical names
mentioned in the Natyasastra with regard
to these Pravrittis are met with in the
Puranas. The Dakshinatya Pravritti pertains
to the land south of the Vindhya mountains
and uses the Kaisiki Vritti. Avanti belongs
to the western region and makes use of
the Kaisiki and Satvati Vrittis. Odramagadhi
is meant for the eastern region including
Nepal and is expected to use the Kaisiki
and Bharati Vrittis. Panchali is with regard
to the northern region; For this the Satvati
and Arabhati Vrittis are recommended.
Combinations in varying degrees of the
different elements of Naiya like the four
Abhinayas, the two Dharmis and the four
Vrittis with all the aspects of Sangita viz.,
Gita, Vadhya and Nritta gave rise to a
number of major and minor types of drama.
These were the Rupas or Rupakas, and the
Uparupakas respectively. Bharata mentions
only the ten major Rupas. Later history
shows that many minor plays called
Uparupakas were developed as dance and
music dramas. All the present operatic,
dramatic and dance forms can be studied
in relation to the older Rupakas and
Uparupakas.
In this context, the dance known as
Bharatanatyam today, is neither Naiya in
its true sense nor does it faithfully follow
Bharata. It has the aspects of Nritta and
Padarthabhinaya performed mostly as solo
dance. In fact, it is closer to the concept
of Lasya as found in the Naiya-sastra.
Lasya, according-to Bharatas work,
includes a set of songs or verses to be
DANCES OF INDIA
sung or recited by a solo female dancer.

These are at least somewhat similar to the
general format of the present Bharatanatyam. But this Lasya of Bharatas work
is only one of the sparks from the great
fire of Natya which was of a major
composite structure. Except the Abhinaya
Hastas, the present Bharatanatyam has
not retained many of the intricacies of even
Bharatas Nritya and Abhinaya.
There are other dramatic forms which are
close to Bharatas Natya in their conception
if not in their technique. The Therukkoothu
and Bhagavatamela of Tamilnadu, Koodiattam and Chakkiarkoothu of Kerala, the
Bhagavata Atta of Kuchipudi and of other
similar villages of Andhra, and the
Yakshagana of Karnataka, are some of the
theatrical forms which show an underlying
unity in their format in spite of their
linguistic diversity. All these forms are
descendants of Bharatas Natya and hence
all the four Abhinayas play an equal role in
them. The artistes are expected to speak
sing and dance. Mime plays a major role in
them. The songs are in the local languages.
But the general character of these plays
is highly unified. There is a striking similarity
even in their Aharya. The large crowns the
jewels, their shoulder pieces and the makeup have a striking similarity. The characters
are represented with their suitable Gatis
(gaits) along with the songs called Darus.
The origin of the Daru can be traced in the
Druva, a musical form mentioned in the
Natyasastra. The types of Darus are
common to all these. Only their names and
metres change. The Sutradhara (the
director of the play) introduces the play in
the prologue. He is called the Kattiyakkaran
14
DANCES OF INDIA
in Tamil. The Tiraisilai (the hand-held

curtain) is used in all these forms to
introduce major characters. Except the
Koodiattam, all these other theatre forms
are enacted only by male artistes.
Bharatas tradition. Hence, like a living

language, the performing arts of India have
also been undergoing changes constantly.
This does not mean that they ever lost
their roots at any point of time.
Bharatas Natya is so comprehensive that

its elements are invariably met with in a
scattered manner, even in the remotest
corners of our country. Its compendious
nature is a testimony to the unparalleled
artistic and intellectual synthesis of ancient
Indian theatre. With the help of this Sastra,
we are able to analyse and appreciate any
theatrical form of the world. It is amazing
how this art had been fully developed in all
the possible aspects, even at a period when
some parts of the world were still sleeping
in the cradle of civilisation. The unlimited
scope it offers for creativity, in spite of
recording even the minutest detail of the
art of action and acting, speaks for the
unending variety of interpretation, that
generations of artistes have been able to
conceive for the same rules.
The Indian artiste finds audience of the

level of appreciation which is equal to her
own mental calibre. After all, Natya is said
to yield all the fruits of life-Dharma, Artha,
Kama and Moksha. Hence the artistes have
been and are still serving as poets, using
the rules laid down in the Sastras to create
their own worlds of art.
The general impression of some scholars

that Indian theatre offers no scope for
creativity and imagination is actually
baseless. The Natya- sastra and other
texts are like grammar and the artistes who
handle them are like poets. The freedom
which poets have within the frame-work
of the rules of grammar and prosody, is
certainly enjoyed by the actors and
dancers. The terms Margi and Desi in both
music and dance signified the older and
newer forms. As centuries passed, the
spontaneous creativity of the artistes of
various regions were also codified under
the name of Desi; Margi signified
Bharatas Natya has its deep roots in every

part of our country. It has also spread its
principles at all the levels of appreciation.
Natya is an imitation of the three worlds
and hence all types of characters are
included in it. It has always had the
responsibility and capacity to satisfy people
of various tastes. In spite of laying the
qualities of even an ideal spectator,
Bharata says that the inferior and common
persons in an assembly which consists of
the superior, the middling and the inferior
members, cannot be expected to
appreciate the performance of the superior
ones. And hence an individual to whom a
particular dress, profession, speech and
an act belong as his own, should be
considered fit for appreciating the same.
That is why we need Sahrdaya (audience
of equal mental calibre) to make the
performance of Natya a real success. As
water finds its own level, Natya too finds
its own audience at various planes of
human perception.
15
DANCES OF INDIA
The Dance Of Shiva

ANANDA K. COOMARASWAMY
he Lord of Tillais Court a mystic

dance performs; Whats that, my
dear?
- Tiruvachagam,XII.14
Amongst the greatest of the names of

Shiva is Nataraja, Lord of Dancers, or King
of Actors. The Cosmos is His theatre. There
are many different steps in His repertory.
He Himself is actor and audienceWhen the Actor beats the drum,
Everybody comes to see the show;
When the Actor Collects the stage
properties
He abides alone in His happiness.
How many various dances of Shiva are
known to His worshippers I cannot say. No
doubt the root idea behind all these dances
is more or less one and the same, the
manifestation of primal rhythmic energy.
Shiva is the Eros Protogonos of Lucian,
when he wrote:
It would seem that dancing came into
being at the beginning of all things, and
was brought to light together with Eros,
that ancient one, for we see this primeval
dancing clearly set forth in the choral
dance of the constellations, and in the
planets and fixed stars, their inter-weaving
and interchange and orderly harmony.
I do not mean to say that the most
profound interpretation of Shivas dance
was present in the minds of those who
first danced in frantic, and perhaps
intoxicated energy, in honour of the preAryan hill-god, afterwards merged in Shiva.

A great motif in religion or art, any great
symbol, becomes all things to all men; age
after age it yields to men such treasures
as they find in their own hearts. Whatever
be the origin of Shivas dance, it became
in time the clearest image of the activity
of god which any art of religion can boast
of. Of the various dances of Shiva, I shall
only speak of three, one of them alone
forming the main subject of interpretation.
The first is an evening dance in the
Himalayas, with a divine chorus described
as follows in the Shiva Pradosha Stotra:
Placing the Mother of the Three Worlds
upon a golden throne, studded with
precious gems, Shulapani dances on the
heights of Kailasa, and all the gods gather
round Him:
Saraswati plays on the Vina, Indira on
the flute, Brahma holds the time-marking
cymbals, Lakshmi begins a song, Vishnu
plays on a drurn, and all the gods stand
round about:
Gandharvas, Yakshas, Patagas, Uragas,
Suddhas, Sadhyas, Vidyadharas, Amaras,
Apsarasas, and all the beings dwelling in
the three worlds assemble there to witness
the celestial dance and hear the music of
the divine choir at the hour of twilight.This
evening dance is also referred to in the
invocation preceding the Katha Sarit
Sagara.
16
In the pictures of this dance, Shiva is twohanded, and the co-operation of the gods
is clearly indicated in their position of
chorus. There is no prostrate Asura
trampled under Shivas feet. So far as I
know, no special interpretations of this
dance occur in Shaiva literature.
The second well-known dance of Shiva is
called Tandava and belongs to His tamasic
aspect as Bhairava or Virabhadra. It is
performed in cemeteries and burning
grounds, where Shiva, usually ten-armed
form, dances wildly with Devi, accompanied
by
troupes
of
capering
imps.
Representations of this dance are common
amongst ancient sculptures, as at Ellora,
Elephanta, and also Bhuvaneshvara. The
Tandava dance is in origin that of a preAryan divinity, half-god, half-demon, who
holds his midnight revels in the burning
ground. In later times, this dance in the
cremation ground, sometimes of Shiva,
sometimes of Devi, is interpreted in Shaiva
and Shakta literature in a most touching
and. profound sense.
Thirdly, we have the Nadanta dance of
Nataraja before the assembly (sabha) in
the golden hall of Chidambaram or Tillai,
the Centre of the Universe, first revealed
to gods and rishis after the submission of
the latter in the forest of Taragam, as
related to the Koyil Puranam. The legend,
which has after all, no very close
connection with the real meaning of the
dance, may be summarised as follows:
In the forest of Taragam dwelt multitudes
of heretical rishis, following of the Mimamsa.
Thither proceeded Shiva to confute them
accompanied by Vishnu disguised as a
DANCES OF INDIA
beautiful woman, and Adi-Shesha. The

rishis were at first led to a violent dispute
amongst themselves, but their anger was
soon directed against Shiva, and they
endeavoured to destroy Him by means of
incantations. A fierce tiger was created in
sacrificial fires, and rushed upon Him; but
smiling gently, He seized it, and, with the
nail of His little finger, stripped off its skin,
and wrapped it about Himself like a silken
cloth. Undiscouraged by failure, the sages
renewed their offerings, and produced a
monstrous serpent, which, however, Shiva
seized and wreathed about His neck like a
garland. Then He began to dance; but
there rushed upon Him a last monster in
the shape of a malignant dwarf, Muyalaka.
Upon Him the god pressed the tip of His
foot, and broke the creatures back, so
that it writhed upon the ground; and so,
His last foe prostrate, Shiva resumed the
dance witnessed by gods and rishis.
Then Adi-Shesha worshipped Shiva, and
prayed above all things for the boon, once
more to behold this mystic dance; Shiva
promised that he should behold the dance
again insacred Tillai, the centre of the
Universe.
This dance of Shiv a in Chidambaram orTillai
forms the motif of the South Indian copper
images of Shri Nataraja, the Lord of the
Dance. These images vary amongst
themselves in minor details, but all express
one fundamental conception. Before
proceeding to enquire what these may be,
it will be necessary to describe the image
of Shri Nataraja as typically represented.
The images, then, represent Shiva dancing,
having four hands, with braided and jewelled
hair of which the lower locks are whirling
17
in the dance. In His hair may be seen a

wreathing cobra, a skull, and the mermaid
figure of Ganga ; upon it rests the crescent
moon and it is crowned with a wreath of
Cassia leaves. In his
right ear, He wears
a mans ear-ring, a
womans in the left;
He is adorned with
necklaces
and
armlets, a jewelled
belt,
anklets,
bracelets, finger
and toe rings . The
chief part of His
dress consists of
tightly
fitting
breeches, and He
wears
also
a
fluttering scarf and
a sacred thread.
One right hand
holds a drum, the
other is uplifted in
the sign of do not
fear: one left hand
holds fire, the other
point; down upon
the
demon
Mryalaka, a dwarf holding cobra ; the left
foot is raised, There is a lotus pedestal,
from which springs an encircling glory
(tiruvasi), fringed with flame, and touched
within by the hands holding drum and fire.
The images are of all sizes, rarely if ever
exceeding four feet in total height.
Even without reliance upon literary
reference, the interpretation of this dance
would not be difficult. Fortunately,
however, we have the assistance of a
DANCES OF INDIA
copious contemporary literature, which

enables us to fully explain not only the
general significance of the dance, but
equally, the details of its concrete
symbolism. Some of
the peculiarities of
the Nataraja images,
of course, belong to
the conception of
Shiva generally, and
not to the dance in
particular. What is the
meaning of Shivas
Nadanta dance, as
understood
by
Shaivas? Its essential
significance is given
in texts such as the
following:
Our Lord is the
Dancer, who, like the
heat
latent
in
firewood, diffuses His
power in mind and
matter, and makes
them dance in their
turn.
[Kadavul
M a m u n i v a r s
Tiruvatavurar Puranam, Puttaraivatil,
Venracarukkam, stanza 75, translated by
Nallaswami Pillai, Shivajnanabodham, p. 74.]
The dance, infact, represents His five
activities (Panchakritya), viz: Srishti
(overlooking, creation, evolution), Sthiti
(preservation, support), Samhara
(destruction, evolution), Tiro-bhava
(veiling, embodiment, illusion and also giving
rest), Anugraha (release, salvation, grace).
These, separately considered, are the
activities of the deities Brahma, Vishnu,
18
Rudra, Maheshwara and Sadashiva.

The cosmic activity is the central motif of
the dance. Further quotations will illustrate
and explain the more detailed symbolisms.
Unmai Vilakkam, verse 36, tells us:
DANCES OF INDIA
desolate. The place where the ego is

destroyed signifies the state where illusion
and deeds are burnt away: that is the
crematorium, the burning ground where Shri
Nataraja dances, and whence He is named
Sudalaiyadi, Dancer of the burning-ground.
In this simile, we recognise the historical
connection between Shivas 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 Fatheraspect of Shiva is adored. Kali 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 Shivas
dance explained. In Shivajnana Siddhar,
Supaksha, Sutra, V, 5, we find:
Creation arises from the drum: protection

proceeds from the hand of hope: from fire
proceeds destruction: the foot held aloft
gives release. It will be observed that the
fourth hand points to this lifted foot, the
refuge of the soul.
Shiva is a destroyer and loves the burning
ground. But what does He destroy? Not
merely the heavens and earth at the close
of a world-cycle, but the fetters that bind
each separate soul. Where and what is
the burning ground? It is not the place
where our earthly bodies are cremated, but
the hearts of His lovers, laid waste and
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.
The conception of the world process as
the Lords pastime or amusement (lila) is
also prominent in the Shaiva scriptures.
Thus Tirumular writes, The perpetual
dance is His play. This spontaneity of
Shivas dance is so clearly expressed in
Skryabins Poem of Ecstasy.
This aspect of Shivas immanence appears
to have given rise to the objection that he
dances as do those who seek to please
the eyes of mortals; but it is answered
that in fact He dances to maintain the life
of the cosmos and to give release to those
19
who seek Him. More over, if we understand

even the dances of human dancers rightly,
we shall see that they too lead to freedom.
But it is nearer the truth to answer that
the reason for His dance lies in His own
nature, all His gestures are own-nature
born (svabhavajah), spontaneous and
purpose less for His being is beyond the
realm of purposes.
In a much more arbitrary way, the dance
of Shiva is identified with the Panchakshara,
or five syllables of the prayer Shi-va-yana-ma Hail to Shiva. In Unmai Vilakkam
we are told: If this beautiful Five-Letters
be meditated upon, the soul will reach the
land where there is neither light nor
darkness, and there Shakti will make it One
with Shivam [Nandikeshvara, The Mirror
of Gesture, translated by Coomaraswamy
and Dug- girala, p .11.]
The Tiru-Arul-Payan however (Ch. IX. 3)
explains the tiruvasi more naturally as
representing the dance of Nature
contrasted with Shivas dance of wisdom.
The dance of nature proceeds on one side:
the dance of enlightenment on the other.
Fix your mind in the centre of the latter.
Now to summarize the whole interpretation
we find that the essential significance of
Shivas dance is three-fold: First, it is the
image of his rhythmic playas the source of
all movement within the Cosmos, which is
represented by the Arch: Secondly, the
purpose of His dance is to release the
countless souls of men from the snare of
DANCES OF INDIA
Illusion: Thirdly, the place of the dance,

Chidambaram, the Centre of the Universe,
within the Heart. So far I have refrained
from all aesthetic criticism and have
endeavoured only to translate the central
thought of the conception of Shivas dance
from plastic to verbal expression, without
reference to the beauty or imperfection of
individual works. But it may not be out of
place to call attention to the grandeur of
this conception itself as a synthesis of
science, religion and art. How amazing the
range of thought and sympathy of those
rishi-artists who first conceived such a
type as this, affording an image of reality,
a key to the complex tissue of life, a theory
of nature, not merely satisfactory to a
single clique or race, nor acceptable to
the thinkers of one century only, but
universal in its appeal to the philosopher,
the lover, and the artist of all ages and all
countries. How supremely great in power
and grace this dancing image must appear
to all those who have striven in plastic
forms to give expression to their intuition
of Life !
It is not strange that the figure of Nataraja
has commanded the adoration of so many
generations past; familiar with all
scepticisms, expert in tracing all beliefs to
primitive superstitions, explorers of the
infinitely great and infinitely small, we are
worshippers of Nataraja still.
Source: The Dance of Shiva, Page 6679 Published by Sagar Publications, 72.
Janpath, Ved Mansion, New Delhi - 1.
20
DANCES OF INDIA
The Gift Of Tradition

K. S. RAMASWAMI SASTRI
ll over the world we have crude

folk dances as well as classical
dance. We find the figures of
dancing women in the ruins of Harappa
and Mohanjo Daro. In the Rigveda, Goddess
Ushas (Dawn) is described as clad in gay
garments, like a dancer. God Siva as
Nataraja and Goddess Uma are said to have
taught respectively Tandava (the vigorous
masculine type of dance) to the sage Tandu
and through him to Bharata and others,
and Lasya (the graceful feminine type of
dance) to Bharata and others. In the
Abhinaya Darpana of Nandikeswara, we find
the famous verse:
Angikam Bhuvanam Tasya
Vaachikam Sarvaangmayah /
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
sage Bharadwajas ashrama (hermitage).

Valmiki describes Swayamprabhas friend
Hema as Nritta Gita Visarada (Expert in
dance and music). In Ravana s harem there
were similar experts as Nritta Vaditra
Kusalah (Sundara kanda, X 32). In the
Mahabharata we are told that Arjuna learnt
dance from the celestial maiden Uma and
taught it to princess Uttara Panini (500
B.C.) refers to Natasutras. Queen Mira Bais
devotional dances are well-known.
]ayadevas Gita Govinda was interpreted
by the dances of his wife Padmavati. Dance
went into the hands of courtesans for
centuries but now it has been taken up
enthusiastically by family women and is
universally popular.
21
Literature Galore
Bharatas Natya Sastra is the Bible of Indian
aestheticians. It says that the Creator
(Brahma) created it to give joy in life to
the gods who found their cosmic functions
to be heavy and dreary. Bharatarmada and
Abinaya Darpana are other important
classical works on the Indian art of dance.
Kalidasas drama Malavikagnimitra throws
much light on the art and show show
princess Malavika was an expert in it.
Vishnu Dharmothara and Agni Purana throw
much light on the art. Other important
Sanskrit works are Dhananjayas Dasa
Roopaka, Sargadavas Sangita Ratnakara,
Thulajajis Sangita Saramitra, Bala
Ramavarmas Bala Bharata, Haripala Devas
Sangita Sudhakara, Veda Suris Sangita
Makaranda, Rasamanjari etc.
Tamil literature is described as consisting
of Iyal (poetry) and Isai (music) and
Natakam or Koothu (Dance). Of the many
ancient Tamil works on dance only Bharata
Senapatheeyam is extant. Bharata
Siddhanta, Bharata Sangraha and
Mahabharata Choodamani are recent
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 Balakanda,
Nagarapadalam stanza
62). 108 Kananasor dance
poses are beautifully sculptured in the
gopuram at Chidambaram. There is a dance
platform in front of the great temple at
Tanjore. There are innumerable Tamil and
Telugu and Canarese amorous and
devotional songs (padams) composed for
interpretation by dances.
The Tamil word Nattuvangam means the
art of teaching dance, and Nattuvanar
means dance-teacher.
Two beautiful verses in Abhinaya Darpana
give us the very quintessence of the
teaching as well as the learning of the
Indian art of Dance.
Kanthenaambayedgeetam
Hastenaartham Pradarshayet /
Chakshubhyaam darsayedbhauam
Paadaabhyaam taalamaacharet //
(Sing with the mouth and show the
meaning by the gesture of the hand and
reveal the emotion (bhava) by the eyes
and gently beat time with the feet).
Tato
Yato
Yato
Tato
22
DANCES OF INDIA
hastastato drishtirdrishtistato manah /

manastato Vaachah
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, Uday Shankar 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
and not to girls because Sringara bhava
(the emotion of love) cannot be understood
by girls. But the essence of the dance
being devotion or divine love expressed in
terms of human love, the charm of the
dance depends on naturalness and
sincerity which are clouded in adolescent
and adult human beings by egoism and
egotism and a desire to excel and shine.
Variations in Gesture
In classical aesthetic terminology, Nritta
means pure dance without reference to
any theme or emotion. Nritya is dance
which expounds emotion by gestures.
Natya adds a story element to it. Abhinaya
is the interpretation of emotion by gestures
(angika) , by voice (vacheka), by dress

and decoration (tapery) and by physical
manifestations (sattvika). Anyadbhavasrayam
nrittam
nirityam
talarasasrayam. Gestures can be by the
limbs (anga, pratyanga, and upanga). They
can be shown by a single hand (asamyuta)
or by both hands (samyuta). Tamilnadu is
rich in the variety of folk dances as well as
in the classical art of dance. The
descriptions Marga and Desi refers to
classical dances and regional folk dances
respectively. The Kummi and Kolattam and
Pinnal Kolattam dances by the girls of the
Tamilnadu are danced in lovely rhythmic
patterns in which songs beautify
movements and movements beautify
songs. They are not mere crude movements
23
of the limbs out of exuberance of animal

spirits because in that case they would be
dance but not art. Nor are they so
elaborate and controlled by rules as
Bharata Natya. The Bhajan dances of
trained religious singers and dancers are
midway between folk-music and folk-dance
on the one hand and elaborate Carnatic
music and Bharatanatyam on the other
hand. On the other hand, oyilattam,
chakhaiattam, kauadi dances, karagam
dances, dummy horse (poikal kuthirai)
dances, theru koothu (street drama)
dances by hill tribes, gypsy dances etc.
are folk arts pure and simple. But
Bommalattam (puppet-shows) is an
artistic achievement. The puppets are
moved by strings tied to the limbs of the
artist behind the curtain. The songs of the
singers and the movements of the puppets
synchronise superbly. When I was young I
saw Harischandras story in Bommalattam.
It was attended by thousands night after
night and it made a profound impression
on my mind. The introductory dance by
the Kinchin bommai (puppet) was as lovely
as a Bharata Natyam dance. What is called
Pavaikoothu (puppet-dance) in ancient
Tamil literature shows the antiquity of the
art. In Andhra we have the Thol
Bommalatta (painted leather pieces
operated with bamboo sticks and seen
through a semi-transparent screen lighted
from behind). In the Malabar, shadow play
figures are shown by perforating holes on
square pieces of flat leather.
Folk-Dances
The Tamil literature--especially the great
epic Silappadtkaram-refers to other dances
such as alliyam, kudam, kodukoti, etc.
DANCES OF INDIA
They are not now extant. It refers also to

Ayar koothu (dances by shepherds),
Kuravai koothu (dances by kuravans) etc.
They are obsolete. But what is called
kuravanji has been lifted to the highest
level of art by the genius of poets. In it, a
human heroine loves a king or a god and
gypsy goes to her and foretells her good
fortune. The Kutrala Kuravanji Sarfoji
Kurauanji, Viralimalai Kurauanji and Aehagar
Kuravanji are fine works of art and give
room for fine ballet dances which are not
mere folk-dances but are fine artistic
performances. I must refer also to a new
aesthetic creation viz.Chchaya Natakas
(Nizhal Attam in Tamil) or shadow-plays
by the great artistic geniuses Sri Uday
Shankar and his wife Srimathi Amala
Shankar. In them, the acting is by human
beings but the public see only the shadows
thrown on a gigantic screen from the other
side of the screen. They have now
presented the Ramayana and the Buddha
Charita.
Thus we have in the above dances, both
pure folk dances as well as artistic dance
performances in which the art element
blends with the folk element. The
Bhagawata Mela of Melattur and Oothukad
and Soolamangalam etc. in the Tanjore
District is a high-class classical dancedrama, whereas Bharata Natyam is a solodance which IS the ne plus ultra of the
classical dance art of South India.
Bhagawata Mela dances present various
puranic themes through dances by many
men who sing and dance where-as in
Bharata Natya the artist does not sing
while others sing. The songs in Bhagawata
Meta are in Telugu as the Naik kings of
24
Tanjore had it as their court language. The

themes are the stories of Prahlada,
Harischandra, Dhruva, Markandeya, Usha,
Rukmini, Sita and others. The dancedramas combine fine poetry and elaborate
Carnatic music and fine and elaborate
dances. The founder of this classical
dance-drama was Venkatarama Sastri of
Melattoor who was a contemporary of the
immortal musician Tyagaraja.
Influence Abroad
Finally I wish to make a passing reference
to the farflung influence of Indian Art in
Ceylon and Burma and Indonesia and far
East Asia including Thailand (Siam) and
Cambodia and also in China and Japan. In
Java, Bali, Cambodia, and in Eastern Asia
generally, Indian art concepts and artmotifs have had a dominant influence. Dr.
A. K. Coomaraswami says: The leading
motifs of Chinese and Japanese
building art of the pagoda and toru are
also of Indian origin. (The Arts and Crafts
of India and Ceylon page 117). Mr. Havell
says, Indian idealism during the greater
part of this time was the dominant note in
the art of Asia which
was thus brought into Europe; and we find
a perfectly oriental atmosphere and strange
echoes of eastern symbolism in the
medieval cathedrals of Europe and see their
structural growth gradually blossoming with
all the exuberance of Eastern imagery. We
find the influence of Indian art, viz, Hindu
DANCES OF INDIA
art and Buddhist art in the temples at

Angkor Vat and Prambanan and Borobodur
and also particularly in the music and dance
and the general cultural atmosphere in the
island of Bali. In Indonesia, Indian art and
the colourful beauty and glory of nature
and human life and dress and decoration
were blended to perfection. In Bali, the
pendel, the jangar, the leyong and the
kabzyar dances interpret the heroic actions
of Arjuna and other heroes of Indian
mythology. The pendel is a classical dance
connected with temple rituals. The other
dances also interpret
Puranic episodes. The Ketjah or monkey
dance depicts the Ramayana story. There
are also dances interpreting the Buddhist
and jataka stories. There are also folk
dances. The gamelon orchestra, aided
sometimes by vocal music, adds to the
fascination of the dances. The dance
gestures are of Indian origin. The dress
and the decoration of the Javanese and
Balinese
dancers are similar to those discernible in
the Ajanta frescoes. Tagore says: In India
where exuberance of life seeks utterance,
it sets them to dance. One who knows
their peculiar dance- language can follow
the story without the help of words.
It is thus clear that the art of Dance was
born and grew up in India as a spiritual art
and spread all over South -East Asia and
flourishes even to-day as a supreme
spiritual art in the house of its birth.
25
DANCES OF INDIA
The Spiritual Background of Indian Dance

RUKMINI DEVI
ne of the greatest and most

ancient arts of India is the
dance and as far as I know India
alone has given it so high a place in both
national and spiritual life. No one was too
low born for this sacred art, nor anyone
too great or spiritual for it. From the Sublime
Being comes the inspiration and example.
Therefore, everyone who is but part of Him,
every living creature, is animated by that
spirit of creation which is the dance. It is
because the whole conception of art is
cosmic
and
allembracing that in
reality it is undying
and eternal. Its
expression is many, for
it is like the light of the
sun which sparkles on
the ocean. From the
oneness of that life
comes the creative
genius in man. Man
intuits the spirit and
absorbs
his
environment. From the harmony ofthe
environment, the life, the thought, the
philosophy and nature all around, with the
creative spirit within, inspiration is born,
and art is the expression.
Environment is of tremendous importance
to the actual form of art. The environment
is what we call national life. If in India, the
dance, as any other art, is essentially
spiritual and philosophical, it is merely
because the sages have given a spiritual

meaning to it. It is also because the very
same sages have, at the same time, helped
to build the nation so that there is no
fundamental difference between the
spiritual and the physical, nor is there a
difference between the manifest and the
unmanifest. This has been the uniqueness
in the civilization of India. If we understand
the highest, we understand the least alsofor both are one.
Importance of Music
From this point of
view comes the
dance tradition of
our country. The
dance is not an art
by itself. It is a
unique expression,
through the body,
synthesising all arts.
In reality, though it
is the nature of the
body to respond to
rhythm, yet it is thamasic in nature and
its inertia expression, which we call dance.
Therefore, the perfect harmony of the
physical and emotional produces the dance.
How is emotion stirred? It is flexible and
quickly affected and that which stirs it
most is sound. Sound as movement
expresses itself in music. Music is the
speech of the Highest. The first
manifestation is in terms of sound, which
is speech or music. All this is so
26
magnificently conceived and presented to

humanity through the form of Nataraja, the
great Yogis of Yogi. In Him is synthesised
all planes of consciousness and all the arts.
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
instruments, it becomes complete music.
There is music in the dance as there is
dance in music. Without the spirit of
music within, it is impossible to dance;
for music is the expression of the
highest emotion, through gesture,
movement or mime. When it is perfectly
expressed through gesture of hastaabhinaya, movement or angika-abhinaya
and satvika-abhinaya or facial expression,
the dancer becomes something beyond and
unfolds another great art into herself-the
art of natya or drama. Then she becomes
the story-teller or the actress. To do
perfect justice to the story telling or in
delineating a particular character in drama,
aharya-abhinaya (expression through
costume) becomes part of the four-fold
aspects of the dance.
In Bharata Natya as danced in solo
DANCES OF INDIA
performances, the dancer is the storyteller and aharya abhinaya or the expression
of a character through beautiful costumes
and jewels is elaborate but simple in one
sense. The dancer has merely to prepare
herself to be beautiful and pleasant and to

create a personality that can make her
story attractive. Her art is music in the
form of dance and every emotion of every
song and every character is in her. In the
dance- drama where the dancer is a
particular character, the art of costume is
itself expressive of a rasa or an aspect of
the fundamental state and no movement
is expressive by itself. The truest expression
is in the experience within, which is
dependent on so many things-especially
on the spiritual development and perception
of the artist.
Dance and Our Heritage
Thus dance becomes an art that unifies
art. The painter sees beauty of line and
colour, the sculptor sees the grace and
the form, the actor sees the portrayal of
life, and the musician and poet alike see
27
the very embodiment of poetry in motion.

With all these blended in one who is
dedicated body and soul, the dancer
becomes the very expression of [ataraja
Himself, of whom it is described that His
Angika or the movement of His limbs is the
world around, the Vachika, the poetry of
His dance, is the language within all
speech, the Aharya, His costume and
jewelry, are the moon and the stars, while
the Satvika, the true expression, is the
essence of Being, Siva Himself. In Him is all
united and in Him is all transcended by the
divine spirit. This is the dance and this is
our heritage.
In this spirit we can still see true dance in
India. Bharata Natya is the root and origin
of all dance in India. Essentially, all real
Indian dancing is Bharata Natya, though
now only one particular school of art is
known by the name. The most ancient
authority on dance is the Natya Sastra of
Bharata. In the South, there is what is
known as the Tanjore School of Bharata
Natya, but Kancheepuram and other cities
are equally famous for the practice of the
art. In every temple and on all auspicious
occasions, there were dance performances.
The art very nearly died as it had become
a means for remembering the body rather
than of forgetting it. Yet, those whom the
world denounced as having become
corrupt, gave themselves up with devotion
and sincerity to the art they loved. The
art was their very life and they worked
and sacrificed their bodies for perfecting
the art.
Divinity in Indian Dance
According to the Indian conception,
DANCES OF INDIA
character and dance go together. In reality

they are one and the same, for what is
without is but what is within. Through the
portrayal of Gods and Goddesses one
becomes divine. Indian dance being
spiritual, it is suited only for spiritual
expression. Through bhava one portray, in
story-form the lives of Gods and Goddesses
The Indian genius has shown that humanity
is divine and divinity is human; hence the
stories of Gods and Goddesses who live
and speak like humans. This was so in every
part of India. There were the dance-dramas
of the Bhagavatars (men-dancers) in the
Tanjore district, in Kuchipudi in the Telugu
districts, and Chakiar Koothu in Malabar
where it still survives. Through these and
through the still-living dance drama of
Kathakali in Malabar, religion lived,
philosophy lived and art lived. As you travel
all over India we find no part of the country
where ,dance did not flourish, although,
except in Assam, Orissa and one or two
places in the later years, dance was
considered as an art of the vulgar. Yet one
hears of the great Kathak dancers of the
United Provinces as flourishing under the
patronage of rulers and noblemen. One
never hears of Kathak being performed in
temples but only in courts as temples had
been destroyed, and the temple lost its
place as a centre of art and culture. In
Assam it is a respected art and it lives as
a sacred expression enjoyed by all. Though
the style is different from orthodox Bharata
Natya, yet in essence it is the same, giving
the same age-old atmosphere, and telling
the stories of Krishna, Rama and the dance
as an art-form lives everywhere, in the
temples, in the courts, in the fields, among
the peasants and even ordinary people all
28
over India.
Because we forgot our heritage, the art
almost disappeared. Today there is a
sudden awakening to the glory of the art,
and people everywhere are thinking and
speaking of the dance. Entertainments are
given everywhere and new names of
famous exemplars of the art are heard.
DANCES OF INDIA
of colour has almost vanished, equally the

sense of form and line. The ordinary dramas
portraying religious stories like the
Ramayana and Mahabharata were crude
and childish in presentation, though sincere
in spirit. Today sophisticated vulgarity has
taken the place of simple crudeness.
Which is preferable, the crudeness of the
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. Indias 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
its consciousness will have to go through
a revolutionary change in character. Indian
arts have been slowly deteriorating
because crudities have crept in. The sense
sophisticated? The latter has no

compensations and is subtle and dangerous
while the former had at least its merits.
Hard work was its feature, inspiration its
source, and devotion its aim. Today, there
29
is dance without hard work. People want

either diplomas or headlines. It is easy to
have both because we do not have today,
trained audiences, including art critics and
the public will take one at ones own
valuation. If that valuation is high as it is
bound to be in the mind of the ignorant,
the fame achieved is indeed great. It was
said by Kathakali teachers of the old type
that it took 12 years of hard training before
a dancer could even take a minor part on
the stage. In Bharata Natya it took no less
than seven or eight years of hard work.
Today, even twelve months is too long.
Owing to the lack of devotion, there is
lack of discipline and, as a consequence,
there is a deficiency in technique. The
result is that there is no inspiration. To
make up for this, false stimulation from
outside is resorted to, instead of true
stimulation from within. This naturally kills
the creative spirit and, therefore, there
has to be copying from others, and perhaps
also borrowing from foreign countries. True
art never copies. It is like a well of deep
cool waters from which flows fresh ideas
and life. India understood the dance as
joy which is why Natarajas dance is called
Ananda- Tandava. This joy is that of a
Yogi. What sort of a Yogi? One who has
forgotten his body. The forgetfulness is
not due to negligence but due to control.
After training the body, one forgets it. This
is the technique of art which conceals
DANCES OF INDIA
art. This is why the dance is called a Yoga.

People think that technique is the antithesis
of creative expression. This is a wrong
notion, since the creative spirit is but the
achievement of a technique by which the
technique itself vanishes, and uniqueness
is the result. This final outcome is the
supreme joy of creation. Even in folk art
there is the expression of joy. Every part
of India has its folk art, solo or group
dramas, and dance-dramas. Each type
expressed the uniqueness of the life and
thought around, all different from each
other like the Garba and the Rasa Lila of
Gujarat, the Kaikottikali and Kolkali of
Malabar, Kummi and Kolattam of the Tamil
country, the village dances of Assam,
Orissa and other places. For groups of every
level of thought there is the dance from
the lowest to the highest, from the child
to the adult, filling the country with music
and movement. When Indians realise what
is Indian in essence, art will regain its
original height and the dance will return to
the people in all its pristine purity.
Dance is being revived but if this revival is
to continue, we must know the spiritual
message of art and make art a part of our
lives. Then our very lives will become works
of art and India will become a Land of
Beauty; a fit vehicle for the message of
the Sages and Saviour of humanity.
30
DANCES OF INDIA
The Renaissance of Indian Dance

MOHAN KHOKAR
and its Consequences
uring the last two centuries or

so, the art of dance in India was
not held in much respect,due
to certain norms of prudery which were
introduced into India by the alien rulers.
For most people in India as well as outside,
Indian dancing was associated exclusively
with what was performed by the Devadasis
and Nautch-girls, and as a result of the
social stigma attached to these women,
dancing in India came to be looked upon
as a vain and vulgar pursuit. This state of
affairs continued well into the first quarter
of this century, till the setting in of the
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, Rukmini Devi Arundale, E.
Krishna Iyer, Menaka, Rabindranath
Tagore 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
Indian dance and they endeavoured to
present, to whatever, extent it was
possible for them, dances and ballets based
on Indian themes. In fact it can be said
that it is these early attempts to produce
Indian dances and Indian ballets in the
West that paved the way for the revival

of the dance in India.
Western Interest in Indian Dance
The first dancer in the West to perform
Indian dance was the American
ballerina Ruth St. Denis. From her early
years Ruth St. Denis was much interested
in the Orient and this led her, in 1904, to
compose and present her first Indian
dance, which she called Radha. This proved
a great success, which prompted Ruth St.
Denis to take Radha to Europe where she
toured for three years before returning to
America. Ruth St. Denis continued to take

great interest in Indian dance and during
the next ten years or so she composed
and performed several Indian dances in
America, such as The Cobras, The Incense,
The Nautcli and The Yogi. In 1925 Ruth
St. Denis and her husband, dancer Ted
Shawn, visited India, and after their return
31
to America Ted Shawn presented The Dance

of Shioa, a solo number which he performed,
with great success, for several years. It
is to be noted that the dances
presented by Ruth St. Denis and Ted
Shawn were not in any authentic Indian
technique but in their own improvised
Indian style. However, the importance
of these dances lies in the fact that
they were able to create interest for
Indian dance in America and Europe,
and this interest, in due course, led to
the revival of the dance in India.
After Ruth St. Denis, another Western
dancer, the great Russian ballerina Anna
Pavlova took an interest in composing and
performing Indian dance. She undertook an
extensive world tour which lasted several
years, and she visited India in 1922 but
was thoroughly disappointed as she could
not find any trace of the great art of dance
in India of which she had heard so much.
However when she returned to Europe
she carried impressions of India with her
and in 1923 she composed and presented
two short Indian ballets, A Hindu Wedding
and Krishna and Radha. For composing
these ballets she took the help of Uday
Shankar, who was then a student of
painting in London, and Shankar also
partnered Pavlova in Krishna and Radha.
In 1928 Pavlova visited India again, and
on this occasion she performed her Indian
ballets in parts of India. This proved to be
very helpful in creating interest for dance
in India, and the seeds of the Renaissance
can be said to have been sown at this
time. After this Shankar played a leading
part in the revival of Indian dance, and he
was soon followed by two others, Rukmini
DANCES OF INDIA
Devi and Menaka who, too, were inspired

and initiated into the dance by Pavlova
and were destined to make positive
contributions in the field. Apart from Ruth
St. Denis and Anna Pavlova there are two
other Western dancers who played an
important part in the revival of Indian
dance. They are La Meri and Ragini Devi,
both Americans. Like Ruth St. Denis, La
Meri was interested in the dances of the
Orient from an early age, and this led her,
in 1936, to visit India, to study Indian
dance. She learnt Bharata Natya under
Papanasam Vadivelu Pillai and Mylapore
Gowri and Kathak from Ram Dutt Misra. And
even as Pavlova discovered Uday Shankar
and introduced the world of dance to him,
to La Meri goes the credit of discovering
Ram Gopal and introducing him to the world
of dance. As for Ragini Devi, she was the
first Western dancer to come to India to
study Indian dance in a fairly serious
manner and she was also the first to carry
the Kathakali dance outside Kerala and to
present it in other parts of India, which
she did in 1932, with Gopinath as her
partner.
Thus, it is evident that Western dancers
like Ruth St. Denis, Anna Pavlova, La Meri
and Ragini Devi became interested in Indian
dance before Indians themselves did, and
this in many ways paved the way for the
revival proper of the dance in India. Uday
Shankar left the Pavlova company, stayed
in Europe a few more years dancing and
gaining valuable experience, and then came
to India to become the torch-bearer of
the Revival movement. In 1930, Uday
Shankar took a party of dancers and for
eight years he toured Europe and America.
32
This was the first time that Indian dance

with authentic Indian music and costumes
was carried outside India, and wherever
he went Shankar won respect for himself
as well as for Indian dance. In 1938,
Shankar returned to India and soon
afterwards he founded a school of Indian
dance, known as India Culture Centre, at
Almora. This Centre was established largely
with financial help received from Shankars
admirers in Europe and America, and here,
apart from providing training in Shankars
own style of Creative Dance, classical
dances like Bharata Natya and Kathakali
were also taught and for this there were
great masters like Sankaran Nambudiri and
Kandappa Pillai.
Having made a successful beginning, the
Dance Renaissance in India soon spread
to several parts of the country, with the
result that the major forms of Indian
classical dance began to get it
rehabilitated. In the South, Mahakavi
Vallathol founded the Kerala Kala Mandalam
for teaching Kathakali and Mohini Attam,
and it is no exaggeration to say that even
today most of the Kathakali and Mohini
Attam dancers who matter have sometime
or other been associated with this
institution. About the same time Rukmini
Devi and E. Krishna Iyer rescued Bharata
Natya from the depravity it had fallen into
and, by themselves setting examples, gave
the art a new respectable status. Rukmini
Devi augmented her contribution by
establishing Kalakshetra, a school for
teaching Bharata Natya and Kathakali. In
the North, Menaka gave a new life to
Kathak by being the first woman of respect
and learning to take this part from the
Nautch-girls and to perform it
DANCES OF INDIA
professionally. As early as 1936, Menaka

even took a company of Kathak dancers
to Europe and her performances at the
International Dance Olympiad in Berlin won
her three of the highest awards which,
understandably, immediately raised the
status of Indian dance in the West as well
as in India. And, finally, Gurudev Tagore
contributed his share to the Renaissance
by introducing Manipuri dance as a subject
of study in Santiniketan.
Apart from bringing about a general
rehabilitation of the major forms of
classical dance in India, the
Renaissance also helped the
emergence of the art of ballet in India.
Ballet, it must be pointed out, is an art
which is new to India, for though dances
and dance-dramas and operas of sorts have
existed in India since long, there is no
tradition of ballet, according to the Western
concept, in India. In ballet there is a story
or theme, there is choreography, decor
and music but the music is purely
orchestral and no songs are allowed.
Uday Shankars Contribution
Ballet was introduced into India by
Uday Shankar, and he learnt the
technique and the presentation
methods of this art through his
association with Anna Pavlova and his
long stay in Europe. Shankars early
ballets, such as Tandava Nritya and
Shiva-Parvati Nritya Dwandva, were rather
simple and were composed largely in
Shankars own style of dance. In this style,
the bulk of the movements and steps were
original, but Shankar also incorporated
traces of certain classical and folk-dances
33
of India and of dance forms he saw in

Europe. Later, when Sankar made an
extended stay at Dartington Hall, England,
he came under the influence of the German
dancer Kurt Jooss, who is an upholder of
the Free Expression Dance movement in
the West, and this goaded Shankar to
produce ballets like Rhythm of Life, Labour
and Machinery. Many years afterwards
Shankar took another step forward when
he used the South-East Asian technique
of shadow-plays and produced two
ballets, Ram Leela and Buddha.
Other Developments
Shankars example was soon followed by
several other dancers in India. One of the
first to do so was Menaka, who broke
ground by producing four Indian ballets,
Krishna
Leela,
Deva
Vijaya,
Malavikagnimitra and Menaka Lasyam. It
should be pointed out, however, that these
ballets were not composed in the creative
dance style of Shankar but in the Kathak
technique. Later, a number of other dancers
followed the lead given by Menaka and
began to produce ballets using classical
modes of Indian dance. The work of Rukrmni
Devi, Mrinalini Sarabhai and Gopinath is
particularly important in this connection.
They have produced a good number of
ballets using Bharata Natya or Kathakali
or, in some cases, both together.
The creative dance style evolved by Uday
Shankar was further developed when he
established the India Culture Centre, at
Almora. This school produced a large
number of talented dancers, many of whom
later contributed a good deal to the
development and spread of ballet in India.
DANCES OF INDIA
Some of those, all of Shankars school,

whose contribution in this direction has
been truly outstanding are Zohra Segal,
Narendra Sharma, Devendra Shankar,
Sachin Shankar and Shanti Bardhan.
Bardhan, who is unfortunately no more,
made a noteworthy contribution by
producing a ballet Ramayana in which he
used an original technique wherein the
dancers move and act like wooden
puppets. It should also be mentioned that
the art of ballet in India received a
tremendous fillip from the forties onwards
when, as an outcome of the national
upsurge, a number of important ballet and
theatre organisations came into existence,
such as the Indian Peoples Theatre
Association, Indian National Theatre and
India Renaissance Artists. Indeed, some of
the early ballets produced by these
organisations, such as The Spirit of India,
India Immortal, The Discovery of India and
Rhythm of Culture, are still regarded as
classics in the field.
The Role of Tagore
Rabindranath Tagore, for his part, did much
to help the revival of dance and the spread
of ballet in India. Using Manipuri as the
basis he evolved an individual technique,
which came to be known as the
Santiniketan style of dance, and in this he
composed and presented many dances and
dance-dramas, the themes of all of which
were taken from his own songs and plays.
With these productions, Tagore toured
several parts of India and these
presentations no doubt added to the dignity
of Indian dance and also helped draw
students from all over India to Santiniketan
who, later, were instrumental in carrying
34
the Santiniketan style to practically all

parts of the country.
Consequences of the Renaissance
The Renaissance of Indian dance began
rather abruptly, but it has moved fast and
has now achieved what by any standard
are imposing dimensions. This has helped
the resuscitation of the art of Indian dance
as a whole, and all forms of Indian danceclassical, folk and tribal-have benefited.
In fact, through the rendering of timely
succour, many traditional dances and
dance-dramas have been saved from
completely sinking into oblivion. Such was
the state of neglect in which they existed
on the eve of the Renaissance. Another
major consequence of the revival has
been that a member of traditional
dances and dance-dramas have been
carried from the temple to the stage,
and this is something which would have
seemed impossible even two decades
ago. Such was the sanctity attached to
these arts. for instance, one can see
the Kuchipudi, Bhagavata Mela,
Kuravanji and Krishnattam on the
stage; yet only a few years ago, so
orthodox were the regulations
connected with the staging of these
dance plays that performances were
allowed only in certain temples and
only at specified times in the year. Folkdances and tribal-dances, too, have earned
a new lease of and this has received its
greatest fillip from Folk-Dance festivals
which for some years have become an
important feature of Republic Day
celebrations at Delhi. In recent years similar
DANCES OF INDIA
festivals have also been organised in

several other regions of India, and these
have helped not only to unearth hidden
and dormant forms but also create wider
interest in folk and tribal dances of all parts
of India.
The cinema, which is a product of the
modern age, has also been affected by
the Renaissance of Indian dance, for the
dance has come to be one of the most
important ingredients to ensure the
success of a film. In the early days of the
film in India, dancing was occasionally
included to provide diversion and the
technique used was a version of the
decadent Nautch, but in recent years
classical dance-forms like Bharata Natya
and Kathak have been successfully used
in Indian films. On the whole, however, it
can be said that it is rare that one sees
pure and good dance in an Indian film, for
what is generally presented is an
adulteration or hybridisation of various
Indian dance techniques, and more
recently, there has also been a tendency
to incorporate and ape dances and rhythms
of the West in Indian films.
All in all, the three decades or so following
the Renaissance have been very eventful
in the history of Indian dance. And, though
in the more recent years one has seen, to
some extent, a lowering of standards
brought about mainly by unscrupulous
charlatans and dabblers in the art, one is
at the same time happy to find the art of
dance gain a new and more honoured place
in popular esteem and also the emergence
of Indian dance as an art with an
international status.
35
DANCES OF INDIA
THE ART OF DANCE

DR. C. P. RAMASWAMI IYER
... Throughout the worlds chronicles, the

dance as embodying rhythmic movement,
designed to express individual or group
emotions, has been identified both with
sacred and secular activities. It is another
aspect of the practice of those Aranar and
Mudrar with which the yogi seeks to
conquer his physical as well as his psychic
selves and make of them his servants, not
his masters. As early as the Vedas, it was
laid down, for instance, that in connection
with the great Aswamedha and other
sacrifices or Yajnas performed for the good
of the country, there should be enacted
some specified sacred dance. The
Yajurveda and the Brahmanas, as a matter
of fact, speak of the Maha- Vrata dance
and a special and elaborate performance
in connection with the Stotra after the
Rajasuya and other Yajnas.
The art of dance amongst us has been
largely synonymous with and has been the
attendant of many religious and symbolic
ceremonies. Which of us but has been
thrilled by the sight of that memorableembodiment of Nataraja, one of the
greatest evocations of Indian genius?
Inside yonder hall, you will find such an
image of Nataraja, the Lord of the Cosmic
Dance, whose performance is a symbol and
a typification of that involution that takes
place after each Pralaya is over, when order
is to be restored after chaos. It is in that
sense that the Vedas, the Avesta and the
Bible alike speak of Logos, the word or
Nada, the sound, as the origin of the

worlds. This sound is the sound of the drum
that Nataraja holds aloft. In order that we
may realise the full significance of that
dance, not merely from the artistic point
of view but from the cosmic, we should
picture to ourselves the idea of motion,
ceaseless and quick beyond seeming or
imagination, motion akin to the speed of
the stars, but nevertheless accompanied
by the steadiness and poise of the
manifested Divine, a dance to match the
musicof the spheres, a dance of the greatEnergiser trampling on the forces of evil
and calling on all created beings, by the
sound of the drum, to burn their sins, and
deficiencies in the fire that is held aloft,
and to achieve the summum bonum of
their existence. This is part of the spiritual
and compelling significance of that dance.
But rather than dilate any further on this
topic in our poor language, may I be
allowed to refer to what a great Tamil singer
hymned many centuries ago, addressing
the image of Sri Nataraja at Chidambaram?
Very loosely translated, the meaning of the
passage is as follows;- Oh, Lord of the
eternal cosmic dance, what in relation to
you does not dance and throb to the tune
of the Infinite? Your matted and tawny locks
are dancing in rhythm. Your features, like
unto the mellow orb of night, dance. Your
piercing and wide eyes dance. The rays of
the moon streaming from thy locks vibrate
in unison. The drum that you hold in your
36
hands calls to the Universe and

accompanies the music of the spheres, the
circumambient Nada. The skin of the tiger,
slain as the spirit of evil, that you wear on
your dancing frame, quivers, Your hand held
in benediction moves and dances in
harmony. One leg is lifted up, but it is in
DANCES OF INDIA
I have referred this poem for the purpose

of indicating what ideals underlay the dance
and the symbolism of the dance in the
olden days. Tamil is the language of Bhakti,
as Sanskrit is the instrument for expressing
lofty speculation, acute analysis and
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 Natesas 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.
static dance. One leg forces down steadily

and implacably the forces of evil, but it
moves even while at rest. Your consort by
your side looks at you smiling and inwardly
rejoices over her privilege to witness this
great manifestation. Oh, Lord of the world,
the object of all worship and praise, clad
in the ether as thy vesture, Oh, Lord
manifesting yourself at Chidambaram, Oh,
embodiment of intellect and perception and
bliss!
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
of the fan has been a well-known
accompaniment. Throughout the ages,
therefore, the dance has had a great part
to play. But so far as India is concerned,
its manifestations are well-known and
familiar. The dance of Nataraja, the dance
of Ganesha, the dance of Subrahmanya
(after the conquest over Sura Padmasura),
the dance of Krishna in two aspects-the
Kaliyamardana and the Rasamandala, the
fierce and the delicate-the dance of Kali,
37
the great Uddhata dance which

heralds the final cataclysm and the end of
the world, all these are parts of the Indian
heritage of culture.
Our ancients were analytical in their arts
and their enjoyments. In the matter of the
Fine Arts especially, they expended their
power of analysis to the utmost of its
possibilities. Bharata, for instance, divides
Nartana, the great art of the dance, into
what he terms the sacred and the secular
aspects.
The sacred aspect is demonstrated by the
Tandava dance and the Lasya dance, the
Allegro and the Pianissimo to borrow terms
from another art. The Desi dances are
three-fold viz., the Nritta; the Nritya with
the aid the Natya; Nritta being the dance
with the aid of the feet themselves; Nritya,
the movement of feet with gesture superadded, which developed into our Kathakali;
Natya, the movement of the feet with
gestures and with words. In order to
epitomise the art of dance which
culminated in the drama and those gestures
which are of the essence of Indian dance,
I can do no better than to extract a
sentence from the Mirror of Gesture,
written by Mr. Ananda Coomaraswami, a
most discerning critic and art-lover. He
says: The song is to be sustained in the
throat; its meaning is to be shown by the
hands; its moods are evinced by glances;
its rhythms are marked by the feet. That
is an accurate summing up of intrinsic
aspects of the dance. Bharata goes into
minute particulars as to the building and
furnishing of a theatre. Dealing with
Natyasastra as the fifth Veda, he describes
DANCES OF INDIA
the auditorium or Preksagrha, the stage or

Rangabhumi and the green room or
Nepathya. He demands that the seats
should be arranged gallery-wise, or to quote
his own words as in a ladder. He sets out
the right sizes of theatres, a large one
being 128 by 64 cubits, a medium one 64
by 32 cubits and a small one 32 by 16
cubits (i.e , 48 by 24 feet). Very careful
directions as to dress, demeanour,
theatrical properties and other details have
been laid down. Our dramas and dances
have therefore had full literary treatment.
The Veil of Defamation
It is only within the last 100 or 200 years
that the word nautch came into vogue,
the word being really Hindi: nach from
Sanskrit nritya. But it also unfortunately
signifies something more secular and
deleterious than mere Nritya. A nautch
began to be associated with those sisters
of shame who had to earn their living by
arts other than dance, but who used this
art of dance as an additional means of
allurement. With the degradation of the
nautch came the degradation of the art,
and the spiritual degradation accompanied
the social. Some years ago, a good lady,
Miss Tennant, came all the way from
England to India and asked many persons
to sign a covenant that they would not
attend any dance or nautch performance.
Many of them signed the covenant and
now they themselves are the unrepentant
breakers of that covenant. The position
then was that we lived in a period when it
only needed somebody else to come and
say that
we must he ashamed of our selves. We
38
forthwith began to be ashamed of

ourselves. It was taken for granted that
anything connected with our culture must
be necessarily imperfect, if not perverse.
Any criticism directed against our culture
was taken to be necessarily right. We were
bidden to adopt the perpetual post of
hanging down our heads in shame, and to
contribute actively to our self-effacement.
Those days are happily passing away.
Classical References
Let us however look at the past history of
the art. Some days ago, I was reading the
earliest of Tamil romances, Silappathikaram,
which is as old as the Christian era. In the
third chapter of that book, Madhavi
describes how she spent five years and
more in learning the art of dance, because,
without it, it would not be possible for any
civilised being to live a full life. Arjuna was
a dancer in the court of Virata. What do
we find in Kalidasas Malavi- kagnimitra?
The Dance. According to tradition, the
Emperor Samudragupta used the plectrum,
borrowed from the Greeks and played on
the zither whilst his wife danced in public.
Udayana and his wife also practised the
art. The dance, therefore, was not looked
down upon; it was not despised; it was
not one of the spurned sisters of the arts,
but it was the foremost of them.
A Comparative Estimate
There are amongst us friends who are
acquainted with European systems of
dancing, which also started, as ours did,
as religious manifestations amongst the
Greeks, as, for instance, in the Dionysian
dance, and among the Romans, the Druids
and the other nations in Europe. But the
DANCES OF INDIA
dances of the West soon developed very

largely on secular lines. A question may be
asked as to what the main difference
between the two systems is. I am
answering that question to the best of my
lights and shall, no doubt, evoke criticism.
My task is, however, to draw pointed
attention to one aspect of the matter,
namely, that in the development of this
art of dance, the art of Kathakali, the art
of Gopinaths troupe, great care has been
taken to see that each art is maintained
pure, and unalloyed by the influence of
kindred but extraneous cultures. The secret
and the raison d etre of the European
dances, as developed especially within the
last two hundred years, is that it is like
modern European painting and sculpture,
regarded as a means of self-expression,
the evolution of the artists specific,
individual personality. Thus it is that the
European dance, which began with the
danse basse and the danse haute and
flowered in the stately and courtly
ceremonies of the Pauane, Courante and
the Minuet of France and the Fandango of
Spain, and the courtesies and bows of the
French and German court functions and
the intricacies of the Waltz, have, with
the march of time, adopted the jazz band
and Negro melodies and quick and startling
rhythms borrowed from many lands, and is
now passing through such manifestations
as the Bunnyhug, Texas Tommy, Charleston,
Blues, Lambeth Walk (adapted from the
revue Me and My Gal) as well as the South
American dances, Samba, Rumba, Tango
and Mexiase, and may I add the latest,
Boomps-a-Daisy and Jitterbug which, I
think, are quite recent. In each one of these
forms of dance, the idea has been that
39
particular art-forms are utilised mainly for

the purpose of manifesting the exhilaration
and the emotion generated in man and
woman who, in the main, performed in
partnership. These dances are amongst the
efflorescence of the present-day European
personality which assumes remarkable and
original forms in architecture, painting,
sculpture as well as in music and dancing.
These may be disturbing to some of us
and may appear to be vehement and
contortionist; but these are characteristics
of this age and its mood. The Indian ideal
has been different. Whether in paintings
or in murals, whether in sculpture of those
great forms of Nataraja, Krishna and Durga,
or music or the dance, Indian art willingly
adopts rigid rule-conventions, and subjects
itself to very strict rules and disciplines
and is anxious to eliminate the individual,
and to concentrate on its interpretation
of the universal. One result of such an
effort is that our art is largely anonymous.
Speaking of European art, the works of
great masters like Rembr-andt, Titian,
Raphael, Velas-quez, da Vinci, Benvenuto
Cellini and Rodin attract thousands and
millions but who knows the authorship of
our sculptures and Images and murals? Who
knows the artificers of Kanyakumari or of
the great gopurams, mandapams, stone
and wood carvings at Madura,Tanjore,
Thiruvarur, Trivandrurn and Suchindram?
Nobody. Indian art has eliminated or striven
to eliminate the individual and the particular.
It has striven to think of the individual as
a fragment in a continuous existence, as
an item of eternity, not as a protagonist
of an art evolved for the purpose either of
irnmortalisation or as the expression of the
DANCES OF INDIA
persons longings, emotions and aspirations,

or even as originating some idea precious
to humanity.
Criticising such a conception, many
competent persons have observed that in
adopting this attitude and this approach,
our art has suffered to no small extent.
Opinions may differ, but nevertheless, there
is no advantage in confusing the two
different ideals, no point in defacing distinct
boundaries. The ideal of Indian art has been
the sublimation of ideals by the elimination
of personality; and the Indian dance has
identical objectives with other forms of
Indian art.
With the best will in the world, Madame
Pavlova, after her visit to Malabar, wished
to combine the beauties and the graces of
the Russian ballet and of the Waltz with
the Katha-kali. One of the artistic
consequences of a movement for which
she was to some extent responsible was
the art of Uday Shankar, Menaka and
various others. I have the greatest
admiration for these exponents of a
combined art but I venture to say, and I
say it with fear and trembling and with
the timidity of a mere amateur dealing with
experts, that it is one thing to follow a
particular art, say the Indian art, to the
limits of Indian possibilities in sight of those
ideals which it has set. before itself, and
which may be circumscribed, but
nevertheless, are definite; it is quite
another thing to explore European art and
its wonderful possibilities and blossomings,
but for heavens sake, let us not make an
olla padrida-a confused intermingling of
divergent ideals and ingredients ...
40
DANCES OF INDIA
The Place Of Language In Dance

Prof. C. V. CHANDRASEKHAR
he Oxford Dictionary defines

language as a vocabulary and
way of using it as prevalent in
one or more countries and places. It also
defines finger language as talk by
conventional signs with fingers. The finger
language must have been a predecessor
to the spoken language. It is an accepted
fact that language is not as old as man
himself. Before the evolution of the
languages there must have existed some
means or methods of communication which
could have only been through some signs
of the various limbs of the human body,
made more precise with the help of facial
expressions. These changes of expressions
are naturally an outward exposition of ones
inner feelings. This mode of self expression,
before language was evolved is the
primordium of dance. Prof. Jesperson, the
philologist has said that dance arose in
primitive human mind on occasions festive
or otherwise exciting. Innumerable varieties
of dance form, were evolved as a means
of expressing various moods like joy, anger,
sorrow, etc. If man could express all the
moods and communicate through his body
movements the satvikabhinaya, why then
was the necessity of a language at all in
dance?
We are well aware that even at a time
when the different languages of the world
are so highly evolved, we are unable to
communicate with each other without a
common link-language. In such a situation,
the limitation of communication through
dance alone, as it existed, would have left

it in the same stage of evolution as it
existed centuries ago without the
development of the language. So there is
no doubt that language has been one of
the major factors in the evolution of dance.
Scope Through Literature
It would be worthwhile here to consider, in
short, the history and development of dance
and its literature. For Bharata to have
written a treatise almost two thousand
years ago on subjects of dance, music and
dramaturgy, a very strong tradition of
dance must have flourished and existed to
enable him to codify the entire dance.
Naturally, Sanskrit must have been the
language prevalent, spoken and understood
for the arts. His work was followed by many
more. The Sanskrit plays of Bhasa, Kalidasa,
Bhavabhuti, Harsha and others followed the
Natya Sastra tradition. These plays were
not just plays of spoken words and emotions
but included the angikabhinaya- gesture
language. The Natya-dharmi, (the mode
of presentation in a stylised way) which
as a rule is strictly to be followed in dance
in contrast to the Lokadharmi, was also
definitely followed in the Purvaranga of the
play and occasionally in the course of the
actual play. In the medieval period most of
the regional languages developed, and
along with them regional dance-styles also
developed. Manuals on dance in various
regional languages were written and the
regional styles naturally followed them. I
41
mention these only to emphasise the

importance of literature in dance, which is
a product of the developed language. In
dealing with the subject, I limit myself to
the Indian dance, although the same rules
should apply to dances all over the world.
We in India are very fortunate still to be in
the possession of dances from very
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.
DANCES OF INDIA
reference to each and every word uttered.

We may mention here the padams,
kirtanams and varnams in Bharatanatyam,
which are musical compositions which the
dancer interprets through the most precise
technique of coordination of the word and
gesture. Thus in interpreting a given lyrical
composition of a padam or a Javali, the
The Beauty Aspects

Some of the tribal dances even to this day
are danced only to the beats of different
drums 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
out in ecstasy. Here, it is the meaning of
the song that helps the audience to
understand and appreciate the dance as
suitable to the particular occasion. Finally,
when we come to the classical dances,
the language of gestures and movements
of every major and minor limb of the body
are so highly stylised and codified, that
the dancer is in a position to represent
every word of the song with appropriate
gestures, body movements and facial
expressions. The spectator is thus in a
position to enjoy every movement in
three categories of (I) the meaning of the

composition as a whole, (2) the meaning
of each line in the composition and (3) the
meaning of a word in a line viz. Kavyartha,
vakyartha and padartha, are elaborated.
In maintaining the sthayi bhava (the
dominant mood) the kavyartha is projected
to the audience and then the complimentary
and transitory moods are projected through
the vakyartha and padartha. After a word
to word interpretation, the dancer can
interpret each word with as many possible
meanings as the word can offer, relevant
to the situation, thus giving maximum scope
42
for the sacharibhava.

Therefore, the understanding of the songtext definitely helps the spectator in
enjoying the dance. But very often we hear
many a spectator say that what he enjoyed
most in a Bharatanatyam concert was the
tillana or other pure dance sequences like
the teermanams (rhythmic sequences or
syllables) in a varnam. How can we
interpret this feeling of the spectator? Is
it because he does not understand the song
texts of the abhinaya or does he really
enjoy the varieties of rhythmic patterns
constructed in space with the help of
angikabhinaya? Bharata himself asks as to
why nritta (pure dance) was created if
abhinaya was devised to bring out the
meaning of the songs. In answer he himself
says:
Kintu shobhaam pramanayediti
nrittam pravartitam
Praayena sarvalokasya nrittimishtarrt
svabhaavatah [ NS Ch. IV 51. 264 ]
Nritta is not concerned with any meaning
of the songs. But it creates beauty. By
nature man is fond of Nritta. Thus a
spectator enjoys Nritta, not because there
is no language involved in it, but more
because, as Bharata says, he is fond of
Nritta by nature as it creates beauty. This
is further proved by the fact that even a
person who understands the abhinaya also
enjoys nritta because of its beauty and
rhythm. But the place of language mainly
concerns abhinaya. Abhinaya is to project
something before the audience which
would establish a rapport with the audience
by creating the rasa in them. The
understanding of even a few words in a
song gives them enjoyment. In the first
DANCES OF INDIA
chapter of the Natya Sastra dealing with

the origin of dance, the gods headed by
Indra are said to have asked Brahma to
create a spectacle which could be both
seen and heard. Commenting on this,
Abhinavagupta says: To see is to enjoy
and hear is to understand. So, naturally
understanding
complements
the
enjoyment.
The Role of Gestures
A person sometimes enjoys listening to a
recitation in a particular language because
of its beautiful composition of words, its
metre, the syllables etc. He enjoys the
sound and expression of the language and
tries to compare it with his own language
which he understands. This aspect of the
language could be universal. But the
language as such is not universal but
conventional. Even a said language has so
many dialects that universality of a single
language becomes difficult. Similarly, the
language of gestures is mainly conventional
like a spoken language. But there are a
number of gestures which are naturally and
commonly used by people of all races
speaking varied languages. Common
gestures used for words like come, go, eat,
sleep and questioning words like why, what
etc. are universally used in the same
manner, thus exposing the universality of
the gesture-language partially. These
common gestures with a little stylisation
turn into precise dance gestures which are
easy to follow. Very often the same gesture
is used to show different meanings. Then
arises the difficulty of understanding the
particular meaning that the gesture is
showing. This can only be solved with the
help of the language. Although the gesture
43
would be the same, the

position of the gesture and
the meaning it conveys is
different. As an example,
one of the asamyuta
hastas might be taken to
illustrate
this.
The
tripataka is shown with the
fingers straight except the
ring finger and the thumb
which are bent. Although
the tripataka would mean
a particular type of flag, it
is used to denote the
following according to the
Abhinaya Darpanam of
Nandikeswara.
Mukute oriksha bhaveshu
vajre taddharavaasave l
Ketaki kusume dipe
vanhijwalaavijrimbhane ll
(1. 101 A.D. )
Kapote patralekhaayaam
vaanaarthe parivartane l
Yujyate tripataakoyam
kathito Bharatottamaih ll
(1. 102 A.D. )
The crown, the tree, the
thunderbolt, Indra, the
pandanus flower, flame of
the fire, the dove, letter writing, an arrow,
to go round, etc. Unless one is aware of
these usages or unless these are expressed
to appropriate words of the song-texts,
the dance would be meaningless except
that it is a movement of beauty as
mentioned earlier. Therefore, in the
conventional gesture-language of the
dance, the lyrics or the song- texts become
important. Thus angikabhinaya without
vachikabhinaya remains incomplete.
DANCES OF INDIA
Bharata confirms this

when commenting on the
importance of speech in
drama.
Vaachi
yatrashtu
rryartarryo
naatyasyaiuaa tanuh
smrita l
Anganaipathya satvaani
vaakyartham rryanjayanti
hi ll
NS cs. XV, s1. 2
One should take care of
the
words
(vachikabhinaya). For these are
known as the body of the
dramatic
art.
And
gestures, costumes and
make-up and acting of
satva (merely) clarify the
meaning of words.
At times, the word used is
the same and so is the
situation but the different
root-meanings of the word
are presented through
different sets of gestures.
To quote Shri Junjunni Raja
from his monograph on the
Koodiyattam (Sanskrit play enacted in
Kerala, supposed to be the closest form of
presentation according to the Natya
Sastra), Sugriva calls Rama by the word
deva. The term is derived from the root
div which means to desire, to rejoice
and to have splendour. All these different
meanings are shown through gestures while
addressing Rama. You have cut off all the
seven sala trees with one arrow; to such
a great man killing Vali is only a sport.
44
After showing this idea through gestures

he calls deva. Then he indicates another
idea. Having cut off the seven Salas you
show a desire to defeat Vali. And then he
addresses There is nobody so splendid as
you, enthusiastic in killing Vali.
Expression of Ideas
Sometimes, abhinaya performed without
song-texts is understood when a particular
story or a particular anecdote of a story is
portrayed. It is not because the spectator
understands every gesture without the
text being sung, but because he is aware
of the anecdote that is depicted and utters
the sequences one after the other within
himself in his own language which he
understands. If a caption like makhan chor
or Rukmini haranam is given to the dance
that is being performed, understanding
becomes much more easier. Even a single
line of the text repeated over and over
again keeps the spectator alert in following
the full story enacted. This is because the
spectators mind is prepared to receive the
same. Even abstract themes in
contemporary dances without song- texts,
need the help of language to explain the
themes. Language therefore definitely helps
in bringing about objectivity in
presentation.
Verbal text alone in the general term does
not help the spectator to understand and
enjoy the dance completely. The text has
to be in the language that he understands
fully well. Otherwise a word here or a word
there which makes sense to him of course
makes him alert and enjoy but he only
enjoys the total beauty of the dance and
not the details. For example, the following
from the Krishna legend, where a Gopi on
DANCES OF INDIA
an errand, is stopped by Krishna en route

and she pleads with him not to obstruct
her way, is portrayed thus in three different
languages:
Challanamma ponu, dari viduvumu-KrishnaI go to sell curds, clear the way for me 0
Krishna - In Telugu.
patha chaduemu jibi ... banamali-Vanamali!
Clear out the path as I wish to go
-In Oriya.
or
Kahe rokata dagarryare-why do you stop
me on my way - In Hindi.
All these verbal texts almost mean the same
but to a spectator who understands the
particular text, the enjoyment is more. If
not, he translates the sequence in his own
language to enjoy it to the utmost with
the help of the synopsis already provided.
Sometimes, the non-understanding of the
language creates a sense of uneasiness in
the spectator. He wishes to enjoy the total
beauty of the movement of the limbs and
the varied expression accompanying them.
But the constant utterance of words in
the songs does not give him the freedom
to enjoy the dance the way he wants to
enjoy it, as the accompanying song
distracts him from his imagination. But the
reverse view is also expressed by some.
Even though one does not understand the
meaning of the song, he feels that but for
the song he wouldnt enjoy the dance so
much. So according to him the song gives
a completeness to the dance.
What are then the views of a performer
with reference to, language? A performer
always has an edge over the spectator as
he is aware of what he is dancing or
interpreting. Whether he interprets a song-
45
text verbatim or he performs a

sancharibhava to a given sentence in a
text by elaborating it, or even if he dances
a gatbhava, as in Kathak, to a Lehara, (a
single line musical composition played on
an instrument and repeated over and over
again) as the musical accompaniment, he
is interpreting, his aim is mainly to convey
the same to the audience before him. The
language therefore doesnt become as
important to the dancer as it is to the
spectator. The performer, when he realises
that the spectator is following every word
of the song-text that he is interpreting
receives an added enthusiasm to give out
his best which feeling he does not
experience before an audience which
enjoys the dance just for its beauty. Thus,
to perform a Tamil varnam in Madras, a
Kshetranga padam in Andhra, an Oriya
composition in Bhubaneswar or a Tulsi pada
in Varanasi is not only a thrill but also a
challenge as the dancer has to be very
careful in his delineation. A similar situation
is faced when a teacher of dance has to
impart lessons in abhinaya to those who
do not understand the language of the
song-text. Here he seeks the help of the
fundamental facility of translation in a
language. He has to give a general idea of
the theme, followed by word to word
translation. But it is an accepted fact that
even the best of translations do not bring
out the same idea of the poet which he
wants to convey through a particular word.
So one who understands the text in the
same language of its composition is in a
better position to exploit the song-text.
Otherwise, there is a sense of restriction
which is felt by the dancer.
DANCES OF INDIA
Importance of the Song-Text

An amateur performer is always guided by
the song-text as the words in the songtexts constantly remind him of his
limitations. But to an ace dancer, the text
almost remains as a basic skeleton over
which he builds up the improvisation which
are not set and rehearsed. But a single
line of the song-text which the audience
hears all the time becomes important to
them, as they correlate the whole action
with that text.
I mention below a line from one of the
padams in Telugu, in Sankarabharanam.
Kshetranga and others composed their
padams mainly for the dance, portraying
the various nayikas in each one of them.
She longs for her lord Rajagopala. The
nayika is vasakasajjika. The sakhi narrates
her condition to the nayaka.
Dari joochuchunnadi, needu priya-Your
friend awaits you-The dancer, after
interpreting a word to word sequence goes
on to improvise. I mention some of the
possibilities of interpreting this single line
which would be further divided into two
parts. The first partDari joochahunnadi- She awaits you.
1.
She awaits you at the door step.
2.
She turns around to look at the
street by which you would come.
3.
She stares at a person at a
distance, thinking it to be you.
4.
She is thrilled at the slightest rustle
that she hears.
5.
She watches.
(a) as she combs her hair
(b) as she is applying collirium
(c) as she dons a saree
46
(d) as she adorns jewellery ...

(e) as she keeps tasty eatables for you
(f) as she makes a flower garland for you
(g) as she prepares the bed for you
6. She is lost in your thought.
7. She portrays your image in her eyes
closing them.
The second part- Needu priya-Your friend.
Your friend who(a) is fit to talk to you
(b) is an equal to you
(c) is fit for your embrace
(d) is loved by you
(e) speaks high of you
(f) heeds your words
There could be many more added to this
list. A spectator may not follow actions of
all these variations, but if he is aware of
the meaning of the single line of the songtext he tries to correlate and enjoy.
What has language to do with a spectator
who, say, is a foreigner? He does not
understand the language of the song-text,
the music that accompanies, nor the story
element and he is not familiar with the
culture either. However, he enjoys the
dance immensely. Firstly he is surprised at
seeing something, the like of which, he has
never witnessed before. He is enamoured
by the subtle movements of each limb
especially the mukhajabhinaya (of the face
and the eyes in particular). He is lost in
the complexities of the rhythmic
permutations and the total effect the whole
dance produces. We can go back to
Bharata and say that by nature, men are
fond of the dance as it creates beauty.
DANCES OF INDIA
But even to such a spectator, a detailed

synopsis of the abhinaya performed
followed by a demonstration of a songtext translated into his own language
creates a sense of closer universal gestures
from an abhinaya sequence and achieves
a sense of satisfaction if his identification
is found correct.
An Experience Recalled
I would like to narrate here an experience
I had with a group of ballet students in
Russia. While presenting a demonstration
lecture to the ballet artists at Theatre
Estonia, Tallinn, I asked the audience to
recite to me a poem in Estonian along with
its translation for which I would perform
the abhinaya. One of the dancer promptly
was up on his toes and recited a poem
which when translated read as follows:
Amongst all the eligible suitors in our
neighbourhood, I love the married one who
lives round the corner.
The lyric, which burst the audience to a
laughter, made me a bit nervous. But soon
I composed myself and turned out the
whole theme into a beautiful story through
the language of dance, receiving the
biggest ovation. I realised how a short lyric
in Estonian could make the Estonians go
crazy as though they had totally
understood the art of Bharata.
Thus, we find the closeness of the
language and abhinaya although
fundamentally language differs from dance,
in that the former is discursive while the
latter has an element of simultaneity.
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
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
6.
No. of patients treated at the dispensary
19,300
1,71,816
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, Chennai
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 Oman 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

wrote in the visitors book at the Rock
Memorial - It is an honour and a privilege
to be here. On behalf of all ranks of the
Armed Forces, I wish you success, joy and
happiness.
Shri K.M. Chandrasekhar, Cabinet
Secretary: A truly elevating experience.
It was great to sit in the meditation

chamber and hear the primordial sound.
Congratulations to all the officers and staff
for maintaining this great edifice which
stands testimony to Indias history, Indias
cultural heritage and the contribution of
all our people to the spiritual enrichment
of the whole world.
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:
No. of
Participants
Organisation
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 Ayurveda 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 Varga Shibir
23.05.09
29.05.09
333
04. Karyakarta Prashikshan Shibir
05.06.09
20.06.09
13
05. Yoga Shiksha 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
148
Sri M. Hanumanta Rao, Treasurer,

participated in the International Conference
on Yoga Research & Cultural Synthesis at
Kaivalyadam, Lonavla. His paper and
presentation at the conference on Yoga &
Value Education was declared as the best
in its category (Yoga & allied subjects).
Branch Centers: All the 219 Branch
Centers in 21 States carried out the
planned programs in accordance with the
prescribed norms. Regular Sanskar Vargas,
Yoga Vargas and Swadhyaya Vargas and
five Utsavs on account of Guru Purnima,
Universal Brotherhood Day, Sadhana Divas,
Gita Jayanti, Samarth Bharat Parva
commencing on 25 Dec and concluding on
Vivekananda Jayanti on 12 Jan were
organized appropriately. They also
conducted camps and competitions etc.,
to involve youth and others in this Thought
Movement. These events brought a large
number of men, women and children
together to the Kendra fold. A few of the
highlights were:
In Hyderabad, Andhra Pradesh, in all 4
centres together 192 programs/camps etc
were organized in which 14892
participated. Flood relief during Floods
in Andhra Pradesh - material costing more
than Rs. 3 lakh was distributed among 2500
affected people.
In Asom Prant the Vijay Hi Vjay Maha

Shibir at Tinsukia from 6 to 10 January 2010
was attended by 712 students. All other
programs and camps at different places
attracted 72,000 and odd people.
DANCES OF INDIA
In Gujrat. The Principal Education

Secretary of the Government was the chief
guest on Guru Purnima Day at Ahmedabad.
In Karnataka, at RT Nagar, Bengaluru, two
Anandalayas and a dispensary once a week
were the additional programs. On Sri Rama
Navami Day, there was an Akhand Ram
Nama japa and Ramayana Pathan followed
by distribution of Maha Prasad for over
8,000 devotees. The wonderful part of the
program was serving of food was done by
the participants of Anandalaya & Samskar
Varga along with their parents. At
Mangaluru, 4 Anandalayas for 80 children,
an eye camp benefiting 85 persons and a
massive Raksha Bandhan were organized.
At Mysore, Swami Nityananadaji, Sri
Ramakrishna Math, Mysore, and Shri
Pramod Radkar, General Manager, RBI,
addressed a well attended meeting on
Vivekananda Jayanti Day. A personality
development camp also was organized in
which 45 students participated.
In Madhya Pradesh Prant, the major
event was Vijay Hi Vijay Maha Shibir at
Bhopal for about 700 select college
students from 50 districts of Madhya
Pradesh and 6 districts of Uttar Pradesh.
It was conducted by 308 Karyakartas from
26 to 31 December 2009. Shri Shivraj Singh
Chauhan, Chief Minister of Madhya Pradesh,
inaugurated this mega event. As a follow
up, Yuva Prerana Shibirs were held at four
places viz., Bhopal, Dhar, Gwalior and
Jabalpur for 427 persons. An off-shoot of
the Vijay Hi Vijay was starting of 26
Anandalayas for about 1,000 children, by
the participants on their own initiative with
149
the guidance from Kendra karyakartas. The

personality development camps at Bhopal,
Gwalior and Jhansi were attended by over
800 students. Maj. Gen. G.D. Bakshi
addressed about 350 persons on Bharatiya
Samrik Parampara at a Vivek Vichar
Paricharcha program in Bhopal. About
4,000 people attended various programs
during Samartha Bharat Parva celebrations.
In Maharashtra, six mandal-wise Vijay
Poorna Vijay Shibirs were conducted at
Mumbai, Pune, Nagpur, Jalgaon, Nashik and
Pimpalad for 560 students. These were part
of the follow up of the Vijay Poorna Vijay
Mahashibir organized at Shegaon in 2009.
The new Mandal Vyavastha is evolving to
spread the Kendra activities to all areas in
a more planned way.
Nearly 19,000 persons attended the
prescribed Utsavs held at various branch
centers.
Vivekananda Kendra Prashikshan Va
Seva Prakalpa, Pimplad: Five Balwadis,
six womens awareness camps, five
Anandalayas, two Adhyatmic Shibirs for 78
persons, a Vivekashrama for girls and boys,
Shiva/Deepa Pujas attended by 1,500
devotees were the programs. Vocational
training was given to 72 persons and
implements and two cows were also given
to indigent farmers as a part of economic
development program. Over 8,000 persons
were treated in 9 medical camps with the
help of a doctor and 22 Swasthya
Rakshaks.
In Bhubaneshwar, Odisha, 5,200
students performed a large scale Samuhik
Surya Namaskar. On Vivekananda Jayanti
Day. Swami Shiveswaranandaji of
DANCES OF INDIA
Ramakrishna Math and Sri Dibyasingha Deb,

Gajapati Maharaj, Puri, were some of the
important persons who attended this
program. Over 11,000 persons attended
various programs in this State.
A plot of land admeasuring Acre 0.481
allotted by the Government of Odisha during
2008-09 on lease of 99 years for Rs
16,83,500/- in the Jagamara area of
Bhubaneswar was given possession. The
work of the Regional Centre-cum-Institute
of Culture & Yoga Building is to begin.
In Sambalpur District, for organizing the
activities of the Utkal Seva Prakalpa on
full fledged scale, land admeasuring 18.40
acres in Mouza Amlipani. P.S. Jojomura was
purchased for Rs 15,23,968/-.
In Rajasthan Prant, 7,800 students took
part in essay writing competitions and
1,400 selected out of them attended 20
camps. There were also 18 youth camps
which were attended by 1,065 students.
The Utsavs were attended by over 6,000
people. A Balwadi for 35 children and
Sanskar Vargas at 19 places for 327
children and Yoga Satras and Vargas for
470 persons were conducted.
A 2-day Kaushalya Shibir as a part of
training in Vyavastha was organized for the
members of all Samities in Rajasthan.
In Tamil Nadu, at Chennai, Vivekananda
Kendra participated in a large scale Hindu
Spiritual & Service Fair organized by Global
Foundation for Civilizational Harmony at
Chennai. Many distinguished guests like Shri
S.S. Barnala, Governor of Tamil Nadu, Shri
B.S. Yediyurappa, Chief Minister of
Karnataka, Swami Gautamananda, Head,
150
Sri Ramakrishna Math, Chennai and Shri R.

Nataraj, Director General of Police, Tamil
Nadu, visited the Fair besides a large
number of people. On the occasion, Swami
Vimurtananda, Editor, Ramakrishna
Vijayam, released the Green Pathfinders
Part II of Kendra Patrika. A personality
development attended by 140 children with
100 parents was another event.
At Coimbatore, a Let us play an exam.
Camp was held for 793 students from 7
schools.
At Tiruppur, Vivekananda Kendra took
under its aegis Anbu Illam a residential
high school run on sound lines. The school
had 187 students, 7 teachers and 10
supporting staff. Twenty eight students
from this school who appeared in the X
standard public examination 2009 have all
passed, eleven of them scoring first class
marks. Their extra-curricular activities were
also noteworthy. On 26 January 2010 all
Guru
Purnima
Universal
Brotherhood Day
At two places
At 2 places
550 persons
attended
510 persons
attended
the students performed in perfect unison

mass Surya Namaskar before the large
audience, a rarely seen event for them.
Many of them won prizes in sports and
other events conducted by different
agencies.
At Madurai, Five Yoga Satras were
conducted for 217 persons. An
introductory session about Vivekananda
Kendra and a Swadhyaya Class were
organized at Sourashtra College for Women.
Note books and writing materials were
supplied to 100 needy students. A
personality development was attended by
71 students. A Kutumb Sammelan to stress
the importance of family life for a healthy
society and a Sat Sang on the role of
Indian culture in day to day life were held.
The five Utsavs were celebrated well with
the participation of students and general
public as under:
Sadhana
Divas
At 3 places
200 persons
attended
At Thoothukudi, tailoring was taught to

55 Village girls. During Navaratri, Poojas
were performed in various temples as a
part of creation of organized work.
Sri. K. Balasubramaniamji of Palayam-kottai,
Tirunelveli donated a peace of land
admeasuring 4.5 cents valuing Rs 6.30
lakhs as his donation for establishing
Vivekananda Kendra branch centre and
organizing Man making & Nation building
activities.
DANCES OF INDIA
Gita
Jayanti
At one place
55 persons
attended
Samartha
Bharat Parva
At four places
550 persons
attended
In Kolkata, West Bengal, many monks of

Sri Ramakrishna Math attended some of
the Utsavs and addressed the invitees.
Vivekananda Kendra Vidyalayas
Sixty one Vidyalayas as listed below
including 6 new schools in Arunachal
Pradesh and 3 in Asom provided value
education to 23,000 students. In Arunachal
151
the students of Standards in X and XII

standards acquitted themselves creditably
in the public examinations. Kum. Mausumi
Bora of VKV, Tafrogam, stood first in the
State in the X Standard public examination.
Nine students from VKVs formed part of 10
member team to participate in national level
Childrens Science Congress at Ahmedabad.
Kumari Taba Yahi, VKV, Yazali has been
nominated as a member of a team of 25
students to represent India in an
International forum. Nine VKVs at Amliang,
Jairampur, Kuporijo, Koloriang, Nivedita
Vihar, Oyan, Roing, Sunpura, and Ziro,
participated in a State-level Science
Seminar 2009. A team of students won the
National Level On Line Quiz competition
conducted by Department of Science &
Technology, Government of India, New
Delhi.
State
No. of
No. of
Vidyalayas Students
Andaman
09
2,928
Arunachal Pradesh
30
10,503
Asom & Nagaland
18
7,575
Karnataka
01
354
Tamil Nadu
04
1,646
Total
61
23,006
Shri K. P. Rao, Principal, VKV Yazali and
Shri. N. Kumaravel, Principal, VKV
Banderdewa, were awarded Government of
Indias National Teachers Award and CBSE
Teachers Award respectively. He donated
the amount of Rs.25,000/- to Kendra
stating that it rightly belonged to his Kendra
which cared for him for the last 33 years
and inspired him to reach such a stage as
to be rewarded.
DANCES OF INDIA
The highlight of the Universal Brotherhood

Day celebration at VKV Itanagar was the
presence of Gen. J.J. Singh, Governor,
Arunachal Pradesh and Smt Anupama Singh
as chief guests. The Governor after
felicitating the state toppers in AISSE 2009
recalled his close contact with VKVs during
his army days in Arunachal Pradesh and
appreciated Vivekananda Kendra for its
nation building activities. Sri A. Pandiyan,
General Manager, North East region, Indian
Oil Corporation who donated a mobile
science laboratory van to the Vidyalaya
and Sri Tapir Gao former M.P. and Susri
Rekha Davey also attended function.
Some of the other important visitors to
our various schools were:
1. Shri. Bosiram Siram, Education
Minister, Arunachal Pradesh.
2. Shri Nabam Atung, President,
Indigenous Faith & Cultural Society
of Arunachal Pradesh.
3. Shri L. Khimhun, Secretary General,
Rangfra Faith & Culture Promotion
Society.
4. Shri Tapi Mara who climbed to the
top of Mt. Everest.
5. Shri K.Kumar, Editor, Arunachal
Front.
6. Shri Bhanghai Pasong, Coordinator,
Arunachal Vikas Parishad in Kurung
Kumey
For further info visit: www.vkvapt.org
152
Vivekananda Kendra Vidyalayas

Asom & Nagaland
Eighteen Vidyalayas seventeen in Asom
and one in Nagaland, with 7525 students
functioned satisfactorily. Of these three
were newly started. 397 students appeared
for X standard public examination and 391
of them passed with 318 scoring first class
marks. Out of 277 students who appeared
for XII standard public examination, 249
passed out with 176 scoring first class
marks.
In the competitive entrance examinations,
VKV Tinsukia turned out the highest number
of successful candidates, a record for any
single school in the district. Yasin Shahtaz
Emanee from VKV, Golaghat, who stood first
in the State level Science Fair at Regional
Science Centre, Guwahati, for his model,
represented Asom in the Eastern India
Attendance
Guru
Universal
Purnima Brotherhood day
Students
7,500
Others
545
DANCES OF INDIA
Science Fair held at Birla Industrial &

Technological Museum, Kolkata.
Su. Dipa Das Choudhury, teacher, VKV
Badarpur received a Gold Medal from the
University of Bangaya Sangeet Kala Kendra,
Kolkata, for her contribution to Teachers
Training in Creative Dance. Sri Kalyan
Deka, Teacher, VKV (NEEPCO) Doyang
received Shilpi Prerana Award instituted by
Uttar Purvanchal Niyog Sangvad for his
contribution to the cultural field.Two
teachers, Shri S. Mohan Das, VKV Tinsukia,
authored a book titled Bishwasar Abartot
Bipanna Jaiba Baichitra and Su. Nabanita
Bhuyan, VKV, Umrangso brought out two
science guide books for classes VIII & IX
Standards.
Thirteen camps of different kind were
conducted for 800 students and 6 training
programs for 410 teachers and supporting
staff members. The attendance at the
Utsavs was as under:
Sadhana
Divas
Gita
Jayanti
Samarth Bharat
Parva
9,878
6,800
6,750
9,878
13,000
545
1,400
16,500
Some of the VIPs who visited the different

Vidyalayas were
3. Prof. Arup Kr. Sarma, Dean, IIT,

Guwahati.
1. Shri Nikhil Kumar, Governor of

Nagaland
4. Sri Devasish Sarkar, General

Manager, NECF, Margheritta.
2.Dr. Tapodheer Bhattacharjee, Vice

Chancellor, Assam University,
Silchar.
5. Shri Kanak Gogoi, Scientist,

Guwahati
153
A plot of land measuring 7 Bighas 17 Lessas

was purchased for Rs. 172200/- in village
Uhanipathar, Mouza Haleswr, P.O. Dipota
near Tezpur for establishing Vivekananda
Kendra Vidyalaya for the people of Tezpur.
The construction of infra-structure was
undertaken in VK Vidyalayas Ramnagar,
Nalbari, Shuklai, Tezpur, Dhemaji, Dibrugarh,
Tinsukia.
Karnataka
VKV, Kallabalu near Bangalore (started in
2001) had 354 students, 20 teachers and
two supporting staff members. Justice Dr.
Rama Jois, former Governor of Bihar &
Jharkhand and currently a member of Rajya
Sabha, was the chief guest on Universal
Brotherhood Day celebrations.
Tamil Nadu
Vivekananda
Kendra
Vidyalaya,
Kanyakumari, had a strength of 1,308
students. In Class X, 66 Students passed
in first class out of 73 appeared. In class
XII 68 students passed in first class out of
74 appeared.The students performed well
in various competitive examinations of other
organizations. Shri S. Abraham Lingom, Vice
Principal, received Asiryar Tilakam district
best teacher award.
Vivekananda Kendra Vidyalaya,
Valliyoor, had 608 rural students. Out of
16 students who appeared for X standard
examination, 15 passed with 12 of them in
first class. All the 11 students who
appeared for XII standard examination
passed with 8 of them getting first class.
The school has built a reputation for itself.
DANCES OF INDIA
Vivekananda Kendra Pratishthan Trust

Thirteen Shikshartis working in different
centers attended a Karyakartas Prashikshan
Shibir and 21 others underwent Kendra
Deeksha Shibir. The Trust selects suitable
persons, trains and assigns them to various
branch centers and projects. The
wherewithal for the Pratishthan to take
care of the needs of the Karyakartas comes
from the generous contributions of patrons.
The details of the patrons (as on 31-032010) are as under:
1.Annually donating
2.Lump sum
3.Perpetual
30,631
1,05,443
4,430
Vivekananda Kendra Publications

Chennai
Jodhpur
Solapur
Palitana
Guwahati
Vivekananda Kendra Patrika,

English Half yearly, titled
Green Pathfinders,Vol. I & II;
Yuva Bharati, English monthly
& Viveka Vani, Tamil monthly
Kendra Bharati, Hindi monthly
Vivek Vichar, Marathi monthly
Vivek Sudha, Gujrati monthly
Vivek Jagriti, Quarterly in
Assamese & English
Chennai Branch published two new books

Wandering Monk in English and Story of
Rock Memorial in Malayalam and reprints in
Bengali (1), English (8), Hindi (2), Kannada
(1), Malayalam (2), Tamil (11) & Telugu
(1). It also brought out calendars, diaries
and some novelties which were all in good
demand. Total Subscribers of Yuva Bharati
154
are 7473, Vivek Vani are 2910 and

Vivekananda Kendra Patrika are 887.
VK Hindi Prakashan Vibhag, Jodhpur
published KENDRA DARSHAN - Mananeeya
Eknathjis letters and it was released in
the hands of Param Poojaneeya Mohanraoji
Bhagavat, Sarsanghachalak of R.S.S.
Another book AMERICA ME SWAMIJI
was also published. The Hindi Prakashan
Vibhag also organized Readers and
Subscribers meetings at Jodhpur, Jaipur,
Ajmer and Udaipur. Total subscribers for
the Kendra Bharati are 4770.
VK Asomiya Prakashan Vibhag,
Guwahati brought out translation of
EKNATHJI in Assamese which was released
in the hands of Sri P Parameswaranji during
the All India Adhikari Baithak for 2009 held
at Guwahati. Also, VIJAY HI VIJAY book
for the College level youth program. The
Sadhana of Service was reprinted. VK
Prakashan Trust financially helped in
bringing out the publications. Total
Subscribers of Vivek Jagriti are 1100.
VK Marathi Prakashan Vibhag, Pune
brought out Marathi translation of
VIVEKANANDANCHYA PRAKASHAT
SAVARKAR and DAMYAVAR YOGOPCHAR. It also reprinted many other titles.
The Vivek Vichar is published from Solapur
and has 2383 subscribers.
Vivekananda Kendra Institute of
Culture, Guwahati
The Dibrugarh University has recognized
the Institute as a Research Centre with
effect from 24 September 2009. The
notification by Dibrugarh University stated:
DANCES OF INDIA
The Institute has constantly striven to

examine and validate the systems from
our point of view so that culture becomes
the foundation of development. It is an
endeavour that all seminars and field
investigations, the basis of which is
research, are conducted not to replicate
west centric scholarship but to present
matters befitting the magnitude of our
traditions.
On the Foundation Day (31st January) Shri
Rajkumar Ajit Singha, a scion of the last
Ahom king of Asom and renowned columnist
and social activist conferred the VKIC
SANMAN 2010 on Sri Chaoba Kamson, a
Social Activist, from Manipur, As General
Secretary of Tingkao Ragwang Chapriak
Phome, Asom, Manipur and Nagaland, Sri
Kamson helped to establish several temples
dedicated to Tingkao Ragwang, to preserve
the traditional faith and culture.
The survey team of the Rabha
Documentation Project has recorded the
traditional crafts, handloom products, rites
and rituals, hymns, ballads, festivals etc.
in Goalpara district. The harvest festival
Sarbojanin Baikho at Nadiapara, the funeral
ceremony Farkanti, at Dorni and the hymns
of Bakai Puja prevalent in Asom-Meghalaya
border were covered. An awareness
program during the Peerahasu Puja - a post
harvest festival for the welfare of the
livestock - was also conducted.
Two half yearly issues of the Quest have
been brought out on community festival
and the traditional marriage systems of
northeast India. This house journal Quest
has been accorded International Standard
Serial Number [ISSN] 0976 0040).
155
The VKIC Reference Library with 225

members has 5,024 books and subscribes
for 27 national and international magazines
and research journals.
Two Stress and Health Management
Workshops for supervisors and workmen
of Power Grid Corporation of India Ltd.
(PGCIL) in Misa, Nagaon district of Asom,
were conducted. Sri K Bhuyan, DGM, was
pleasantly surprised that Kendra had such
programs and wanted to have a long term
association. After seeing the impact of 2
Yoga Abhyas classes for 140 students of
Asom Institute of Management, Dr.
Shantikam Hazarika, Director, desired to
integrate Yoga as part of the course and
wanted the frequency of the course should
be increased.
Eight personality development camps as
part of Vijay Hi Vijay program of
Vivekananda Kendra Asom Prant were
conducted for 205 students of 14 colleges
to inculcate a spirit of nationalism in them.
VKIC Arunachal Pradesh Chapter
In connection with production of a
documentary film on Buddhist Monasteries
in Tawang District, a team from Gujrat
covered 4 major Gompas, including
Ugyenling Gompa, the birthplace the sixth
Dalai Lama.
Smt. Likhamoni Mein, Principal, Kalakshetra,
Itanagar, in her address on Indian Classical
Dances and Arunachalee Dances - the
Common Features. demonstrated many
common mudras of the folk dances of
Arunachal and Bharatnatyam.
DANCES OF INDIA
During a panel discussion on the role of

Nyubu (Priest) in the Nyishi and Nyegam
Panam (expert in history and traditional
knowledge) in Nyele, the self governing
institution of the Nyishi pointed out that
Nyele removed rivalries between parties
and took them from Yalung (Dispute) to
Tagung (Peace). Dr. Ligu Tacho,
Chairperson, said that Lok-Adalat was
nothing but another form of Nyele.
VKIC Delhi Chapter
The study group chaired by Sri I.P Gupta,
former Lt Governor, Andaman and Nicobar,
after finalizing the scheduled activities for
the year discussed the Common Bases of
Hinduism.
Vivekananda Kendra Arun Jyoti
Project, Arunachal Pradesh
Under the project for Development through
Culture 20 towns and 138 villages in 11
districts were covered through five manchs.
Anaupacharik Shiksha Manch
118 Balwadis with 2,584 children and 17
Anandalayas with for 338 children
functioned well.
Swasthya Manch
27 Medical camps benefiting 2,800 persons
and 9 awareness camps enlightening 500
people about health and hygiene were held.
Mahila Manch
4 Vocational training centers trained 64
girls and there was a good sale of the
products made by the trainees.
156
Yuva Manch
79 students attended 2 Pariksha De Haste,
Haste (write your exam. in a happy mood)
programs. 75 youths endeared themselves
to the thronging devotees during the annual
mela at Parasuram Kund, by their service.
Sanskrutik Manch (Cultural Wing)
On Raksha Bandhan Day over 21,000 Rakhis
were tied to various people apprising them
of the significance of this symbolic
expression of brotherhood amongst all
members of the society.
For further info visit: www.vkarunjyoti.org
Vivekananda Kendra Medical
Research Foundation
The hospitals at Asom and the hospital at
Bina in Madhya Pradesh functioned
satisfactorily and filled up an important
need of the people in the area.Vivekananda
Kendra NRL Hospital, Numaligarh, Asom,
provided services as under:
1.Outpatients
38,923
2.In-patients
1,753
3.Operations cases
349
4.Radiology& USG
service provided
1,600
5.Patients attended at
mobile medical camps
10,201
6.Pathology service
71,760
7.Blood transfusion
251
8.Physiotherapy service
2,265
9.Yoga service
2,529
DANCES OF INDIA
Vivekananda International
Foundation New Delhi
In the Vivekananda Kendra International
Bhavan, a new activity with the name
Vivekananda International Foundation
started functioning.
Vivekananda International Foundation was
inaugurated on 1 December by Justice Shri
M.N. Venkatachaliah, retired Chief Justice
of India. Mata Amritanandamayi gave her
benediction. Smt Vani Jairam, the noted
classical singer and a well wisher rendered
the invocation song. Shri Ajit Doval, former
Chief of Central Intelligence Bureau has
joined as Honorary Director and a number
of former senior military officers, diplomats,
bureaucrats, and academics are on the
advisory board and the executive council
to guide the activities of the Foundation.
The Organisation : It is a New Delhi based
think tank.
Indias leading security experts, diplomats,
scholars and philanthropists collaborate
towards functioning of this foundation. By
generating innovative ideas, thoughts and
actions, it aims to evolve into a nodal
centre of excellence that will propel India
to her rightful place. The VIF brings together
the best minds from India and other nations
to dilate on key national and international
issues. VIF promotes quality research and
is a platform for dialogue & conflict
resolution.
Objectives : Analyse Indias external and
internal security environment to offer
157
inputs to shape policies and response

strategies.
Offer policy alterations to contain rising
extremism caused by Indias socio-ethnic
disparities. Interact with civil society and
offer institutional support for exchange of
ideas among conflicting groups.
Critique public policy, the working of
democratic institutions and constitutional
bodies.
Evolve benchmarks for good governance
and efficiency in public institutions.
Reassess, formulate and develop Indias
civilisational and cultural imperatives in an
increasingly globalised world.
Promote initiatives that further the cause
of peace and global harmony.
Resource Centres : The Foundation seeks
to meet its objectives through six centres
of study :
Centre for National Security and Strategic
Studies A hub for VIFs study on national
security issues such as left wing extremism,
militancy, North-Eastern insurgencies and
demographic invasion from Bangaladesh.
Centre for International Relations and
Diplomacy Dedicated global strategic
issues, changing trends in international
power equations, Indias foreign policy
challenges and options best suited to help
India achieve its national objectives.
Centre for Neighborhood Studies Deals
with political, military, economic and other
DANCES OF INDIA
developments in the neighboring countries

and its implications on India.
Centre for Governance and Political
(Development) Studies Deals with
political, military, economic and other
developments in the neighbouring countries
and its implications on India.
Centre for Economic Studies Studies
Indias economic challenges in relation to
domestic and international developments
in trade and economic policies.
Centre for Historical and Civilisational
Studies Study of sociological and civil
history for correct interpretation of
historical findings.
Activities : To achieve these objectives
VIF
Organises events, holds conferences,
lectures, seminars and discussions with
scholars and subject specialists
Interacts with the diplomatic community
in New Delhi to project Indias viewpoint
and to understand the views and
perceptions of other nations.
Engages policy makes on issues of topical
interest and share VIFs views and concerns
with them.
Develops institutionalized contacts with
academic bodies, research institutions,
select Indian and foreign think-tanks,
universities and organizations representing
the Indian diaspora.
158
Intends to publish books, monographs,

policy briefs and special reports.
03.
A presentation by Maj. Gen. G.D.

Bakshi on Bose: Key catalyst of
Indias freedom on the birth
anniversary of Netaji Subhash
Chandra Bose.
04.
A lecture by Dr. Subramanya

Swamy, former Union Minister, on
Chinas increasing role in Indias
strategic calculus.
05.
A lecture by Maulana Mahmood

Madani, M.P. & leader of Jamiat
Ulema-i-Hind on Terrorism
Response through Indian Ulema.
A two day Seminar on Afghanistan
beyond the London Conference:
Indias Options.
A talk by Shri Shyam Saran on
Climate Change.
Website : www.vifindia.org.
VIF maintains a regularly updated website
which offers :
Opinions, articles and features on
international relations and diplomacy
Exhaustive postings of news from Pakistan
and Bangaladesh, including Pakistani Urdu
Media
Civilisational and relevant historical issues
in the Indian context.
Features on security and strategic affairs
such as left wing extremism, terrorism,
illegal immigration, insurgencies in J&K and
North-east.
Up-to-date round-up of news about the
VIF, its current activities as well as a
calendar of upcoming events, seminars,
conferences, etc.
DANCES OF INDIA
06.
07.
The following were the events during the

December 2009 March 2010:
Besides the persons mentioned above,

other VIPs who visited the Foundation,
were:
01.
Gen. Richard Myers, former US Chief
of Defence Staff.
02.
Shri John Negroponte, Diplomat.
03.
His Holiness Dalai Lama.
01.
For further info visit: www.vifindia.org
02.
A lecture by Shri Michael Chertoff,

former Secretary, US Homeland
Security before an elite gathering.
Release of the book - The Rise of
Indian Military Power: Evolution of
an Indian Strategic Culture of Maj
Gen.G.D. Bakshi, by Gen Shankar
Roy Chowdhury, former Chief of
Army Staff.
Kerala : VK Vedic Vision Foundation,

Kodungalloor
A four day Sree Ramakrishna Bhakta
Sammelan was held in May 2009, preceded
by a mini Kerala Parikrama with a decorated
Sri Ramakrishna Chaitanya Ratha was taken
from Kanyakumari to Kodungallur. Several
senior monks of Sri Ramakrishna Maths like
Swami
Gautamanandaji,
Swami
159
Sakranandaji, Swami Swaprabhanandaji,

Matajis of Sri Sarada Math, well known
speakers- Dr. Suvarna Nalappad, Dr. C.
Radhakrishnan and Dr. H.G. Sudarshan
attended the program which concluded with
a grand Yati Puja to 30 monks and 15
matajis were well attended by the
devotees.
A souvenir Viveka Tharangam and 3 books
in Malayalam: 1. Sadhana Panchamritam,
2. Jeevitha sayahanathil Anandhathinulla
Vazhi & 3. Jnanadayini Sarada, were brought
out on the occasion.
A mass Surya Namaskar by 600 children
from 9 schools another important event of
this center.
Vishwa-Bhanu a bi-monthly in Malyalam
was published and was well received by
people.
Books Published
1.
Jivita sayahnathil anandathinde

vazhi
2.
Jnanadayini Sri Sarada Devi
3.
Viveka Tarangam (Souvenir of
R.K.Bhakta Sammelan)
4.
Surya Namaskar (instruction
booklet)
The book Sadhana Panchamritam for daily
reading, was reprinted. For further details:
DANCES OF INDIA
Vivekananda Kendra
Natural Resources Development
Project, Kanyakumari
VK-NARDEP received award cum grant of
Rs.1 lakh under Idea Innovate
Incubate scheme for its paper Biomethanation plant with water Hyacinth,
Ipomoea and Sea weed as input material
by National Research Development
Corporation, New Delhi.
Many of its personnel participated in the
seminars and workshops etc., organized by
various government and private agencies.
Two of its personnel spoke over All India
Radio, Nagercoil, on Global Warming and
Azolla & its usefulness.
The Times of India, Rutag, IIT, Chennai,
Organizer, New Delhi and Vivek Saptaha,
Mumbai, carried articles on the work done
by this project.
Besides Shri Narayan, Chief General
Manager, NABARD, Chennai and Dr. K. Ajit,
Ford Foundation, New Delhi, a good number
of Self Help Groups members, farmers and
students from outstations visited the
Technology Resource Center.
Whether you believe in spirituality 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
160
DANCES OF INDIA
The details of the programmes held by NARDEP are as under:-
Programme
No.
Training in Cost Effective Green Architecture
Beneficiaries
41
Training in Roof top rain water harvesting
Training in Sustainable Agriculture
10
Training in Production & use of High potncy compost etc.
Training in Azola Technology
20
Livestock Management
50
Training in Capacity Building for technology adoption
84
Training in Nutrient management for better farming
23
Training in Agriculture
20
405
32
270
1,495
Training of vaidyars etc in Indian System of medicine

89 Days
Green Health home
20
2,674
Green Health camps
737
Seminar on Varma points
661
560
Construction of KVIC biogas plants
34
Shakti Surabhi biogas plants constructed

Awareness on & training in Shakti Surabhi biogas plant
22
57
Motivation training of Co-operative Society officials
23
Training of TWAD officials
66
Training of officials in PDS and human relationship
82
One thousand copies each of books titled

Azolla (Hindi), Rain Water Harvesting
(English) and Valviyal Chinthanaigal (Tamil)
were brought out. For further info visit:
www.vknardep.org
Under Vivekananda Kendra Rural

Development Programme, conducted 40
Eye Camps in which 6,643 patients were
screened & 1,911 were got operated in
Arvind Eye Hospital, Tirunelveli & were also

provided post operation needs.
Supraja Foundation from Hong Kong has
generously provided vessels for the
Balwadis and also uniforms and toys for
the children studying in them. State Bank
of Travancore, Valliyoor Branch, donated
a computer with all accessories. Six
booklets were brought out.
For further info visit: www.vkrdp.org
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
Sanskar Vargas
235
8,070
Competions for children from 1,138 Rural middle schools
125
22,500
Competions for students from 536 rural schools
2,643
Competions for students from 193 urban schools
11
2,194
Competions for 200 Plus 2 level institutions & Others
Competions for students of 137 colleges
Competions for college 16 professors & 74 teachers
Yoga Vargas & Satras
12
395
10
Swadhyaya Vargas
43
11
Deep Pujas
290
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
15
Education aid to girls
16
Marriage aid to girls
17
17
medical aid for the needy
35
18
Camps for children from 148 schools
220
19
Camps for Plus 2 students from 105 colleges
250
20
Camps for college students from 79 colleges
327
21
Camps for Sanskar Varga students
235
22
Personality development camps for students
11
759
23
Training camp for Balwadi teachers
24
Refresher training camp for Balwadi teachers & Others
25
Number of reprints of publications brought out
10
26
Medical Centers
15
7,188
16,717
90
25,120
63
362
42
150
25,714
169
DANCES OF INDIA
Folk - Dances of Gujarat

PARUL SHAH
he important inroad by which art

has entered the daily life of
people is through the domain of folk
music and folk dancing. In all cultures and
civilizations of the world, human movement
has worked as a vehicle of expression of
joy and sorrow. The urge of outward
movement or dancing are different in

content, theme and style. But they are
similar in spirit of spontaneity, participation
of audience etc. They cut down the
economical and social barriers, bringing
people of various communities and
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 selfconsciousness 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.
expression through body movement has

assumed many shapes and forms at
different periods of history and in different
parts of the world. These forms of human
The Indian subcontinent has various races,

linguistic groups, different geographical and
climatic conditions and many religions which
give rise to rich folk dance 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
what is termed as the tribal dances of India
where the peasant society is responsible
for ritualistic agricultural and seasonal folk
dances. Gujarat has always been a land
170
of dancing since the days of Lord Krishna.

Dance has been an integral part of the
social, religious and cultural life of the
Gujarati people. The folk dances of Gujarat
ideally reflect the smooth merging of diverse
social and cultural thoughts.
Gujarat lies in the West coast of India and
comprises of Gujarat, Kutch, the Rann of
Kutch and Saurashtra. Geographically it
has fertile plains, lush green fields, sandy
plains, bare rocky hills, flat salt-soaked
lands and a long coastal line. The
boundaries of present day Gujarat touch
those of Pakistan, Rajasthan, Maharashtra
and M.P. This rich fertile land has attracted
outsiders throughout history who came as
invaders, travellers and settlers. They
brought with that; in their own ways of
life, traditions and enriched the culture of
Gujarat.
All these provide a rich ethnic variety of
people. Ethnically there are tribes of Bhils,
Kolis, Vagharis, there are agriculturists like
Thebas, Kanabis, Meranis, Ahir, Rabaris,
there are seafarers like Tandels and
Kharwa, There is also a developed peasant
community and urban society. The history
of Gujarat is very interesting which is
evident through the proto-historical sites,
mediaeval temples and rich tradition of
miniature paintings. Jainism flourished here
for centuries. Vaishnavism permeated the
classes and the masses. The tribal and
peasant tradtions co-exist, mutually
influencing each other and yet remaining
aloof.
The constant blending of alien cultures is
responsible for the variety of folk dances
found in Gujarat. These could be divided
DANCES OF INDIA
broadly into the following groups.

(i) Dances of social pattern, performed at
marriages, child births and other important
social events.
(ii) Dances connected with agricultural
functions like sowing of cotton and maize,
cutting of ripe crop etc.
(iii) Dances of religious ceremonial patterns
connected with festivals like Holi (festival
of colour), Diwali (festival of lights),
Navaratra (festival of worship to Goddess
Amba).
The most popular and known folk dances
of Gujarat are Garba, Garbi, Rasa, Rasada,
Tippani, Padhar-Nritya, Dangi-Nritya etc..
Most of these dances have a circle or
Mandala as the basic Choreographic
pattern. As the circle signifies the
completeness, the dances in the circular
form show the richness of culture and
fullness of life in Gujarat. It would be very
difficult to describe and review this
fountain head here and so I would
concentrate on a few very popular dances
of Gujarat.
Rasa which is supposed to belong to Kutch
and Saurashtra is performed all over
Gujarat. The Rasa traditions are as old as
the Puranic period. In various parts of the
country Rasa are danced in different
manner.
In Rigveda we have mention of couples
dancing in circles. But from the point of
view of folk tradition, the description of
Halli saka a group dance, in the Harivamsa
Purana is very significant. Here is a group
dance, in a circular formation with the
hands joined together forming a chain. The
171
time (Tala) is kept by clapping and is

accompanied by singing. A young man
(Krishna) stands in the middle of two
damsels. The feet movements, toes, heels
and legs first start their journey to explore
rhythmic expression in measured steps,
long, short, quick and slow accompanied
in single, double and triple timings.
Later on, these Rasaka and Halli saka were
described as two of the Upa rupakas in
many Sanskrit treaties on Dramaturgy by
authors like Kohala, Vatsyayan,
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
of Rasaka described.
(1)
Danda Rasaka--Rasa dance
where Danda or sticks are used.
(2)
Mandala or Tala Rasaka-Rasa
dance where clapping is used.
(3)
Lata Rasaka-Rasa dance where
dancers cling to each other and
dance like a creeper to a tree.
This is the genesis of our mediaeval Dandia
DANCES OF INDIA
Rasa. Thus Rasa or congregational music

belonging to the pastoral stage of society,
dates in Gujarat from much an early date.
In a wall painting in a Bagh cave we see a
Rasa Mandala depicting women with sticks
and cymbals to the accompaniment of
musicians.
The Rasa of Shri Krishna in Gokula and
Vrindavan on the full moon night of Aswin
was naturally a favourite theme, with many
of our Gujarati poets like Narsinh Mehta
etc. He and many others wrote special
Rasa songs describing various stages of

Krishnas life. They also wrote songs
describing the agricultural cycles and
seasons. Today the traditions brought by
Sri Krishna to Saurashtra have gained much
ground and have blossomed as one of the
most popular, lilting folk dance forms,
incorporating many local elements.
The religious history of Gujarat suggests
that people followed Shakti worship. Later
172
on, with the coming of Krishna, Vaisnavism

came to Gujarat. And as a result of these
two major faiths, a new artistic form
evolved Garba and Rasa. As Krishna was
a shepherd, the Rasa is essentially
associated with agricultural cycle. It is
performed on Vasanta Panchami, Navratra
and Sharad Purnima, important festivals
connected with sowing and reaping of
grain. They are performed mostly by men
and often complex designs of lotus,
serpent, Nataraja are created while
dancing in a circle.
The Dandia Rasa is the counter part of
Garba or Tali Rasa. Dandia is a wooden stick
or iron pipe, about
a foot long. At the
end tiny bells are
tied to make the
jingling sound
when they strike
each other. The
dance
has
complicated
rhythmic patterns
beginning in a slow
tempo and ending
with a fast tempo.
Each dancer in the
circle not only performs a solo dance with
his own sticks, but also has multiple
relationship with his partner on either side
and opposite. The circle keeps breaking,
forming various patterns. The local terms
are Chokdi Sathiya etc. The sticks are
beaten standing, sitting and lying on the
floor and also jumping in the air.
Rasa dances are performed all over Gujarat
by various communities. Basically they are
same but each community has its distinct
DANCES OF INDIA
pattern. Garba is the most popular womens

folk dance. Its origin seems to be from the
tribals wandering about hunting. Gradually,
it became an agricultural ritual and today
it is a social dance at all levels of society.
The Garbo or Garbha is the life inside a
womans womb. An earthen pot with holes
around the circumference and light burning
inside symboIises so. Such a pot placed
on the head of a lady is comparable to the
starry dome of heavens, handled by Mahashakti. The dance in motion as well as songs
came to be termed as Garba. Garba
dancing is performed by women only to
get blessing from the Goddess Aroba. It is
performed for
nine nights at a
stretch during
the festival of
Navaratri in the
month
of
October
at
every street
corner
of
Gujarat. This
being a dance
of
worship
where all are
expected to
join, the technique is very simple. No
intricate foot work or body movements are
involved. The dance in a circle is performed
by simple clapping of hands in rhythms of
three (Tin Tali) or four (Hinch). The songs
are sung by the dancing group only. The
songs of famous poets of Gujarat like
Dayaram, Premananda and others are
special Garba songs usually known to
everyone.
The actual performance begins at night
173
after the women finish their house-hold

work. All gather at the street corners. A
photograph of the Goddess or a lamp is
kept in the centre and around it the circle
is formed. The dancing begins with slow
tempo and reaches a fast tempo. The
rhythm is kept by a Dholi or drummer who
sits in the centre.
Sometimes women carry on their heads
Mandavadi a small canopy made of
bamboo chips covered with a red silken

piece of cloth. They dance with it and later
put it in the centre. Mandavadi symbolises
the temple of the God-dess. Women wear
saree in the Gujarati style. Each community
wears different clothes. In Saurashtra,
women wear embroidered petticoats
(Ghaghra), a backless choli (Kapdu) and a
head cover (odhani) with lots of silver and
head ornaments. Males wear Kediyum
(shirt) Vajani (trouser) and Rumal a printed
head piece with silver ornaments on the
DANCES OF INDIA
waist neck and hands. The musical

instruments used for Garba are mainly the
drum or dhol and Nal. But Rasa has Pavo
(a double flute) Vansali (flute) Zanza (Discs)
etc. The drummer ties his drums around
the neck and moves inside the circle
beating it.
Garba songs are mostly in praise of Mother
Goddess Amba describing her form, powers
and invoking her blessings. Also there are
Garbas describing seasons, and social

themes of domestic and married life. As
the Rasa dances have Krishna in their
origin, most of the Rasa songs evolve
around the life of Krishna a t various stages
from child Krishna to the flirting Krishna.
There is a tribal belt running in the Southeast of Gujarat adjoining Madhya Pradesh
and Maharashtra. The furthest corner
joining
Maharashtra of this belt is known as Dang.
174
It is a rich hilly forest of Tick and Bamboo.

The Gangis arc unique tribals, a blend of
Gujarati and Maharashtrian culture mixed
harmoniously with original Dravidians. The
dance performed by the Dangis is called
Dangi Nrita. Men and Women join hands,
forming a chain or shrinkhala making
serpentine movements with one leading.
The movement is very fast, swift and
create various choreographic patterns in
a fraction of a second. Each variety of
step is called Chala and there are about
27 varieties of these chalas. One of the
most amazing sights of this dance is the
creation of a human pyramid.Another
popular folk dance of Gujarat is Tip-pani
Nritya. Tippani is a stick, with abroad base,
used to level the flock of a newly
constructed house, read.The working
women sing in unison while levelling the
floor with Tippanis and move in graceful
but strong movements in rhythm creating
a spectacular dance with their colourful
costumes.
These dances are performed by various
communities at the time of a local fair or
Mela, on religious festivals and social
celebrations. The mela incorporates
traditional institutionalised practices as well
as local variations. The mela is a vast
stage where the audience becomes the
performer or vice versa depending on the
mood and pleasure of the participants.
In Gujarat, there are hundreds of melas
conducted every year, at different places
and times to celebrate a good crop or to
worship a God or Goddess etc. All
communities-Bharwadi, Koli, Ahir, Vaghelas
DANCES OF INDIA
Rasari, Charan etc. to name a few

participate. The Rasa and Garbas are seen
at their best in such melas. Until say about
the last 30 years, people outside were not
so much aware of the folk dances of
Gujarat.
But after independence, through
Government efforts and with the help of
some regional institutions, these folk
dances have been popularised. These folk
forms are now being protected, studied and
documented. Ironically enough, in this very
process the forms and content are
violated. The real purpose is lost. These
living forms have become static in the
process of documentation and in the act
of restaging them outside their context.
These dances when performed during melas
or social events are related to open spaces,
an atmosphere of river banks of a hillock,
a religious ceremony, harvest operations,
participation of various communities etc.
They are not limited to a performance time
of 2 hours.
Gujarat also has a rich folk theatre Bhava
popular mostly with rural audiences, dating
back about 800 years. The whole night
performances by professional male actors
or Bhavayas are looked forward and enjoyed
immensely by elders as well as children. It
comprises of singing, dancing as well as
acting. The performers achieve instant
rapport with the audience, and making
indirect or direct jokes on social problems,
act as mass education media.One wonders
at the homogeneous blending of various
cultures, faiths, social and economic
conditions which have generalised such a
vast variety of folk dances in Gujarat.
175
DANCES OF INDIA
Folk-Dances of Punjab- BHANGRA

Dr.KAPILAVATSYAYAN
hangra, the most popular and

virile of the community dance of
the villages of Punjab is closely
linked with the ritual importance which is
given to wheat. After the wheat crop is
sown, the young men gather together in
some open field under the light of the full
moon in answer to the beat of the drum.
The dancers begin to move in a circle, so
that as many new-comers who wish to join
can do so without breaking its continuity.
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 dholak (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
oral poetry of Punjab, called Boli or Dhola.
Although a couplet may be taken initially
from a known piece of poetry, there is
immense scope here for improvisation. With
each new couplet, the dancers change
their steps and respond to the singing of
the couplets with typical refrains like BaleBale, Oai-Oai and Vah-Vah. The dancers
naturally first begin with a slow rhythm,
with an abrupt jerky movement of the
shoulders and a hop-step; this is followed

by many vigorous movements of the whole
body and the raising of both hands to the
shoulder or above the head level. After
the circle has been well established and
the tempo of the dance has accelerated,
the two main dancers dance within the
ring in a kind of duet. This is followed by
pairs emerging from different sections of
the circle, dancing in the central arc and
returning to their respective places in the
circle. The pairs of dancers can execute

many variations, ranging from graceful to
virile movements, circles, pirouettes, jumps
and extensions of legs, jumps, and leaps.
A skilled Bhangra dancer may even perform
some highly complex acrobatic movement
of the torso touching the floor, through a
spinal back-bend or letting another dancer
stand on his shoulders, while he dances
on his knees. Since there are no rigorous
rules of the Bhangra, it leaves an over-
176
whelming impression of fresh spontaneous

vigour and vitality. Its movements are
nevertheless characteristic of the
masculinity of the Punjabi and cannot be
mistaken for anything else. In
choreographical patterns, besides the
circle and the semi-circle, sometimes twotier or three-tier circles of one group of
dancers balancing themselves on the
shoulder or arms of another group of
dancers standing in a circle can also be
seen. The whole formation moves in a fast
rhythm. A dwarf is included in the party
and he has an important role to play. So
great is the impression of its vigour and
vitality and so infectious is its spontaneity
that the Bhangra has enhanced folk dances
of others: also its free and spontaneous
character has made it possible for it to
travel to urban centres for all social
occasions of merry-making without
reference to its original Baisakhi harvestritual association.
The Bhangra was prevalent throughout
Punjab in undivided pre-independent India
and was not restricted to a single
community or caste. Originally, perhaps it
was a tribal dance of the immigrants of
central Asia. Soon, it was associated with
DANCES OF INDIA
agriculture naturally; today it has acquired

a purely social secular character. The
costume of Bhangra is the usual dress of
the Punjabi peasant comprising a lower
dhoti (tahmat-lungi), a kurta and a waistcoat and a colourful turban called pag. While
no other musical accompaniment besides
the dholak was used originally, in some
recent versions, other percussion
instruments like the cymbals and the jhanj
are being used.
Jhumer
The Jhumer is another folk dance of the
harvest season. Although it shares many
features with the Bhangra it can be clearly
distinguished from the latter on account
of its thematic content and its emphasis
on recreating the gaits of animals and birds.
In the Bhangra, there is no attempt to
show the movements of sowing and reaping
the harvest; in the Jhumer all the functions
of daily life are recreated and the pairs of
dancers who come into the central area,
often imitate the movements of the animals
they rear. Two men become bullocks of the
field, a third a plough and the fourth a
farmer. The gaits of the animals, the
ploughing of the field, sowing of the seeds
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
177
harvest time This is followed by women

leading the procession, and singing songs.
The men follow, and then a circle is formed
with men and women alternating and linking
hands. The accompanying songs are
sentimental, and tell of battles fought and
victories won, of the union and quarrels of
lovers. The tempo of the Karthi is slower
than the tempo of the other two dances.
There is much clapping of hands both singly
and in pairs. While no
wind instruments are
used in the Bhangra
and the Jhumer, a folk
shehnai and other wind
instruments are in
evidence in the Karthi.
DANCES OF INDIA
weaving and embroidery. The sounds of

the spinning wheel, the village well, the
gurgling of the water, the beauty of the
fields, and the tensions between the
mother-in-law and the daughter-in-law,
love of the brother-in-law for the sisterin-law are woven into the fabric of the
song. Sometimes, the movements are
imitative of these chores or narration of
episodes, at others they are purely
Gidda
The Gidda is an
exclusively womens
dance, a counterpart
of the mens Bhangra.
Dressed gorgeously,
the women gather together in the open
courtyard to perform the Gidda. The Gidda
is an ancient ring dance with simple
graceful movements without crisp jerks and
abrupt turns and twists so characteristic
of the Bhangra.
The dance begins in a circle, which is then
broken up into two semi-circles and
sometimes into groups of four or six. As in
the Bhangra, the pairs emerge from the
circle to perform different variations on a
theme. The couplets of the song describe
their daily chores ranging from cleaning of
the wheat to thrashing and to spinning,
abstract. The dance ends in women pairing

to do a spin. Extended arms cross and
hold the other dancer and the two together
perform a kikali. In Kashmir also, we have
a kikali of the women in the Rouf; a kikali
seems to be typical sport and dance of
the Women of North India.
In spite of the seeming contemporary
paucity of a large variety of tribal and folk
dances in Punjab, it must be remembered
that this was the home of many ritual and
trance dances, and many musical styles.
The Tappa, an integral part of. North Indian
music grew out of these simple folk tunes.
178
DANCES OF INDIA
Folk-Dances of Haryana
SUDHIR K. SHARMA
f the folk-music and dances of a

region are any expression of the
general character of a people, the folkdances of Haryana fully epitomise the
energy and. exuberance, vigour and
vivacity, as also the religious fervour and
aesthetic propensities of a people who have
well proved their mettle In the battle-fields
and diligence on the farms.
Folk-lorists believe that there is a surprising
compatibility between the physical traits
of a region and its folk-music and dances
the dances of Himachal have the soft
quality of a fern tree tossing enchantingly
with the touch of the mountain breeze,
the dances of Bengal have the wavy
movements of a meandering river tripping
wantonly over shiny pebbles, the dancers
of Rajasthan swerve and gyrate like gusts
of sandstorms, whirling over the sanddunes. And so too the folk-dances of
Haryana have the forceful quality of the
wind, the elegant movement of the
standing crops, the wide sweep of Its open
fields and the ruggedness of its fruitful soil.
It is an art in its unchiselled glory born out
of the spontaneous feelings of the people
who have accepted challenges with a
smile.
There is a wide range of festivals and family
celebrations when the village homes echo
with the jingle of dancers bells. There are
dances for men, for women, and for both.
Though the unbridled joy is common to all,

there are different dances to suit different
occasions.
The Dhamal Dance
The past hangs heavy on Haryana. Legend
has It that this dance has its origin in the
times of the Mahabharat. It is performed
jointly by men and women In the open in
moon-light during phalgun days (March).
The men play on their dhap (a big flat
circular drum With one flap-only) while
women sing the full-throated refrain:
Dhap Medhur Bajaya, Chhora
Leelgar Ka, Dhap Madhur .
Apa Jamuna Ka Jat Ho jaye Re
Magan.
(The dyers young son plays so sweetly on
his dhap that even the waters of Jamuna
get enchanted by it). This dance-form is
popular in the Gurgaon and Mohindergarh
districts of Haryana. The dhap itself is
used for various aesthetic formations and
choreographic effects. When the dance
reaches its crescendo a dancer climbs upon
dhap held by his co-dancer and gives
individual performance atop It.
The Khoria Dance of Women
When the barat (marriage party) leaves
the Village with the bride-groom, the house
becomes the exclusive domain of women-
179
folk who in the evening do the khoria

dance. In it the dance is not performed
collectively but by individual women who
come out of the group, give a dynamic
performance of quick and lovingly
mischievous movements to the waist ,
shoulders, hips and arms and pound the
earth with youthful excitement. As one
dancer recedes back to the line the next
comes forward thumping merrily. The total
effect of the Khoria is one of a variety
programme stringed on a common theme.
This dance is also performed on the
occasion of other family celebrations.
The Faag Dances
The faag dances, as its name suggests
are performed during the month of Phalgun
(March). Haryanavis celebrate the cropseason with gusto and eclat. Both men
and women, separately and collectively,
utilise their free time in dancing away their
cares. They enjoy the Sight of their crops
DANCES OF INDIA
coming to maturity, The free mood of the

season is well expressed in a folk-song sung
during the folk- dances:
Kacchi Imli Gadrai Phagan Mein
Budhi ai Lugai Mastayee Phagan
Mein.
(The ripe tamarind has ripened in Phagun
and even the old hag has run amuck in the
intoxicating month of Phagun. Here
tamarind is symbolical of young womens
youthful yearning for their husbands).
Sometimes dialogue forms in songs are also
used during the dance performances ... A
most popular song during these dances is;
Phagun Aya Rang Bhara Re Lata,
(Phagun, drenched in colour has come).
The Holi Dance
The Holi dance on the day of Holi evening
on dhulendi (the day of colours) is only a
180
variation of the Phagun dance which is

spread over the many days of the month.
In the Holi dances, coloured water and
powder provide the extra-visual appeal to
the dance. In the thick mist of coloured
powder and sprays of rainbow sprouts,
dancers gyrate gracefully like lovely
phantoms in a dream. For hours together
the dancers regale the crowd. Men in a
mood of frivolity wear womens costumes
and exhibit their talent in female steps.
The Googa Dance
Googa, known as Googa Peer, besides being
a saint is also a popular folk-hero. Named
after the Muslim saint, this male dance has
religious over-tones too. Googa is
worshipped both by Hindus and Muslims
alike and his devotees as a respect to the
peer, do this dance. The dancers attire
themselves in bright yellow clothes and sing
the exploits and virtues of Googa Peer to
the accompaniment of a dairu-a special
small drum held by one hand and beaten
by a stick by the other. One of the dancers
holds a long staff atop which are tied tufts
of peacock feathers, colourful fans, and
garlands. The dance begins with slow
graceful movements and ends in frenzied
ecstatic actions.
The Loor and Jhoomar Dance
Both of these are womens dances in which
in the former, women divide themselves in
two groups and in the latter they form a
crescent and each dancer by turn comes
out of the line for a performance and then
goes back. Loor which means a girl, is
performed by teenaged girls and themes
DANCES OF INDIA
like child-birth and marriage are sung in

dialogue forms. The Jhoomar is a Haryanavi
counterpart of the Punjabi girls Giddha.
The Ghoomar Dance
Ghoomar is essentially a dance of Rajasthani
origin and is popular in those areas of
Haryana which border Rajasthan.
Besides these major folk-dances of
Haryana, there are regional variations. For
instance, areas adjacent to brij like
Faridabad, still, perform the Rasa Leela in
a very artistic way. Colourful characters
of folk-life like the snake charmers, also
find place in the folk-dances of the State.
Women often perform the sapela dance in
which one acts the role of the village belle
while the other acts as the snake charmer
and they sing: Woman: Sapela Been Baja
de Chalungi Tere Saath.
Man: Mahlon ki rehney wali tenay kutia
laagay Udaas.
(Oh! Snake charmer, play on your flute and
I shall follow you. You are a dweller of
palaces, you will not feel at home in my
hut).
Thus Haryana dances are not only
expressions of a particular emotion at a
particular time but a spilling over of the
general exuberance of the Haryanavi
whether it is a family function, a festival,
a religious ceremony or a hopeful time for
a fruitful harvest.
It is a time when men and women become
alive with the lilting rhythms of romantic
folk-tunes bestowed on them by a rich
cultural heritage.
181
DANCES OF INDIA
Folk-Dances of Madhya Pradesh

Dr. KAPILA VATSYAYAN
adhya Pradesh is rightly known

as
the
Heart
of
India
surrounded as it is by Bihar, Orissa,
Andhra Pradesh, Maharashtra, Uttar
Pradesh and Rajasthan. It shares physiogeographical features with the regions
which surround it: it has many racial and
ethnic affinities with other parts of India.
Linguistically, although the predominant
language is derived from the Indo-Aryan,
there are tribal groups who speak dialects
of the Dravidian and Munddari group of
languages. One fifth of the population is
tribal comprising over forty-eight tribes:
there are the hill, plateau and plains people
amongst these tribes and village
communities.
The Tribals
The tribes of the area can be divided into
the Hill tribes who are either hunters or
food-gatherers, the plains tribes who are
predominantly either shift or settled
agriculturists or who work as agricultural
labourers and urbanised tribals who are
today employed in mines and factories.
The hunters and the food-gatherers
amongst these are the Bhatras who
according to legend migrated from
Warangal in Andhra Pradesh. All these tribes
have dances of the hunt, reminiscent
remotely of the hunt-dances of the Nagas
but very different in quality. For some of
these tribes the god of hunting is the Autga
to whom a thanksgiving is offered through
a dance. The actual dance connected with

hunting is elaborated in some of the tribes,
not so in others. Only men take part in
these dances. Besides the hunters, there
are the nomads like the Mang Garudi who
reside principally in Berar. On the camping
ground they hold many festivities, including
dances. The music and dance content of
these nomads is minimal and not as highly
developed as either the Himalayan nomads
or the Banjaras of Andhra Pradesh.
The Gonds, the Marias and the Murias of
various varieties are, however, dancers,
par excellence of the area. The Gonds along
with many allied tribes comprise a
population of nearly fifty Iakhs.
The Festival Dance
The Karma festival provides occasion for
the dance, amongst the Gonds as
elsewhere. The women with interlocked
arms dance in straight lines and rectangles.
The rectangle is also a characteristic motif
of the wall painting and pictographs of the
Gonds. The men form a separate circular
ring, and dance vigorously, displaying their
prowess. After a while, some dancers climb
on the shoulders of others and this twotier formation moves in perfect step, bodies
swinging to the rhythm of the drum and
the claps of the women. Later, the dancers
alight from the shoulders of the other
dancers, get inside the dancing circle, and
start threading in and out as if playing hideand-seek. The drum beats faster and louder
182
and the formations break up in an

uproarious tumult. In these dances, the
torso is bent in front. The knees are bent
and there is a circular pelvic movement.
The Gonds also perform Jhumar dances.
These are meant to accompany their love
songs. There are other songs, with social
themes.
The Chaitra festival dance is another
famous dance of the Gonds of Bastar
district; it is performed after the harvest
to thank goddess Annapurna for the harvest
already gathered and to seek her blessings
for the next crop. Men and women dance
in a circle, in semicircles or in rows; all
dancers hold each others waist.
A peacock feather on the head is a
distinctive mark and the dancers wear
colourful costumes, adorning themselves
with garlands of shells and pearls. As the
dancers go round in rhythmic movements,
their feet beat to the music of the shehnai,
nagada, timki, tapri, dholak and maduri.
Sometimes, the singha and kohuk
aerophonic instruments are also played.
Stilt Dance
Dancing on stilts is fairly common among
the Gond children of Madhya Pradesh. The
dance is popular in the Vindhyas, the
Satpura ranges, the plains of Chattisgarh
and Bastar. The proper season for this
dance is the rainy season from June to
August. A dancer who has learnt to balance
himself on the gendi can successfully
perform it even in water or on marshy
surface. The difficulty in balancing on the
gendi accounts for the fact that this dance
is generally confined only to children. Its
DANCES OF INDIA
attraction consists in balancing and clever

foot-work. Many dances are performed on
the gendi.
The Attire
The men wear white muslin turbans or
occasionally silk ones. The turban is
adorned with a coronet of peacock feather
stems. Down to the waist they wear a close
white saluka or blouse, below a dhoti of
small width coming down to the knees, the
end of which hangs loosely behind. On their
necks hang necklaces of silver or gold coins
or corals. Their hands are adorned with
silver bangles and their feet with heavy
brass or iron boat-shaped ornaments which
tinkle to the timing of the rhythm. In their
right hand they hold a staff, in their left a
white kerchief or peacock feathers. The
peacock is another important motif in tribal
art: during the dance, feathers acquire the
same ritual significance.
The costumes of the musicians are
different from those of the dancers. They
put on a shirt or a jacket and coloured
turbans; they do not use cowries.
The women wear a coloured dhoti, wound
close round the body down to the knees,
one end of which goes up across their
breasts to their backs. The knot of their
hair is adorned with a coronet of palm or
other leaves behind which hangs a net of
corals. From their necks also hangs a chain
of coins or corals. Besides the necklaces
of coins or corals they wear silver hansali
also. In their ears they wear heavy silver
ear-rings from which hang small slender
silver chains. Sometimes, this chain also
goes over the head to the ear on the other
side. Besides, they wear bahunta on their
183
arms, silver bangles on their wrists and

perry or todar round their ankles. While
dancing, in their right hand they hold thiski
(a clapper) and in their left a coloured
kerchief.
Gond Dances
The dances of the Gonds, particularly the
Saila and Rina, are highly developed. Many
parts of the human body are exercised and
there is a wide range of movement. The
formations change frequently. The men
form a circle in the initial stages: this is
followed by semicircles being formed in
twos. The women form a separate circle:
each group faces the centre of their
respective circles in some phases, and
backs the centre in others.
Abhujmaria
Kaksar is a festival dance, performed by
the Abhujmaria of Bastar. Prior to the rains,
the Maria cultivators in every village
worship the deity for reaping a rich
harvest. To invoke the blessing of the deity,
Kaksar, a group dance, in which young
boys and girls take part, is performed. Boys
put on a peculiar costume of a long white
robe while girls are clad in all their finery.
The dance presents to both girls and boys,
a unique opportunity to choose their life
partners, and marriage is enthusiastically
celebrated afterwards. There is rhythm and
melody in this dance. The melodious music,
the tinkling of the bells combine to create
an atmosphere of spell and enchantment.
Gaur Dance
But all these dances-beautiful and colourful
DANCES OF INDIA
fade before the resplendent beauty of the

dances of the Bison-horn or Seeng Marias
of Bastar. The dance is called Gaur after
the name of the bison. Frisking, jerking of
the bison is imitated. For the Maria boy his
head-dress with horns and beads is his
greatest possession. A group of these men
wearing bison horn head-dresses and veils
of beads and shells beat huge drums. The
girls carry sticks called tirududi in their
hands and wear heavy anklets: the two
together dance in intricate formations. The
girls form a row and then go around and
through the men dancers. They do not
usually sing, and even if they did, it would
be lost in the thunder of the drums.
Most of these dances have no religious
significance although the people believe in
Shakti and Danteswari who is considered
as the presiding deity during dance
performances.
Other forms
Many folk opera and drama forms have
evolved such as the Maancha and the
Chhattisgarh Nacha in Madhya Pradesh.
Ballad singing is popular and pervasive and
the stories of Alha and Udal hold audiences
in the same manner as Dhola Maru in
Rajasthan and Malushahi in Kumaon.
And yet, in spite of this rich variety and
the long sustained tradition of oral
literature, school of painting, sculpture and
classical music, Madhya Pradesh does not
have today a classical dance form
distinctive to it. This level in dance seems
to have disappeared during the last fifty
years or so.
184
DANCES OF INDIA
Natya Tradition in Maharashtra

SUCHETA BHIDE
oday Maharashtra does not have

any living classical dance
tradition nurtured and developed in
the local environment like the Bharata
Natyam of Tamil Nadu, the Kuchipudi of
Andhra or the Odissi of Orissa. But
interesting references can be found in the
sculptures and treatises on music and
dance of the Yadava period. They indicate
that the dance and music tradition closely
related to Natya Shastra was prevalent in
Maharashtra prior to the Mughal invasion.
The earliest reference to dance
in Maharashtra can be found in
the Aurangabad sculptures of the
6th and 7th century. Cave No. VII
has a beautiful panel showing a
dancing girl with six female
musicians. This dance posture can
be identified as Katisamam
according to Natya Shastra.
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.
The life-size figure sculptures on the temple
walls include female dancers in various
graceful postures representing Goddess
Parvatis Lasya. The figures of musicians
playing flutes, lutes and drums are also
seen. The reflections of Natya Shastra
Karanas like Talapushpaputa, Karihasta,
Prustasvastika, Diksvastika, Katisamam can
be easily seen in these figures. The
inscriptional references show that the

Mahalakshmi of Kolhapur was the family
deity of the Rashtrakutas the earliest
dynasty in Maharashtra. The Rashtrakutas
were great propagators of arts. The unique
cave temple of Shiva known as Kailash
was carved at Ellora during the Rashtrakuta
period-latter half of the 8th century. The
Kadambas, Shilaharas and Yadavas were
the next powerful dynasties in Maharashtra.
Of these, the Yadavasare known as the
greatest patrons of arts and devotees of
Shiva. Most of the old temples now found

in Maharashtra and in Deccan belong to
the Yadava period (1000- 1350 A.D.).
The Ambarnath temple (near Bombay) has
many dance sculptures. The inscription
inside the temple mentions that the temple
was built it 1060 A.D. by king Mummuni.
Most of the dance postures carved here
can be identified according to the
185
definitions of Sthanakas and Mandalas as

given by the old texts. The dance
sculptures are also found on the Shiva
temples at Jinnar (near Nasik) , Jhodga
(near Malegaon) and Khidrapu (near Miraj)
Several Sanskrit texts on music and dance
were produced in Maharashtra prior to
Islamic invasion. The well-known
Sangeetha Ratnakara of Sarangadeva is
foremost among these. Sharangadeva was
a court Vidtoan and musicologist of the
Yadava King Singhana (1210-1247 A.D.).
The Sangeetha Ratnakara is considered
as the most important treatise on old
classical music. It also includes chapters
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 Haridasas
Kathakaras. Another typical
Marathi Prabandha mentioned in Ratnakara
is Dhaval - the type of songs sung at a
marriage ceremony. Sharangadevas
contemporary was Parshvadeva. He has
written Sangeetha Samaya Sara which
also gives many Marathi musical terms.
Haripala-Deva, son-in-law of Ramachandra
Deva Yadava, wrote Sangeetha
Sudhakara on music and dance. Another
important treatise Manasollasa was
written in Maharashtra by the Chalukya
DANCES OF INDIA
King, Somesvara III, in 1131 A.D., almost

a hundred years before Ratnakara. This
gives two Marathi Geetas as examples and
mentions Oovi as being the most popular
Prabandha of Maharashtra. Jnanesvara and
Narnadeva, two of the great saint-poets
of Maharashtra have mentioned many
musical terms and techniques in their
writings. Namadeva has also mentioned the
names of ragas and talas for their
devotional compositions.
The Muslim traveller, Kena Batoota, has
written a description of Devagiri (todays
Daulatabad) in his travelogue. Along with
the popularity and excellence of the dance
and music performances he has also

described the palatial homes of the
musicians and dancers, their wealth and
high status.
The above-made observations make it clear
that in medieval Maharashtra (or Deccan)
dance and music were a part of the every
day life of the people, and the music and
dance were performed according to the
old texts.
186
The foreign invasions started in the latter

half of the 14th century. The Mughals came
from North-East and Europeans from the
West. Maharashtra had to bear the brunt
of their direct onslaught.
Comparatively away from
these, the extreme southern
provinces of India like Tamil
Nadu could hold on to their
art traditions and their social
significance as a means to
attain divine peace. In
Maharashtra these norms
were overshadowed by the
political
and
religious
onslaughts of alien invaders.
Muslim fanaticism barred
women from free movement.
Under the command of Shivaji
the great, came the first
concentrated opposition to
the Islamic invasion. The
ballads (called Powadai in
Marathi) sung in praise of the
brave warriors took the place
of the devotional Natya forms.
Lavani an erotic musical lyric
became more popular with the
urban masses as a form of
light entertainment in the
latter Peshava period (first
half of the 19th century).
Comparatively, the conditions
were more stable in southern
Maharashtra, The old forms of
devotional
plays
like
Dashavatar, Kola, ]agar, Lalit, and Gondhal
continued to be performed uninterrupted
as a part of the temple festivals. These
forms still exist in their old technique as a
DANCES OF INDIA
part of village life in Maharashtra. Goa at

the extreme south of Maharashtra also
offered shelter to Natya traditions.
Fortunately, even with conversions to
Christianity, the Portuguese
rulers did not seem to have
interfered with the cultural
traditions of the land. Till
fifty years back, Goa had
the Devadasi tradition of
music and dance. The
Devadasis were maintained
by the temple institution and
they gave special music and
dance performances (called
Pene) on the occasion of
temple festivals that were
celebrated all the year round.
They danced in front of the
palanquin when the deity
was taken out in procession,
a custom similar to South
Indian temple festivals. Their
dance had a delicate grace
and a classicism of its own.
Today this tradition is in a
total decadent form.
The reform of the Marathi
theatre began in Central
Maharashtra in 1842 A.D.
due to the contact with
Karnataka. A troupe of
Yakshagana performers were
visiting Sangli State. Raja
Appasaheb Patwardhan,
then the prince of Sangli and
the connoisseur of arts was so much
impressed by their performance that he
asked Vishnudas Bhave, his protege to write
and produce a similar play in Marathi. No
187
classical Natya tradition was alive in

Maharashtra then. This may be the likely
reason why Vishnudas Bhave omitted the
Nritya aspect of the Yakshagana technique
from his own mythological production. He
adopted only such features of Yakshagana
like
Sutradhara (the conductor,
commentator), the Vidushaka ( a comic
character),
Nandi
(benediction),
Vigneshwara Stuti (prayer to Lord Ganesh),
mythological themes, absence of stage
decorations, etc., which were in fact
derivatives of old Sanskrit Natya.
Thus was launched the first reformed
mythological Marathi play under the
influence of Carnatic Yakshagana. Almost
fifty years later started the golden era of
Marathi theatre through the musical plays
of Annasaheb Kirloskar and Kakasaheb.
Khadilkar. The base of these plays was still
mythological, yet the performances and
decor started becoming more and more
refined. The forte or these plays were the
songs acted and sung by the great singercum-actors like Keshavrao Bhonsle,
Balagandharva, Master Krishna Rao and
others. These created a new tradition of
drama-music for Maharashtra known as
Natya Sangeeta. Being more lyrical and
full of emotion this light classical music
thrilled the audiences more than the pure
classical. But the inspiration for many of
them came again from the popular Carnatic
Kritis, Their original tunes were adopted to
DANCES OF INDIA
the Hindustani ragadari way of singing with

a perfect blending.
A parallel instance had happened at
Thanjavur about 150 years earlier to the
reformation of Marathi drama in
Maharashtra. The Tanjavur Maratha rulers
were overwhelmed by the beauty of
Carnatic arts. Themselves being scholars
they mastered the Carnatic music dance
and drama techniques and wrote dramas
and dance compositions in Marathi. They
probably thought that the usage of their
mother-tongue would help their brethren
in Maharashtra to understand and enjoy
the classical dance and drama and it would
again take root in their homeland. Whatever
may be the reasons, their efforts did not
seem to have created the desired effects.
However, in the past century, Maharashtra
has made a great contribution to the
development and refinement of North Indian
Hindustani Classical music by way of many
outstanding scholars and musicians.
Though Maharashtra has lost its original
classical dance or drama tradition today,
it certainly has the necessary cultural,
musical and literary base. As a devout
Bharata Natyam dancer, this author feels
hopeful that taking inspiration from the
Marathi rulers of Thanjavur, Maharashtra
can evolve a new desi mode of Bharata
Natyam and thus enrich the great art
traditions of this land.
188
DANCES OF INDIA
Folk - Dances of Rajasthan

DR.KAPILA VATSYAYAN
thnologically, Rajasthan presents

a varied picture: there are many
tribes comprising of the Sansis, the
hereditary criminals, the Kamaras, the
Banjaras (the nomads) and the Gujjars,
the Kathods, the Bhils (who are found in
all parts), the Bhila Mina, the Garasias,
the Sehrias and the Rebaris. The
agriculturists sow bajra, jawar and maize;
many agricultural cults revolve around the
harvest of these. Camel and sheep provide
the basis of animal husbandry. Dance forms
such as the Ger, the Gher Ghoomara, the
Ghoomar, the Jhumar, are performed at
both the tribal and village level: indeed,
the Jhumar has travelled upward and has
become the regional dance of the urban
centres also.
Gher Ghernur
The Gher Ghemur of the Sansis is the
simplest of the dances, both in content
and form. It begins with a slow movement
where men and women first dance in two
separate lines and then form a circle with
a man and woman alternating. The tempo
of the dance increases gradually to a point
where each person has both a rotating
movement around his own axis, as also a
revolving
movement
along
the
circumference of the circle. The hip
movements are the most characteristic
feature of this dance.There is both
instrumental
and
vocal
music
accompaniment to this dance. The dance
is vigorous and there are no languorous

movements.
Of Ajmer
The Sans is and Kanjars from Ajmer have
their own variety of dances which are
different from the Sansis of other regions
of Rajasthan. Nevertheless, these are also
mixed dances which are performed on
festive occasions to the accompaniment
of a dholak, jhalar and algoza. As a
particular dance develops, it gains in tempo
and the womens movements have an
unbelievable swiftness. Pirouettes, circle
rotating and revolving movements abound.
In all these torso is used as one unit, so
are the lower limbs. Movements are circular.
The Bhils of Rajasthan have a variety of
dances, which correspond to the
agricultural cycle.
Ghurner
The Ghumer dance is the very life-blood
of the Bhil culture. Performed at all seasons,
it is always accompanied by songs of love,
glory or defeat. Men and women move in a
circle, one half of men and the other of
women. This Ghumer dance should be
distinguished dearly from the dance of the
same name prevalent in Rajasthan amongst
the members of urban society; today the
latter is a popular ceremonial dance
amongst the aristocracy of Rajasthan. The
Ghumer dance of the Bhils is a much more
virile dance and is like the Ghumer dance
189
of the Sansis. Ghumer of the urban centres

becomes a polite social dance of women.
Raika
A mixed martial dance is the Raika. Men
and women start in two rows. The men
hold swords. Men sing, invoking the gods
to grant them strength in order to defeat
the enemy. Men and women then form a
circle and move in steps, which are
characterised by a sliding movement of one
DANCES OF INDIA
shehnai and nagara. Other dances are also

performed on the occasion of marriages.
The gait of the women in all these dances,
is the characteristic feature of the Bhil
dancing of Rajasthan, Madhya Pradesh and
Gujarat. The body is held relaxed, the torso
is used as one unit, but there are some
curved movements demanding the use of
upper chest and lower waist separately.
While the tempo is fast, there is little use
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
foot and a shifting of the hip girdle from

side to side. The dance begins slowly but
reaches a climax, when the men brandish
their swords in a frenzy.
Jhoria
Amongst the dances which revolve around
the life cycle is a marriage dance called
Jhoria. The Jhoria literally means a wooden
stick. The men form one circle, the women
another one and they perform a vivacious
dance to the accompaniment of the dhol,
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
and thali. Many different types of dresses
are worn by the dancers, representing
different characters. In form and style this
is a ritual dance-drama, rather an
occupational dance.
Gher
The Gher dance is a favourite dance of
the Mina tribe who are akin to the Bhils;
this is performed during the Holi festival.
As the dance gains in tempo, the dancers
form themselves into circles. This is
190
predominantly a mans dance.

Also, there are the Bhil dancers of Jalore
district, amongst which the Dhol dance is
the most popular. Each dancer has a big
drum (dhol) which he plays while dancing.
Other dancers carry naked swords in their
mouths.
Valar
Valar is a typical dance of the Garasias.
Its song is woven round the beauties of
nature, the starry night, the moon, the
mountain and the restless rivers; it is an
expression of romantic feelings and is in a
lyrical mood. The sentiments of the song
are presented through suitable gestures.
Artistically, the dance is highly developed;
unlike other tribal dances it seeks to
establish a correlation between the word,
sound and the gestures. Also the open
strong movements of the men of the deserts
give place to more languorous movements.
Tera Tali
The Komar tribe performs the Tera Tali
which is an elaborate ritual with many
elements of dance. It is generally performed
by two or three women who sit on the
ground. Manjiras or small cymbals are tied
to different parts of the body of the
dancer. The dancers face is covered with
a veil and a naked sword is held between
the teeth: a decorated pot is balanced on
the head. The dancer holes a manjira in
each hand. It is said that there are thirteen
different ways of striking the manjiras and
perhaps thirteen manjiras are tied to the
body of the dancer. Thus equipped, the
women squat on the ground and produce
a variety of sounds. Sometimes, in the
DANCES OF INDIA
course of the dance, many imitative

actions signifying the grinding of corn, the
milking of the cow are also portrayed. The
sitting position does tot change, but the
women shift or slide on the ground.
Movements of the upper limbs are intricate.
The dance is accompanied by men who
sing the song to the accompaniment of ek
tara and manjirus.
In contrast are the dances of the sturdy
tribe of Sidh Jats who live in the remotest
part of the Thar desert. They are followers
of Guru Gorakhnath and are famous for their
yogic feats. A huge fire is lit, big drums
and pipes play the music, and a song is
sung. The dance is performed to this
accompaniment. A group of Sidh Jats jump
into the fire and dance vigorously in a
normal manner for an hour or so. This firedance takes place in March-April during a
mela (fair) held in memory of Guru Jasnath.
Geeder
Geeder is danced by the tribes of the
Shekhavari area. I t begins fifteen days
before Holi. In this, only men take part.
Drums are kept on a raised platform and
the dancers form circles. Sticks are also
used. It resembles the Gher in many ways.
In this and other dances, we observe the
coalescing of the levels of agricultural
functions and myth.
Kachhi Ghori
The Kachhi Ghori is very popular in the
eastern part of the State. As the name
implies, the dance is a presentation of
horse-riding. The horse used in the dance
is made of two small bamboo sticks with
two baskets tied to each end. An
191
artistically prepared head of

a horse is fixed to one of
the baskets and a bunch of
flex-fibre to the other. The
dancer, dressed as a
bridegroom in flowing
costume and with sword in
hand adjusts the horse on
his waist in such a way as
to create a realistic effect.
Movements are jerky and
angular.
In a typical Kachhi Chori
dance (performed mostly
during marriages) four to
five dancers take part at a
time and dance to the
accompaniment of the dhol
and turahi. Rajasthan is the
home of a number of ballad
and dance forms also: the
most famous amongst these
is the Pabuji-ki-Par. It is like
the Ramola and the
Maiushahi of Kumaon. The
Pabuji-ki-Par is painted,
sung and danced
The Costumes
The costumes of the dancers of Rajasthan,
whether tribal or urban society, have many
common elements. The closely gathered
ghaghra (skirt) is common to all the tribes
and castes of Rajasthan. The design and
the type of the skirt varies from region to
region and the kind of material used also
changes from level to level but brightcoloured prints are common: particular
DANCES OF INDIA
prints are earmarked for

special groups. The
women wear long-sleeved
cholis and have very large
beautifully
printed
dupattas.The ornaments
are of both silver and gold.
The Bhil tribes use silver,
but the sophisticate
women of the aristocracy
prefer gold ornaments. A
characteristic feature of
the head ornament is the
bodla which is a gold
ornament with stones and
is worn in the centre of
the forehead: this is also
a common ornament for
the lowliest and the
highest. The characteristic
costume of the men consists

of a tightly worn dhoti with a
traditional bandi and a
turban. Although the type of
the dhoti as also the longsleeved bandis vary from
region to region in Rajasthan, the manner of
draping is common to practically all the
communities of Rajasthan.
The deserts, the sand-dunes, the few
oases of greenery, the history of wars
fought and won, the romantic tales of love
have all contributed in giving Rajastan its
rich and ornate culture with a distinctive
regional character. Solo skilful artists,
professional musicians, dancers and
acrobats are the repositories of many
traditions of the performing, plastic and
the decorative arts.
192
DANCES OF INDIA
Folk - Dances of West Bengal

Dr.KAPILA VATSYAYAN
he history of Bengal is all too

well-known to be retraced.
Although early archaeological
remains are few, and there is little evidence
of monumental architecture and sculpture
before the establishment of the Pala Sena
kingdoms, it is common knowledge that the
region shares its early history with the rest
of India. Between the 11th and 18th
century, Bengal broke up into a number of
small potentates who seemed to have been
content with their particular local culture.
However, this was also the time of the
spread of Vaishnavism. The songs of Jaidev,
Vidyapati and Chaitanya entered every
home and hamlet. Different forms of
Vaishnavism, such as the Sajiva
Vaishnavism were overlaid with Gaudiya
Vaishnavism. The contemporary traditions
of music and dance have to be viewed
against this ethnic and historical
background.
Makara Sankranti is an important festival

in all parts of Bengal. The Tusu Parab is
held in Birbhum on this occasion. Groups
of young girls gather every evening
throughout the month of Pousa (DecemberJanuary) and sing songs which have been
termed by the generic term Tusu. On the
day of Makara Sankranti the groups go out
of the village to a nearby tank or river
with the goddess Tusu symbolised in small
clay figurines or sometimes merely as cowdung balls. After a sacred bath they return
to worship and make offerings of rice to
the deity. Different groups meet, sing songs

near the river-bank or the pond and
compete with each other. The songs are
accompanied by simple group movements:
there is no other accompaniment.
The men also have their particular songs
and dances for the occasion: these are
known as the Bhaduriya Saila. The dance
content is more predominant here: men
dance in circles clockwise and anticlockwise. During the preharvest rites of
Bhadra and other festivals like the Chhata
Parab are held.
In Chaitra, another type of composition
known as the Jhumar is sung and danced.
Jhumar can be sung and danced by only
men or women or both depending upon the
particular occasion. The Jhumar at Chaitra
is a typical mens dance which is
accompanied by drum (madal) and cymbals.
At the time of the transplanting of the
paddy only women sing and dance the
Jhumar. This is then known as the Ashariya
Jhumar. This typical agricultural ritual
dance and music was perhaps later taken
over by the professional dancers called
Nachnis. Special songs were composed for
these dances under the patronage of the
small nobles and jamindars. Names of many
Jhumar composers such as Dinbandhu
Narottam and Ram Krishna etc. are known.
Into the agricultural songs of transplanting
paddy was impregnated the theme of the
love of Radha and Krishna and other stories
of mystical union. The basic tune of the
193
Jhumars remained more or less the same.

The development of the Jhumar provides
an interesting instance of an old form
absorbing a new content.
The agricultural dances have gradually
given place to dances which are purely
devotional or religious in character.
Practically each different sect has its own
music and dances. The worshippers of
Shakti dance in the Chandi mandir of Siva,
in the dance hall called Gambhira and those
of Vishnu in the Natmandir. All these
pavilions are specially constructed for the
dance in front of the shrine. The Gambhira
festival is held on this day. So also is the
Chakar festival on Chaitra Sankranti in
Tarakesvar where Siva is worshipped. Gazan
dance is performed by men dressed in
saffron robes who carry a dhanuchi
(incensed burners). This is exclusively
performed by men; the musical
accompaniment is provided by decorated
drums and brass gongs (Kanshi).
The ballad singers, the boatmen, the
fishermen and the professional musician
dancers, actors, acrobats and even
jugglers have their distinctive songs and
dances. The Bhatiyali, a popular light music
form, can be traced back to the boatmans
music - the baul to the mendicants and
the gazi to others.
A characteristic feature of these is the
musical accompaniment which consists of
a one stringed instrument called the ektara.
The dance movements are, by and large,
restricted to short sequences which
DANCES OF INDIA
intersperse the singing. The footwork is

elementary, but the movement of the pelvic
girdle is difficult and characteristic. It is
freely used by men singing the songs to
indicate a dramatic moment.
The martial dances of the Raibenshes and
the Dhalis, however, tell a different story.
The dances of the Raibenshes of Burdwan
and Birbhum seem to be the last surviving
vestiges of war-like traditions. The
technique of the dances is so vigorous that
there has been a new interest in teaching
these dances to educated boys and girls
of urban centres specially by the Bratachari
organisation. Essentially the dance is a
series of vigorous physical exercises, in
which the erect torso has an important
part to play. The dancers begin in a single
file and then make a circle. Hops, jumps
and circles are characteristic. Skills with
the shield and the spear and the trishul
are common. A percussion instrument
accompanies the dance.
To a totally different category belongs the
Jatra, the traditional theatre form of Bengal.
The Jatra is performed by travelling troupes
under the management of a man called
Adhikari. Although, originally, the Jatra may
have
had only the theme of Radha and Krishna,
today Jatras are written and performed by
writers and dramatists of rural and urban
centres. Its format resembles the structure
of the other folk theatre forms like the
Nautanki of Uttar Pradesh and the Bhavai
or Tamasha of Gujarat and Maharashtra.
194
DANCES OF INDIA
MANIPURI DANCE
DARSHANA JHAVERI
anipuri dancing developed in

the North-eastern part of
India, 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 Gaudiya Vaishnavism, 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 gurus and artists delved
deep into the Vaishnavite Sangeet
Shastras 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
even wrote various manuscripts.
Throughout the year, each and every social
and religious festival is celebrated with
different forms of dance and musice.g.
dances with drums like Dhol, Dholak, Dafat,
Khajari in Holi festival, dance with claps in
Ratha Yatra festival, dance with cymbals
in Jhulan Yatra, dance with sword and spear
in Durga Pooja, and dance with Kartal and
drum in Natpala in different social and
religious festivals such as birth, marriage,
shraddha and before Rasleelas.
The themes of childhood pranks of young

Krishna as well as the divine love of Lord
Krishna and Radha pervade in most of these
festivals. Rasleelas and Sankirtans are the
highly developed dance-forms revealing the
high aesthetic religious feeling of the people
of Manipur. Rasleelas go on for 8 to l0 hours
in the temple courtyard from dusk to dawn.
The religious people of Manipur shed tears
of joy experiencing it as the real spirit of
the Lord. All the technical elements
mentioned in the Sangeet Shastras are
found in Rasleelas such as Nritya, (Pure
195
Dance), Nritya (Interpretative dance) and

Natya (Theme expressed through four kinds
of Abhinaya).
The songs are sung in Padavali language
such as Brajabali, old Bengali, Sanskrit,
Braja and now into Manipuri language
written by the devotional poets like
Chandidas, Vidyapathi, Gyandas, Jayadeva,
etc. They have a variety of talas ranging

from four beats to sixty-eight beats and
their various rhythm patterns as well as
DANCES OF INDIA
dances on Nritta and Nritya Prabandhas,

Manipuri dance is one of the most graceful
and lyrical dance styles of India. The
swaying movements of the neck and torso
are inspired from the bamboo trees lilting
in the breeze. The movements are rounded,
continuous mingling into each other like
the waves of the sea. There is an equal
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 dhotis 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
strengthen the old classical tradition.
196
DANCES OF INDIA
Folk- Dances of Arunachal Pradesh

NIRANJAN SARKAR
ance in India has variegated forms,

It is like a necklace composed of
beads of varied hues, shapes and
sizes. Dance in Arunachal Pradesh is only
one of those beads, the totality of which
makes the heritage of this art in India.
Dance is the stylised rhythmic movement
of any or all parts of the body to express
some emotions, ideas or to narrate a story.
When a dance is accompanied by significant
gestures and attempts the narration of a
series of events, it becomes pantomime.
The dances, performed by the tribes of

Arunchal Pradesh, have been broadly
divided into four groups. The first group is
the ritual dances which form part of a ritual.
This group may again be divided into five
sub-groups. The first sub-group includes
those dances which form part of the various
rituals performed to secure prosperity, good
health and happiness of the dancer, his
family, village or the whole community. The

second sub-group comprises of those
dances performed in ceremonies related to
agriculture and domestication of animals
to secure a good harvest and increase of
domestic animals respectively. The third
sub-group is associated with the funeral
ceremony when the soul is guided by the
priest t) its abode in the land of the dead
and to prevent it from haunting its old
residence. It is generally believed that if
the soul returns to its old home, the
bereaved family suffers diseases and
deaths. The fourth sub-group consists of

the fertility dances. These are magical in
the sense that the imitation of the
movements of coition is believed to
promote fertility. War-dances make the fifth
sub-group, which are on the decline with
the stoppage of internecine feuds and
raids. In the old days, when an
expeditionary party was successful in killing
197
an enemy or more, the victors used to

perform a ceremony on return, so that the
spirit of the slain could do no harm to the
slayer. Only among the Idu Mishmis, the
victims family also used to perform rites
praying for success in taking vengeance.
Dance formed a part of this ceremony.
Some of the tribes still perform this
ceremony with the dance, when a tiger is
killed. Its purpose is to prevent the spirit
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 dancedramas which narrate a mythical story or
illustrated a moral. So, these are educative
in purpose. The Buddhist tribes have a large
repertory of these.
The Tangsa Dances
Long long ago, the Tangsas did not have
any dance. A man was returning from his
field when he heard a tremendous noise
inside the jungle he was passing through.
He became inquisitive and stealthily
approached the spot. There he saw a big
assemblage of monkeys performing a dance
DANCES OF INDIA
in an open place. He was enchanted by

the dance and marked it in all its details.
On his return to the village, he told the
villagers of the marvel he had seen in the
jungle. The villagers also organised a
dance- party and performed a dance
imitating the movements of the monkeys
and that was how they learned dancing.
The Tangsas do not have any special
costumes for dance, but wear their usual
dress. Men wear a check lungi and a shirt

or banian ; women, a skirt and a blouse.
Some of them have a scarf also, A few
may have a turban. Several sub-tribes
(Jogli, Lungri, Moshang, Longphi, Kimchin,
Lang-shing, Tolim, Morang, Rongang,
Tikhak, Yangkuk and Sangbal) of the
Tangsas used to perform the Khatang
ceremony in which the worship was
accompanied by human sacrifice. In that
ceremony, they used to perform dance and
the drum was played in accompaniment.
With the advent of administration in this
area, this ceremony is no longer practised
198
and along with it has gone the drum as a

musical instrument. They believe that the
playing of the drum was part of the
ceremony. That being so, if they play the
drum without performing the ceremony itself
the deities may be vexed and may afflict
them with trouble in the form of disease
and death. Four sub-tribes (Longchang,
Ponthai, Saban and Moglum), which never
performed the Khatang ceremony, however,
use the drum in the dances of the Mol
festival. The only other musical instrument,
played by all the sub-tribes, is the going.
They do not like to perform dances out of
season but only during the appropriate
festivals as they think that such
performance may enrage the deities who
may as a consequence make them suffer
from some calamities. The war-dance and
the dance in connection with the Khatang
ceremony are no longer performed.
Kukjong Festival and Dance
This festival is celebrated by eight subtribes (Lungri, Moshang, Longphi, Kimchin,
Tolim, Morang and Sangbal) in the month
of December-:January. They start clearing
the jungle for cultivation after the festival,
which lasts six days. On the first day, all
the able bodied men of the village, go out
on a community hunt. They return on the
third day and the bag is equally shared
excepting the headman, who is allotted a
larger share. The women prepare large
quantities of beer. At night, a grand feast
of meat and beer is followed by dance.
The feast continues on the fourth and fifth
days followed by dancing at night. They
abstain from work on the sixth day. The
clearing of jungle is taken up from the
DANCES OF INDIA
seventh day.
All, men and women, youth and adult, go
round all the houses in the village where
they , dance and sing in a circle round the
hearth. The movements are the same as
that of the main circular movement of the
Sapoloro dances of the Champhang festival.
There is no special costume for the
occasion and no musical instrument is
played.
The Wancho Dances
The Wanchos do not have any myth about
the origin of the dance. They perform the
dances only during the appropriate
occasions. They do not have any dance
which can be performed now and then
simply for merriment. There is no formal
training, but in each dance, children of
even six or seven years old join. They learn
the movements by imitating those of the
elders. No musical instrument is played to
the accompaniment of the dances.
Ozele Festival and Dance
This festival is celebrated in FebruaryMarch after the sowing of millet. It lasts
for four days as was observed in Longkhau
village. The dance is performed from about
9p.m. to 11 p.m. inside the chiefs house.
Among the male-folk-, boys, youths and
adults take part while among women, only
girls and these young married women who
have not yet got an issue and have not
joined the husbands family, take part in
the dance. The dancers, dressed in their
fineries, stand in a circle, surrounding a
bonfire. The girls stand on one side of the
circle holding each others hands. The male
dancers hold a sword in the right hand and
199
most of them place the left hand over the

shoulder of the dancer to the left. The
male dancers start singing when all take a
short step with the right foot to the right,
flex the knees with an accompanying
forward swing of the sword and gently bring
the left foot up to the heel of the right
one. They repeat this sequence of
movements. When the singing of the maledancers, ends, which is generally on the
eighth or ninth step, all stamp their right
foot once on the ground. The female
dancers take up the singing in reply. They
stamp the right foot twice on the ground
during their turn of singing, once generally
in the fourth step and the next at the end
of the singing which generally falls on the
ninth step. Again the male dancers take
up the singing and thus the dance
continues
.
All the male dancers have a cane basket
hanging at the waist over the buttocks.
The basket is decorated with coloured
straw tassels, monkey skulls or wild boars
tushes. The straw tassels of the baskets
are decorated with coloured beads. The
straps of some of the baskets are
decorated with white conch-shell-discs.
Each basket has a bell fitted at its bottom.
The tinkling of so many bells is the only
musical sound. All have anklets of straw
and girdles of one or two loops of red cane
or of bands of cowries or beads just below
the knee. The boys and a few youths are
naked but others wear a loin-cloth which
is white or light blue in colour with two red
stripes at the ends decorated with small
beads of different colours. This loin-cloth
is tucked in position with a cane waistband which is about six inches broad ...
DANCES OF INDIA
The armlets are either of ivory, brass or

red cane loops. The handle of the sword is
decorated with coloured goats hair. All wear
some bead necklaces. Some wear
necklaces of coins. The ear decorations
are tufts of red woollen threads or earplugs of wild goats horn or ear-plug
decorated with red seeds. Some have
head-dresses made of bamboo, silvershaped in a cone and decorated with hornbill feathers. Some have red cane headdresses decorated with wild boars rushes,
The hair up to the middle of the crown is
bought forward and cut so that the fringe
reaches just up to the top of the forehead while the hair of the back is kept
long and tucked round a red or yellow
coloured rectangular piece of wood, called
the khapak, Some of these khapaks are
studded with small pieces of glass while
some are decorated with carvings of the
human figure or human skull or with a tuft
of coloured goats hair. The sides of the
head are shaven.
The girls of the Wangham and Wangcha
groups keep the hair long arranged in a
tress, but the girls of the Wangpen group
have their hair cropped. Some of the girls
have head-dresses made of palm-leaf
shaped into a cone and some of these headdresses are decorated with feathers. They
also wear ear-rings. The upper portion of
the ear-lobe has one small red slick pierced
through it and projecting like a horn. The
neck and breast are covered with a
profusion of bead-necklaces of different
colours. The hand is covered completely
with metal bangles and armlets. A few have
coloured rugs mostly red while others have
a white cloth wrapped round the waist.
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 fertilitydance. The ritualdance is performed
by the priest or
priestess in the ceremonies of Ai-ah, Aiih, Mesalah and Rren. The fertility dance is
performed on the last day of the Rren
ceremony.
The Ritual Dance
There is no definite myth about the origin
of this dance. According to local tradition,
the first priest who officiated in a funeral
ceremony was Chineuhu and his brother,
Ajijiuh, was the first priest who officiated
in the other three ceremonies in which this
dance forms a part. As this dance is
associated with the priestly office only,
these two brothers may be said to be the
originators of this dance.
Besides the priest, there are three or,
occasionally, four other dancers who are
selected from amongst the spectators. In
addition to the usual dress which consists
of a loin-cloth a short-sleeved coat, and a
sword slung on the right side, a leather
bag slung on the left side and a few bead-
necklaces, the priest wears a few other

articles. These articles are an apron with
particular designs, a head-band decorated
with two or three rows of cowries, a
necklace studded with the teeth of tiger
and bear and a few metal bells. A priestess
wears these special articles in addition to
the usual Mishmi womans dress of a skirt,
a long sleeved coat and bead- necklaces.
The priestess is generally accompanied by
female dancers. The accompanying dancers
wear the usual dress.
The dancers stand in a line, the priest is
second either from the right or left. During
the dance, one dancer standing at one
end of the line plays a small drum slung
from his neck. The priest and the other
two dancers play a very small semi-globular
single-membrane drum, striking it with a
bamboo-stick which is kept tied to the drum
with a string. The fifth dancer, if any, plays
a horn bugle. When there are five dancers,
the priest stands in the middle of the line.
201
He sings a line of invocatory song while all

the others play the musical instruments,
flex the knees bobbing up and down and
alternately raise the right and left heels
and stamp these on the ground in time to
the drum-beats. When the priest finishes
singing the line, others repeat it in chorus.
Again the priest sings another line of the
song which the others repeat in chorus
and thus it goes on.
After a prelude of flexing of knees and
stamping of heels, they place one foot
forward and immediately bring the other
up beside it. If in the first step the right
foot is taken forward, then in the next step
it is the left one. After each step, they
flex the knees. Thus, they dance forward
to the accompaniment of drum-beats and
invocatory song. When they have danced
forward for some distance, they dance
backward with the same movement. Thus
they dance moving forward and backward.
Sometimes they break away from the line
formation and the four dancers standing in
the four corners sing an invocatory song,
play the musical instruments and dance
flexing the knees and raising the right and
left heel alternately and stamping these
on the ground. Now and then they change
positions dancing all the time but facing
inward. Sometimes they dance in a circle
following one another with tripping steps.
In another movement, they dance sideways
either in a clockwise or anti-clockwise
direction. They stand in a semi-circle and
in the anti-clockwise movement, they take
one step with the right foot to the right
and immediately bring the left foot beside
the right one. Thus they dance in a circle,
DANCES OF INDIA
flexing the knees after each step.

The movements of the dance are known
to all. Whenever or wherever there is the
ritual dance, three or four persons act as
the accompanying dancers. If anyone of
the accompanying dancers is not sure of
the next movement, he keeps a close
watch on the movement of the priest and
imitates him. Thus, by imitating the
movement of a priest, he learns it.
The priest does not demand any money
for his priestly services, but the performer
usually remunerates him according to his
ability. The payment generally ranges from
two to five rupees in the ceremonies of
Mesalah and Ai-ih, from thirty to fifty rupees
in the Ai-ah ceremony while in the Rren
ceremony it ranges from sixty to one
hundred rupees, in addition to ten seers of
rice and a quantity of beer. The
remuneration may also be paid in kind e.g.,
with handloom coat, brass utensils or pigs.
The dancers accompanying the priest do
not receive anything.
The parents of a new-born baby have to
observe ten days taboo, during which they
do not take part in any social function and
so in dance also. The taboo for death is
five days and that is to be observed bv all
the members of a bereaved family. A
priestess can officiate in any ceremony or
conduct a dance when she is in her menses,
if she thinks herself fit. If a man consumes
the meat of a jungle animal, he cannot
join in any social function for five days. A
priest in such circumstances refrains from
officiating in any ceremony for five days
and others, likewise, do not take part in
ceremonial dances during the period.
202
Women do not take pork, chicken, beef or

the meat of jungle animals, except the
porcupine and jungle- mouse. So this taboo
has little relevance to them.
Digaru Mishmi Dances
The Digaru Mishmis have no myth about
the origin of the dance. They have two
types of dances called Buiya and Nuiya.
The Buiya dance has two types of
movements and it is performed for
entertainment while the Nuiya is a ritualdance performed by a priest.
DANCES OF INDIA
take part in this dance. There is no limit to

the age of the dancers although generally
children and old persons do not take active
part in the dance itself but merely sit by
as spectators. There is no special costume
for this dance, so they perform this dance
wearing their usual dress. The male dancer
wears a loin-cloth a sleeveless jacket, a
turban and ear-rings. The female- dancer
wears a blouse, a long skirt reaching down
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
and an enormous quantity of beer is brewed
for the entertainment of the villagers and
other invitees. This dance may also be
performed after a feast arranged by a
family to entertain the fellow villagers who
co-operate with it in opening a new field.
The dance is performed in the passage
which runs along one side of the house
from the front to the rear. Men and women
to the ankle with a short one wrapped over

it and a side-bag on the left side. They
wear necklaces, large silver-ear-plugs and
a silver fillet with its strap studded with
coins or cowries.
The dancers stand in a line, one behind
the other, in the passage. One of the
dancers plays a drum while another plays
a gong. Cymbals are played, if available,
by another dancer. Keeping time to the
203
beats of the drum, gong and cymbals, the

dancers take one step forward with the
right foot, then gently bring the left foot
up to the heel of the right one gracefully
flexing the knees. Next, they take one step
forward with the left foot, bring the right
foot up to the heel of the left one flexing
the knees as before. They dance forward
repeating this sequence of movements till
they reach the rear of the passage when
they turn back and dance up the passage
with the same sequence of movements.
Thus they dance up and down the passage
of the house. They may or may not sing to
the accompaniment of the dance. When
they sing a song, it may be solo or in
chorus.
There is another movement when they
dance with skipping steps but with no
accompanying song. The skipping steps of
the female-dancers are lower and graceful
while those of the male-dancers are higher
and more vigorous.
The dancers get no remuneration. There
is no formal training but they learn the
dance movements by imitating those of the
elders. In case of death, the near kins do
not take part in dance till the funeral
ceremony is performed. The women under
menstruation do not take part in the dance.
The parents have to observe a taboo for
eleven and ten days for the birth of a son
and a daughter respectively, when they
cannot take part in dance.
The Khampti Dances
The Khamptis, who arc Buddhists, have no
rnyth about the origin of the dance. They
have many dance-dramas through which
they unfold some stories or depict mythical
DANCES OF INDIA
events bearing ethical lessons. These

dramas are generally staged during the
religious festivals of Potwah, Sankian or
Khamsang, constituting the entertainment
part of the festivals. If the youths are
resourceful enough and have a liking, they
may organise a drama on any occasion.
The musical instruments, played to the
accompaniment of these dramas. are the
drum, gong, cymbals and flute.
The Khamptis observe some religious rites
and practices called the Nawah for three
months during the rainy season. During this
period, they lead a life of sober restraint.
They abstain from taking intoxicating
drinks. They do not kill any living being nor
do they join in any entertainment. The older
people engage themselves in prayers and
in reading the scriptures. They also pay
periodical visits to the monastery where
they make oblations to Lord Buddha. The
religious observance en the last day of the
Nawah is called Potwah. It is followed by a
period of about a week devoted to merrymaking during which a drama is staged.
The Sankian festival is celebrated in AprilMay and involves the ritual of pouring water
on the head of the image of Buddha in the
monastery.
There are three stages through which the
novices have to pass before they attain
monk- hood. In the first stage, the novices
are called Kapi. When they attain a certain
standard of religious scholarship, they pass
on to the middle stage when they are called
Chousang and then to the final stage when
they are called Cham an. The Khamsang
festival is observed at the time when the
novices pass from the Kapi to the
204
Ohousang stage. It is generally observed

every third year. But it may vary at the
discretion of the head-monk.
The dance is called ka and the dance-drama
is called kapung (ka-dance; pung-story)
and actually means a story depicted
through the dance. There are always a
few aged persons who were
good dancers in their youth
and their help is sought at
the rehearsal of a play- help
which they give freely. The
rehearsal of a drama starts
about one month before a
festival. This may be done
in the monastery or in any
house of their choice. At the
time of the rehearsal which
is generally done after dusk,
they do not wear the
costumes. The well-to-do
villagers invite the dramaparty when the drama is
staged in the front
courtyard or in some
suitable open space near their house.
Women do not take part in the drama. The
female role, if any, is played by a man in
woman costume. After the performance,
the party is given a remuneration of seven,
fourteen, twenty-eight or forty-two
rupees-always an amount divisible by
seven. They purchase with this money the
costumes and masks used in the dramas.
The surplus, if any, is shared by the
members of the drama party. If death has
occurred in the house of a member of the
drama party, he cannot take part in a
DANCES OF INDIA
drama until the funeral rites have been

performed.
Ka Fifai Dance-Drama
The Ka Fifai drama is woven round the
theme of the traditional belief that ghosts
appear and kidnap girls or men and trouble
them.
The
participants 111 the
drama consist of a
man, his daughter
who is kidnapped, the
ghost who does the
kidnapping,
the
Ministers of the State
who
make
preparations for war
against the ghost, the
King of the stage in
which the girls father
is a subject, and the
kings men who go out
to capture the ghost.
The drama opens with
a man and his
daughter walking in
the garden. The ghost appears and
captures the girl, and immediately the man
greatly aggrieved rushes to the kings
court to inform him of the incident and to
beseech him to rescue his daughter. The
kings anger is aroused at this news and
he calls for his Ministers and asks them to
prepare for war. The Kings men go in search
of the ghost and bring him before the king,
who severely warns him never to do such
a thing again. The ghost frightened bows
before the king and with this ends the
drama.
205
DANCES OF INDIA
ASSAMESE DANCE
PRADEEP CHALIHA
Ojapali and Devadasi Dance
he heritage of classical dance in

Assam is of remote origin. There
is an intimate relationship between
this style of dancing and the theory as
propounded in Sanskrit treatises on Dances
of India. These classical forms of Assamese
dances are divided into many forms such
as the Ojapali, Devadasi, Shri Shankari
dance etc. Here I am giving short notes
on two forms of the old Assamese dances,
namely, the Oja-Pali and the Devadasi
dance.
The Marga Nritya or the classical dance
of Assam dates back to the age of the
Mahakavyas.
The well-known Chinese pilgrim, HuenTsang, who paid his historic visit to
Kamrupa, that is ancient Assam, during the

regime of King Bhaskar Varma in the 7th
century A.D. had referred to the dance
which prevailed at that time.
The existence of Dalutrangana that is a
temple danseuse or devadasi was distinctly
mentioned in the copper plate of King Shri
Vanamala Varma, who ruled in 9th century.
In Assamese dances, Hastas (hand
gestures), Shirokarma (movement of the
head), Padachari (foot-work), Karana
(Posture), etc. are performed after the
manner of Natya Shastra or Sanskrit
treatises on dance. The foot-work in an
Assamese classical dance is extremely
intricate and is called Gati or Bulan. It
always reflects the theme of the dance in
its infinite variation, speed and pattern.
206
There are Hasti Bulan, i.e., the slow

majestic steps of the elephant, Ghora
Bulan, i.e., the swift galloping steps of
the horse, Maira Bulan, i.e., the majestic
DANCES OF INDIA
movements is a matter of long practice

under expert guidance.
The hand gesture is called Hasta,
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.
There are several kinds of Karanas or
Bhanges, i.e., poses of the body in an
Assamese dance. They are expressive of
meaning and require to be mastered by
long practice. Those postures of the body
accompany the movements of the head,
neck, eyes and feet. The mastery of the
accompaniment to songs. The Oja (Sanskrit

Upadhyaya) who is the leader of the chorus
and an expert in dance, dances with a
song on his lips and dramatic movements
of the body. Emphasis is laid on the Hastas
or Mudras. His companions known as Pali
(Sanskrit Palita) i.e., assistants repeat the
207
song following the master closely. The Oja

expresses the meaning of the song with
synchronised movements of the hand,
eyes, neck, head and feet. There are three
kinds of Ojapali dances, namely-Vyasageet
Oja, Suknarayani Oja and Ramayani
Oja.
Vyasageet Ojapali
The Ojapali of Vyasageet mainly sings the
songs of the Vaishnava cult. Here, the
themes of the dances are adopted from
the
stories
from
Bhagavata,
Mahabharata and Hari- vamsa. The
make-up of a Vyasa Oja differs from that
of a Sukanarayani Oja. The Vyasa Oja wears
a long white skirt, a tight-fitting jacket, a
turban of a particular shape, anklets and
various other gold ornaments of the neck,
handand ear.
Suknarayani Ojapali
The other Oja named Suknarayani chants
mainly the hymns of the snake goddess,
Manasa composed by Sukabi Narayan Dev,
an Assamese poet of the olden days. The
theme of the dance is the story of Behula
and Lakhindar which is mainly connected
with goddess Manasa. The costume of this
kind of Oja consists of a long shirt known
as Chapkan. a white Dhoti, a chaddur,
a pointed turban, and various gold
ornaments of the wrist, neck and ears.
Ramayani Oja
The third variety of Oja, Ramayani Oja,
puts the costume akin to Vyasa Oja, and
sings only the songs from the Ramayana.
Unfortunately, this kind of Ramayani Ojapali
is disappearing slowly. All the three kinds
DANCES OF INDIA
of Ojapali dances have reached exquisite

perfection in Karana, i.e., posture and
Angahaara, i.e., gesture.
Another kind of Assamese dance is Nati
dance of devadasis. This dance is
performed by the devadasis or professional
female dancers attached to the temple.
This devadasi dance was mainly performed
in Shiva temples such as the Parihareswar
Shiva Temple at Dubi, Biswanath Shiva
Temple at Biswanatha, (near Tezpur), the
Shiva Temple at Dergoang near Golaghat
etc. Nati dance was performed at only one
Vishnu temple of Hayagriva Madhaba at
Hajo near Gauhati. Nati dance at any other
Vishnu temple of Assam is not known.
Unfortunately devadasi dance tradition is
now becoming a thing of the past. The
devadasis lead a virgin life. Their costume
is exquisitely designed and artistic.
The devadasis of Assam dress their hair in
coiffure at the top of the head and adorn
it with flowers and put a thin veil over it.
They wear a long skirt reaching down to
the ankle and a blouse with long sleeves.
A long shawl known as Riha is put tightly
over the breast. One peculiar and striking
aspect of this devadasi dance is the
performing of swift somersaults in the middle
of a dance by the devadasis. This practice
is not seen in any other traditional school
of Indian dance. This devadasi dance is
accompanied by music with mridanga and
mandira.
There are both the slow and the swift
movements in rhythm. There is a delicate
and rhythmic blending of the Tandava and
Lasya elements in Assamese dance.
47
DANCES OF INDIA
Waiting In the Wing

USHA JHA
ot very long ago, I had

ambitions of becoming a
professional dancer. I spent
hours at the feet of my guru. I even
went aggressively vegetarian. But my
debut as a professional dispelled all my
illusions about my calling in life. Our little
troupe, which consisted of two dancers,
my guru and our orchestra of three, was
invited to Lucknow. Starry-eyed, I signed
my first contract-for a substantial sum plus
a stay at Lucknows top hotel, travel
expenses (by air, of course) and all that.
Go ahead and order what you want-its
all on the house! we (the other dancer
was a French girl studying Odissi) said
grandly to our musicians. They took us at
our word. There were press interviews,
flowers in the room, a car at our disposal.
Ah, the life of a prima donna! I mused
relaxing in the only air-conditioned room
that Lucknows best hotel could offer.
The show was tremendous! A huge packed
hall, applause, garlands, speeches, more
garlands. Success! We were reeling under
its impact. It was all too heady. Now off
with the grease paint! called out our
sponsor. We are all having dinner together.
And, of course, the payments and things,
he muttered into his collar, getting typically
coy at the mention of money.
He bowed and smiled his way out of the
green room, and that was the last we saw
of him. We waited for several hours, sans
grease paint, getting more tired and hungry

by the minute. When we finally returned
to our hotel, the Manager didnt think all
this was very funny at all. Nor did the rest
of the troupe. Finally, after a sleepless
night, the French girl and I sneaked out
early in the morning leaving my
unsuspecting guru and the musicians as
hostages, until we got to Delhi and were
able to cable some money to the hotel to
set them free.
Instead of opening the road to riches, my
entry into the big, bad world of
professionalism set me bad by Rs. 2,500.
Somehow the spotlights have never looked
so bright and beckoning to me since. But I
didnt know then that, even at this price, I
was one of the lucky ones. At least I had
had the bouquets and the press reviews.
Other young hopefuls spend their money
and dont even get a chance to dance.
Dancing As a Career
To settle on dancing as a full-time career
today requires grit, especially if it is to be
the only means of earning ones bread and
butter. We have from the younger
generation, Yamini Krishnamurti, who has
climbed the peaks of her profession. Yamini
has made many sacrifices and her devotion,
her sadhana has been total. In financial
terms, these have paid off; today she can
set her price and be sure of getting it.
But how many other younger dancers have
reached this level so far? They can be
48
counted on the fingers of ones hands. Birju

Maharaj (if you stretch the young a bit)
and Roshan Kumari in Kathak, Padma
Subrahmanyam from Madras who dances
Bharatanatyam and, perhaps, one or two
others have now gained a secure place in
the audiences affections. For each one of
them, however, there are a dozen others,
with as much training and imbued with the
same high ideals, who lurk like shadows in
the wings of the dance-world, waiting for
a chance to release their energy in one
frenetic burst at some music and dance
DANCES OF INDIA
with their own enthusiasm. I was told by a

friend running a fashionable Dance Academy
in New Delhi that most of the students
there are literally marking time before
getting married. Apparently, classical
dancing adds a vital new dimension to
ones matrimonial potential!
Opens Many Doors
Full 25 years after Independence, the
stigma cast on classical dance by the
Victorian values of the first generation of
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 fata guru at the Triveni Kala
Sangam in Delhi once
told me!
jamboree, or at a semi- private full-length

performance before retreating once again
into the limbo of hopeful inactivity. This
sad state of affairs is all the more surprising
because today dancing is the rage among
the daughters of the bourgeoisie. Young
girls take to classical dancing for a startling
variety of reasons-, most of which poor
Nandi- keswara could hardly have dreamt
of. Their interest is usually sparked by
parents who infuse (inflict?) their daughters
Then, dancing can also

open the door to the film
world. Ever, since
Vyjayanthimala burst
through the doors to
stardom, followed more recently by Hema
Malini, dozens of star-struck teenagers,
particularly in Bombay, have been practising
their bhangis and chakkars with a new
devotion. Gopi Krishna, a Kathak dancer
who has taken part in more than one film,
has a large number of hopefuls in his
school; one of them, Padrna Khanna, is
today a dancing star (Johnny Mere Naam)
who owes more to the fact that she can
contort her Kathak to suit the whims of
49
the director than to the purity of her

tatkars and tihais.
Out of every hundred such Sunday dancers
emerges one utterly serious student whose
personal, environmentally and parental
interest has led her to seek in dance, not
a pleasant diversion, but an intensely persona means of expressing her creative
urge. For her, the greatest hurdle of all is
to find a good guru. There are so many
not-so-good ones who have it all worked
out-the way to affluence, They start a
girl off with group lessons in the general
class. A few months in this unwieldy group
and the student feels or her parents feel
she is getting nowhere and she soon settles
for private lessons-the nearest thing to a
guru-sishya parampara at a minimum of
Rs. 150 for twice-a-week sessions.
Dancing, of course, is a supplement to a
good convent education which this class
of parent has to afford. So between
curricular and extra-curricular, the family
should be prepared to set aside Rs. 250 in
nurturing this young talent. To ask how
many can afford this would be purely
rhetorical.
Publicly Launched
Then comes the arangetram day, when
our young hopeful is quite literally launched
on to the public stage. Traditionally, the
arangetram was a simple, dignified, almost
religious ceremony presided over by the
deity, the guru and a small audience of
learned pandits who came to assess the
pupil. Todays arangetram, like todays
marriage, is a different matter altogether.
The hallis usually air-conditioned. The
pandits in the front row are usually
DANCES OF INDIA
politicians, film-stars, diplomats (an

invitation to even a minor Third Secretary
may yield a bonanza in the form of an
invitation to dance abroad) and other
office-bearers of various Sanghs. The
lesser panditry is made up of community
bhais and bouffanted socialites. The last
thing they are likely to have in common is
a love (let alone knowledge) of classical
dance.
And such arangetrams cost the doting
parent dear. In a city like Bcmbay, the
damage can amount to anything from Rs.
5,000 to Rs. 12,000 or even more. It must
be said also that there are very few gurus,
however traditional they may be and
howsoever pristine their style, who are
averse to this form of ostentation. A
breakup of costs in a typical arangetram
would go like this [in 1972]:
Hall:
Rs. 350 to Rs. 850
Brochure: Rs. 500
Invitations: Rs. 300
Orchestra: Rs. 400-Rs. 500
Costumes: Rs. 800
Taxi fares: Rs. 50-Rs. 100
Jewellery: Rs. 1,500
Of course the smart thing to do is to cover
the cost by soliciting advertisements for
the brochure. If the dancer can find a
regular registered society to sponsor her
debut, so much the better. But not so many
societies or business-houses are itching
to launch new dancers. So the parents
are forced somehow to scrape together
enough to meet these expenses. Many are
undoubtedly buoyed by the hope that their
daughter will rake it all back in once her
career blossoms.
50
But more often than not, the flower is

nipped in the bud by an early frost. If a
dancer has some influential connections,
something in the form of a benefit
performance or a charity recital can be
organised. After several such performances
in which the dancer or her poor parents go
from door to door selling tickets, soliciting
advertisements and being nice to new
editors and critics, the big moment comessome small society in an out- station
mofussil hears of her by some strange
word-of-mouth osmosis and tracks her
down. But the dancers travails are far
from over. She has found a platform-but
to dance there she will have to spend more
money. The typical small society may offer
a tidy Rs. 250 and transport. She knows
that this is exploitation, but what can she
do-a performer has to perform. She needs
a platform and an audience. The Rs, 250
may just about manage to cover the fees
of her vocalist and her drummer. For the
rest-the dance leader (Nattuvanar), who
is usually her guru, and the instrumentalist,
for her dresses, her hotel and her food
(not to mention the orchestra, her parents
must pay. And so it goes, on and on. Soon
the parents realise that they are chained
inexorably to a financial tread-mill. Is this
what I scraped and scrounged for? How
much longer can we payout of our pockets
to keep our daughter performing? Indira
Pillais father used to ask.
Regional Sentiments
A true lover of the dance, he had given
her the best training in the Tanjore style
of Bharatanatyam. He had taken a house
in Tanjore (the family comes from Kerala)
just in order that his daughter may drink
DANCES OF INDIA
at the fountain- head of Bharatanatyam.

After years of training and a number of
performances in Tanjore, he took the bold
leap into the unknown-he brought Indira
to Delhi, the centre of the Sangeet Natak
Academy. At Sapru House, critics and
savants cheered her. Here was
unquestioned talent-a big future lay ahead,
they said. One never heard of her again
except in the odd report in the local papers
of an Onam Day celebration at some small
college. Then I saw her face staring out of
a Malayalam film-poster. Her father had died
and Indira had been forced to abandon the
lyrical graceful narya of Tanjore for a more
lucrative but less aesthetic form on celluloid
in her Home State.
I deliberately mention Home State
because regional chauvinism is nowhere as
rampant as in the dance-world.
Bharatanatyam is the preserve of the
South: What Bharatanatyam can someone
from outside Madras or Andhra do?, the
Secretary of a leading Bombay Sabha asked
me in a matter-of-fact way. An official of
the Sangeet Natak Academy once told me
that when in 1968, a non-Oriya exponent
of Odissi was sent on a cultural delegation,
a leading exponent of Odissi from Orissa
sent him a letter of protest-only an Oriya
can really know what Odissi is all about
was her plaint.
Yes, Konarak is theirs, Chidarnbaram ours,
etc. etc., so it goes on, ad nauseam. Can
a Bharatanatyam dancer from Benares
pierce the armour of utter disbelief he
encounters in the hallowed Sabhas of
Madras? Can a Kathakali dancer trained in
Baroda be regarded as anything other than
quaint, no matter how great his talent, by
51
the pandits in Trivandrum and Trichur?

Dancer Kamadev from London, who divides
his time between Madras and London, say
that the sub-divisions are even narrower.
A Brahmin Sabha would like to invite a
Brahmin dancer, a Mudaliar Sabha would
prefer a Mudaliar. He says: Of course they
pay the artist no more than Rs. 250 or Rs.
350". So it is very important for a dancer
not only to be born into the right
environment, family and society but also
the right region. (A favourable caste would
also be a great help!) No dancer can think
of making a go of it purely on the strength
of his virtuosity in India. I enjoy performing
here but, for living, I would arrange a full
three or four months of chain bookings
through a good impresario abroad and take
my guru and orchestra with me. The rest
of the time I would like to teach in London,
Kamadev explained.
Most of these problems arose because, like
classical music, dance has only recently
forsaken the temple and the palace for the
public auditorium. And as in the Europe of
Mozart and Beethoven, the public concert
of festival as an institution is in its infancy.
What dance needs is a broad-based
impresario system. There are a few in the
country who consider themselves
impresarios. But most of them are small
agents out to make a fast buck rather than
to promote a great art. One genuine
exception to this rule is Brijnarain of
Bombay whose dance and music festivals
have become land-marks in Bombays
cultural world. He has made it his mission
to give young aspirants a break and
organises the Kal Ke Kalakar (Tomorrows
Artists) festival every year. He is able to
DANCES OF INDIA
pay every artist Rs. 300 to Rs. 500 for this

festival and, for the public, entrance is
free. Of course, singing or dancing at the
Kal Ke Kalakar festival does not pay. A
dancer from, say, Orissa may spend Rs.
1,000 extra on travel and on paying her
musicians. But even this small break is,
after all, a break.
Brijnarain also runs a major festival in the
Swami Haridas Sammelan, to which, as a
rule only those who have appeared in Kal
Ke Kalakar are invited. The payment here
is far better. But to make both ends meet,
he and the other organisers have to collect
advertisements worth Rs. 50,000 each time.
And even this is not the end of it. For, the
harsh fact is that Indias new elite, people
who will buy two silk sarees or a case of
srnuggled whisky without batting an eyelid, would not even think of going to a dance
or music recital.
I was once invited to dance at a
conference in Mathura, and the terms were
travel fare and food. Being Mathura, the
food was fantastic, they assured me, made
of shudh ghee! Ritha Devi, who has been
in this game for many years, told me, I
turned it down, of course! I prefer eating
fantastic food in Bombay in my own house!
But they sent me a brochure of the festival
and I saw that even on these bizarre terms
they had managed to get a dancer, after
all. For the young dancer it is an
investment, so they payout of their
pockets-for no guru or orchestra would be
satisfied with just food cooked in good ghee
by way of payment. We have all done this
at the beginning, but it rarely pays off.
One has to keep spending out of ones
own pocket, she explained.
52
Then what, in todays dance world, is the

way out of this vicious circle? Rajendra
Shankar, who is the brother of the great
sitarist Ravi Shankar, has done something
which I feel is along the right lines. He has
brought out a journal for his artists
association,Sancharini and allows dancers
to advertise in it. The
journal is distributed to
all universities, music
societies, sabhas and
the like. He also on a
few occasions arranges
a chain of bookings for
semi artists through his
vast
and
varied
contacts.
But
Sancharini charges no
money-no impresarios
cut! We do not want
to make a business of
it. We are only
interested in helping
artists, he told me. Here was the nearest
thing to a regular impresario system-why
shouldnt it become more organised?
Another possibility is for the National Centre
for the Performing Arts to take a more
active part in giving promising young artists
a break. Naturally one cannot expect an
infant institution to do everything at once,
but the patronage of a presiding body like
this could be just what young dancers and
musicians need. Perhaps the Indian Council
for Cultural Relations and the Sangeet Natak
Academy could also do more to fill the void
created by the lack of an impresario system.
The precedent set by the famous dancer
Indrani Rahman who invites young guest
artists to dance at her recitals is laudable
DANCES OF INDIA
and should be taken up by other senior

dancers. But all these organisations will
come up against one immovable obstacle:
the high cost of arranging a show. The
Bhabha Auditorium costs Rs. 1,000 for an
evening and a
5 cm. single-column
advertisement in The Times of India costs
around
Rs.80.
When the only
funds allotted to a
large State body
like U.P.s Sangeet
Natak Academy is
just Rs. 58,000,
schemes
for
l a u n c h i n g
impresarios and
young dancers,
pension benefits
and schemes for
old
artists,
insurance guilds,
etc. seem like
unadulterated pipe-dreams.
If a dancer breaks her leg and has to stop,
it is just very unfortunate Nana Kasar, who
is a well-known teacher of Bharatanatyam
in Bombay and who has studied under Guru
Chockalingam Pillai had a heart-attack. He
was forced to suspend classes and
nattuvangam programmes for a long time.
With a large family to support, this is not
easy.
Many Roles of A Dancer
The classical dancer in India plays a
remarkable plethora of roles she has
perforce to be her own publicist, maintain
her bit of public relations: she is her own
agent and manager. If after all this she
53
has enough energy and gift to go on

dancing she is indeed remarkable. The
dancer may emerge all the more tougher
for it but not without a touch of bitterness.
I have spent well over Rs, 45,000 on my
daughters dancing, said the father of the
brilliant young dancer Sucheta Bhide. But
I want her to dance only before the right
audiences. Sucheta is indeed lucky but
there are so many who have had to give
up these vigorous standards.
Dance Sans Professionalism
And yet people do dance. They are being
churned out of our dance academies, some
are sent out armed with degrees, diplomas
and certificates; there are universities in
India which turn out a regular bunch of
graduates every year. The largest casualty
is marriage. For the others, the choice is
very difficult. To give up ones personal
life and sacrifice all for the sake of ones
career is indeed a big decision. One
respects and appreciates Odissi dancer
Sanjukta Panigrahis success all the more
as she is a professional dancer in the true
sense of the word. Kanak Rele is another
dancer in this category.
I dont dance for money! is something
several dancers are eager to assure you.
Why shouldnt one dance for money? Was
one taught gratis? Or docs the image of
the nautch-girl accepting salaamis in silver
coins thrown at her, colour our pseudoprofessionals?
It is these very dancers who ruin the
chances of our sincere artists, said Guru
Kalyanasundaram of the well-known Raja
Rajeshwaree Bharatanatya Kendra. When
negotiating with an organiser one should
DANCES OF INDIA
maintain a definite standard of payment.

There can be no bargaining of ones artistic
values. What happens is that the pseudoprofessional hears of the negotiations and
promptly contacts the same organiser [or
half the price. Even if one does not actually
depend on it for ones three meals, there
are incidentals-costumes have to be
replenished (a single grand Kanjeevaram
saree costs upwards of Rs. 400), tailoring,
polishing jewels, blouses which get worn
out very fast and all this cost money. An
Argentinian dancer, Myrta Barvie, who had
danced several years in the West and then
at Kalakshetra, was shocked at this lack
of professionalism: If you dont need the
fees, then throw it out of the window. But
take it, insist on it, for the future of other
dancers depends on it.
The Government is also doing a great deal
to help the artist. It has contributed a
very great deal to their social recognition
by showering Republic Day honours on
them, sending them out on missions
abroad, giving scholarships (25 each year
for music, dance and drama of Rs. 250 a
month), and soon. All this has helped
enormously. If even 5% of these make
the grade, it will have been worth the
trouble and the expense, explained Dr.
Narayana Menon, who has been on the
selection committee for years.
But this is not really enough. A lacuna
remains to be filled. The dancer needs help
in the period between her long years of
training and reaching the commanding
heights of her profession-if she ever gets
there.
54
DANCES OF INDIA
THE RAMAYANA IN INDIAN DANCE

AND DANCE-DRAMA
MOHAN KHOKAR
imeless and deathless is the

Ramayana. And it did not take all
these centuries to discover this.
The ink had not dried on Valmikis
manuscript, as it were, when the Lord,
Brahma, is said to have appeared before
him and pronounced:
As long as in this firm-set land
The streams shall flow, the mountains
stand, So long throughout the world, be
sure, The great Ramayana shall endure.
Truly prophetic words, but what possibly
neither Valmiki nor the Lord reckoned with
was the formidable extent to which the
Ramayana was destined to penetrate and
permeate the whole fabric of the moral and
cultural life of the people. For, as the
passage of centuries has shown, the
Ramayana has survived not merely as a
monument of epic poetry or even as a
cherished scripture, each thought of which
is enshrined in the minds and hearts of the
people, but it has also found or inspired
representation in countless formstranslations, regional adaptations of the
story, plays on the theme, effusive
outpourings of saints and exalted
devotees, sculpture, carving, iconography,
painting, music, dance and theatre.
The Two Avatars
The Ramayana is one of the most
profoundly venerated books. The genesis
of the Rama story can be traced to Vedic

times, but it was left to Valrniki to knead
the theme into a coherent, integrated
narrative and also to impart to it its epic
dimension. At the time of writing the
Ramayana, the motivation was not
religious, for Rama had not yet attained
godhood. The cult of Vishnu existed, albeit
in embryonic form, in the Vedic period, but
it is only from the beginnmg of the Christian
era that Rama came to be recognised as
an avatar. And as in the course of time
did Vaishnavism come to attract more and
more people into its fold, so also did the
popularity of the Rama faith spread and
consolidate its hold.
The bed-rock on which Vaishnavism has
built up it, vast following is devotionalism
as implied in the adoration of a personal
being coupled with complete disregard of
ritualism. The avatars, all incarnations of
Vishnu, are gods super-naturally revealed
to man. And of the nine avatars that have
so far manifested themselves, the seventh
and eighth, that is, Rama and Krishna,
respectively, have the strongest hold in
popular imagination. Rarna represents the
epitome of all that is pious and virtuous in
life and deed while Krishna is seen for the
most part as a playful figure in his early
years and as the propounder and exemplar
of one of the greatest precepts of devotion
and duty in his later life. Both Rama and
55
Krishna find a dominant place in Indian

literature and art.
Rama Plays
Apparently, the first occasion for the Rama
story to be used in histrionic representation
is the one cited in the Harivamsa. This
work, which is regarded as an appendix to
the Mahabharata and also accorded the
status of an independent purana, was
written within four to five centuries of the
Ramayana. This means that even at that
remote time, when Sanskrit drama had just
taken birth, the enactment of the Rama
story was known. The event described in
the Harivamsa relates to the presentation
of a piece from the Rama saga in which
the role of Rama is taken by Krishnas son,
Pradyumna. What is of consequence to us
here is that the description suggests, in
no uncertain terms, that the performance
was not in the nature of straight drama
but of mimetic dance. Our present study,
if we may remind ourselves, also concerns
the place of the Ramayana only in dance
and dance-drama.
That there has long been the system of
staging Rama plays through a combination
of dance and drama is also endorsed by a
brief episode in Bhavabhutis Uttararamacharita, of the 8th century A.D., which
recounts how, on the request of Valmiki,
Bharata Muni himself mounted a piece from
the Ramayana on the stage, basing the
presentation on the canons of dance,
drama and music he had evolved and
enunciated in his magnum opus, the Natya
Shastra. Again, though the Natya Shastra
is silent on the subject of the Ramayana,
Abhinavaguptas great commentary on the
work, the Abhinavabharati, while discussing
DANCES OF INDIA
the techniques of the ragakavya, which is

a composition rendered. through song and
gesture by a single performer, gives two
examples-the Raghavavijaya and the
Marecchavada, both of which are taken
from the Ramayana theme.
The Bhakti Movement
The medieval period in North India saw the
arrival of the bhakti movement, and this
straightaway cast its spell on every aspect
of life, including art and literature. One line
of this movement, spearheaded by
Ramananda, a Vaishnava preceptor, gave
great impetus to the worship of Rama. And
it was a result of this impetus that the
celebrated Ramacharitamanas of Tulsidas
came to be written. Several situations in
this work have a distinct dramatic ethos,
and there is also a sizeable sprinkling of
dialogues right through the poem. This
suggests that possibly Tulsidas had in mind
the presentation of the work as a
spectacle. In any ease the most famous
of the Rama plays, the Rama Leela, is based
on the Ramacharitamanas, and this has
been regularly staged in North India from
practically the time of Tulsidas.
Suitability of Therne
Rama and Krishna being the two major godheads of Vaishnavism, the bhakti
movement too took two directions, one for
Rama and the other for Krishna. Like the
Ramayana, the Krishna theme too came to
find an eminent place in the performing
arts. It is understandable, in this regard,
that Krishna enjoys greater Importance in
dance, and Rarna in drama, One reason for
this is that Krishna is himself reputed to be
a dancer and an adorable one at that; his
56
character and temperament lend

themselves admirably for interpretation
through the dance. Rama on the other hand,
is for the most part plain human, and
humane, excessively so in fact, and these
are hardly qualities to tickle the imagination
of spectators. Another reason is that the
Krishna story is made up of several little
incidents, each of which offers a pithy,
self contained episode. excellently suited
for presentation as a
dance vignette. The
Rama story, in turn, is
one long series of
events, all inextricably
linked with each other
and not easy to treat
in isolation-just the
material for theatre in
the form of dancedrama or drama.
A Favourite Theme
for Koodiyattam
Of the various forms
of classical dance and
d a n c e - d r a m a
obtaining in India
today, the oldest is
the Koodiyattam of
Kerala. References to
this art in literature and chronicles suggest
that it was in vogue even as early as 1,500
years ago. At any rate, Koodiyattam is the
only form of theatre we have at present
that fits in with the concept of the ancient
Sanskrit drama. The repertoire of
Koodiyattam comprises some two dozen
plays, nine of -which are considered
particularly important and are the ones
commonly staged. Of these nine, four are
DANCES OF INDIA
on
the
Ramayana
theme: the
Abhishekanataka and Pratimanataka, of
Bhasa, the Ashcharyachoodamani, of
Shaktibhadra, and the Mahanataka of
Hanuman , The Ramayana story is in fact
accorded such a pride of place by the
Chakkiars, or performers of Koodiyattam,
that even in plays that have no bearing on
it they invariably find occasion to cleverly
induct the Ramayana theme into the over
all denouement.
In Assam
Our next form, in
terms of evolution,
is the Ankia Nat of
Assam. This is a
variety of dancedrama devised
towards the close
of
the
15th
century, by the
great Vaishnava
saint and reformer,
Sankaradeva. He
wrote six plays, of
which five relate to
Krishna and one,
the Rama Vijaya,
deals with the
Rama theme. Also
to Assam belongs the Ojapali tradition, in
which a choral group recites episodes from
mythology accompanying this with simple
gestures and dance. One of the most
popular pieces in the Ojapali repertoire is
the Geeti Ramayana of Durgabara; this work
is additionally important for it represents
one of the very few compositions which,
though soaked in the bhakti of the
Vaishnava genre, is written by a poet who
57
does not profess the Vaishnava faith.

Ramanattam
In the first half of the 17th century came
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 nights
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 nameKathakali, story-play.
DANCES OF INDIA
dance, the Mohini Attam, which was

created towards the middle of the 19th
century, under the patronage of Maharaja
Swati Tirunal.
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
Ottan Thullal, which was brought into being
by a famous poet of Kerala, Kunjan Nambiar,
in the first half of the 19th century. Kunjan
Nambiar wrote over 60 Thullals, about a
quarter of which, such as the
Kartaviryarjuna
Vijayam,
Seeta
Swayamvaram and Ahalya Moksham draw
their inspiration from the Ramayana. Also
to Kerala belongs another type of solo
The very first item in a Mohini Attam

presentation, the Cholkettu, offers the
story of Rama in a nut-shell.
The Bharata Natyam, which is one of our
principal classical dances, too carries a
good number of items on the Ramayana
theme. The songs used in these items,
however, Were not specifically composed
58
for the dance but are drawn from the whole

range of poetry in Tamil, Telugu, Kannada
and Sanskrit. The kriitis of Tyagaraja and
the keertanams of Arunachala Kavi are
among the more popular numbers in this
category. The scope of the material
available in poetry is in fact so vast that
fresh pieces are being appropriated by the
art all the time. As recent examples of this
are the Navarasa slokam from the
Ramakarnamritam and the Bhavayami
keertanam of Swati Tirunal. The Bhagavata
Mela Nataka, which represents the dancedrama form of Bharata Natyam also carries
one play, in its repertoire of twelve on the
Rama theme, the Seeta Kalyanam.
The Kathak dance, which centres almost
exclusively around the Krishna theme,
carries a handful of items on the Ramayana
story in its style. Binda Din, whose
compositions constitute the bulk of the
songs employed for expressional work in
Kathak, has written a few pieces pertaining
to Rama and Ravana. Though not much in
vogue now, the mimetic sequences of
Kathak known as Gats, formerly included
such themes as Ram Baan, Lav-Kush and
Seeta Janani.
The Manipuri dance, too, concerns itself
almost wholly with Krishna. However,
formerly, during the time of King Garib
Nawaz, who ruled in the first half of the
14th century, the Rarnanandi cult of
Vaishnavism with Rama as the supreme
deity was acknowledged as the State
religion and as part of this a pala, or dance
and music ensemble, was attached to the
Palace at Imphal and as compositions this
pala took songs from the Ramayana theme,
including some from the Vaishnava padavali.
DANCES OF INDIA
Later, the Ramanandi faith was integrated

with the Radha-Krishna cult, and as a
consequence of this the pala too shifted
its allegiance from Rama to Krishna. Another
dance which has Krishna as the central
character. is the Odissi. In the tradition of
this there is nothing on the Rama theme,
but, of late, Oriya songs about Rama, from
such sources as the Baidehisha Vilasa, have
come to be incorporated into the style.
The Kuchipudi of Andhra, is a form of
dance-drama that was born in the wake
of the bhakti movement in the South. One
of the most celebrated plays in this tradition
is the Ramanatakam, which was quite
commonly staged till about thirty years ago.
The Kuchipudi technique also carries items
of straight expressional dance known as
sabdams and some of these pertain to
Rama, the best known example of which is
the Ramapattabhishekam. Another sabdam,
the Manduka, describes how the stunning
Mandodari emerged from rhe womb of a
frog and later ravished Ravana and became
his wife.
Another dance-drama in the classical mould
is the Yakshagana, .of Karnataka. This gives
exhaustive. treatment to the Ramayana
story. Apart from a series of eight plays
that embrace the entire Ramayana theme,
there are some twenty other well-known
works on the subject, These carry such
titles as Ramaswamedha, Ravana vadha,
Lava Kusha, Kusha Lava, Subahu Kalaga,
Marimukha Kalaga, Panchavati, Bali Sugriva
and Athikaya. As in practically all other
forms of dance-drama, in Yakshagana, too,
there is no play that covers the entire
Ramayana in a single night. All the plays
that there are in the tradition project only
59
snatches from the monumental saga.

Only one tradition of dance and dancedrama now remains in the list, and that is
the Chhau. This has three distinct, though
related, aspects one of which belongs to
Seraikella, in Bihar. another to Mayurbhanj,
in Orissa, and the third to Purulia, in West
Bengal. In the Seraikella and Purulia
versions all characters wear masks. The
Ramayana is represented in all three styles,
but only in a token way in Seraikella, a
little more freely in Mayurbhanj, and very
extensively in Purulia. The Seraikella Chhau
has just one piece on the Ramayana,the
Samudra Sashana, while the Mayurbhanj
carries five numbers-Rama Shoka, Jambeb,
Kumbhakarna, Seeta Vivaha and LavaKusa. In the Purulia Chhau, the entire span
of the Ramayana, beginning with Sindhmuni
Vadh, or the curse of the blind sage on
Dasaratha, and ending With Ramas
coronation, is covered in nineteen scenes,
which are presented in unbroken continuity
and in a single night.
The Ramayana theme has also found
extensive representation in the various
traditions of the puppet theatre in India,
but as these belong to a different genre
they are not within the scope of the
present study. The same can be said of
the system of dance and dance-drama
obtaining in countries that have a cultural
affinity with India, such as Burma, Laos,
Kampuchea, Thailand and Indonesia.
DANCES OF INDIA
Coming to our time, that is, from the revival

of Indian dance and dance-drama that was
ushered in the first quarter of the present
century, it is evident that the Ramayana
story has consistently provided inspiration
for new works and new experiments in
choreography. Why, the first two plays that
Rabindranath Tagore ever wrote for
presentation as dance- drama-the Valmiki
Pratibha and Kal-Mrigaya, are drawn from
the Ramayana. The pioneer of the free
style in Indian dance, Uday Shankar,
presented the whole Ramayana, at his
centre in Almora, in the form of a .huge
spectacle in a shadow-play, using human
figures. One of his leading pupils, Shanti
Bardhan, produced the Ramayana with the
dancers adopting movements stylised after
the manner of puppets. Other leading
choreographers, such as Guru Gopinath,
Debendra Shankar, Amala Shankar, Sachin
Shankar, Narendra Sharma, Padma
Subramaniam and K. Shekharan, have all
offered their own versions of the theme.
Perhaps the most significant contribution,
however, has been made by Rukmini Devi,
who has presented the epic story in several
parts, in the Bharata Natyam style and with
music by some of the top stalwarts in the
Karnatak tradition.
We can say it again. Timeless and deathless
is the Ramayana. And, so far as its place
in the Indian tradition of dance and dancedrama is concerned, if the past is any index
of what can be achieved one can be Sure
that the future, too, has plenty in store.
60
DANCES OF INDIA
The Art And The Artist

K. S. RAMASWAMI SASTRI
he supreme charm of Bharata

Natyam as a classical art is due
to a combination of various
elements. It combines footwork and finger
gestures and harmonious synchronised
movements of the neck and head and face
and eyes and eyebrows and eyelashes. It
combines beauty of pose and movement
with charming expression of emotion. It
combines intellect and imagination and
spiritual charm with pure physical charm.
The dance-artist must enter into the spirit
of every movement and gesture and look
and should not do so in a mechanised and
mechanical manner. She must merge her
ego in the charm of the dance and its
interpretation of emotion. As the great
author and art-critic Sylvan Levi says well:
Indian genius produced a new art, which
the word Rasa summarises and symbolises
and which condenses it in one brief formula
the poet does not express but suggests.
Suggestion (dhvani) and spirituality are the
two eyes of the goddess of Bharata
Natyam.
Bharata Natyam as it is learnt and rendered
in Tamilnadu is a truly classical art in tune
with the aesthetic classics in India and
especially with Bharatas Natya Sastra. It
is a difficult but fine art and. requires
intense application in addition to a glowing
inauguration and intellectual concentration
and spiritual outlook, if it is to be rendered
well and express fully the inner spirit of
the Art of Indian Dance. The dancer must
enter the inner spirit of Atma of the natural

phenomenon or the human personality or
the Divine Being that she wants to express
by look and gesture and rhythm. She
cannot express the soul of a peacock or
the soul of a swan by merely arching her
neck. She cannot express the soul of a
human being by exhibiting merely external
peculiarities. Nor can she express the Divine
Soul by merely indicating the weapons or
the ornaments of a God. She must, when
dancing in accordance with Kriti (musical
piece) enter into the bhava (the emotional
urge) which is the soul of the song. The
excellence of a dance consists in the
harmony of soul and heart and head with
eye and looks and gestures and bodily
movements and rhythmic feet. The dancer
must enter into the spirit of the mudras
and not merely exhibit the mudras in a
mechanical way. She must weave them into
the dance as a supreme poet weaves words
into a perfect lyric. She must submerge
her egoistic personality in the emotion of
the theme. Only then her intuition would
become vibrant and active She must have
perfect poise and self-control. Any kind of
imbalance and exaggeration would kill the
essence of symmetry and harmony which
is the soul of the art. Art and artificiality
can never go together. She must use
costumes and ornaments not in a spirit of
tawdry exhibitionism and garish display but
in a spirit appropriate and economical
selectiveness. By economy I do not mean
vulgar cheapness but vigilant aesthetic
61
economy. She must allow the dominant

emotion of the poem or the sons to rise
from her soul in a natural way and rejoice
in the sunlight of the bhava (emotion) or
the aesthetic glory of the poem or the song
even as the lotus flower rises from the
mire and see the sunlight and rejoices in
it. She must pray to the deities of Song
and Dance-Sri Krishna and Sri Natarajafor their grace. She must be rooted in
tradition but must not get buried in it.
She must express tradition through
originality and originality through tradition.
When the divine emotion possesses the
dancer and the dancers
emotion possesses the
cultured audience and the
emotion in dance and
originality can be displayed
in
of
the
audience
possesses the dancer, a
perfect work of art will be
born. She will receive from
the audience in vapour what
she gives back to them in a
flood. There must thus be
a thorough unity of spirit
among the musicians and
the dancers and the
cultured audience. Only
then the real Bharatanatya Dharma (the
culture of Bharata Natyam) will coincide
with Bharatiya Dharma (the culture of
India) and will grow from more to more
without suffering any eclipse or decay or
death and will attract the minds and hearts
of all at all times and in all climes. That
was the essence of Natyam dances in
DANCES OF INDIA
temples and the dancer must regard the

dance-hall also as a temple and the
audience as worshippers of the Goddess
of Art.
It is important to remember that the realm
abhinaya is a vast realm in which there is
great room for originality and creativeness.
The traditional forms from Alarippu to Tillana
have definite contours and cannot be
meddled with, though even within the
traditional boundaries there is room for the
display of originality and creative
presentation. Just as there are gamakas
or grace-notes in music
there
are
gracegestures in dance and
originality can be
displayed in them. But
in the realm of abhinaya
there is no limit to the
songs taken up for
presentation
and
interpretation through
dance or to the freedom
of the artist to invent
new gestures to portray
new situations, incidents
and ideas. it is wrong
to suppose that Bharata
has fixed finally and rigorously in Chapter
IX of his work all the finger-gestures in a
final and a literary manner. he has nowehre
forbidden new symbols and gestures for
new ideas. Thus there is as much ample
room for the exhibition of Manodharma
(aesthetic individuality and creativeness)
in the art of dance as in the art of music.
62
DANCES OF INDIA
KUCHIPUDI DANCE
V. PATANJALI
fall-out of the recent cultural

explosion is regional chauvinism.
Even the very nomenclature of
some arts have acquired regional
overtones. Protagonists of each art form
make vociferous claims of hoary antiquityand as if it is an attendant featuresublime
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 bookmay be, those who write do not have firsthand 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.
Siva Leela Tradition
Like Bharatanatyam, the name of Kuchipudi
is modern. No identification of the forms
base is possible from its nomenclature.
However, if one gets to analyse the styles
conventional names, one may get a glimpse
of its traditional moorings. In Kuchipudi
village, they refer to their art as Bhagavata
natakam, Yakshaganam, Bharatam or
Bharatanatyam, Veedhi natakam etc. Now,

Kuchipudi dance is all these and something
more. Kuchipudi may be the Kelika of the
classical texts.
A major question is whether Siddhendra
Yogi, the patron-saint, was the father of
the dance. Or, was his contribution limited
to ridding the local rustic dance-form of
its angularities and giving it a classical base?
It is difficult to accept the suggestion that
63
the Yogi innovated a form where no

tradition of dance existed at all. Tradition
has it that a widely popular dance-oriented
entertainment form identified as Siva Leela
was in existence in parts of the Andhra
DANCES OF INDIA
Kuchipudi Bhagavatulu as Pagati-vesham

are reminiscent of the ancient Siva Leela
tradition. Whether one gives any credence
to this or not, it is agreed on all hands
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 PuriLord Jagannatha.
region. However, no evidence is available

about the form or the content of these
dances.
The 13th century work Basavaparana of
Palakuriki Somanatha talks only of Perini,
Even Panditaradhya Charitra which
describes the various dance forms of that
time does not mention Siva Leela.
According to one oral tradition, items like
the Ardhanareeswara performed by the
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
Desa towards the close of the 13th
century. One view is that the dancers
chosen for the daily ritual at Puri were from
the Srikakulam area. Narayana Teertha, the
celebrated composer of Krishna LeelaTarangini, and believed to be the guru of
Siddhendra Yogi, who visited Puri on his
way back from Varanasi, might have
introduced the Geeta Govinda tradition of
music and dance. Let me, therefore,
64
humbly put it that attempts at fixing the

historicity of the Kuchipudi tradition is an
exercise in futility. Suffice it to say that
according to the local tradition, Siddhendra
Yogi composed Parijata-apaharana as a
dance drama (Narayana Teertha is also
credited with having written Parijataapaharna as a Yakshagana) and made the
male members of Brahmin families perform
it as a devotional exercise.
The drama also set the tradition for the
development of Kalapams. Indeed,
Siddhendras work is better known as
Bhama Kalapam. Authors on dramaturgy
in Sanskrit do not appear to be familiar
with Kalapam; they knew it as a poem
written in one metre. Kalapam is an
innovation on the classical uparupaka
Srigaditam with accent on presentation of
a single bhava by means of nritta and
nritya. Bhama Kalapam is essentially a
dialogue between Satyabhama (Sri
Krishnas consort) and her maid Madhavi.
Pagati Vesham
It is said that originally Krishna and Gopika
also figured and at the commencement of
a performance, Madhavi (Vidushaka) and
Gopika entertained the audience with music
and dance. With the entry of Krishna, a
romantic dialogue ensued between him and
Gopika. It developed into a highly
philosophical dissertation on atmaparamatma relationship, interrupted
occasionally by Vidushaka, the jester. This
sequence was taken out of Bhama Kalapam
and fashioned into an independent item
known as Golla Kalapam. The jester takes
the place of Krishna in the dialogue. Again,
Kalapam led to the evolution of the
DANCES OF INDIA
Veshakathas which in course of time are

believed to have developed into the the
Pagati veshams performed by the itinerant
Kuchipudi artists.
The Kuchipudi fare is based on Srimad
Bhagavata and the Ramayana and is
classified under vachikaabhinaya (each
artiste is required to sing the lyrics which
will enable him to get into the emotion easily
right from the beginning.) Tile music of
Kuchipudi is taken straight from the style
of the bhajana-kootams of the Andhra
villages. No doubt it is lively and sizzling
and offers immense potential for variegated
rhythmic patterning, but sounds rustic.
Kuchipudi has yet to evolve its art music
for the dance theatre like the music of
Bharatanatyam.
Bhama Kalapam
In technical and procedural aspects,
Kuchipudi dramas conform to Bharatas
formulation of classical drama. The
performers here however, derive scientific
sustenance from Nandikeswaras Abhinaya
Darpana. A performance opens with
Gurustuti and Naandi followed by
Poorvaranga consisting of punyaha
vachana, Indradhwaja praushta, dhoopa,
deepa, pushpanjali and ambastava. All
through this prefatory ritual Daruvus
(combination of music, movements and
mime) are executed creating a scintillating
effect.
Prahlada natakam, Rama natakam, Usha
parinayam, Chenchu Lakshmi, Sasirekha
parinayam, Nala charitram, Dhruva
charitram and Tripura are among the
popular dramas in repertory of the Kuchipudi
artistes; but the earliest and the most
65
celebrated work which has been

synonymous with the style is Bhama
Kalapam. It may even be said that the
entire infrastructure was developed on the
basis of this composition by Siddhendra.
Bhama Kalapam deals with the famous
episode from the Bhagavata in which proud
Satyabhama insists that Krishna bring to
her the celestial Parijata plant from Indras
DANCES OF INDIA
remain behind the curtain held by stage

attendants throughout the opening nights
performance. She throws over the curtain
her ornamented plait of hair called jada
studded with 27 stars symbolising the
constellation, the five-hooded mythical
serpent and tiny golden images of the ten
avatars of Lord Vishnu. The sutradhara
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 swadhinapatika, 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 Narasimha Raya,
the ruler of Vijayanagara, and his consort
witnessed a show presented by a visiting
group in his palace.
garden. The play which opens with a lively

Pravesa Daruvu, employs the Samvada and
the Abhinaya daruvus numbering about 90.
Till three-four decades ago, Bhama
Kalapam was performed on three
consecutive nights and Sathyabhama would
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
issues. The artistes exposed the misdeeds
of the chieftain of the Siddhavatam region
Sammeta Guravaraju. In doing this, the
performers were only ful-filling Bharatas
dictum that theatre must serve as a sugarcoated pill to correct the wrongs in society.
66
The Kuchipudi performers employ the seven

types of Tandava with variations of gati,
karana and chari and the Desi five-fold
Lasya . The pushpanjali and the subhaleela
numbers were added to the dramatic
proceedings at a later date.
Bhagavata Mela
The Kuchipudi players were patronised
everywhere both by the laymen and the
informed and were the honoured guests at
many a princely court. After the fall of
the Vijayanagar empire, when the Kuchipudi
performers reached the Tanjore court, they
were received with great admiration. The
ruler, Achyutappa Naayak, bestowed a
munificent land grant on the artistes. The
artistes colony outside Tanjore known as
Melattur (Achyutapuram) soon became a
veritable centre of Bhagavata Meta. This
tradition of staging Bhagavata Mela
Natakams continues to this day. During
the annual Narasimha Jayanti Festival
dance-dramas based on the Bhagavata and
the Ramayana are staged for nine nights
consecutively.
The Nawab of Golconda, Abul Hasan
Tanesha, who was a great patron of art,
conferred the title of the Kuchipudi village
on the artiste families. In 1763 A.D. two
officials of the Nawab, Mosalikanti
Ramojipantulu and Kandregula Jogipantulu,
executed the deed in favour of the familiesVedantam, Vempati, Bhagavatula,
Pasumarti, Josyula, Mahankali and
Eleswarapu. From this, we come to know
the families traditionally devoted to the
art form. And perhaps as a return gesture,
the dancers included salam jatis, formal
salutations, like salaamu, dhissalaamu and
DANCES OF INDIA
diddhissallaamu.
Limited Repertoire
The need had already been felt for
quantitative as well as qualitative
development of the repertory. Siva
Narayana Teerthas lyrical poem in Sanskrit,
Sri Krishna Leela Tarangini, with its songending sabdas afforded immense scope for
dance depiction. The Bala Gopala
Tarangam in the raga Mohana with rhythmic
gati variations of as many as 35 complex
types, is one of the many Tarangams
included in the fare. Jayadevas Geeta
Govinda, padams of Kshetreyya and other
major composers, Dasavatara nritya,
sabdams, kandardhams, tillanas, etc.,
were added. (However, Bhama Kalapam,
Taranga nrityam, and Mandooka and
Krishna sabdams continue to be the
inevitable numbers on the bill. This,
incidentally and unwittingly, prompts people
to remark that the repertoire of Kuchipudi
is severely limited). With these items,
Kuchipudi lost its essential feature of
vachikabhinaya and the element of drama
leaned more more on nritta and nritya with
a pronounced accent on abhinaya.
The dramatic themes being mythological,
the costumes and make up of Kuchipudi
performers had other wordly flavour. Male
characters had an elegant kireetam,
sankhachakra, bhuja-keerti, kama paira,
ganda-bherundapataka, dhoti and kurta.
Women, particularly, in the role of
Satyabhama, had an elaborate aharya.
There were also body ornaments, kantha
abharana, big and small jada, sikha, ragidi,
chandravanka, surya, tamalapaku,
mogalireku, ketaki, turayi, papatapinji,
67
kamma, cheru, jookalu, kamapatra,

tayettu, tajubandu, dandakadiya, pochee
kankana, addabasa, billa, molatradu-the list
can be unending. And one cant even
identify many of these ornaments today.
.
The characters of Narasimha, Chaturrnukha
Brahma, Sakti, Diti, Hanuman, etc., use
masks, locally known as karaala.
DANCES OF INDIA
it would be futile to try to establish any

distinctive feature for any of our dance
styles. However, the social, cultural and
political histories of the regions concerned
as well as the particular commentary on
the Bharata Sastra followed by each,
afforded scope for the cultivation of the
dance art according to local genius. Thus,
Kuchipudi evolved as a form based on the
Initiation
In the ancient gurukula 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
and dependable than the rules written in
the texts. Indeed, this was what was
ernphasised by Bharata and Nandikeswara.
Origin of the Style
Coming to the complex issue of the
distinctiveness of Kuchipudi as a dance
style, it is rather difficult for one to emerge
unscathed. When all the classical dances
in the country swear by the Natya Sastra,
vachikabhinaya aspect with emphasis on

presentation of sanchari bhavas along with
sprightly foot-work. In other styles, it is
one-at-a-time and not simultaneous.
Secondly, the Bhagavata mela natakam
staged in the Kuchipudi Melattur tradition,
is the only form that conforms to the
detailed description of Bharatas first
dance-drama, Amrita mathana. And one
may even say that the entire padaabhinaya
tradition of South India, had its origin in
68
the Kshetreyya pada-abhinaya style

perfected by the Kuchipudi performers
either at home or elsewhere.
Lack of Patronage
The British ascent to power in the 19th
century signalled the decline of indigenous
arts in South India. Lack of
partonage cost it heavily in
term of sustenance. The
missionary zeal of stalwarts
like Vempati Venkatanarayana, fondly referred
to as Kaliyuga Satyabhama,
Tadepalli Perayya Sastry,
Chinta Venkataramayya,
Vedantam Lakshminarayana
Sastry and others kept the
art alive in all its traditional
purity. However, it was by
the artists of the following
generation that Kuchipudi
as a dance form began to
be known outside the
confines of Andhra,
Vedantham Raghavayya,
Vempati Satyam and Chinta
Krishnamurthy, were among
the outstanding teachers
of the art. And Vedantam
Satyanarayana Sarma
emerged as the most gifted
portrayer of Satyabhama.
Kuchipudi is a popular dance form now.
The credit for that is due to mainly three
persons: Vedantam Satyanarayana Sarma,
Yamini Krishnarnurthy and Vempati Chinna
Sat yam-the two celebrated exponents and
DANCES OF INDIA
the third a dedicated teacher who made

nearly every noted danseuse in the country
learn Kuchipudi also. Now both Vedantam
and Yamini have taken to teaching and it
is incumbent on the former to keep the
dance-drama tradition alive and growing
while one would expect Yamini to continue
to explore the
possibilities
of
expanding the solo
dance repertory.
Chinna Satyam is
often accused of
compromising with
the pristine tradition
and to his critics one
would like to tell;
traditional art forms
must be able to
adjust themselves to
the changing sociocultural values in
order
to
be
preserved
and
fostered.
The
acceptability
of
Kuchipudi depends
on its adaptability to
new and novel
themes. Many of our
young performers
like Shobha Naidu,
Swapna Sundari,
Raja and Radha Reddy and others have
already begun experimentation. The future
must belong to them. And if the academies
mean business, Kuchipudi can take its place
among our major dance styles.
69
DANCES OF INDIA
The Veedhi Bhagavatam of Andhra

Dr. V. RAGHAVAN
arnatak music and dance still

have strong bonds with Andhra.
In traditional dance-drama, the
Bhagavata Mela Nataka of some of the
villages near Tanjore in Tamilnadu are an
offshoot or a graft from the Kuchipudi
Bhagavata plays in Telugu country. Many
of the technical terms of Bharata Natya
and a considerable part of its compositionssabdas, varnas and padalu-are in Telugu.
The Kuchipudi tradition is the best known
of Telugu dance-drama forms but this is
not the only one. In drama and dance,
from most ancient times, as the history of
the Dasarupaka and Up arupaka traditions
of Sanskrit with more complete forms,
lesser ones concentrating on select
aspects, are secreted and perfected. In
Karnataka, where we have the Yakshagana,
we also have the form taken from it called
Tala-maddale in which without roles or
make-up, the participants sit down and go
through the play orally.
The Early Phase
When Kuchipudi Bhagavata attained its high
water-mark, it gave birth to a derivative
solo performance called the Veedhi
Bhagavata or Gollakalapa. The masters of
Kuchipudi themselves thought of this new
type and it evolved through women-artistes
of courtesan families (Kalavantula) who
were proficient in the solo dance-art of
Nautch. The Kuchipudi tradition did not
permit women to play female roles in its
Bhagavata stories and the Nautch had its
own repertoire of detached pieces and

love-songs. By crossing the features of
these two, the form named Veedhi
Bhagavata or Gollakalapa was developed
and a line of capable teachers and
accomplished exponents refined it to a
degree acceptable to the connoisseurs. In
fact, it became for a time very popular
over a greater part of Andhra.
The credit of discovering the art in its last
lingering phase goes to All India Radio,
Vijayawada, and late Sri Y. Satyanarayana,
who was with that station for sometime.
Later through the Music Academy, Madras
and the Madras State Sangita Nataka
Sangam, I had the opportunity of bringing
it to a wider public and to the students
and lovers of the dance in Madras. The
artiste who expounded the art in Madras
was Smt. Annabathula Venkataratnam of
Mummidivaram, a symbol of ripe and
masterly exposition, who, after some
decades of retirement due to lack of public
appreciation and support, had been
persuaded
to
recapture
the
accomplishment of her younger years.
As already said, it is the Bhagavatas, those
Brahmin scholars learned in Sanskrit and
Natya Sastra, who were responsible for
originating this form and giving it a shape.
Instead of young boys, courtesans versed
in Bharata Natya were absorbed into the
art. Instead of disconnected lyrics, a
sustained Bhagavata-theme or episode
was substituted. These women-artistes
70
(Kala- vantula) had already behind them a

heritage of music and dance and some
knowledge of Sanskrit, puranic myths and
the rhetoric of love and nayika-nayakbhava, 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 kathakalakshepa. 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.
DANCES OF INDIA
the Kalapam. The golla always scores. She

cross-examines the Brahmin as to his real
Brahminhood and expatiates on what a real
Brahmin is according to the sastras and
Characters
The Veedhi Bhagavata has a
single female-artiste, the main
dancer; she is supported by a secondary
female-artiste. To put across the ideas
more effectively, as much as to
entertain,humour (hasya rasa) emerges;
and for this a Brahmin, in more or less the
Vidhushakas role plays the interlocutor. It
is this dialogue or argument in which the
chief lady, representing a milk-maid (golla),
carries on with the Brahmin, that provides
under the torrent of her questions and

Sanskrit quotations from the sastras, the
poor Brahmin is left breathless.
The Vidhushaka-Brahmin may also come
off in his role of a comedian and vehicle of
wisdom. Wherever a song introduces a
character, grandiloquently, the Vidhushaka,
starts off on a parody of the song, a comic
71
technique which is found in a more

sustained manner in the traditional
Koodiyattam presentations of Sanskrit
plays in Kerala. The Vidhooshaka for
instance may begin by parodying the
nayaka and nayika. The Vidhushaka does
not involve any new character; the player
who began as Sutradhara and introduced
the performance, himself takes on the
Vidhushakas role. He is a versatile and
multi-purpose character, the constant
companion of the lady and also her chorist.
The Performance
The performance begins as with any
traditional dance-drama. A curtain is held
by two stage-hands and the main character
performs behind it, her dance to the
entrance-song as sung by the chorist. The
classic ragas of Karnatak music are used
in the songs. The mridangam supplies the
rhythmic accompaniment. Jatis are orally
recited and intricate rhythm patterns give
the dancers footwork sufficient scope for
artistry. These songs are similar to the
darus found in the dance-drama
compositions and to each of these the
gollabhama dances. She interprets the
theme in the songs closely through
abhinaya. The art of abhinaya is in full
evidence, and by the very nature of the
theme, the range of the ideas is wide, and
there is greater scope for improvisation and
interpretation (kalpana). With its elaborate
display of nritta and nritya, the
Gollakalapam takes its place among
authentic forms of the Bharata Natya arts
and possesses adequate potential for skill
and beauty of exposition.
DANCES OF INDIA
The Veethi Bhagavatam when it became

popular, was requisitioned for temple
festivals, on occasions of marriage and
other happy celebrations in the houses of
rich patrons.
Some Pioneers
Among the authors of compositions on
Bhagavata-stories for this art, and among
those who, as gurus, trained courtesan
dancers as media for presenting this art
form, may be mentioned Ravuri Kamayya
and his brothers Noorayya, Venkayya and
Satyamgaru,
Vempati,
Venkatanarayanagaru, Vedantarn Lakshminarayana Sastri, and Bhagavatulu
Dasaratha Ramiah. The brothers trained the
Chittazallu family of courtesans and other
Kalavantulus of note. Over a dozen
talented dancers of this class who spread
and maintained this art arc still
remembered.
The Veedhi Bhagavatam had to face the
same dilemma as other traditional forms of
dance and dance-drama in the recent
past. It used to be performed for the
greater part of the night and a full
performance spread over three nights. This
length of time is no longer feasible and the
same neglect and unhelpful conditions
which led to the decay of other traditional
dance and dance-drama arts affects this
art also. Kuchipudi dance-drama and
Bharata Natya have been rehabilitated and
it is hoped that lovers of art and institution
which have been established in Andhra, as
elsewhere, for reviving the local art-forms,
will devote their attention and resources
to the Veethi Bhagavata, or Bhamakalapa
too.
72
DANCES OF INDIA
BHAGAVATA MELA - DANCE DRAMA

S. NATARAJAN
hagavata Mela dance-drama,

though curiously enough now
surviving only in one village in
Melattur, is really of All India importance,
because it is found to be a
living exemplification of
Bharatas conception of
Natya as a dance-drama
adumbrated nearly 2,000
years ago in his Natya
Sastra, the earliest and
most authoritative treatise
on the art followed by most
of the later writers through
the centuries.
The
Bhagavata
Mela
tradition seems to have
come into prominence from
the time of Thirthanarayana
Yogi, the author of Krishna
Leela
Tharangani
in
Sanskrit. He composed a
number of dance-dramas.
He followed the tenets and
modes of Bhakti as
exemplified
in
the
Bhagavata lore and composed his dramas
accordingly.
Those who sang the praise of God and
expounded Bhakti came to be called
Bhagavathars and the dance-dramas
enacted by them as Bhagavatha Natya Mela
Natakas.
The more popular dance-dramas of
Melattur Venkatarama Sastri were in vogue

not only in Melattur but also in five other
villages in Tanjavur district, namely
Salimangalam, Uttukkadu, Sulamangalam,
Nallur and Tepperumalnellur.
As the object of enacting
these dramas was devotion
to God, the practice of
presenting them only before
temples came into vogue.
Conceptions of art for
earning ones livelihood or
art as a pleasant pastime
has no place in that
tradition and it is so even
today. Though, now a days,
religious
faith
and
devotional aspect may not
have so much importance
to connoisseurs of art as
before, one cannot but be
struck by the high
aesthetic value and appeal
of these dance-dramas.
The famous dance-dramas
that are usually staged are
Prahlada Charitram and Harischandra. The
mask of Narasimha is worshipped before it
is adorned by the actor who plays the role
of Narasimha.
As Telugu was the court language in Tamil
Nadu from the time of Vijayanagara kings
down to the time of the Maratha princes
of Tanjavur, the Bhagavatha Mela dance-
73
dramas were composed in

that language. Character
roles in these dramas
became the properties of
particular families inherited
from
generation
to
generation. In this way, the
art has been a part of the
lives of the people in the
villages.
All the characters, including
feminine
ones,
are
presented only by young
men. Age-long social
connections do not allow
women to mix- with men on
the stage. As a part of the
annual Narasimha Jayanthi
festival, this is conducted.
These dance-dramas are
expounded with music of
high class Carnatic tradition,
dance and abhinayas in
classical Bharatanatya
technique, poetic speeches
and appropriate dramatic
action. This dance-drama
may resemble the Kathakali
of Kerala in being all-night
shows without the stage
settings of modern dramas
and in having such features
as
Pathra
Pravesam
(introduction
of
characters). Unlike in
ordinary dramas, every
actor in the mela drama has to be a dancer
DANCES OF INDIA
trained in Bharatanatya
technique.
It is true that the presentday standard of these
dramas is not what it was
during the hey-day of
former generation of
master-artistes. All the
same, even at the present
day, one cannot but be
struck by three notable
features,
namely,
classically pure and
appealing music, fine
nattuvangam and sastric
abhinaya of an elaborate
and imaginative type. The
music is provided by no
less a vidwan than the
master conductor Balu
Bhagavathar Subbier.
As a classical dance-drama
according
to
the
conception of Natya
Sastra, the Melattur
Bhagavata Mela art
happens to be the only
surviving
link
that
connects us to the present
day with our ancient
national theatre tradition.
As such, its national
importance and value have
to
be
adequately
recognised and realised by
the art circles in India that count.
74
DANCES OF INDIA
KOODIYATTOM
D. APPUKUTTAN NAIR
oodiyattom, the unique temple

art of Kerala, is probably the
only surviving form of the traditional
presentation of Sanskrit drama. The
performance is confined to the temple
theatres known as Koothambalams, the
performing artistes belong to specific
temple-dependent communities known as
Chakkiars and ambiars. The Chakkiars are
the actors and the Nangiars of the Nambiar
community undertake female roles to the
accompaniment of the Mizhavus (pot-like
drums covered with animal hide) and
Edakka (a small drum played with a stick),
Kurumkuzhal (a small wind instrument
similar to a Shehnai) and Kuzhithalam (a
small pair of cymbals).
The Sanskrit plays usually presented on
the stage, belong mainly to those of the
Trivandrum Sanskrit series, namely, those
of Bhasa, Kulasekhara Varman, Sree
Harshan, Mahendravikrama Pallavan and
Bodhayana, apart from Ascharya
Choodamani by the Kerala dramatist, Shakti
Bhadran.
Abhinayas
The Koodiyattom as it is presented today
was choreographed some ten centuries ago
by King Kulasekhara Varman with the
assistance of his friend Tholan , The form
of presentation is highly stylised in Aharya
Abhinaya (make-up.) costume and scenic
spectacle, Angika Abhinaya (gesture) and
Vachika Abhinaya (oral rendering). There
is no attempt at realism. In fact, the

attempt i to present Puranic characters in
a superhuman form, in an epic setting-nor
can we claim a close adherence to the
canons laid down in Natya Sastra in the
presentation of this dramatic art form.
In Angika Abhinaya, in which Hastha Mudras
are liberally used in descriptions,
conversations, and dissertations, the
Lakshanas codified in Natya Sastra or the
various other texts in Hindu dramaturgy
are not faithfully followed. The Hastha
Mudras are taken from Hastha Lakshana
Deepika which draws from the Tantric
mudras prevalent in Kerala. The other
movements of the body, belonging to the
Angika Abhinaya particularly the Charis,
Gatis and the movements of the various
Angas and Upangas of the body also do
not closely follow the canons prescribed
by the Natya Sastra.
In Aharya Abhinaya, the make-up and
costumes do not copy the external features
of the characters either in facial make up,
head gear, clothing or ornament. The makeup is symbolic of the nature of the
character presented on the stage. At the
same time, there is no typifying of
characters as in Kathakali. While in
Kathakali, Vali and Sugreeva wear the same
costume, in Koodiyattom, their costumes
are different. Vali, as the more kind and
powerful of the two, possessing noble traits
of character with certain aspects of
amorous expression towards Tara, ha make-
75
up which brings out those characteristics.

In Vachika Abhinaya, the text of the
Sanskrit drama is rendered by the actor
with intonations reminding us of the YajurVedic chantings of the Nambudiri Brahmins
of Kerala. There is no attempt at making
the speeches naturalistic. Even ragas
(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.
DANCES OF INDIA
Choodamani lasting for twelve full days tells

the full story of the Ramayana including
Vanarolpathi by Shri Hanuman, by hand
gestures alone.
Since one Anka (Act) of the drama alone
is performed at one time, there is a prelude
to this performance called Nirvahana during
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 timeconsuming. Hence nowadays these plays
are presented only in parts-each part being
known by a different name. Thus,
Swapnavasavadatta is presented as six
different performances, each performance
confining itself to one Anka. (One Act).
These Ankas (Acts) are also known by
different
names.
Thus
in
Swapnavasavadatta, the Ankas are called
Brahmacharyankam, Pandattankam,
Shebhalikankam,
Svapnankam,
Chithrabhalakankam, etc. In Prathigna
Nataka, there is one Anka called
Manthrankam which takes 41 days to
perform. This is an oral exposition by
Vidooshaka of all things under the Sun.
Similarly, the Anguliyankam of Ascharya
which one of the characters sum, up the

story presented in the earlier acts of the
drama and possibly the earlier stories. This
Nirvahana takes very many days and if
this Nirvahana is rendered by the
Vidooshaka, it is an oral exposition. Other
characters use hand gestures for this
purpose.
The Performance
The performance can be classified into two
parts on the basis of the relative
importance of the Vidooshaka, the comic
character. Thus, performances like the first
act of Subhadra- dhananjayam, the first
act of Stapathisamvaranam, etc., are
Vidooshaka dominant where there is greater
76
emphasis
on
Vachika
Abhinaya (oral rendering).
The Vidooshaka talks in
Malayalam. He interprets the
Sanskrit slokas recited by the
characters in Malayalam and
recites parodies of these
slokas and expounds the
various laws of nature in a
very humorous manner.
The Elaborateness
The
most
important
characteristic of Koodiyattom
is its elaborate interpretation
of the Sanskrit slokas or
stanzas through hand
gestures by the various characters and by
oral expositions of the Vidooshaka. The
slokas are enacted in such a way that the
inner multiple meanings of the various slokas
are explained to the audience. Even
incidents, anecdotes and philosophy which
have only an indirect and very remote
bearing on the meaning of the slokas can
be indicated by the actors. In
Abhishekanataka in the Thorana Tudha
Ankom there is a sloka in which Ravana
speculates that the reason for a monkey
devastating the palace in Lanka is due to
the disrespect he showed to Nandikeswara.
Nandikeswara had cursed him, saying that
he would be ruined by a monkey. In enacting
this sloka, the actor describes in detail
Ravanas war with the Devas and the
Asuras; he details the preparations for the
war, the triumphant journey thereafter, a
description of Lanka, his expedition to win
over Vaishravana and the blocking of
DANCES OF INDIA
Pushpaka Vimana by
Mount Kailas, the vivid
features of Mount
Kailas, the quarrel
between Parvathi and
Siva and so on. The
Angika Abhinaya of this
sloka takes 3 to 4 hours
to perform.
Such elaborate and
lengthy Abhinaya of the
Sanskrit slokas may
seem tedious to an
indifferent audience. For
their entertainment,
there are the humorous
oral expositions spiced
with some vulgarity by the Vidooshaka. The
Vidooshaka also expounds the famous
Purushartha or the four ultimate
attainments in human life. This is a satire
on the follies and foibles of human life by
which he recounts the exploits of a group
of adventurous high caste Hindus to attain
the four aims, namely, Rajaseva (waiting
upon the King with flattery, gossip, etc.),
Asanam (greedy enjoyment of an enormous
feast), vinodam (sexual enjoyment with a
prostitute) and Vanchanam (betrayal of
the prostitute whom he has enjoyed). These
four Purusharihas are interpreted in place
of Dharma, Artha, Kama and Moksha. This
oral exposition usually takes more than four
days, during which there will be much
pointed satire at the way of living of
highbrow society, involving the audience.
All told, Koodiyattom is unique in its
presentation of classical Sanskrit drama
through the vitality of the folk medium.
77
DANCES OF INDIA
ORIGIN AND DEVELOPMENT OF THULLAL

P. K. SIVASANKARA PILLAI
erala is rich in literary and artistic

traditions. The celebrated classical
dance drama, Kathakali, has placed
Kerala in the forefront of the civilized
countries of the world.
Thullal is yet another Kerala art which is
fostered, encouraged and taught in Kerala
Kalamandalam. If we remember that the
genius, traditions and temperaments of a
people are most reflected in their traditional
arts, we could without any hesitation say
that the art form of Thullal is a mirror of
our cultural life. It is more so, when viewed
in the light of the statement, The
character of a people is often learnt from
their amusements, for in the hour of mirth,
the mind is unrestricted and takes its
natural bent. Thullal is a most amusing
and mirthful dance recital...
Thullal-Its Artistic Form and Technical
Details
Thullal literally means dance. But the term

connotes a particular school of dance. It
has a history which throws much light on
the literary, artistic and cultural life of
medieval Kerala. This art form is the
cumulative product of all the traditional
theatrical arts of Kerala, both folk and
classical. In ancient times, the wisdom of
the epics and mythology was conveyed to
the people by different classes of story
tellers. Chakkyar Koothu is perhaps the
best example of the tradition which the
highbrow class of society fostered and
encouraged. And hence, that art form in

its evolution attained a high degree of
sophistication. But the medium resorted to
by the folk for their self-expression,
entertainment and propagation of
mythology was art, especially narration,
music and dance. Kerala, in ancient times,
was very rich in the patterns of such
theatrical folk art forms which had singing
and dancing as their integral parts. The
art of Thullal was evolved as a system out
of the various singing and dancing art forms
of the people incorporating apt features
of classical styles so that by the harmonious
blend of the folk and classical forms of
arts it represented the accumulated
aesthetic experience of all sections of the
people high and low. The themes were
drawn from the never failing myths and
epics of India.
As the main objective was the propagation
of knowledge and enrichment of literature
through the medium of art, spoken word
and songs became the most powerful
component of communication. The songs
were sung to the accompaniment of acting
and dancing with varying foot works. Based
on different styles of narrative singing,
rhythms of dancing, foot work and makeup of the dancer, three varieties
of Thullal were evolved in course of time.
They are:
1. OTTAN THULLAL: It consists of a
variety of rapid metres well suited for
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
headgear 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 coconut palm, with frills of the
same material adorning his wrists.
3. PARAYAN THULLAL: This has a slow
narrative style for singing, with slow
graceful elegant steps, movements and
hand gestures. The make-up of a Parayan
is very simple except for an ornamental
headgear and a red cloth round his waist.
The dancer smears the whole body with
charcoal paste.
Kunchan Nambiar
Originator of Thullal Art
The history of the origin and development
of this form is well known to all lovers of
Kerala arts. More than two hundred years
ago, there appeared in the arena of Kerala
culture a most extra-ordinary poet, the like
of whom is hard to be found. His name
was Kunchan Nambiar. He belonged to a

family of artistes who had hereditary
functions associated with the performance
of Chakkyar Koothu in Hindu temples.
Striking the Mizhavu-a particular kind of
drum to set rhythms of the Koothu
performance-was the main function, at
which Nambiar also had his training during
his boyhood. Though born at a place called
Killik- kurissimangalam in Palghat district,
the major part of his life was spent at
Ambalapuzha in Alleppey District and at
Trivandrum. To these places he migrated
as a court poet following the political
fortune of the ruling kings of those days.
It was during his days at Ambalapuzha that
79
he invented the art of Thullal and personally

performed the same for the first time. There
is a traditional account relating to the
circumstances that prompted Nambiar to
invent such a popular art form. Kunchan
Nambiar, while playing the drum at a
performance of the Chakkyar Koothu, had
the misfortune to produce a wrong note
on the drum and the irate Chakkyar
administered a sharp ridicule. Nambiar, the
youthful poet felt highly mortified.
Immediately after the performance, he set
to work devising an altogether original form
of entertainment. When the Chakkyar
began his Koothu the next day, Nambiar
produced the first performance of his Thullal
at a place nearby within the premises of
the temple. The new entertainment so
greatly fascinated the people that the
audience that had assembled before the
Chakkyar abandoned him and flocked to
see Nambiars Thullal. This story has very
little relevance when tracing the historical
background of the origin of this art form
except that the incident narrated might
have served as an immediate provocation
to Nambiar for an improvisation of the art
to which he had already given form and
content. The social and historical conditions
which processed the poet and his art form
were many.
Those were days when the literary scene
of Kerala was in the grip of highbrow
attitude. Sanskrit reigned supreme and an
abstruse formalism was in vogue. The Kerala
stage patronised by the aristocracy within
the premises of the temples was dominated
by the highly sophisticated art forms such
as Koothu and Koodiyattam. The common
man was left behind, unable to share the
DANCES OF INDIA
delights of scholarly poetry and drama and

the spiritual enlightenment of religious
literature. At the same time, Nambiar found
a vast body of folk literature in the lower
strata of society in the form of songs and
ballads as also various types of folk arts
which though low in standard were
characterised by the qualities of
spontaneity and naturalness undreamt of
in the creations of intellectuals. Nambiars
genius saw the wonderful opportunity
offered to a poet and artiste for a
synthesis of these different literary and
artistic tastes from which could be evolved
a new art form with a new purpose. He
boldly seized the opportunity with an
adventurous spirit. And he emerged as a
performing poet-a unique event in the
cultural field.
Nambiar was a born poet with a marvellous
command of words and versification. He
was equally proficient in Sanskrit and
Malayalam. He had profound scholarship in
all fields of knowledge of his times with
abundant store of ancient lore. The output
of the poet has been prodigious. There are
about fifty poetical works to his credit as
Thullal compositions. All of them are on
puranic themes. But the compositions have
the unmistakable stamp of the poets
originality based on his worldly wisdom and
outlook. He very cleverly adapted the
puranic themes to the environment of
contemporary Kerala life with a view to
make those episodes serve him as a
powerful media for social criticism. This local
colouring is sometimes interwoven with
interludes of allusive satire on popular
morals and manners which have had their
biting effect on society. And no wonder
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,
that the Thullal composed in the language

of the people, replete with fun and humour
designed as a theatrical art blending many
streams of literary, musical, rhythmical and
histrionic traditions of the people blazed
out into popularity which they still enjoy.
Thullal as a Visual Art
Even though the spoken word is the most
important component of Thullal, effective
use is made of dance and music and the
histrionic technique of gestures to !make
it !most attractive to the audience as a
visual art. It is evident from the poetical
compositions that the poet was an adept
in the classical dance technique as
enunciated in the Natya and Sangeetha
Sastras. In one of his poetical works, he
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
performed by expert artistes of Thullal.
The footwork in Thullal calls for
appreciation almost to the exclusion of its
other features. The varieties of the gait
and rhythmic movement are dependent
upon the foot work, graceful and elegant
as well as spirited and eloquent. The poet
has emphasised the beauty of footwork as
an integral part which should go in
combination with singing. He had so much
mastered the native genius of the folk that
in one of his works he has even codified
the folk rhythms with rhythmic
arrangements of syllables to form scales
of the time measure.
Thullal is a most popular and unique art
form that has become indelible in the
cultural history of Kerala.
81
DANCES OF INDIA
KATHAKALI- The Total Theatre

M. K. K. NAYAR
olour, intensity of detail, stylised

movements and rarity of
aesthetic 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
Legend has it that the narrow strip of land
called Kerala that lies in the South of India
between the western ghats and the
Arabian Sea emerged out of the sea by
divine dispensation. Anyone who visits
Kerala could see that the landscape differs
in every aspect from the rest of India. The
people too, to a considerable extent. How
could such a distinctly different area appear
as a part of the Indian sub-continent? The
more one saw Kerala, the more one felt
that legend alone could explain it.
Whatever be the origin of Kerala, it is true
that the people who inhabited it and their
culture differed substantially from their
neighbours across the mountains. Here was
a race, virile and warlike with chiselled
features and scrupulous in personal

cleanliness. Their women were healthy and
handsome, proud of their long tresses of
hair and ability to stay young even after
mothering a dozen children. They
worshipped serpents and Bhagavathi (the
Mother principle). Every tarawad (the joint
family household) headed by a Karanavar,
the head of the household, had its own
Kavu (a bushy growth of trees) where the
serpent was sacredly fed and worshipped.
The village had its own Kavu where there
was the temple of Bhagavathi (also Devi).
Nature was bounteous. Rich soils and heavy
rains gave the people a prosperous
agriculture-based economy. Farming was
their main avocation except when wars had
to be fought.
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.
Their life was simple. Everyone was trained

in farming and fighting alike. They had kalaris
(gymnasia) where they got training in the
art of combat and the use of different
weapons. Agility of the physique was
paramount. Rigorous massage with
medicated oil was an annual feature of
ones life.
These people of Kerala had their own codes
of conduct in peace and war. In peace,
they were extremely benevolent and fond
of recreation. In war, they were steadfast
and fought to a finish. There were times
when wars In Kerala among the different
chieftains carried on for over a hundred
years. Men moved from one end of the
country to the other, fighting. Many of them
never returned home .. So, a different land
tenure system was established
Marumakkathayam, (the matrilineal system
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
also to the priests. In war-torn Kerala, no
wonder, . the priests very soon became
the owners of the major portion of the
country. Legends were also raised giving
divine blessings to this economic
transformation of society. Thereafter,
society looked up to them for favours. They
had their own laws of inheritance. They
continued to follow them. They had their
own rigorous laws of marriage within their
community. But they would marry into other
communities too. Others welcomed it as it
improved their social status then.
Influence of Folk-Drama
Sanskrit got recognised as the language
of the gods and the elite. Religious rituals
called for proficiency in Sanskrit. Knowledge
of Sanskrit was a social status symbol. The
Namboodiri brahmins, the land owning class,
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 folkforms 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
ancient Kerala way of presenting Sanskrit
dramas came into vogue. It called for
professional specialisation in histrionics.
Those who chose this profession were
called Chakyars. It was a full-time
profession calling for very rigorous training.
Naturally, those who took to it could not
also perform priestly functions at the same
time. So, in course of time, Chakyars
became a caste of their own, confining
themselves to the theatre. Along with
Chakyars, women of the Nambiar community
took part in the drama. Among Chakyars,
there were extremely talented actions.
They came out to do mono-acts and
entertain audiences at convenient hours.
Koodiattam, the drama, usually commenced
after dinner and went into the early hours
of the morning. And it went on for several
nights continuously. But the Chakyar
Koothu or the mono-act performance was
usually done in the day or in the evenings
and always ended before dinner. A koothu

was a piece of entertainment limited in time
but unlimited in hilarity. It was a
combination of the various factors that go
to entertain an intelligent audience. It
abounded in social satire. The Chakyar
treated the king and the beggar alike. To
hold together an audience by sheer gift of
the gab was not easy unless accompanied
by extraordinary histrionic ability. This was
what made Chakyars inimitable and paved
the way for a theatre which excelled
everything else in its finality Of aesthetic
expression.
A leisure-laden class of Sahridayas
(connoisseurs) when they abounded in
society, could devote considerable
attention to the perfection of evolving art
forms. Thus it was that Koodiattam received
enviable nourishment and meticulous care
of detail. Dramas were specially written to
suit this stylised system and it became a
84
must for every major temple to include a

Koodiattam performance during its festival
season.
The Auditorium
Acoustics was important for both the
drama and the mono-act. The architects
of Kerala arts were therefore commissioned
to produce the perfect piece of acoustic
excellence. That was how the
koothambalams in the temples of Kerala
came to be designed and built. Their
acoustic excellence had to be experienced
to be believed. And it was in these
koothambalams that the famous plays
Tapati Samvarana and Subhadra
Dhananjaya of King Kulasekhara Perumal
of Kerala of the eighth century A.D. were
enacted. To present seven acts, it took
them as long as two months. The
introduction itself could take four days.
There could be no more evidence of the
existence of an extremely discerning,
leisure-loving class and the dominant place
the drama occupied in the cultural
panorama of Kerala from ancient times.
Krishnattam
As the centuries rolled by, another addition
to the theatre was Krishnattam. Those were
days when the Zamorins ruled the northern
half of Kerala with their capital at Calicut.
Sometime in the first half of the sixteenth
century, the reigning Zamorin was one
Manavedan, a great scholar and patron of
arts. He wrote a drama based on Krishnas
life and choreographed it into an elegant
art form, called the Krishnattam (the play
of Krishna). He also gave it a dance base.
The script was in Sanskrit and the artists,
Chakyars.
DANCES OF INDIA
Krishnattam, became quite popular very

soon. It copied the costumes of Koodiattam
but improved upon them. For certain
characters, it also used masks. Being a
new art form directly promoted by a
powerful rulery. Krishnattam became a
regular feature in important festivities. Its
novelty drew to it many people away from
the Koodiattam stage. The rasikas who
patronised Krishnattam and Koodiattam
Were the same, the elite members of
society who had learned Sanskrit and could
appreciate its literary depths.
Ramanattam
Malayalam, as a distinct language, had
come to stay by then. Ezhuthachans
famous works, the Adhyatma Ramayana
and the Mahabharata, were household
possessions all over Kerala. The language
had arrived with its own distinct diction,
rhetoric and imagery. Every Nayar
household considered it a matter of
prestige and later, a matter of routine to
get the children, both boys and girls
educated.
Earlier this was confined to Sanskrit works
like Raghuvamsam and Sriramodantam, But
after the emergence of the mellifluous
master- pieces of Ezhuthachan,
Manipravala, the judicious mixture of
Sanskrit and Malayalam used by him to
evolve a charming style of his own became
a popular theme of study and emulation.
Poets, who earlier had confined themselves
to writing poetry in Sanskrit alone took to
composition in Manipravala. A new
awareness of the seamier side of life was
spreading among the middle classes. The
highly Sanskritised Koodiattam and
85
Krishnattam were too high-brow for them.

They needed something lighter, something
that could hold their enthusiasm. As it
always happened at the time of such a
need in the cultural history of any people,
the Raja of Kottarakkara came forward with
his new theme, the Ramanattam.
Compared to the Zamorin, Kottarakkara
was a lesser Raja. He was the chief of a
small principality at a place about eighty
kilometres to the north of Trivandrum, the
present headquarters of Kerala State. He
was a great scholar and had grasped the
essentials of the drama extant then. He
composed a play based on the Ramayana.
As it took eight days to present a
Krishnattam play, he too devised his play
into one for eight days. The essential
differences between the two were that.
while Krishnattam was all in Sanskrit and
was enacted only by Chakyars,
Ramanattam was in Manipravala style and
performed by the Raja himself and his
Nayar soldiers. That was the beginning of
Kathakali, the classical theatre of the
people of Kerala.
Opinions differ on the exact dates on which
these plays were composed by the Raja.
Reliable research scholars place the period
somewhere between 1575 A.D. and 1630
A.D. The Raja himself supervised the
training of the actors who were all chosen
from his army composed wholly of Nayars
and led by their chieftain, Kittu Kurup.
Costumes were improvised, the typical
Kerala colours, bluish green, red and black
dominating them in the facial make-up. The
actors learnt their words by heart and sung
them while acting. After a few
performances, they got confidence to go
DANCES OF INDIA
as a troupe and give performances in

different parts of Kerala. Dancing and a
sense of rhythm came naturally to the
Nayars as their training in physical combat
and warfare conducted in the Kalaries
(gymnasia) was imparted according to a
tala (time beat). Religious rituals from the
early days involved dancing accompanied
by music and drumming. Over the centuries,
music mostly in folk-song style, developed
and acquired a distinct pattern of its own
in Kerala. Music drew the Nayars to it and
they wove it attractively into their
ritualistic dances. So when Ramanattam
was introduced by the Raja of
Kottarakkara, it was easy for him to
integrate an already existing style of music
and pattern of dancing.
Kathakali
Within the first two decades of the
emergence of Ramanattam as a distinct
form of theatre, it became clear that the
actor could not do justice to music, dance
and action at the same time. Dance
affected ones breath; music demanded a
steady breath. It was between 1630 A.D.
and 1640 A.D. that the Raja of
Vettathunadu, a great lover of arts came
into the scene to develop this art form. By
then, the Raja of Kottarakkara was no
more. Vettathu Raja was a great scholar
and connoisseur of the drama. He was ably
assisted by his versatile army chief,
Sankara Nayar. It was at their hands that
Ramanattam got refined into Kathakali. They
introduced many reforms, the most
important of which was to provide a
musician, to sing the entire dialogue so
that the actors could be fully free to
interpret it with gestures and movements.
86
Thereafter, the actor could concentrate

on specialisation in abhinaya (aesthetic
expression) leading to the present state
of stylised perfection. The Raja also
improved the system of costumes and
make-up. Masks used earlier by demons
and monkeys following the practice in
Koodiattam or Krishnattam were done away
with. Instead, faces were painted with
appropriate colours. It was the RajaSankaran Nayar combination who
introduced two of the most beautiful
components of the Kathakali performance,
namely Purappatu and Thiranokku,
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
commenced thereafter.
Purappatu
Purappatu, the formality introduced by the
Vettathu Raja followed thotaya. In this
case, the heroes of the play made a formal
debut before the audience by holding the
thirassila (curtain) down with their hands
and giving an opportunity to the spectators
to see them and their make-up close at
hand. The movements that formed a part
of Purappatu were again pure dance. After
this formality was over, the play could
DANCES OF INDIA
commence.
The Chenda
The most notable contribution of the
Vettathu Nayar combination was the
introduction of Chenda, the vibrant drum
that since then became the core of the
accompaniments. The chenda is held
vertically and is usually played with drumsticks. Earlier, as in Krishnattam, only the
maddala was used.
Thiranokku
Thiranokku, another formality introduced
by the Vettathu Raja was a stylised debut
of evil characters or characters of

extraordinary prowess. To register an
intensive impact on the audience of the
entry of a powerful character, this method
was thought of. As the drums play
relentlessly to the prescribed tala the
character brings down the Thirassila and
projects himself or herself to the audience.
The expressions used on this occasion
would typify the bhava (the aesthetic
emotion) that dominated the succeeding
scenes.
Music
87
Kathakali was on its way to growth and

popular enthusiasm. Kalaries (centres of
training) were getting established in
different parts of Kerala. One of them that
made a significant contribution during the
period to improve its showmanship was at
Kurichi near Kottayam in the erstwhile
Travancore State. The teachers at Kurichi
introduced two musicians instead of one.
The first, the leader, using a gong controlled
the tala of the actors and drummers as he
sang the dialogue. The second one used
heavy
cymbals
to
keep
the
accompaniments at a high tempo and
repeated the songs to enable the actor to
complete his interpretation. The first one
acquired, in course of time, the status of
a stage director and came to be known as
Ponnani and the second one, Sankidi.
Kottayam Raja, the Preceptor
The next important period of development
of Kathakali was during the time of the
Raja of Kottayam in North Kerala who lived
between 1665 A.D. and 1725 A.D. He was
a great scholar. He was also a great
connoisseur of the drama. He was drawn
to Kathakali early in life. He trained himself
as an actor of inimitable repute. His
histrionic talents were legendary. He found
that the stories of the Ramayana were
devotion-oriented and so did not give
adequate scope for the effective display
of all the nine bhavas. He therefore decided
to write stories based on the Mahabharata
where men were men and women were
women. The Mahabharata offered unusual
scope for the display of all the bhavas. He
wrote four famous plays, Kirmeera Vadha,
Baka Vadha, Kalyana Saugandhika and
Kalakeya Vadha.
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He was ably assisted by Chathu Panicker,

a talented artiste and a highly imaginative
leader of men. Together they not only laid
great stress on scientific music but also
took pains to prescribe in meticulous detail
the stylisation to be followed scene by
scene. It was the Raja Panicker combine
who made Sringara the most delightful and
inevitable component of Kathakali. The slow
development of the bhava through a highly
stylised combination of expression and
movement became a standard pattern ill
Kathakali called Pathinha Pada; its
stylisation and choreography received
attention at his hands more than anything
else.
Kottayam Raja and Chathu Panicker
together made many remarkable
contributions. They recognised the need
for a high standard in the musicians and
drummers. They also recognised that artists
of such high quality should receive the
approbation of the audience. They seldom
got the opportunity to display their ware
to advantage while the play was on as all
attention was on the actors. So the Raja
and Panicker introduced an interlude
between the Purappatu and the
commencement of the play. That was
Melappada. Jayadevas Gita Govinda, the
great lyric in Sanskrit that had immortalised
the love of Radha for Krishna was a popular
work in Kerala at that time. It had, earlier,
inspired the author of Krishnattam.
Kottayam Raja was also inspired by it
considerably in his handling of the Sringara
rasa in his plays. The poem commencing
with the words Manjuthara in Gita Govinda
was adopted by the Raja to enable the
musicians to display their proficiency before
88
the audience. The piece was sung to the

accompaniment of the drums and cymbals.
At the end of it, the drummers came
forward and demonstrated their dexterity
before the audience. The combination of
the singing of Manjudhara and the display
of drums following it, was named Melappada.
Thus, after Kottayam Rajas reformation,
the performance began with Thotaya,
followed by Purappatu and Melappada
before the story commenced. This format
has continued till today.
Travancore Maharaja and Kaplingad
Namboodiri
The next major development of this art
form followed soon after. That was during
the time of Maharaja Karthika Thirunals
reign of Travancore State between 1758
and 1798 A.D. Poet, statesman and
connoisseur of arts, the Maharaja wrote a
number of plays and constituted a
permanent troupe for regular performances
in the famous Sri Padmanabhaswamy
Temple at Trivandrum. As luck would have
it, another great lover of Kathakali entered
the scene at the same time. That was
Kaplingad Namboodiri. An aesthete of no
mean standard, a scholar of enviable
proportions and a fanatic devotee of this
art form, the Namboodiri joined hands with
the Maharaja to make Kathakali, the most
enjoyable theatre art Makeup for each
type of character was specified and
compliance ensured. Costumes were
prescribed with an eye on showmanship,
colours being chosen with particular
reference to mythological tradition and
effectiveness on the stage. Stylised
movements were systematised and the
training programme drawn up in detail. The
DANCES OF INDIA
Maharajas reign lasted nearly forty years.

That was long enough to stabilise all such
reforms and ensure them as a permanent
feature. The palace troupe, as the
permanent troupe was called, attracted the
best talent. Over a period of time, it
became an established convention that a
Kathakali actor could be deemed to have
graduated only after he was permitted to
join this troupe even if only for a day and
perform at the Sri Padmaanabhaswamy
Temple.
There is very little change in the Kathakali
that we see today as compared to what
had emerged after the Maharaja and
Kaplingad Namboodiri had given it the
overhaul and trimmings.
Abhinaya in Kathakali
Abhinaya is histrionic expression or histrionic
representation. It is the essence of
theatre. In Kathakali, Abhinaya dominates.
Abhinaya has been broken down into four
distinct dramatic elements, each separately
identifiable and fully developed. They are
Aharya (Make-up and costume), Vachika
(the spoken word), Angika (gestures) and
Satvika (aesthetic emotional expression).
Aharya
The first impact of Kathakali on one who
sees a performance is made by its colourful
make-up and costumes. Aharya thus plays
an important role in the build-up of the
Kathakali atmosphere. The make-up or
costume in Kathakali was not invented
overnight. It was evolved over a period.
Kathakali presented themes of gods,
demons and supermen. It was necessary,
therefore, to create the necessary
89
atmosphere to generate an impression of

unearthliness in characters. The ancient
traditions of folk-arts of Kerala were there
to draw from. The choreographers of
Kathakali freely used what was available
in folk-arts like Thira, Koodiattam and to
some extent, even Krishnattam. Then they
improved upon them. Character was

considered more important than individual
features so far as make-up was concerned.
Thus a noble character, be it god or man
could be presented with identical makeup.
Similarly an evil one, be it a demon or a
man could use a common make-up too.
Classification of characters by their basic
qualities therefore, determined the
costume.
DANCES OF INDIA
Basic qualities are three: Satvika, Rajasa

and Thamasik. Satvika stands for the noble,
generous hero, usually described as the
Dhirodatta. Gods, noble kings and princes
are brought under this group. Examples are
Indra, the king of gods, King Nala, King
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
his mouth. They wear kiritas (headgear)
made out of pith and wood, and elaborately
decorated with mosaic.
Among characters generally classified under
Paccha, there are some variations to suit
specific requirements. Krishna stands out
among them. Krishnas headgear is
different. Instead of a Kirita, he wears a
muti, It is a coronet, decked with peacock
plumes. While Paccha characters generally
90
Wear red jackets and white skirts, Krishna

wears a blue Jacket and a dark blue skirt.
Krishna also wears a large garland
representing vanamala (the garland of wild
flowers). Krishnas costume is also used
for Vishnu. Rama and Lakshmana also
appear with the same headgear.
Katthi
The second broad classification, namely,
the Rajasa type are Dhiroddhathas
representing ambition, might, arrogance
and defiance. They are Pratinayakas
(villains) as against the Pacchas type that
denotes Nayakas (Heroes). Kings among
Rakshasas (demons) or Rakshasas (evil
ones) among kings fall under this category
for purposes of Kathakali make-up.
Examples are Ravana, Kamsa, Duryodhana
and Kichaka. The make-up is called Katthi.
The green background of a paccha makeup is broken by a knife-shaped red patch
with a white border line, drawn close to
the upper cheek bon s. On the forehead,
at a point close to the root of the eyebrows
and at the tip of the nose, chuttippoos
(white balls) are fixed. The make-up is
intended to project defiance, arrogance
and a savage majesty. Katthi characters
wear inside their mouth a pair of canine
teeth which they can bring out at will while
expressing wrath. In keeping with their
character, they move about in arrogant
majesty as though they were a law unto
themselves. The character are generally
sensual and pleasure-seeking as much as
they are headstrong and valiant. There is
no difference between Paeeha and Katthi
characters so far as the headgear or the
costumes are concerned.
DANCES OF INDIA
There are some variations among katthi

characters to emphasise specific
differences. An unusually wicked, fierce or
wily katthi character is indicated by a larger
knife-like pattern, like additional red
patches over the eyebrows and sometimes
a black beard too. In Kathakali, katthi is a
preferred role. Every leading actor would
be keen to perform a katthi role and win
approbation as it has wide scope for the
display of his histrionic expression.
Katthi characters are permitted to make
weird noises to accentuate their
expression. These noises vary in
appropriate density in relation to the mood;
from cooing while courting to rearing when
angry.
Thati
Thati is the generic term used for the makeup of characters that typify the Tamasik
quality; namely, vicious and vile characters,
cruel and power-crazy. Red Thati is the
prominent one among Thati characters.
Examples are rakshasas (demons) like Baka,
wicked men like Dussasana and Susharma,
The make-up is distinctly different from
Paccha and Katthi. The white chutti frame
work common to Paccha and Katthi is
absent. Instead, the attempt is to project
an embodiment of elemental, untamed
passions, mighty and overpowering. Bright
red and deep black combine the colours
painted on the face to remove any
suggestion of softer graces or restraint.
The eyes are made ferocious with a patch
of deep black around them. The lips are
pain ted black giving them a lurid look. On
each cheek a white pattern is made, looking
like bristles. The white balls affixed to the
91
tip of the nose and to the forehead are

much larger than those used for Katthi.
The headgear is very much larger than the
kirita and its rim, fitted with red wool. He
roars like thunder and moves about in
aggressive hauteur. Everything about this
character denotes beastly ferocity and
brawny might.
Among Thatis, an important variation
relates to Kali, the evil character in the
story of King Nala. The make-up is equally
ferocious; but he wears a black beard
instead of a red one.
A further variation is used for the monkey
kings, Bali and Sugriva of the Ramayana.
Though they are not classed as demons,
they are still fabulous animal kings
possessing brute force. The difference is
provided by a white curved patch on either
side of the chin.
Sudarsana chakra, the all-annihilating
discus-like weapon of Vishnu is also given
the Red Thati costume.
Black Thati is used for jungle tribes and
aboriginals. They represent the elementary
man, primitive, uninhibited and alert. The
face is fully painted in black with bracketlike patterns in red and white around the
eyes. Lips are painted dark red. and at the
tip of the nose, a flower like chuttippoo is
worn. His headgear is also peculiar. It is
black in colour built with peacock feathers
and is shaped like a lotus capital. He wears
a black beard and carries a bow and arrows
and a sword. He makes a simple noise
resembling a birds chirp. Examples of such
characters are the Kattala (hunter) in the
story of King Nala and Kirata (Siva in
disguise as a hunter).
DANCES OF INDIA
Minukku
Apart from the three basic categories of
make-up, there are some others of note.
Of these, Minukku is a common name given
to the make-up of women, rishis (sages),
messengers and Brahmins. Minukku really
refers to the facial make-up alone. The
painting is done in flesh colour in a simple
manner. Lips are painted red and the eyes
and eyebrows accentuated. The make-up
signifies gentleness, restraint, poise and
spiritual qualities. The costumes are
unostentatious. There are no bulging skirts,
blazing overcoats or imposing headgears.
A rishi wears a Jatamukuta (like hair tied
up over the head). A Brahmin merely covers
his head with a piece of cloth. A messenger
wears a turban.
The costumes of feminine characters (other
than a demoness) are indeed a class by
themselves. In Kathakali, it is almost always
men or boys who play the roles of feminine
characters. There are, therefore, no
natural advantages for display. Not only
that. The costume should not also expose
the man behind it. So it is very carefully
designed. The make-up is also delicately
arraigned. A light golden yellow paint is
used for the face. Powdered mica is
sprinkled over it. The eyes and eyebrows
are delicately elongated with a sensuous
curve. The hair is dressed into a knot, near
above the forehead, a little to the left.
Over this, a light coloured veil is worn,
extending to the waist. A tight-fitting red
jacket covers the body and arms. A gilt
breast plate with two red breasts fixed on
it is worn on the chest and a white scarf
drawn over the neck covers them. An
ornamental belt is worn over a white sari
92
pleated with folds. And then there are the

ear-rings, necklaces, armlets and bangles.
Femine characters movements are in the
lasya style as contrasted with the
masculine thandava.
Hanumans Costume
For Hanuman, the make-up and the
costume are both unique. Hanumans
costume is referred to both as white thati
and Vattamuti. The upper half of the face
is painted black and the lower half red.
Lips are painted black and a white
moustache pattern is drawn on the upper
lip. The nose is painted green and there
are two ovals in red on the forehead. A
white chutty- like pattern is provided on
either cheek. A white woolly beard is worn
over an enormous white fur coat. The
headgear resembles the helmets worn by
French colonial officers in the eighteenth
century.
These constitute the main costumes. Then
there are variations for the swan, serpent
kings, Narasimha (man-lion-an incarnation
of Vishnu) and so forth. Most of the male
characters wear long silver nails on the
left hand fingers. They help enhance the
elegance of the mudras .
Kathakali actors eyes are always reddened
by the application of a flower (Solanium
pubescence). The crimson eyes not only
add a sense of contrast in colour but also
provide a vibrant, sensitive instrument for
effective expression. All this takes time.
To get an actor ready for the stage, it
usually takes between four to five hours.
Vachika
The Vachika component of abhinaya in
DANCES OF INDIA
Kathakali is provided by the two musicians

who sing the slokas and the Padas from
behind the actors. The slokas constitute
the narrative portion which may include
introduction of the characters appearing
in the scene, the events that have taken
place in between scenes and so forth. The
Padas constitute the dialogue. They are
all set to specified thalas. The style of
singing is known as Sopana, derived from
the patterns adopted for singing hymns at
the temple precincts.
Angika
Angika abhinaya has a major role to play in
Kathakali. As the actors do not use the
spoken word, they need an effective
gestural language to converse among
themselves. So Kathakali has evolved its
own elaborate language of gestures.
The basic component of this language are
the mudras (hasta lakshanas or hand
gestures). The language of Kathakali has
been drawn freely from Bharatha but has
been enriched to express almost everything
under the sun. The gestures can be
generally classified as
Imitative:
to show an elephant, a lion,
a deer, a snake and so forth
Descriptive: to show things like fire, river,
mountain, city, house, etc.
Expressive: to express different moods
like courteousness,anger, impatience,
contempt etc. and
symbolic: to indicate destiny, Heaven,
Hell, God, etc.
To express something, be it a word, an
idea or a sentence and to convey the full
93
meaning of it, it is not enough if the hand

gestures alone are employed. The facial
expressions must accompany the hand
gestures. Intensive and ruthless training
for a period of a dozen years or more
enables the actor to bring under perfect
control every part of his body solely for
the sake of aesthetic expression. His eyes
are ever vibrant, his facial muscles
eloquent. his finger-tips creative and his
whole person the very embodiment of
rhythm. The language of Kathakali is thus
an integrated effort of the limbs, the eyes,
the facial muscles and the movements of
the body. It is stylised, yet eloquent.
Satvika Abhinaya
Satvika abhinaya is the core of Kathakali,
It is the perfection of Satvika abhinaya
attained in Kathakali that has made it the
total theatre. Satvika abhinaya is also
known as Rasa abhinaya. Rasa is aesthetic
flavour or sentiment. In a drama all the
various aspects of abhinaya should
culminate in the delineation of rasa.
Traditionally, the principal aesthetic
emotions are nine. They are:
Sringara
(amour)
Veera
(Valour-Heroic)
Karuna
(Pathos- Pathetic)
Adbhutha
(wonder)
Raudra
(Wrath or fury)
Haasya
(Contempt-Comic)
Bhayanaka
(Fearful-fright)
Beebatsa
(Disgust-revulsion)
and Shantha (tranquillity)
In Kathakali all these are delineated with
consummate skill which comes out of the
rigorous training the actor has to undergo.
It is not mere technical excellence that is
DANCES OF INDIA
aimed at. The actor merges with the role

portrayed. His description, for instance, of
a lotus, its blossoming and its folding up at
dusk does not come out of mere training
but of dedicated observation of the lotus
in a pond from dawn to dusk and assimilating
the very spirit of its life.
The Stage
The stage of Kathakali is the simplest
imaginable. The only equipment needed on
the stage is a huge coconut-oil-fed lamp
towards which all movements converge.
The curtain used is a small rectangular
piece of cloth called Thirassila. The drums
used are the chenda and the maddala. The
Chenda is not used during Lasya. The other
musical accompaniments used are the
Chengila (the gong) and ilathala (the
cymbals).
The Traditional Performance
In the truly traditional style, Kathakali is
played throughout the night in the open
air. It starts in the evening with Kelikottu,
the formal announcement t when all the
drums and cymbals are played in the
courtyard for a while. At about 9 oclock in
the night, the maddala is played for a short
while in front of the oil lamp. This is
followed by Totaya when one or two players
perform an invocational piece. After this,
the musicians sing the first sloka of the
story of the night. This is followed by
Purappatu and Melappada. After the
Melappada, the story begins.
I1akiattam, the Forte of Kathakali
One of the unique features of a Kathakali
performance is what is called Ilakkiattam.
The term is used to distinguish it from
94
Cholliattam. Cholliattam means dancing to

the words sung by the musician. The
musician can sing only what is written in
the poem. When the artistes act to express
the meaning of the slokas and the padas
sung by the musician, it is Cholliattam. At
the end of it one should normally expect
the curtain. But the curtain does not fall
so soon in Kathakali. The characters
continue to converse with each other by
the use of gestures and Hasthalakshanas,
Depending upon the talent and standing
of the artiste on the stage, this
conversation can occupy anything from five
minutes to a few hours. An artiste of high
calibre can make the scene most effective
and delightful.
Traditions and conventions have determined
the occasions when Ilakiattam could be
elaborate. To cite one example: the story
is Bali Vijaya in which Ravana, at the
instigation of Sage Narada, goes to Bali,
challenges him to a fight t and gets
thoroughly humiliated in the end. In the
scene in which arada, with his inimitable
technique, infuriates Ravana against Bali,
the great Lord of Lanka decides to go and
teach Bali a lesson. The pada ends there.
Thereafter, both Ravana and Narada enter
into a long dialogue. The incident can be
developed from Ravana picking up his
famous Chandrahasa, the sword presented
to him by Lord Shiva and Narada making
fun of him by saying that any-one would
laugh at the idea of a hero like Ravana
using a sword, to vanquish a mere monkey
instead of carrying a small piece of rope to
tie it up. This could give an opportunity to
Ravana to explain to Narada what
Chandrahasa meant to him. He could
DANCES OF INDIA
describe his triumphant battle with

Vaishravana, the Lord of Wealth; the
capture of the Pushpaka Vimana (the
legendary aeroplane), his storming of
Mount Kailas and the way in which he threw
up the whole mountain as if it were a
feather and so forth.
Depending upon the talent and the mental
horizon of the artiste, he could make the
scene an unforgettable one. Ardent
devotees of Kathakali look forward to
scenes of Ilakiattam rather than to any
other portion of Kathakali,. Other
occasions when Ilakiattam is done are
where a character takes an opportunity
to describe a forest (Vana Varnana), the
heaven (Swarga Varnana) and so forth.
Literature
The plays of Kathakali are written in the
form of Attakathas by eminent poets. There
are about a hundred such plays which are
popular. In addition to the Raja of
Kottarakkara who first choreographed this
art form, the great composers include the
Kottayam Raja, Maharaja Rama Varma and
Prince Aswathi Thirunal of Travancore, Unnai
Warrier, Irayimman Thampi, Vayaskara
Moossu and Kilimanoor Koil Thampuran.
Unnai Warriers play on the story of King
Nala spread over four days is reputed to
be the most outstanding of them all. More
and more plays get written all the time.
But very few make the mark. Literary or
poetic excellence alone does not make a
Kathakali play. It is the dramatic content
of it and its effectiveness on the stage
that matter.
Versatility of the Artistes
95
The hundred and odd plays have more than

a thousand characters. The unique feature
of the Kathakali actor is that he should be
ready to perform any role without notice.
Usually, the role allotted to an actor is
announced only when he enters the green
room. The musicians too have to sing the
entire play from memory. The ruthlessness
with which the artistes have to be trained
to attain this stage can well be imagined.
Training In Kathakali
Traditionally, the system of training in
Kathakali is the Gurukula style. Boys are
caught young, at the age of ten to twelve.
They stay with the Guru. The training starts
in the early hours of the morning. To begin
with, the student ha to undergo a rigorous
course of physical exercises and daily
massage with medicated oils so that the
body becomes supple enough to provide
the necessary grace in movements and
gestures. Separate exercises are prescribed
for the eyes, the brows, the chin, the lips,
the head and the neck. The eye gets special
attention as it contributes most to an
actors excellence on the stage. It is
necessary that the artiste gains a good
background in Malayalam and Sanskrit and
an ability to appreciate poetry. It is also
essential that he becomes familiar with our
vast mythological lore. So he is given daily
tuition on the epics and literature. Once
the body exercises have prepared him for
further work, he is put through the various
dance movements. From the second year
of the training, Cholliattam would begin.
This is done for a few hours every day.
The dialogues in the form of padas are sung
in the brackground and the Guru directs
the student to express the meaning in
DANCES OF INDIA
stylised gestures and movements. It takes

six years before a student can attain the
minimum standards of technical excellence.
During this period, he gets an opportunity
to play minor roles on the stage. The Gurus
task is over when he has satisfied himself
that the student has achieved technical
excellence and has acquired sufficient
knowledge of the epics so that he could
effectively project the appropriate
character of the role performed. The
development of the actor into an artiste
of distinction depends entirely on his own
initiative thereafter.
Dancing in Kathakali
In Kathakali, the drama and dance are so
blended together that one cannot separate
the one from the other. Dancing in Kathakali
is not mere Nritta (pure dance) but Nrithya,
(interpretative dance) existing side by side
with Nritha. At the end of every segment
of the dialogue, there is a Kalaasa, a dance
sequence that provides the punctuation.
Kalaasas vary according to the mood and
circumstances; they vary according to the
characters doing it. The bhava dominating
the situation dictates the nature of Kalaasa
employed. If it is Sringara, the Kalaasa is
slow, gentle, rounded and graceful. The
Kalaasa that precedes a challenge to battle
or when there is righteous indignation would
be brisk of movement t and expressive of
heroic sentiments. Kalaasas in war could
be breath takingly vigorous while those of
feminine characters could be the very
embodiment of grace and beauty. Asta
kalaasa is the most intricate of all Kalaasas.
It is done on rare occasions when a
character is under the inftuence of an
overpowering combination of emotions of
96
exhilaration, pride and satisfaction.The

drums and cymbals accompanying the
Kalaasas emphasise their quality with
special reference to the bhaua involved.
Dancing in Kathakali is employed to
accentuate the dramatic element, to enrich
the lyrical tone and to build up and sustain
the entire fabric of the drama on rhythm.
DANCES OF INDIA
sleepy hollow, about 110 Kms. from Cochin.

Founded by the late Poet Vallathol, at a
time- when classical art forms were in a
lamentably distressed state, this Academy
of Classical Arts is the nearest approach
to. a Gurukula. The Kalamandalam is
financed by the State Government. Another
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 Sadlers
Wells in London in 1970 that, It is a total
art form of immense sophistication and
power. According to Clement Crisp of the
Financial Times, This amalgam of
everything from low comedy to the noblest
expression of mans relationship with the
divine has become inevitable for the theatre
festivals of Europe and the British Isles. A
traditional Kathakali performance runs
through the night and the Mangala sloka is
sung in the dawn.
Training Institutions
The most significant institution that imparts
training in Kathakali is the Kerala
Kalamandalam perched on the banks of
river Bharathapuzha at Cheruthuruthy, a
Kathakali is the Kottakkal Arya Vaidyasala,

located at about sixty kilometres from
Kozhikode, Founded by a great
philanthropist, late P. S. Varier, the
institution is owned by a trust and is
managed with competence and imagination.
The Udyogamandal Kathakali Theatre is
another institution which has established
reputation for imparting training and show
manship throughout the world. At Pakalkuri,
forty kilometres to the north of Trivandrum,
Kalabharathi, an institution founded under
the leadership of the late Guru Cheng annul
Raman Pillai is the only one that imparts
training in pure Kaplingad style today.
97
DANCES OF INDIA
Mohiniaattam
Dr. (Smt.) KANAK RELE
he mighty ocean churned on and on.

These were no ordinary disturbances
arising in the bowels of the ocean
many thousand leagues beneath the
surface. Those were not the elements that
whipped up the ocean. This
was no seasonal upheaval to
determine the seasons, to
determine the destiny of the
Universe. On whirled the
mountain Mandargiri with the
serpent Vasuki twined around
it. The devas and the
daanavas were the churners,
churning away the ocean to
get at the essence of life,
existence. Amrita was the
reward. The magical amrita,
the elusive potion that every
living being thirsts for to
achieve immortality, unending
youth. On and on churned the
ocean
whipping
up
mountainous waves and
liberating great force, a force
that was capable of sinking
the earth. The ocean emptied
all the unparalleled treasures
that it had in its depths. Out
came the kalpavriksha and the
kaamadhenu, and ultimately, Lakshmi. All
were relinquished to the devas, The only
reward was amrita. At last, the great
storms were allowed to subside; Mandargiri
to stop whirling and Vaasuki to rest. The
daanauas, true to their creed, grabbed the

amrita.
a Lord: a Mighty Saviour! Save the universe
from this awful calamity. There is nothing
left but darkness with the
amrita in the hands of the
daanavas, and Maha Vishnu,
the Saviour of the universe,
came to the rescue.
Mohini
A heavenly glow, heavenly
music, silver bells tinkling
beauty unsurpassed-MOHINI.
Mohini, the lotus-eyed,
enchanting one and all with her
celestial dance-Mohini the
Enchantress. Oh! the heavenly
enchantment. Shut your eyes
a while to perpetuate the
imprint of this enchanting sight
in your mind. Forget
everything just a while. This
is Mohini--the Saviour is Mohini
and this is a dance not of
destruction
but
of
enchantment in the very air
that you breathe, in the music
and in the twinkling toes of the dancer.
What if she orders you to shut your eyes
awhile in order to steal your amrita? The
vision of her divine being will enchant you
forever in your dreams. What is amrita,
immortality, when this divine form fills your
98
vision and senses with the enchanting

dance, the celestial dance, the dance of
the celestial enchantress--Mohiniattam.
Mythology
Mythology. A magical word. Indian traditions
have always found an impeccable ally in
the Hindu pantheon, The Indian mind is so
conditioned as to accept as gospel truth
all that is decreed and propagated by the
mythological themes. Hinduism as a way
of life lays down a set of tenets to be
followed by those who wish to tread the
right path. The principle to be propounded
is so woven into the texture of the theme
that its message is manifest as such only
to the learned and the initiate, to those
who are seeking it. It is then left to these
people to interpret and preach these
aspects to the general mass of ordinary
people.
India has always been the melting pot of
different cultures of the races that
periodically swept down her fertile plains
and made her their permanent home. To
lay down tenets that would be acceptable
to the temperaments, beliefs and
inclinations of all these ethnic groups was
a herculean task. A way had to be found
which was an envelopment of the
multiracial society and at the same time
so very simple as to be acceptable to the
ordinary simple mind. And what could be
better than to achieve it by utilising the
traditions that dated to prehistorymythology? It could be said that our very
inspiration, the mainstream of creativity,
is drawn from mythology and divinity.
Essentially a race of worshippers of beauty,
it is only fitting that Indians should give
DANCES OF INDIA
the impregnable shield, a veneer of divinity

to everything that is beautiful and thus to
be worshipped-to be preserved intact and
inviolate, to be passed on from generation
to generation.
Actually, beneath these surface ethnocultural interactions, there lay the strong
layer of the earliest culture which was a
throwback from the indigenous pre-Aryan
races and comprising of images and
impressions which were linked to prehistory.
This resulted in the religious practices
acquiring high ritualistic ferver revealing
intimacy with magic formulae of the
Taantric cult. The belief in magic, sorcery
and witch-craft and their practice helped
to maintain contact with the unseen and
mysterious forces. And thus the Hindu
pantheon came to be used to represent
the fundamental struggle between good
and evil-the daanvas emerging from the
depths of the nether world to challenge
the devas. And man was encouraged to
hope for a deliverance from such a
confrontation through the alliance with the
supreme and benevolent power which is
always victorious. This benevolent power
itself could liberate a tremendous magical
force which could shake the universe. It
could create great natural disturbances,
plot great wars and unleash calamities-all
creations of the magical divinity. A mesh
net of spell was magically cast to create
illusions-maaya. But every now and then
the beauty-worshipping romantic spirit
flowered. And again and again this same
benevolent power would assume a form of
great beauty, this time casting a magical
spell of sheer enchantment-Mohini the
enchantress employing her guiles to
99
enslave the evil forces.
DANCES OF INDIA
The Style and Grace
And there being a subtle permeation of the

regional folk practices in the classical
dances there emerged robustness and
vitality
which
added
not
only
distinctiveness and verve but also beauty
and enjoyment. Out of all these, Mohini
Aattam is perhaps the best example of such
a fusion. Foundationally a product of the
interaction of two cultures and their artistic
creations-the Kerala and the Tamil-it has
in its framework the beautiful lyrical
elements of the social folk-dances of the
graceful Women of Kerala.
The art history of India abounds in

instances which illustrate her rare quality
of assimilation and synthesis which is
perhaps the secret of her culture and art
flourishing in an almost unbroken continuity
for several millennia. So it is easy to accept
the fact that while at one time the dance
must have been, in fact was, almost
identical in all parts of India, it eventually
developed variations and styles like the
dialects (Prakrits) and then on to the
modern languages imbibing local
geographical and social traits and
characteristics. Against this factor it can
be seen how the four better known dance
styles of Kathakali, Bharata Natyam,
Manipuri and Kathak came to be developed
and practised as similar and yet very
different dance styles.
Kerala is, and justifiably so, renowned for

the magnificent Kathakali which was and
to a greater extent still is the exclusive
preserve of man. Its severe demands and
exclusive admittance of men seemed to
seek, very naturally, a more graceful and
flexible dance form suited to the women.
The existing matrix of social dances
performed by the women on festive
occasions provided a beautiful skeleton
which could be filled with the flesh and
sinews of the classical practices as codified
by Bharata in the Naatya Saastra and its
resultant dance practice and repertoire
which was flourishing and was extremely
popular in the adjacent Tamil and Telugu
provinces. And as would be natural, Mohini
Aattam exhibits great affinity to the
theatrical tradition backing Kathakali.
Until very recently it was presumed that

these were the only classical styles of
Indian dance. Then in an imperceptible and
dramatic manner, styles like Kuchipudi,
Odissi and Mohini Aattam were discovered
in their native setting and brought out on
the urban stage to the delight and
wonderment of the modernised art lovers.
Antiquity
Our mythology registers a number of these

clashes between Mohini and the daanvas
or asuras. And in many such instances it
is Mahaa Vishnu, the life sustainer, who
assumes this enchanting form. An
enchanting dance, the resultant divine
force, the fruit of that romantic spirit which
flowered again and again; Mohini dancing
the dance of the enchantress-Mohini
Aattam.
There are different opinions regarding, its

antiquity. There are some scholars who
would date it as early as the
Silapadikaaram (2nd century A.D.) and yet
some others who would date it to the 10th
century A.D. basing their surmise on two
100
inscriptions. The Chokkur inscription seems

to be the earliest (932 A.D.) reference to
dancing girls in Kerala using the word
nangayar. There is also an epigraphic
record of 934 A.D. from Nedumparam Tali
prescribing the quantum of payment to the
nangayars and nattuvanaars (dancemasters). A book called Vyavahaaramaala
in Sanskrit written in 16th century A.D.
has a Malayalam commentary written in
1709 A.D. where it prescribes the royalty
to be paid to Mohini Aattam players and
other artistes. Later, Kunjan Nambiar, the
creator of Ottanthullal
mentions Mohini Aattam.
The reference to Kunjan
Nambiar brings us to the
glorious period of the
Travancore Maharajahs. The
most note-worthy for Mohini
Aattam being Sri Kartika
Tirunaal Ramavarmaa (175898 A.D.) who wrote the
Balaramabharatham, a
standard work in Sanskrit
based on the Natyasaastra
with a strong bias towards
dancing. The king himself
mentions that he is writing
on the prevalent practice of his times. Also
Ullur S. Parameswara Iyer in his Kerala
Sahitya Charitam (Part III pp. 327) writes:
The Maharaja (Kartika Tirunaal) was very
pleased on witnessing Dasiyaattam which
came from para desa (Tamil-nadu). He
arranged with Karutedat Chomatiri, one of
his courtiers, to promote and spread in
Kerala this art form in the name of Mohini
Aaattam for the first time.
And now we come to Kartikka Tirunals
DANCES OF INDIA
illustrious successor-Swati Tirunaal. For a

long time, many of the historians were under
the impression that it was in Swaatis court
and at his instance that Mohini Aattam
came into being. Almost everyone based
their opinion on the fact that Swaatis
exquisite lyrics were predominantly used
in Mohini Aattam. Also, after Tanjores King,
Sarfojis death, two brothers--Ponniah and
Vadivelu-(of the renowned Tanjore Quartet
responsible for shaping todays Bharata
Natyam repertoire) migrated to Swaatis
court. Swaati himself was a musician and
a poet of exceptional merit.
It seems certain that with
his highly developed
aesthetic and artistic taste,
Swaati realised the great
potential of this lovely art
and accorded it patronage
and improved its status.
This would easily explain the
fact that the Mohini Aattam
repertoire runs parallel to
that of Bharata Natyam,
which is very natural since
the Tanjore vidvaans would
influence the entire process
and Swaatis kritis would
naturally provide fitting accompaniment.
And yet there are a few dissimilarities.
Similarities and Dissimilarities
A traditional Bharata Natyam recital today
has the following items-Alarippu,
Jatisvaram, Sabdam, Varnam, Padam,
Jaavali, Slokam and Thillanaa. But in Mohini
Aattam, we find that there is no item similar
to Alaarippu and instead Cholluketta is
danced as the invocation. But this practice
101
appears to date back to the ancient times.

The Chollukettu is followed by a Svarajati
or a Jatisvaram. The Sabdam that follows
in Bharata Natyam is absent in Mohini
Aattam; it appears that it has got merged
into the Chollukettu. Then comes a
Padavarna -a taxing item in both the styles
which beautifully blends nritta (pure dance)
and nritya (expressive dance). There are
Padams in plenty in Mohini Aattam. The
other items are Slokam, ]aavali and
Tillaanaa.
One of the most glorious and individualistic
characteristics of Mohini Aattam is that it
uses almost all the major languages of the
South as also Sanskrit.
Technically, the basic posture of the feet
resembles that of Kathakali excepting that
the loot is planted flat on the ground and
not on its edge as in Kathakali. The footwork greatly resembles Bharata Natyam but
there is no vigorous stamping as in Bharata
Natyam.
The body movements are rotary-very
graceful and flowing giving a fullness to
the torso which balances the upper and
the lower parts of the body in perfect
harmony giving to Mohini Aattam the
fascinating picture of the undulating palms
of the Kerala sky-line and its rippling back
waters. The simple and soft costumes and
jewellery identify Mohini Aattam with the
soft pastoral charm of Kerala.
The rich abhinaya of Kathakali is softened
and made more subtle and yet it is definitely
DANCES OF INDIA
more exuberant and eloquent than the

detached representations of Bharata
Natyam. Soft, imbued with grace and
delicacy it appears to be richer and more
dynamic. Mohini Aattam has the emotional
depth of Kathakali and the visual and
ennobling appeal of Bharata Natyam.
A special mention must be made of the
nayanaabhinaya of Mohini Aattam. The
merrily dancing eyes and the gaily fluttering
eye-brows of a Mohini Aattam dancer
create a devastating atmosphere full of
mischief and bewitchment-totally suitable
to Mohini, the enchantress who has come
to enchant. Yet this enchantment does not
mean overstepping the limits of decency
and decorum. Rather it is human activity
of the highest order; of decency and
decorum which create a rare feeling of
satisfaction and happiness without arousing
the base feelings or hurting the sensibilities
of ordinary decent human beings. The
Mohini casts the net of her maaya and
envelops the entire audience stilling their
inherent asurik tendencies . Mohini never
lure, only enchants.
It is worth mentioning here that at the
turn of the present century this lovely
dance style had reached SUI such a pass
that only three or four items from its once
rich repertoire were practised. But due to
the efforts of a few dedicated dancers,
the present author being one of them, this
dance style is coming into its own and is
accepted as one of the major classical
dance practices of our country.
102
DANCES OF INDIA
Bharatanatyam
SMT. CHITRA VISWESWARAN
ach nation in this world is

characterised
by
certain
features peculiar to that particular
country. With India what is decidedly
striking is the attitude towards life and all
that forms part of it. The Indian mind tends
to interpret all happenings in the world in
philosophical terms. And Philosophy here
is in turn closely connected and interwoven
with Hindu religion. In India these two fields
run along parallel lines that often fuse into
one. They can never be separated and
they form the very essence of our
sociology and education. To us they are
not merely subjects of abstract study to
be confined within the portals of educational
institutions. Rather, they form the very
woof and warp of our society upon which
our way of life is hinged.
It is then but natural that art too has
religious and philosophical undertones. In
ancient India it formed an important part
of religion and was essentially a mode of
worship, Natyam, vadhyam, and gitam
were the paths that led one to the
attainment of moksha or spiritual salvation.
It is of great interest to note that the
origin of dance in our country is traced to
divine causes. The sacred art of dance is
said to have been the brain-child of
Brahma, the creator in the Hindu Trinity of
gods. The term dance is used in our
country for want of a more appropriate
equivalent of the Sanskrit natya which
embodies a combination of dance, drama
and music; in Indian art these three are

closely related and can never be completely
diversed from each other. The dramatic
scriptures of our country are said to have
been brought into being by Brahma at the
request of the lesser gods. The blessed
Brahma framed the Natya Veda culling parts
from the four Vedas. From the Rig Veda he
drew forth words, from Sama Veda, singing,
from Tajur Veda, gesture and from Atharva
Veda, flavour (vide Chap. I,Bharata Munis
Natya Sastra ). Brahma taught this
science of natya to Bharata Muni and his
hundred sons and Bharata compiled the
rules and norms of this artistic science (or
one may say a scientific art) into his famous
treatise Natya Sastra .
All classical dances in India can be traced
back to this Natya Sastra. Due to varying
local and social factors that always
influence art, dance in different regions
took on various hues. For instance, the
Kathak dance of the North was usually
performed in the courts of royalty.
Repeated invasions, political and religious
upheavals kept the art away from temples.
The South was comparatively unaffected
by these frequent political and social
changes and so the popular classical danceform, Bharata Natyam, was largely
practised there in temples, though later
on performances in courts also became
common due to royal patronage. Social
factors such as those mentioned above
have gone a very long way in moulding
103
dance-forms into what they are today.

Bharatanatyam, which is the cultural
heritage of Southern India, especially of
Tamil Nadu, is said to have derived this
name from Bharata Muni himself. Secondly,
Bharata itself means dance. Yet another
school of thought propagated by Vedanta
Desikar declares that the word Bharata is
actually an acrostic comprised of the
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
and dance in music.
Technically speaking, Bharatanatyam has
been divided into three distinct categories:
Nritta, Nritya and Natya . Nritta is pure
dance where the spot-light is on tala or
DANCES OF INDIA
time measure. Alarippu, Jathiswaram and,

Thillana are apt illustrations of this group.
Here no meaning is conveyed and the
fundamental emotion is that of spiritual joy
and ecstasy. These dances can be either
done with or without music. Originally,
Alarippu was performed only to the
utterance of drum syllables. In present
times these syllables are set to music and
provide a melodious background to the

dance.
In Nritya a fusion of Nritta or pure dance
and bhava or facial expression can be
perceived. Varnam, the most elaborate and
intricate piece in Bharatanatyam recital
104
which poses a challenge to the capacity

of the dancer belongs to this category.
Here intricate combinations of adavus (or
steps accompanied by limb movements)
are interwoven with lines of the song.
Expression through the language provided
by the lines of the song is seen here.
To the Natya category belong dancedramas wherein each character is
represented by a different dancer. Though
essentially a style distinguished by solo
presentation, Bharatanatyam is well-known
for some of the traditional dance and
ballets performed over the past few
centuries. To this class belong the
renowned Kuravanji ballets, of which
Cutrala Kuravanji, is the oldest extant
composition. Today we find a number of
new dance-dramas being staged many of
which are commendable productions.
These are then the distinct classifications
found in all schools of Bharatanatyam. The
style with which I am directly associated
is a substyle of the Tanjore School of
Bharatanatyam and is called the Vazhuvoor
style. Needless to say, like all the other
modes, this one is also characterised by
Angasudda (perfection of limbs and
movements), bhava and tala. But just as
every school of any art lays emphasis on
some aspect dear to it, this style gives
importance to grace; the very grace in
gesture that Nandikeswaras Abhinaya
Darpana throws light on; the very grace
that transcends all art which is
aesthetically appealing and spiritual is
found here. To this effect the sinous and
lyrical lines of South Indian temple sculpture
are adapted, to suit the dance-form. The
DANCES OF INDIA
Karanas and Sthanakas expounded in

the Bharatarnava and Natya Sastra find
expression in the medium of this classical
dance mode. In this respect it is revealing
to study the sculptured carvings in the
temples of Southern India. Of these
temples, the most significant from this point
of view, is that of Siva-Nataraja at
Chidambaram. In this temple are found
reproductions of the 108 Karanas spoken
of in the 4th chapter (Thandava
Lakshanam) of Bharatas Natya Sastra .
Vazuhvoor Ramiah Pillai has played an
important role in incorporating these
sculptural poses in Bharatanatyam, for
these had gone into oblivion in the recent
past. His master-piece of artistic creation,
Natanam adinar , set to the song
composed by Gopalakrishna Bharati, is full
of these Karanas and help in making the
dance striking and appealing.
The various schools of Bharatanatyam may
differ-but this difference is just superficial.
Fundamentally they are all the same and
along with all other forms of our art pertain
to and pertain towards one spirit-a spirit
that can be called Divine; a spirit that is
omnipotent and omniscient. Because of this
universal and spiritual quality it appeals to
one and all. The painter finds colour in it;
the sculptor, beauty in the form; the
religious, a spiritual appeal, and the
philosopher, esoteric implications. It is thus
a universal art. As long as man can feel,
as long as he can pray and think, this divine
art will continue to live and capture the
hearts of millions.
105
DANCES OF INDIA
DANCE CAN PLAY A THERAPEUTIC ROLE

SMT. SUDHARANl RAGHUPATHY
o-day, dance all over the world

has reached the height of
perfection and finesse and has
evolved into such a great art that it has
become one of the major factors
representing the culture of a country. In
fact, Bharata Natyam of South India is
considered one of the most highly
developed arts in the world and a very
vital form of art reflecting the ancient
culture of India.
Dance has been a vehicle of culture from
ancient times. It was not only a means to
propitiate the gods, but also an
entertainment, for various social functions
like birth and marriage. With the passage
of time, the dances acquired new forms
and became more systematised. There
sprung folk, tribal and ritual dances and
.the more sophisticated court and classical
dances.
Since the art of dance is audio-visual,
certain standards in beauty are considered
necessary for a dancer; also perfection of
the limbs. The female form has always
fascinated man, including sculptors,
painters and poets and the female dancer
seems to be more prominent in the field,
though of course there are male dancers
also.
Rhythm and movement are the life-breath
of dance. At some time or another each
one of us has exhibited our emotions
through movement. Rhythm and movement
are within us and a systematised and

sytlised form of movement, synchronised
with rhythm, acquired through training,
make dance an entertainment projected
on the stage.
Can all of us dance? Why dance! Can all of
us walk, run, jump in the normal way known
to us since creation? Can we say that
since, God created man in his own image,
we are all perfect? According to Darwins
theory, man occupies the highest rung in
the ladder of evolution. Why then do we
see deformities? Mans child is said to be
the most hapless of living things. It has to
be fed and nurtured for quite a few years
till the child becomes independent: Why
then are deformed children born? Many
reasons have been given. (I) Genes;(2)
Marriages within the family; (3) Diseases;
(4) Malnutrition and (5) Drugs.
The result is that the child is not accepted
by society and it is unable to become a
part of it. For no reason of its own it is
rejected. Can this be prevented? Can this
problem be over-come? Great strides have
been made in the field of medicine to
overcome the deformities. Is this possible
through dance? Since it is a physical
involvement, can it be used as a corrective
for deformities?
Therapy and Exercise
An affected child becomes the butt end of
ridicule by all other children who have eyes
106
only for the naked truth. Children are no

diplomats. An inferiority complex develops
in the deformed child because it feels
different from other children. The affected
child can regain part of his self-confidence
through the expression of dynamic coordinated movement wiping out the inferior
feeling generated within the child and also
in the parents. It should help to boost the
morale of the parents of the afflicted
children. It is also important that the
parents are in the right frame of mind to
guide the children to feel normal.
Can dance movements be incorporated and
used as a probable corrective? A dancer is
said to be the most coordinated person in
the world. Can part of this coordination be
achieved in the deformed children?
Bharata Natyam is considered one of the
most beautiful forms of dance in the world.
Why, it is a yoga in itself. Yoga in India
from time immemorial was considered the
best medicine for good health and the
unique corrective for many physical and
mental ailments. Bharata Natyam is an art
wherein every part of the body is used eyebrows, cheek muscles, toes and so on.
The earliest and greatest treatise on the
art is Bharatas Natya Sastra, a
monumental work that deals with all aspects
of dance, drama and theatre. As one reads
through the pages of the
Natya Sastra, one is wonderstruck at the
variety of every possible movement of the
body and limbs conceived of by man and
so methodically systematised and codified
by the sage. It is no wonder then, that
when we view the various styles of dance
in the world, similarities in some of the
DANCES OF INDIA
movements are recognised , Bharata lays

down the number of movements for the
eyes, eyebrows, cheek muscles, waist, hip,
chest, shoulders, knees and what not.
Surely, dance is a good exercise for the
development of the body.
There can be no dance without music.
Music is an integral part of dance. Music
can be very soothing to the nerves. Why,
our tradition says that once when a great
musician sang a particular melody, it
brought rain and another singing a different
melody melted rocks. If nature could be
stirred with music, then surely the rational
mind of man is bound to react
instantaneously. We have melodies for the
different times of the day, for the different
seasons and so on, which touch the depths
of the soul. Hence Bharata Natya is referred
to as an audiovisual experience.
Dance helps in (1) Concentration; (2)
Exercising the limbs; (3) Acceleration of
circulation; (4) Correcting certain faults;
(5) Growth, physical and mental; (6)
Relaxing the body and mind and (7)
Imagination of the child, the most important
aspect.
A child lives in a world of fantasy. Dance is
a world of fantasy which is meaningful and
gives an opportunity for self-expression.A
combination of all these factors may have
a therapeutic value. Hence the experiment
to teach dance i.e. Bharata Natya with
properexercise, breathing, diet etc. as a
probable corrective work with pleasure.
New Horizon
Actually dance should be taught as part
of deportment callisthenics, not just
107
therapeutic for the afflicted persons, but

also for the development of beautiful human
beings with a healthy and broad outlook
on life, creating sensitivity and an
awareness of the outside.
Such a school seems to exist in Japan. It
is called Tokushu Gako meaning special
school. This is Japans special physical
culture for primary and secondary
school children. There are institutions
for each of the following:
DANCES OF INDIA
the style of dance learnt by the author,

but there are other reasons also. It seems
to be the most balanced of dance forms.
As an author wrote: Bharata Natya is a
composite art of rhythm, music, poetry,
colour, sculpturesque poses, suspension of
movement, symmetry, everything in
beautiful balance.
(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
very artistic people. They convert
everything into a work of art. So even here
the atmosphere is made beautiful for the
children to combine work and pleasure, to
reach the goal.
A question may be asked-why choose
Bharata Natyam? It may be because it is
Hence this experiment of teaching dance

not only for stage glamour and publicity
but as a therapy and as a probable
corrective for physical deformities and
disabilities in children. In my experience as
a teacher in this field, a moderate
improvement is visible in the affected pupils.
Time will prove how much more successful
this experiment will be.
108
DANCES OF INDIA
YAKSHAGANA BAYALATA
K. S. UPADHYAYA
akshagana Bayalata is an
exquisite folk dance-drama
played mostly in the South and
North Kanara districts of Mysore State. The
genesis of this folk art is s till a matter of
controversy, but it can be stated that it
has much affinity with the various regional
forms of dance-drama performed in India
such as the Kathakali of Kerala, the
Bhagavatha Mela of Tamilnadu, and the
Veedhinatakam of Andhra Pradesh.
Yakshagana is known in different parts of
Karnataka by different names. While in the
plains of North Karnataka area it is termed
Doddaata, in old Mysore area it is known
as Moodalapaya. Its more refined form
prevalent in the coastal districts of
Kamataka is popularly called Yakshagana.
Akin to Yakshagana, there is another folk
art very popular in South Kanara district,
namely, Yakshagana Bombeyaata (Puppet
Show). This has also a hoary tradition of
over three hundred years.
The Origin
Expert opinion of scholars on these various
form, of popular dance-dramas trace their
origin to the Sanskrit dance-drama which
was in vogue in India during the 4th century
A.D. Dr. Ananda Coomaraswamy a renowned
critic and research scholar, has opined that
ancient Shaivites were practising a Natya
Sastra which was in no way inferior to the
Natya Sastra of Bharata and that the
centre of this Natya Sastra was the famous
Nataraja Temple of Chidambaram.

That these dance-dramas were distinctly
different from the Sanskrit dramas was
apparent. Sanskrit dramas were a
combination of prose and poetry in champu
style and the characters therein had to
learn by rote the dialogue and there were
no dance movements. But in Yakshagana
it is different. Yakshagana is essentially a
dance-drama with the characters depicting
their roles effectively through dance,
keeping step with the accompanying music.
There is no historical and written evidence
to trace the origin of the name Yakshagana
given to this form of music. Scholars have
felt that like Gandharvagana, this form was
named Takshagana. Gandharvagana
became marg music while Yaksha-gana
became popular as desi music. Those who
specialised in this form of desi natya shastra
were known as Yakshas, They became a
community by themselves having taken up
this art as a profession.
The Difference
It is quite natural and understandable that
there are several similarities between this
kind of dance-drama and the drama
traditions of the neighbouring areas. If,
however, we examine these different
traditions, part by corresponding part, we
shall find differences and distinctive
peculiarities. Take the system of singing,
or the style of dancing, or costumes, or
the make-up techniques employed in each
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
is taken from the Puranas mainly dealing
with the ten incarnations of Vishnu and
that is why this is otherwise called
Dashavatara Aata. The theme is the
triumph of good over evil, or right over
wrong, of the gods over the demons.
Each story is in the form of a minor epic
containing about two or three hundred
stanzas in the various metres. These are
set to music and sung by the Bhagavatha
to the accompaniment of two percussion
instruments called chande and maddale.
The maddale is a variation of the mridanga
but the chande or chande vaadya is peculiar
to Yakshagana and is especially used in
warlike scenes and scenes of terror. Each
of such stories set to music is called a
prasanga and there are today about 125

such prasangas.
Devidasa, Parthi Subba, Venkata,
Nagappaya, Rama Bhatta and other folk
writers have composed a number of wellknown prasangas, influenced as they were
by political works of Kannada poets, Kumara
Vyasa, Kumara Valmiki and others. All these
writers belonged to the 17th century and
after.
So far as the music is concerned, though
only a few ragas are at present in vogue,
eighty known ragas have been identified
by experts as having been used. The main
feature of these is their emotional appeal.
There are different ragas to express the
emotions of anger, heroism, pity, horror,
fear etc. An angry raga accompanied by
110
the frenzied beating of the chande and

the appropriate dance of an actor may
resemble the challenging roar of a lion in
burst of fury and have a blood-curdling
effect on the spectator. The minimum
duration of a prasanga is about 3 to 4
hours.
Although these ragas bear the same names
as those in Karnatak music, they are
entirely different in the mode of style of
singing. The derivation of the raga is so
vastly different from that of Karnatak music
that Yakshagana music is distinctly a
separate system altogether.
The distinct features of Yakshagana music
are that, though the swam prasthara may
be the same as either Karnatak or
Hindustani style of classical music, the
gamaka and alapana style here is unique.
We should be proud that the suddha
Yakshagana music remains evergreen only
in the Kanara districts. This system is
transmitted by the guru to the disciple,
who was to devote a lifetime of labour in
order to master it. As already noted, the
main feature of this system of music is its
emotive power.
War-like emotions are derived by ragas,
Gandharva, Bhairavi, Kambhoji etc. The
ragas Nilambari, Anandabhairavi, Todi,
Saveri, Regupati, Punnaga Thodi, Mohana
Kalyani etc. depict the emotion of sorrow.
Madhyamavathi, Todi, Arabi, Sri,
Shankarabharana etc. depict pity.
Nadanamakriya, Mukhari etc. excel in the
depiction of the terrible and the bizarre,
and others like Mechu, Kore and Davalara
also are in vogue. During the course of the
entire performance of the one-night
session, the sruti will have to be altered
DANCES OF INDIA
at least 8 to 10 times.
The second feature of the Yakshagana
dance-drama is that there is no premeditated prose dialogue. It is improvised
by the actors and is based on the musical
stanza, sung by the Bhagaoatha, While the
Bhagaoatha sings a stanza, the actors
dance and when he stops singing they
interpret the stanza in the form of a
dialogue or a monologue as the case may
be. Thus each stanza of the Prasanga is
elaborated and expounded by extempore
dialogue. It may also be noted in passing
that all female roles are played by male
actors.
Thirdly, the dance form of the Yakshagana
is peculiar to this art. It is more primeval
than refined. Like the ragas, it highlights
primitive human passions and emotions,
especially fury and terror. These two
emotions are more constantly evoked as
the stories deal mostly with battles, scenes
of violence and carnage. There is a variety
of foot-work and movements which
appropriately express these emotions. The
actors dance to the music sung by the
Bhagavatha and to the resounding beat of
the chande. In Bharata Natya terms, the
dance form can be said to be more of the
tandava variety, although there are lasya
movements also.
Adaptation of Themes
Bharatas Natyashastra has in itself various
special features of the different dance
traditions of this great country, in a more
or less codified form. The 108 Karanas,
the 33 pindi bandhas, 32 varieties of charis,
niraalamba charis, 6 sthanas, the prayoga
nyayas-Bharatha saathiva, vaarshajanya
111
and kaishiki, while using the weapons, the

atikranta, vichitra, lalithashankara,
suchioidhdha, dandapada, oihritha, alaaiha
and other mandalas expounded in jumps,
the face-to-face battle movements and
other gati pracharas are also identified in
Yakshagana by Bharata Natya experts.
These features are still preserved in the
various Yakshagana troupes here even to
this day. Instances like, Gaya on his gagana
samhara, Kaurava entering the dwaipayana
sarovara Arjuna starting out on the chariot
for his vijay yatra in Ashvamedha Partia,
Kaurava on his ghosha yaatra and gamehunting expedition, Sita Rama-Lakshmana
fording the river, Arjuna climbing the
Indrakeela mountain, Babhruvaahana
getting down into the patalaloka, lust
ridden Keechaka entering his sisters
Vanitha vihara, the last days ratharohana
scene of Karna, who at the same time is
grief-stricken at the loss of his son and
roused with the revengeful spirit against
Partha, depicting the contrary feelings of
veer a and roudra and such other scenes
which are exhibited in different foot-work
by the Yakshagana artistes. This will apply
also to the trivida rechakas, The
Yakshagana artistes, it may be noted, did
not become adept in the art by a thorough
study of the Shastra, but learnt the art by
hereditary talent and also by keen
observation and practice.
The theme for the prasanga having been
drawn from Purana stories, in Yakshagana
there is a special feature known as
voddolaga, which presents the important
characters to the audience. There are
voddolagas both for nayakas (heroes) like
Rama, Dharmaraja and also for
DANCES OF INDIA
prathinayakas (villains) like: Kaurava,

Ravana and other rakshasas, The classical
mudras and foot-work displayed by the
important characters during this voddolaga
scene and partially hidden behind a curtain
is something significant. Shivabhaktas like
Hiranyakasipu, Ravana etc. very effectively
display in tune with the tala, the various
daily ablutions and pujas offered to
sivalinga. Hastamudrika plays a significant
role in this type of abhinaya. Shikhara
mudra is used to denote heroism and
authority; Mrigashirsha and kataka mudra
to denote. Danta Dhavana; pallava mudra
for Bhasmadharana; pataka mudra for
looking at the mirror; mushti mudra for
displaying strength, karatari mukhamudra
to denote assurance of protection, are
among the six important mudras that could
be noticed in the voddolaga scene. The
various characters push aside the curtain
and enter the rangasthala (stage) with
foot-work of the mixed type of tandava
and tandava lasya depending on the
character of the hero or villian whom the
actor wishes to portray and also to depict
the essence of the story. A very special
feature of the voddolaga dance is the
bidithige (chande beats), which is different
for each character who makes his entry
into the stage. This feature of bidithige
helps a spectator to identify the character
in voddolaga, even from a long distance
just by hearing the beats. An experienced
artiste of Yakshagana who might be an
adept in the various techniques of the
dance-form, learnt either instinctively or
by observation, many a time, may not be
aware of the names of the characteristic
intricacies of the various mudras, steps or
foot-work. They are ignorant of the
112
lakshanas or its history.

Costume and Make-up
A very important feature of Yakshagana,
however, is the costume and aaharya
abhinaya- make-up of the actors. It is at
once beautiful, colourful, bizarre, as also
frightening. The art of facial make-up or
mukha varnik, as this art is called, has a
long tradition. Different characters have a
different facial make-up. The most
terrifying to behold is that of the rakshasa
character. The effect of fear and horror
instilled in the observer is to be appreciated
only by seeing it. Words cannot adequately
express the effect of make- up of such
characters. Head- gear and dress also
playa distinct role in the make-up. There
are different types of head-gear for
different characters, such as the hero, a
king, a prince, minister, a rakshasa, a
kiratha, a gandharva, etc. The kore,
turbans of a kiratha-gandharvas red
turban, the impressive varnik of a Rakshasa,
Kamas black turban, the kedige mundale
(small turbans) of characters like Arjuna,
Babhruvahana, Sudhanwa which are
prepared afresh on each occasion, beautiful
crown (mukuta) of Hamsadhwaja,
Kalamlabhoopa, and such other head-gears,
have resulted in a valuable contribution of
Karnataka-like Chalukya and Hoysala shilpato Indian art- and cultural traditions. Dr. V.
Raghavan, a great authority on Indology
has to say: Yakshagana make-up is
decidedly more graceful, richer and more
closely related to the ornamentation found
in our sculpture than the Kathakali makeup.
A unique feature of the items used in the
DANCES OF INDIA
make-up is that they are made from purely

indigenous materials-light wood, paddy
stalk, arecanut bark, bamboos, waste jute,
cotton etc. There are different kinds of
bhujakriti, arm-bands, kataka, waist-bands,
virakaccha etc. In fact, the make-up is so
devised that characters like Lord Krishna,
Arjuna, Babhruvahana, Ravana, etc. can
be distinctly identified by their make-up.
Dress is generally of deep colours with
patterns consisting of squares with
alternating colours. The most essential
feature of the costume and ornaments is
the colour and glitter. The mere sight of it
is thrilling to the spectator who is
transported to the glittering puranic world
of gods and demons. The Gudigars, a class
of craftsmen of South Kanara and Shimoga
districts of Mysore State, have excelled in
this art.
The total effect produced by the rousing
music of the Bhagavatha, the rattling beats
of the chande, the frenzied dance of the
actors and their brilliant costume and
colourful make-up combine to transport the
spectator in a crescendo of music and
dance to the din of ancient battle-fields
and deeds of valour.
The Stage and Setting
As the name itself suggests, Yakshagana
Bayalata (bayalu-field; aata-play), is a play
staged in open fields of paddy after the
monsoon when the harvest has been
carted home. The stage-rangasthala as it
is popularly known-is a square ground with
a bamboo pole stuck in each corner to mark
off the outer edge; its only decoration
being bunches of fresh mango leaves, green
and tender, festooned from pole to pole.
113
DANCES OF INDIA
About 30 to 40 feet from this is the green

room, chowki, in popular language. Here,
in the blaze of torches, now fast being
replaced by petromax lights-the characters
do the make-up. It is a peculiar
characteristic of Yakshagana Bayalata that
each actor acts as his own make-up man
and serves to impart an individualistic
stamp to the traditional patterns of design.
The torches and the brown soil and the
observes almost all the details given for

poorvarang abhinaya by Bharata in his
Natya- shastra. Here it is called
sabhalakshana. The first of these dances
is the dance of the kodangis, or trainees,
and begins after sunset. This is followed
by a prayer to Lord Ganesha. After puja in
the chowki, the man who plays the jester
in the drama (vidushaka) carries the image
of the deity to the rangasthala
deep green vegetation around, canopied

over by the dark blue sky, provide a most
enchanting backdrop for the play.
accompanied by the Bhagavata and

drummers and offers it a ceremonial arati.
The argument of the drama to be enacted
is given at this moment through recitation
of one or two brief songs. The stage is
then engaged by two small boys made up
as cowherds (Bala Gopalaka), and they
dance for a while, and when they make
their exit, two female characters come on
the stage and do some lasya dance.
The Preparations
The play is preceded by a few traditional
dances to keep the audience engaged as
well as to allow enough time for make-up.
In fact, the Yakshagana Bayalata is the
only traditional dance-drama which still
114
After these preliminary dances, the

uoddolaga begins. Most of the important
characters make their appearance in this
scene, but they stand with their backs to
the audience and dance behind a curtain
which only half reveals them. Female
characters do not show themselves in this
scene. After the Nayaka who gives the
voddolaga finishes his dance along with
his retinue and is seated on an improvised
dais, the Bhagaoatha very respectfully
elicits a self-introduction of each character
as also the background of the story by
putting questions.
The Different Roles
The stellar role in Yakshagana is known as
Eradane vesha (second role) because
traditionally, Bhagavatha plays the first
role. Besides this, generally there are five
other roles. Purusha vesha (hero), Sthree
vesha (heroine), Rakshasa vesha (demons),
Hasya (jester) and Moorane vesha (third
or minor roles). All these roles require
intense training in dance and diction and
background knowledge of the Puranas. The
training is mostly by observation and by
an expert in the art passing it on to
someone in the family.
The most important person in the play is
the Bhagavatha. It is he who runs the
whole show. He controls, guides and directs
every little thing. He is the Sutradhara
without whose approval nothing can
happen. It is he who sings the songs of
prasanga and it is on his rendering of them
and on his appreciation of the subtleties
and conflicts in the play that the success
DANCES OF INDIA
of the show depends. Every character

makes obeisance to him on entrance.
The play ends shortly before sunrise, with
the rise of the morning star in the distant
horizon. The Bhagauatha sings the final
benediction mangala, offers aarti to the
gods and returns to the chowki for prayer
and thanksgiving to Lord Ganesha.
Lack of Sponsorship
Every Yakshagana troupe is generally
sponsored or patronised by a temple.
Sometimes, to propitiate the deity for
begetting a child, in time of trials and
stress, devotees offer to organise a drama
by the troupe of the temple.
Those troupes which are mostly maintained
by the several temples in the two Kanara
Districts are today finding it a strain to
maintain the tradition. On an average an
artiste in a troupe is paid about Rs. 1,500
for the six months he is engaged by the
contractor of the melas (troupe). This is
hardly sufficient for him to maintain himself
and a family. So the artistes are either
giving up this profession or turning to
troupes who perform solely with an eye to
popular appeal.
It is a pity that such a noble art as
Yakshagana which, if performed in the
traditional way, should give pleasure to and
uplift a vast mass of our people, should
have come to such a sorry pass. Unless
we give some thought to this matter and
think of ways to keep the art alive, we will
lose this precious treasure.
115
DANCES OF INDIA
A Glimpse Into Odissi Dance

Dr. MINATI MISHRA
ndian art has its origin from

religion,and philosophy. All the
forms of Indian art, be it music,
dance, painting, sculpture, architecture or
literature, have their roots deep in the
religion of the country. As such, Indian art
is a spontaneous
expression of sincere
devotion to god. The
word sadhana which
means continuous
pursuit of meditation is
very often associated
with it. This association
gives a perception of
life-long devotion to
Indian art. Devotion
means
complete
concentration to reach
the goal. The artist in
his devotion is united
with the Almighty and
feels himself as one
complete whole.
The background of
Indian dance is more
antequated than the
history of man or the
history of a nation. It
is the history of the
soul of India. Dance is
not something meant
for
mere
demonstration, but it is something aimed
at self-realisation. Dance is a form of Yoga.
It is a means of achieving unity in

consciousness. It is a path towards God
and Salvation.
Dance and Religion
Dance is intimately connected with religion.
All original themes of
the songs adopted
were only on gods and
their deeds. It was
always held in a
brighter sphere and
was considered to be
the path that could he
adopted for attaining
moksha. It is like the
union science, (Yoga
Sastras) which is the
means of attaining
spiritual freedom.
Dance being an art
with an origin of divine
attributes is intended
for spiritual contentment. Unless an
aspiring student really
understands the real
point of view, believes
in its divine origin, the
truth of the Vedas and
Shastras, he or she
cannot depict the art
in its true sense. His
performance will be a pantomime, devoid
of soul. Dr. Coomaraswamy says that there
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.
is absolutely no room for any amateur in

the field. An Indian artist is a professional
and often dances for an audience of
inspiring critics.
According to the Indian view, the power
to experience aesthetic emotion is inborn
and it cannot be acquired by mere study.
Dance is the rhythmic philosophy that gives
us tranquillity, patience, hope and unruffled
joy like a lamp in a windless place, that
does not flicker. All the forces of life are
looked upon like a forest whose thousand
moving arms are led by Lord Nataraja, the
master of dance. Everything has its place,
and every wing has its function; all take
part in the divine concert, creating a most
beautiful harmony. Religion and art are the
names of one and the same as experienced
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
have resulted in the development of new
characteristics in seclusion.
The dance
Odissi dance which is the typical classical
form of Orissa, has its origin in the temples
of Orissa. As the temples are the seats of
cultural life in this State, the Odissi form
of classical dance has rightly been
associated with its day-to-day activities.
Odissi dance is a peculiar form of Indian
dance. The rhythm, Bhangis and mudras
used in Odissi dance have a peculiar
blending. It is based mainly on the theme
of infinite love of Radha and Krishna.
The earliest mention of this form of classical
dance is found in the Natyashastra of
Bharatamuni which dates back to sometime
117
between 2nd century B.C. and 2nd century

A.D. Four styles namely, Avanti,
Dakshinatya, Panchali and Odra Magadhi
were mentioned in this monumental and
authoritative work.
Again we hear mention of seven styles of
dance in Abhinaya Chandrika by Sri
Maheswara Mahapatra, namely, magadhi,
Souraseni, Karnata, Kerala, Odra, Gouda
and Panchanada. Here we can refer Odissi
dance to Odra style.
Siva and Parvati images found in Soro
(Balasore) have used the abhaya mudra
which is the earliest of mudras to be found
in Orissan architecture. We can find the
mudras of dhyana, abhaya and bhumisparsa
in the dancing Heruka in Tandava pose at
Ratnagiri, Orissa. For evidence, one has to
take the Konarak temple into consideration,
one of the last milestones of Indian
architecture. Since the Konarak is a lasya
conception, the dancing forms on the walls
of this temple are also of laysa type. Every
inch of the Natamandir is sculptured with
the carvings of dancing girls and musicians.
Dancers holding the drum, cymbals, mirrors,
flute, show excellent expression of the
dance-forms. The most fascinating of all
is Alasa Kanya an expression of relaxation.
It is a magnificent example of sculpture.
The highest expression of Odissi dance was
there in Nayika bhavas in Konarak temples
as well as in the Ananta Vasudeva temple
at Bhuvaneshwar. These are our evidences
in stone. Let us now turn to living
evidences.
History tells us that the practice of
dedicating dancing girls to the temples in
honour of the gods, was prevelent at one
DANCES OF INDIA
time throughout India. Devadasis or dancing

girls dedicated to gods were attached to
the temples in Orissa, Saurashtra,
Maharashtra, Andhra, Tamil Nadu and
Kerala, The institution of Devadasis is now
extinct everywhere except in Orissa.
Devadasis in Orissa are known as maharis
meaning mahat-nari, We can find the
earliest mention of the deuadasis attached
to temples in 9th century A.D., where the
inscription states that Kolavati, the Queen
of the Kesari King, Uddyota, built a temple
of Shiva and dedicated dancing girls to it.
The Ganga dynasty came thereafter to
power. Cholagangadeva who ruled from
1077 A.D. to 1147 A.D., built the temple of
Jagannath at Puri and employed Devadasis,
After Cholagangadevas death, Anangabhimadeva came to power and he built
several temples and also built the
Natamandir in the Jagannath temple. It
was intended for performances of the
maharis and musicians in honour of the
Lord.
Maharis are of two kinds: Bahar gani mahari
and Bheetar gani mahari, The bheetar gani
maharis alone were allowed to enter the
Bada Devla or sanctum-sanctorum. They
were also allowed to sing duringBada
Simhara. The bahar gani maharis are not
permitted to enter the innermost sanctorum
of the temple. They danced in the
Natamandir.
Devadasis or maharis were the only ones
who used to keep this dance tradition
intact and kept it alive generation after
generation. The maharis attached to the
Jagannath temple were all Vaishnavites,
but the maharis at Bhuvaneshwar were
118
attached to Shaiva temples while those at

Jhankad and Kakatpur, were dedicated to
Shakti,
On the copper-plate
inscription
of
Purushotam Deva, it is
mentioned that there
were
two
Sampradayas
of
Nachunis-one of them
was from the South
and another from
Orissa. They used to
dance along with Sri
Jayadevas
Geeta
Govinda. Before Geeta
Govinda
was
introduced, maharis
used to dance only the
Nritta
portion
(rhythmic)
and
abhinaya
with
mantras. But after
Jayadevas
Geeta
Govinda became the
part and parcel of the
rituals, the maharis
performed abhinaya
with different bhava
and rasas. Another
exponent of Odissi
dance
is
Ray
Ramananda. He was a
musician, dancer, and
dramatist. He taught this dance and
presented Jagannath bhava Nataka before
Lord Chaitanya and convinced him that
singing and dancing are also forms of
prayers.
Then we find that the Gotipua system was
DANCES OF INDIA
introduced. It emerged from the Satasahi

Akhada at Puri. The Vaishnavite followers
did not approve of dancing by women.
Hence, boys dressed as girls began to
dance and for the
first time Odissi dance
came out of the
temples and began to
be performed in public.
During this period,
Vaishnava
poets
composed innumerable
lyrics in dedication to
Radha and Krishna
and the Vaishnava
poets chose this
dance of Gotipua as a
medium of publicity of
their cult. In the
Gotipua system as
contrasted to the
other forms, one can
find a jerk in the
movement in place of
the smooth transitions
from one movement to
another.
At present this Odissi
dance has been
reshaped and is
presented in a lyrical
and most graceful
style.
Odissi dance includes
both Tandava and lasya elements.
Sabdaswara-pata and-Bandha are of
mainly Tandava style and exist m a crude
form in some remote places and It needs a
good deal of refinement. Sabdaswarapata
are of various types .relaxing to different
119
deities such as-Shiva, Kali, Vinayaka, etc.

An example of Sabdawaswarapata relating
to Shiva: Dharigida Giditaka Narigida Giditaka
Nada udaya vira diga digambara
Sankara rupabhaya
digi digi kesa-tandava trisuladhara
ta jhen ku tin jhen ku
jhana jhana ta tijhana ta .... etc,
Odissi dance is taught on the technique
laid down in Bharatas Natya Shastra,
Nandikeswaras Abhinaya Darpana and Sri
Maheswara Mahapatras Abhinaya
Chandrika.
The main bhangi of this form of dance is
Tribhangi supposed to have been taken
DANCES OF INDIA
are many others mentioned in Abhinaya

Chandrika-such as Abhimana, Sukachanchu,
mardala, Akunchana, Sarakhepa, etc.
Odissi has a rich variety of mudras which
are based 011 Natyashastra, Abhinaya
Darpana and Abhinaya Chandrika. Hand
gestures play a very important role in Odissi
dance as they are used in conveying the
meaning in abhinaya and are used in
rhythmic (Nritta part). According to
Shastras, we useAsamjukta hasta (Single hand)
Samjukta hasta (Double hand) and
Nrutta hasta (Dance hand).
Apart from the Shastras, there are some
traditional mudras which are not mentioned
in any other ShastrasThey 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)
matha-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
from the Tribhangi of Sri Krishna and the

Chhauka pose (half-seated) of Lord
Jagannath. There are other important
bhangis such as Adabhanga, abhanga,
Atibhanga which are very much special to
Odissi dance. Besides these bhangis, there
Apart from these talas . .we have Fati tala

which is of 7 beats and Nisaruka. tala.
Different chhanda like jhoola of (Tisra
chhanda) and Pahapata of chatusra
chhanda have got their own unique beauty
in Odissi dance. These talas may vary
according to different jatis, such as tisra,
120
DANCES OF INDIA
Chatusra, Khanda, misra, Sankirha.

Different types of bhavas, rasa, Nayaka,
Nayaka, caris, mandalas, bhramari,
Karana., Utbhavana, etc., playa very
Important role In Odissi dance. Ekapada
bhramari and biparita (opposite) bhramari
are inevitable in this dance.
sung in some raga and is developed in

different varieties. Sargams mayor may not
he added. Bols with rhythmic syllables ceme
in between to enrich the beauty of the
item. A number of passages of Nrutta are
performed In stylised poses and
movements.
Odissi embraces Nruua, Natya and Nruiya

in different Items of its repertoire which is
as follows:
.
Pallaui is again divided into two kinds:(a) Vadya Pallavi (b) Swara Pollavi.
1. The first item is mangalacharana:This is a dance where the dancer dedicates

herself to the Lord and begs excuse from
the Mother earth for stamping her feet on
her, begs apology from the audience for
any shortcomings and salutes to her Guru.
This item is divided into three parts:a)
Bhumi Pranama
b)
Deva or Devi Stuti
c)
Sabha Pranama
2. Then follows :Sthayee Nrutya or
Batu Nrutya
This is an item of pure Nrutta. It begins
with a series of sculpturesque poses like
veena, mardala, flute, manjira, etc. and is
performed in a very graceful and stylised
manner.
3. The third item is Pallavi:The movements of this dance are
extremely graceful and lyrical. This is
accompanied by both music and rhythm.
Music and rhythm are given equal
importance as the dancer proper A tune is
4. Abhinaya: The fourth item is

abhinaya.
This is done through facial expressions
depicting different bhaoas and rasas with
the help of different hastes and action to
bring out the meaning and mood of a song.
No performance is complete without the
performance of an ashtapadi from the
Geeta Govinda by Sri Jayadeva. Songs by
Oriya poets such as Banamali,
Gopalakrishna, Kavisamrat Upendrabhanja,
Kavisurya Baladeva Rath are performed by
the dancers depicting various moods.
5. Last item is Mokhya Nrutya:This is an item of pure Nritta (rhythm) and
performed in a fast tempo, to the
accompaniment of rhythmic syllables.
The dancer becomes ecstatic, and through
the ecstasy the dancers soul and mind
are merged with that of god.
Dance, be it of any kind, is considered as
an effort to come near god and experience
true happiness.
121
DANCES OF INDIA
MAYURABHANJ CHHAU
Dr. KAPILA VATSYAYAN
..... .
t 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
chhaya 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
word chaunl emerges or chauni which means
an armour and finally chhank which means
an attack. While it is not necessary to
resolve the controversy, it is significant
that these forms should take their name
from a function or a vocation rather than
from a caste as in the case of Bhagavatmela
forms or from an activity of a whole
community in the process of a pilgrimage
such as a yatra or procession theatre forms
known to other parts of India. Judging from
the fact that many sections of society take
part in all the three types of Chhau and
that in most cases they belong to the
military class it would be reasonable to

accept the third interpretation although
the idea of a disguise is inherent because
in at least two of the forms masks are
used.
The Dance Tribes
.....Mayurabhanj Chhau dance is prevalent
in the South-eastern part of Orissa.
Adjacent to the State of Mayurabhanj lies
the States of Seraikala and Purulia, today
part of the States of Bihar and Bengal
respectively. Within the region there are a
large variety of tribes who, in turn, share
many common features with the tribes of
122
Madhya Pradesh and Bihar. These tribes

range from the Munda group of the Austric
and the Indid, even if anthropologists differ
on the classification.
Agriculturally, many of the tribes of the
region are shift-cultivators and same are
tool agriculturalists. Many propitiation rites
are common to this tribal group of people,
and the agriculturists particularly have rites
which revolve around the installation of a
pole as a symbol of fertility. Many dances
of the Hos and the Oraons are held at a
place away from their actual living area
where the pole is installed before the Jhum
(shift-cultivating rites) ceremonies begin.
Linguistically, these tribes belong to the
Munda group of languages and are
inheritors of a non Indo-Aryan stream.
A close look at the community which
performs the Mayurabhanj Chhau dances
show that although the dance is an
expression of a village culture, it has carried
forward many purely tribal elements. We
may identify one or two of these elements.
The group of people who perform the
dances are almost without exception
people who are called the Scheduled or
Backward Classes. Among the categories
listed in the Constitution of India are the
Nats, the Bhands, Bhumiyars, Paiks and
others. Mayurabhanj Chhau is performed
by the priests from amongst the Scheduled
Classes. Herein lies a tell-tale key of the
interaction between different levels of
Indian society ranging from tribal to village
and to the high castes. In the propitiation
rite a connected with Mayurabhanj Chhau
there it one which revolves around the
establishment of a pole at a place which
DANCES OF INDIA
should be a few miles away from the village.

Two occasions are considered appropriate
[or the dance. One is about the Dusshera
time (this was introduced some years ago)
and the other at the Chaitra Parva. For
our purposes this second occasion is of
great significance. We may remember that
the Chaitra Parva is celebrated throughout
India as the great harvest festival. We see
immediately two simultaneous levels of
operation; the first, a takeover from the
propitiation rites of the tribal groups on
the occasion of shift-cultivation and the
other the rites and celebrations connected
with agricultural harvest. Over these two
levels is superimposed a third one, for the
ritual today comprises worship of Lord Siva.
It is important to note that there is no
icon worship during the festival. The pole
continues to represent Lord Siva. The
devotees are called Bhaktas, a word which
also is often vulgarised into the form
Bhaktas.
About a fortnight before the Chaitra Parva
festival, a select group of people are
enrolled for undergoing the ascetic
practices connected with the ritual. They
fast, take a ritual bath, visit the temple of
Goddess Ambika and then proceed to offer
worship to Lord Siva at the consecrated
place. Is this not reminiscent vaguely of
the Kavadi and Karaga dances of South
India? The ritual concludes in the pata
ceremonies observed during the last four
days preceding the Chaitra Sankranti. The
Bhaktas are not ordinary people. After their
initiation they have to perform-a firewalking ritual called the nian pata, which
we observe is absent from the Seraikala
Chhau festival.
123
They perform another rite where the

devotee is suspended by his feet on a pole
over a flaming fire. This ritual is called jhela
nata. Finally, they hang in suspension by
their arms while a pole makes a complete
revolution of a T shaped structure. There
is also some walking on thorns. These and
other ceremonies come only on the 26th
day of the month of Chaitra when a pitcher
of water is brought out to herald the
beginning of the festival.
The earthen pitcher is painted crimson with
vermillion and is sanctified with mantras.
The ghata represents Maha Shakti and is
called Fatra Ghata.
It is perhaps not necessary to dwell further
on the significance of these rituals which
precede the dance festival. Here is an
amalgam of ancient rites, fertility ritual and
deity worship. A dance emerging from this
background would naturally not be termed
classical. However, even from this
brackground could it be termed folk?
While we may not answer this question at
this stage, let us now go on to the dance
itself. On the first day of the festival which
roughly coincides with the last three days
of the month of Chaitra corresponding to
April 11th to l3th, the Chhau dancers
proceed not to the area where the ritual
has been performed but to the temple of
Bhairava. The teachers or the gurus of the
dancers are not called gurus, but are called
ustads, Obviously some syncretism has
taken place. The ustads and musicians
worship Bhairava and also initiate new
dancers on that date.
The initiation is done through tying a piece
of red thread on the right wrist of every
DANCES OF INDIA
dancer. The ustads and musicians are given

new dhotis to wear. The preliminaries over,
the whole assembly performs the ritualistic
pranamic dance.
A characteristic feature of the dance is an
offering of the leaves of wood-apple and
flowers mixed with the earth collected from
the practising area of the dance. All these
are tied in a piece of red cloth which is
kept inside a proscenium stage-19th
century building. Each dancer offers his
pranams to these articles which were first
offered to the Lord Bhairava. Without
pausing to describe the performance of the
Mayurabhanj Chhau, let us speak at this
stage of the other rituals connected with
the performance. At the end of the ritual,
at midnight, another pitcher or pot, this
time called the nishi ghata or the night
pitcher, or sometimes also the Kamana, the
desire ghata is worshipped. In many ways
this ghata also represents Shakti. Another
ritual connected with the dance is the
offering of a specially prepared dance to
the Sun-god. This is performed some time
during the festival. Perhaps it is pertinent
to recall here that sun worship is common
to many tribes, villages and to the
sophisticated, high-class Brahmins of
Orissa.
The Dance Proper
Now to the dance itself. There are many
ways in which we can analyse the form
which is presented before and after the
rituals described above. We can look at it
from the outside to find out whether it has
any relationship to other forms prevalent
in the area or any connections with forms
outside the region of Orissa. We can look
124
at it from the inside, that is only from the

point of view of movement and the
treatment of the human body which is the
instrument of expression again with a view
of investigating these relationships and
connections.
There is no known recorded history of
Mayurabhanj Chhau. There are also no
texts. In short, from the outside, it would
appear that the form is purely desi, folk or
popular, dependant or oral traditions.
However, a close look at the chronicles of
the Kalinga kingdom and of their
principalities tell us of a flourishing martial
tradition where warriors were maintained
in large numbers called Paiks. The sculptural
tradition reinforces this evidence by the
prolific depiction of war-scenes; shield and
sword play and acrobatics. This ranges from
the reliefs of Khandagiri and Udayagiri
caves to the medieval monuments of
Bhubaneshwar and Konarak. Much later in
the 17th, 18th and 19th centuries, the
scroll-painting tradition of Orissa called pat
painting emerges. While the Krishna theme
dominates the content of these paintings,
there is evidence here also of the
Ramayana and the Mahabharata. Many
characteristic postures and stances of
Mayurabhanj Chhau have a close affinity
with the stances and postures arrested in
stone, line and colour in these reliefs and
in these paintings. From the evidence of
sculpture and painting, it would appear that
the Mayurabhanj Chhau dancers were not
unaware of the principles of the treatment
of the human form, as it is known to the
sculptors of the great tradition. In content
also, the Mayurabhanj Chhau incorporates
the dances of Mahabharata, Ramayana,
DANCES OF INDIA
and those revolving around Siva and

Krishna. In addition there are dances which
definitely depict only martial drill. These
include numbers like the astra danda.
Besides the above theme there are also
others which revolve around everyday life,
such as hunter dances and the trick dances
using poles, ropes and pots.
The occasion of the dances, the themes
of the dances and the postures and stances
clearly establish the relationship of
Mayurabhanj Chhau to dances prevalent
in the regions of Seraikala and Purulia. It
also exhibits the processes of multi-layering
of many moments of historical
developments. It may also be possible to
establish the relationship of Chhau with
other dance-drama forms of India,
particularly the Jatra of Orissa and Bengal.
A distant similarity of narrative and
dramatic form can also be seen with some
forms of the Andhra Pradesh and the
Karnatak regions.
This external evidence has to be correlated
with the actual techniques of the dance.
Once we enter into the dance style itself,
we find that it has shed almost all features
of tribal, folk and village dance and has
acquired a distinctive stylisation which is
a characteristic feature of the dance forms
commonly termed as classical. The normal
yardsticks of identifying a dance form as
classical have been the existence or nonexistence of a rich body of composed
poetry, namely the sahitya. A second
yardstick has been the existence or nonexistence of a musical composition which
is based on this sahitya and set to a raga
system. A third criterion has been the
existence or non-existence of a complex
125
system of mnemonics set to a particular

metrical system, namely the tala. The
fourth criterion has been the existence or
nonexistence of a self-imposed limitation
of movement in relation -to space. Finally,
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
view of the dancers. It is essentially a
musical invocation, almost reminiscent of
the Purvaranga and the Parvappada of
Kathakali. The dhumsa sounds, the dhol
and the mahoori create the mood; their
collective permeation is both powerful and
a necessary prelude to the dance. Today
it is performed in full view of the evidence.
This is followed by the instrumentalists
playing a tune to which the different
characters appear on the stage. This
phase is known as the Chali meaning
literally walking. The characters appear in
their different dharans or stances. The
particular stances and gaits establish the
character without the aid of masks in
contrast to the other forms of Chhau,
namely the Seraikala Chhau and. the Purulia
Chhau. After the Rangabaja and before the
opening of the actual play, there is the
appearance of two characters called Kaji-
DANCES OF INDIA
Paji. The dialogue between the two which

is an amalgam of dialogue, mime and
movement is called the Vidusaka Pranalika,
again reminding us of the nata-nasi or the
sutradhara and nati of the Sanskrit theatre.
After the characters appear in their specific

dharana, the nach begins. The word nach
is obviously derived from nritta; in this
portion there is the introduction of the
theme but little dramatic action or the
taking forward of the .story. The dance
content of the dance style is contained
for the most part in this section of the
dance. The first of these is the Rukmara
nacli, a close parallel of the Parikhanda
exercises of Seraikala. Natki is the final
phase performed to au accelerated tempo,
where the dramatic action is heightened.
Although
there
is
some
weal
accompaniment, sahitya is very thin and
minimal: the dance-drama is presented in
the in to the accompaniment of a wind
instrument called the Mahoori, a type of
Shahnai, a string instrument called Teula
and to a variety of percussion instruments
such as the Dhol, the Chadchadi, (a short
cylindrical drum played with two thin sticks)
126
Nagada and a Dhamsa, a bowl shaped large

drum played with two blunt and heavy
sticks. The Dhol leads the drums; the
melody is played by the Mahoori, the Teula
and sometimes a bamboo flute. The tunes
played by these instruments have a great
deal in common with both the folk tunes
and Orissi songs. Some ragas and raginis
of Hindustani classical music can also be
discerned. Mayurabhanj artists claim 36
raginis, However, there is here no wordnote and basic tala relationship as in the
classical, what we have termed at the neoclassical forms. There is only a general type
of relationship between the sung or played
melody, the tala and the dancers gestures.
There is, however, great complexity in the
playing of the percussion instruments.
There is rigorous system of tala and of
bols maemnonics which arc interpreted and
presented by the dancer. There is also
counterpointing between the rhythmic
syllables of the dhol and the chadchadi.
The dance itself, like Seraikala Chhau can
be broken up into topkas, uflis and bhangis,
Like other classical styles of Indian dance,
Mayurabhanj Chhau begins with two basic
stances or postures. These postures are
quite distinctive but have a strong affinity
with the stances of the sophisticated
Orissi. Bharatanatyam can be understood
as a rhombus or a series of triangles in
space, Kathakali as a square or rectangle,
Manipuri as a figure of eight and Kathak at
a straight line, Orissi as a tribhanga,
Mayurabhanj Chhau in contrast, has an
open tribhanga and Chaska (akin to an open
grand plie of western ballet or the mandala
sthana) as a basic motif. While in the chauka
the weigh t of the body is equally divided
DANCES OF INDIA
along a central median (the madhya sutra),

in the tribhanga it is unequally divided and
there are three distinct deviations from the
central median. All topkas, uflis and bhangis
emerge from these two basic stances.
Although there is a close affinity between
the Orissi and Mayurabhanj in respect of
the basic stances the manner of building
up a movement varies greatly. All the units
of movements are again classified [from
the point of view of the nature of the
movement, i.e. (i) strong and precise, (ii)
quick, terse and cutting and (iii) fluid, liquid
and elastic. These are known by expressive
terms such as the Hathiyara dhara (holding
of weapons) Kalikata (softest end of a
spring) and bhanga (bending). The first
denotes stances and open positions and
strong masculine movements of sword and
shield, the second the nature of terse or
cutting movement with abrupt stops, and
the third fluid liquid torso movements which
are continuous. One type of movement can
be distinguished from the other, even if
they are poised in a different order. While
no parallels in terms of tandava and lasya
can be discerned, it may not be too farfetched to see that Hathiyaradhara and
Kalikata suggest tandaoa movements and
Kalibhanga, lasya movements.
Thus there is nritta. nritya and natya and
tandava and lasya, The torso is used in
synchronisation and in counter-opposition
to the movements of the lower limbs. The
leg movements are more definitely broken
up into a few distinct categories judging
from their name, the path of movement of
the lower limb, the foot, particularly, the
ankles and the toes. Some uflis derive their
name from the functions of an Oriya house-
127
wife, both as she prepares the mud-house

floor and as she decorates herself. These
are Gobar-koodha (picking cow-dung from
the floor), (ii) Gobar-gola (mixing cow-dung
in water), (iii) Chhadadia (spreading the
cow-dung mixture on the court-yard), (iv)
Choonchadia (plastering the floor with cowdung and water), (v) Chinchra (scrapping
the earth), (vi) Kharka (sweeping the floor
with a broom), (vii) Thoontida (decorating
the floor with rice paste as in Kolamas).
Others take their name from household
chores, such as:
(i) Basan-maja-cleansing utensils
(ii) Haladia bata-grinding turmeric on a
stone slab
(iii) Dhan Koota-pounding paddy
(iv) Dhan Pachhuda-winnowing the de
husked rice
A few relate only to toilet, such as:
(i) Gadhua-pouring water on the body
(ii) Matha jhada-after the bath drying the
long hair by a jerky movement of the towel.
(iii) Moonh pochha-wiping the face with a
towel
(iv) Sihtaphada-parting the hair with a
comb
DANCES OF INDIA
(ix) Thamka-walking lyrically.

Those that suggest other functions or
operations are:
(i) Kantaka-cutting clown the thorny,
shrubs
(ii) Kanta-nikala-removing the thorns from
the path
(iii) Batachim-splitting a bamboo in two
Those that represent martial movement
are:
(i) Antemoda-to kill by trampling on the
abdomen: this may well indicate only the
movements of the abdomen.
(ii) Khanda hana-sometimes also called
Jitahana-implying killing with a sword.
(iii) Habsa-to kill with a heavy instrument.
(iv) Uska Janka-to lift up and then to press
hard.
Lastly, there is a group which suggests
the gaits of animals. There are:
(i) Harin-dian-leaping gait of a deer
(ii) Shaula-dian-fish jerking out of water
(iii) Baga topka-crane stalking
(iv) Baga Machha khoja- crane searching
for fish
(v) Sindhoor pindha-putting dot of vermilion

on the forehead
(v) Masikadchiti-monkey somersaulting
(vi) Jhoontia maja-cleansing the toe-ring
(vi) Hanuman-panipia-monkey drinking

water
(vii) Udhooni chata-putting the two ends

of a scarf over the shoulders
(vii) Bagh-panipia-tiger drinking water
(viii) Chhalka-walking ecstatically
(viii) Chingdichitika-jerks of a lobster when

pulled out of water
128
(ix) Chheli-dian-goat jumping

It will be obvious from the groupings of
these uflis that they can be such as to
incorporate agricultural functions, daily
routine, war-drill and animal gaits: besides
there are those of the walking of humanbeings and some emotions. Again layers of
artistry from pure representation to
abstraction is seen. When analysed from
the point of view of movement one finds
that these
DANCES OF INDIA
suggested through the movement. This

particular movement is in non-existent
styles.normally called classical. In both
Seraikala arid Mayurabhanj, it constitutes
a very important aspect of the style.
Indeed the entire movement vocabulary of
Mayurabhanj Chhau is based on it.
The Mayurabhanj Chhau emphasizes this
movement more than any other dance style
in India and achieves a classical perfection
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
India from the earliest times, beginning with
the Khanda-giri vidyadhara. This is followed
by the flying gandharvas on the stupas of
Sanchi, Amaravati, Nagarjunakonda,
Deogarh, Elura, Ajanta, the medieval
monuments of Virupaksha, Khajuraho,
Bhubaneshwar, Konarak, the southern
monuments of Mamallapuram, Halebid, and
Sarangapani. Here are dance poses which
depict one extended leg while the other is
in folded: an elevation from the ground is
distinctive to it. Without using a sastric

terminology the dance style incorporates
many elements of high classicity. Judging
from the many ways in which the extended
leg is used in this style and in the depiction
of the dance in sculpture and references
to it in dance texts it would appear that
the movement was popular in India from
the 2nd century B.C. and that certain
dance styles must have used it to great
effect. At some point possibly about the
13th-14th century it lost popularity. From
129
the pure visual impression of contemporary

Mayurabhanj it would appear that the
dance style preserves a movement pattern
of great antiquity. However, in the absence
of any further textual evidence on the
subject no further deductions can be made.
Nevertheless, this feature of the dance
style gives a distinctive quality which
distinguishes it from any other style.
Whether this is the contribution of tribal
dance, or martial exercises, or the
reflection of a classical tradition related to
the Natyasastra, its kinetic value is
dominant. While many dance poses
arrested in stone cannot be identified with
any of the contemporary classical styles,
they can be seen in Mayurabhanj Chhau.
From an initial standing, a tribhanga or a
chaska, (i.e. the santa sthana, or vaisakha
or the mandala sthana of the Natyasastra
terminology,) many extensions of one leg
and elevations and pirouettes are achieved.
Space is covered in figures of eight or
spirals, and the sculpturesque pose at the
end of a sequence is characteristic.
Although there are many common points
between Seraikala and Mayurabhanj, the
latter exhibits a complexity of movement
in the treatment of the torso, and the lower
limbs. While Seraikala is lyrical, Mayurabhanj
leaves the impression of a strong, well
defined movement:
The repertoire of the dance style is also
revealing. It extends from simple themes,
such as hunting, fishing, as in the dances
known as the Shabar Toka, Shikari to animal
dances like the Mayura nritya, to those
which revolve around nature such as Mali
Phula to dances which revolve around. myth
such as Pavan Pootra Hanuman to
DANCES OF INDIA
Nataraja, Parashurama. Epic and puranic

stories constitute the theme of group
dance-drama, such as Tamudia Krishna,
Garuda Vahan, Kailash Samudramanthan,
Ahalaya Uddhara, Gita Upadesha, KirataArjuna, and Kailash Leela. There are two
groups performing these-the Uttar Sahi and
the Dakshini Sahi and their repertoire differs
somewhat, although there are many
common features.
In each of these numbers, the evolved
vocabulary of dance movement, along with
a clearly identifiable structure of
choreography both in body movements and
floor choreography is in evidence. While a
dance like the hunter or shikari is vital and
powerful, numbers like on Phul-Mali are
graceful and lyrical. The number on
Nataraja is perhaps the most authentic
survival of the various poses of the tandava
described in the Natyasastra and the
Agamas and seen on the sculptured walls
of temples. Many dancers of the neoclassical styles have of late tried to
reconstruct the Karanas on the basis of
their representation in Brahadesvara,
Sarangapani and Chidambaram. The result
has been of academic interest without
achieving an inner artistic coherence. The
Mayurabhanj Chhau Nataraja number is
conclusive proof of the fact that the
seemingly unplausible poses, with many leg
extensions and elevations, were no doubt
part of a living tradition which has survived
in the Mayurabhanj Chhau, The transition
from one pose to the other through a well
defined path of movement would be a
lesson in Kinetics for any professional
dancer, and yet Mayurabhanj Chhau is
considered a folk dance as opposed to the
130
classical forms. This number along with

some others like the Gita Upadesh is further
evidence of our hypothesis, that often what
we have considered as the classical part
of high art it survives and is fostered in
socio-economic milieu of the contemporary
socio-economically backward groups or
levels of society which we consider as the
tribal or rural. As we have said before one
explanation of this may be that the tradition
of the arts was a pervasive tradition
irrespective of socio-economic hierarchy
and that while the pace of change at the
more affluent levels in some matters was
faster although in adhering only
intellectually to the texts on the socioeconomically backward group it has
continued over a longer period. It also
points to the fact that we must not
consider either the Naiyasastra or classical
Indian iconography an exclusive preserve
of the upper classes. As Kosambi has
pointed out in his book, Myth and Reality,
tribal elements entered into the making of
myth and legend which we today identify
as only classical or high. The Nataraja as
a number would perhaps also be an eye
opener for many a scholar of Indian
iconography whose work has been
restricted to textual and sculptural
evidence of the nritta murtis. The
Mayurabhanj Gander sustains a tradition
perhaps unselfconsciously and is not aware
of its historical value and aesthetically
satisfying qualities, but this does not make
the quality of this art inferior or of doubtful
scholastic values.
The treatment of the theme of Tamudi
Krishna is similar with many interesting
interlocking patterns of group dancers
DANCES OF INDIA
which recall the pindi-bandhas of the

Naiyasastra tradition. Floor space is
fascinatingly divided between the Gopalbalas and Radha and her companions.
Diagonals, horizontal and vertical lines with
one line moving backward and the other
forward, the formation of pairs in a mandala
and the overlapping of circles makes the
number a rich piece of choreography. In
the Gita-Upadesa without the use of the
text of the Gita, the tenth and eleventh
cantos become alive with a poignancy and
vibrancy which make it clear that the group
of dancers, tribal or schedule castes are
not unacquainted with the moral and
ethical values of the Gita. Will we say that
this is the travelling of the high or great
tradition to the rural or tribal levels, or will
we call this the continuation of what we
term as the great tradition in a socioeconomic milieu, which otherwise is the
preserve of the little traditions? Also this
and other numbers tell us of a continuum
between tribal, rural and pre-industrialized
urban society, and we do not see that the
tribal society is divorced from the sacred
matrix. The vibrancy and vitality of these
continuities also tell us that these dances
are not mere messages received from high
class society-a point made by many
sociologists; instead they speak of a
common inheritance which is fostered
through the ritual and the dance instead
of the spoken and the written textual word.
The difference is at best a difference of
the methodology of understanding while the
Mayurabhanj Chhau, etc., know the
heritage through the ritual, the movement
of the dance, and the sound of the music
without cerebration and intellectualisation,
the literature society knows it only through
131
DANCES OF INDIA
the word written and not through the whole

range of the experience of life.
area, and with other forms at particular

levels in adjacent areas.
The tradition has been maintained by the

Ustads, whose genealogies can be traced
back to 200 years or more. The genealogies
of the princely states who patronized the
arts can also be traced back to a few
generations. There was also much
interaction between Seraikala and
Mayurabhanj during this period.
To go back to our initial analogy of the

spheres and the levels of the disc, it would
appear that Mayurabhanj Chhau stands in
an intermediary position like the Lai-Haroba
of Manipur. It is connected one side with
the danda nata of the Chhaddiya dancers
of the Ganjam and Narendrapura districts
and is also connected with the Gotipua
and the Mahari and Orissi tradition. While
it sheds some of the characteristics of the
Chhaddiya, etc., it assimilates or is
overlayered with Indian myth and legend,
epic and the puranic content. However
while incorporating the content and
achieving a stylistic form with a structured
grammar it does not use the sahitya or
the literary word. The Gotipua, the Mahari
and now Odissi dance successively chisel
the stylistic features of Mayurabhanj
Chhau, particularly movements derived from
the tribhanga and the chauka but they
shed the epic dramatic content and become
solo forms, revolving around only the
Krishna theme or Vaishnava cult. The word
sound and meaning relationship absent
from Mayurabhanj is predominent in these
forms. Together all move around a
distinctive regional Oriya axis.
Thus we have here a complex phenomenon

where tribal, village and the urban culture,
the Margi, the Desi, the Natyadharami and
Lokadha- rami have come together to make
a new whole. Many moments of historical
past coexist and many processes of
acculturation and assimilation are in
evidence.
Here then is the problem before us: certain
forms such as Chhau cannot be categorised
as purely Margi or Desi or Sastric and
prayoga exclusively if adjudged from the
point of view of only one yardstick of either
sahitya, svara or the bhanga or tala. All
factors, racial, ethnic, linguistic, cultural
and those of content and form of the
particular style have to be taken together
for a meaningful understanding of the
Indian artistic pattern. Our analysis will
have also shown the interconnections
between this dance style and others in
adjacent areas like the Seraikala Chhau and
the Purulia Chhau. From the point of internal
technique it shares many features with
Odissi. Thus as in life, the dance form also
presents in a very significant manner, a
distinctive form, which has connections
both with folk and classical styles in the
This is almost a parallel phenomenon to

what we had seen in the case of Manipur,
i.e. of the interaction of the different levels
of the disc. Also the other movement of
Mayurabhanj Chhau as a distinct level
having connections with similar forms in
adjoining areas, such as Serai-kala and
Purulia, is clearly in evidence.
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
perfecting 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
art? It may seem needless to project this
question; for, Kathak is already regarded
as one of our major classical dances. But I
would here say that if we ponder how
Kathak is an art, we are likely to gain in
two ways. First, it may help us see, if but
imperfectly, how creation is to be done in
the region of this dance. Secondly, it could
enable us to discover or refine the criteria
for evaluating dance in this style.
Now, Kathak is an art in so far as it shares
the basic features that are commonly, if
not unquestionably, ascribed to all art. If
properly contemplated, art takes us away
from our everyday concern with things, and
offers instead its own inner world for
indwelling and disinterested delight. Further,
what it comprises is no mere jumble, not
even a mere juxta position of elements,
but their intense organization. Now, such
features of import and structure are all

freely present in our experience of Kathak,
and even in the essentials of this dance
form.
Thus, to begin with, the body of the
danseuse does not here seem simply what
it does in everyday life. It is transfigured,
carefully adapted to the ends of dance.
Our word for the body so adapted is ang.
And when the role of ang in dance is said
to be pivotal, what is meant is that the
artist has to meet two conditions that are
inter-linked: first, that the dancing figure
should look winsome all along; and secondly,
that it should never lapse into mere every
day bearing. The first would require the
artist to avoid free use of representations
of such gods and goddesses in, say,
vandana as do not look good to the eye
(as Durga, for instance); and the second,
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 makebelieve 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
be different. Nritya, it is true, has to build
upon themes taken from the every day
world. But here too the Kathak has to keep
the difference between art and mere life.
This can be done in three ways at least:
The Important Elements

First, the distinctive gait of the taala being
used and the moment of its sarna may not
be hidden for too long in abhinaya. (I need
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 panghaiki-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
134
care for detail, such delicate etching of

line and movement with fingers and armsand, what is more, with such a definite
and expressive use of glances and bodily
turns-that contemplative attention may
yet remain glued to what is shown on the
stage, instead of moving away, due to lack
of visual charm, to what it indicates in life.
If thematic items are danced in the manner
here suggested, the representational
element will only help us follow what is
danced, not take us away to matters extraaesthetic. Nor is the inner disposition of
elements any less important in Kathak than
in the other arts. This I may develop as
follows:
First, the ang is to blend not only with (a)
the meaning of the theme but with (b) the
varying accentuation or flow of rhythm,
and the auditory character of its bols. The
former need is quite common knowledge.
But the latter is a subtler requirement. It
is met instinctively by those whose minds
are deeply imbued with the sense of laya,
and is not consciously realized by all those
who profess to know Kathak dance. To
DANCES OF INDIA
illustrate, when the basic bols are being

danced, the eyes-and/or the open palmsmay 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 selfgathering 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
requirement in question is met even by
average dancers. Thus, where the syllable
to be danced is Throm or Kadaan they do
manage to produce some semblance of the
heard character of the bol (say) by using
two hands above the head to work up the
effect of bloom or sparkle, and by regulating
footwork suitably Or, as is borne out in the
dancing of beautiful, little tihayis and bits
of footwork by Birju Maharaj-which he often
does quite early in the recital, may be
immediately after the opening invocationang may be manifest as the direct attuning
of the gestures in accordance with the
varying manner of the movement of
rhythm. Here, the intentional avoidance
of a rhythmic stress is also visible joy (or
mischief) suffusing the dancers visage;
and the completion of a dainty pattern
danced itself brings about an upward,
finalising flourish of the hand. The gestures,
in such cases, are not codified mudras;
and ang is the body as responding to the
feel of rhythm. The bodily expression, here,
is of course identifiable, but it is inwardly
affirmed and plastic, not rigidly set.
135
UDAYSHANKAR
MONI BAGCHEE
t was a memorable occasion. The

year was 1937 and the date was
the 12th of July. Uday Shankar had
just returned to India from his triumphant
tour of Europe. A grand reception was
accorded to him by no less a person than
Rabindranath Tagore at Santiniketan. There
was a select gathering if I remember alright.
Tastefully decorated, the whole
environment was solemn in the best
tradition of the place. The poet welcomed
the dancer with the following words:
Your motherland welcomes you today not
with a garland of victory but with one
sanctified with her blessings. Do you
receive the same today again and again,
from my hands. You have brought into the
open, Indian dancing from the cloistered
darbar halls of the Maharajahs and temple
sanctuaries, lifting it to its former dignity
of an art form. The spring breeze coaxed
the spirit of the woodlands into multifarious
forms of exuberant expression. Let your
dancing too wake up that spirit of spring
in this cheerless land of ours; let her latent
power of true enjoyment manifest itself
exultant language of hope and beauty.
Uday Shankar did not disappoint the poet,
nor his numerous lesser countrymen. As a
dedicated soul to his Muse, Shankar
believed that there are no bounds to the
depths or to the expansion of any art,
which, like dancing, is the expression of
lifes urge. We must never shut it, said
the great masters once, within the bounds
DANCES OF INDIA
Source: Bhavans Journal

November 6, 1977.
of a stagnant ideal nor define it as either

Indian or Oriental or Occidental, for such
finality only robs it of lifes privilege which
is freedom. Truly so, culture knows no
boundaries. And this is why Uday Shankar
could put India on the cultural map of the
world.
A legend in his own lifetime, Uday Shankar
was born in 1900 in Udaipur, where his
family, originally from Jessore (now in
Bangladesh) had settled. The eldest son
of Dr. Shyam Shankar Chowdhury, an
educationist with an average interest in
music and art (he was for sometime private
tutor to the Maharajah of Jhalwar). Uday
spent his childhood at Ghazipur to watch
a cobbler dance, and he repeated it at
home. Dressed as a girl by his mother who
had no daughter, he danced to whatever
music he heard. His younger brother Ravi
Shankar is a noted sitarist. Uday was sent
to a school at Varanasi and then to the J.
J. School of Art, Bombay. In 1900 he went
to England with his father and was admitted
to the Royal College of Art, London. He
started his training in plastic art under the
guidance of Sir William Rothenstein, the
Principal of the College, and completed the
five-year course in just three years. He
won the coveted Spencer Prize and many
other awards.
A Turning Point
June 30, 1922 was a memorable day in his
life which might have contributed towards
136
his final decision to choose a dancers

career. He was asked to do a duet dance
at a St. James Park function in aid of a
hospital. Amongst the distinguished
spectators was King George V himself. The
sword dance was highly appreciated and
he was congratulated by the King who
shook hands with him saying: Good, jolly
good. You have done very well.
DANCES OF INDIA
Shankar, Devendra Shankar and the sitar

maestro Ravi Shankar (who was then a
dancer), his cousin Kanakalata, that
talented French woman Simkie, and even
his uncle, Kedar Shankar Chowdhury. In
1935, he met Miss Amala Nandi whom he
married six years later. After an extensive
tour of Europe, Uday Shankar took his
He tried to master the Western technique,

but was dissuaded by Sir William, the
college Principal, who gave him a months
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
Coomaraswamys book on Indian art.
His Achievements
Although he faced considerable financial
difficulties and much hardship, Shankar
succeeded in building up a ballet group for
an Indian dance show. The first
presentation of that group
in India was at the Empire Theatre, now
renamed Roxy, and he was immediately
hailed as an artiste of exceptional sensibility
both by critics and public. In the early
thirties, Alice Boner, a Swedish painter,
helped him to organise a European tour
with Indian dances and musicians. This
troupe included his brothers Rajendra
company to U.S.A. and toured that country

from coast to coast. It may be mentioned
here that many renowned musicians like
Temirbaran, Krishnachandra Dev (that
immortal blind singer of Bengal), Sachindeb
Burman, Ali Akbar, Bishnudas Shirali and
even Ustad Alauddin Khan joined him and
he formed an Indian orchestra. He toured
round the world with his troupe holding high
the banner of Indian dance and music.
He founded the Indian Culture Centre for
Dance, Drama and Music at Almora in 1939
137
with the ungrudging help of Leonard

Elmhurst. It was a residential school where
music and dance were taught in an entirely
original and strictly scientific method. But
the centre had to be closed down during
the Second World War. It was revived in
1965 in Calcutta and with the help of Smt.
Amala Shankar. It was around this time that
the shadow-play Ramalila was first
produced and it brought fresh laurels to
him.
It was during this period that the seeds of
the film Kalpana germinated in his mind.
Though they hailed it as a landmark in Indian
cinematography, it was a colossal financial
failure. In this film we have the motion
picture record of some of the famous dance
performances of Uday Shankar. During the
Tagore centenary year of 1961, he
produced Tagores Samanya Kshiti in
ballet form. The following year he was made
a Fellow of the Sangeet Natak Academy
which earlier had awarded him the National
Award for Creative Artiste. Rabindra Bharati
University awarded Uday Shankar the
honorary D. Litt. degree in recognition of
his services in the furtherance of Indian
culture. Finally he was awarded the Padma
Vibhushan in January 1971. Anna Pavlova
discovered the talent of Uday Shankar and
she made this prophetic uttererance: I
arn convinced that he is made for dancing.
As a dancer, he was original, as a
choreographer, idealistic. His genius was
stirred, at the end of his career, by the
agonies of a diseased era. He was the first
person to present an Indian ballet with an
Indian thellle, accompanied by a musical
DANCES OF INDIA
score in which no foreign instrument was

used. The school of dancing he originated
was the outcome of a rigorous training in
and deep study of classical Indian dancing;
combined with his own creative genius. The
result was a scintillating synthesis. His early
choreography, it may be pointed cut here,
drew much inspiration from Indian temple
sculpture on the one hand and, on the
other, the presentation technique of the
Western ballet. Notable examples of this
synthesis were his famous items like
Shiva-tandava , Gajasurvadh ,
Kartikeya, Indira, and Labour and
Machine.
His main achievement was the blending of
the Indian classical style with the various
folk- dances. Much of my inspiration came
from Indian mythology which I have recreated with my imaginative ideas about
dress, decor and music in its many
dimensions. Thus said Uday Shankar once
to the writer of this tribute. That he lived
the life of an artiste is evident as much
from his successes, spanning more than
40 years, with the world his stage, as from
his failures. His dance centre at Almora did
not work ; it called for qualities or
organisation he did not have. He made a
long film Kalpana which was brilliant only
in parts; commercially it was what they
call a flop. He had to work right up to his
70th year. He could not help dancing, and
dancing was pot work for him in the
conventional sense, although his discipline
as a dancer and showman was famous. He
danced his way through life, and he danced
his way to death. The stage is empty.
138
DANCES OF INDIA
Temples As Patrons Of Dance

Dr. K. V. RAMAN
he two institutions which

extended patronage to the arts
of music and dance in ancient and
medieval India were the Palace and the
Temple-the former in the metropolis and
the latter in rural areas. In the temple, the
arts were part of the 64 offerings or Shodasopacharas to the Lord Spiritual and the
same were extended to the Palace and
the Lord Temporal. From the seventh
century onwards, the temple vied with the
court as more and more grants came in
pouring into the coffers of the temple. The
simple place of worship became a vast
establishment catering to the social and
cultural needs of the community. It is
interesting to study how in South India
the temples began to playa vital role in
fostering and cultivating the fine arts.
Because of their economic stability, royal
patronage and the social support, the
temple flowered into a vibrant cultural
centre. That was the time when art and
religion were inextricably intertwined. The
Lord was considered as the source of all
art and so art was sacred and spiritual. It
should be performed in His august presence
and should be a humble offering to Him.
The art should be a vehicle not only to
delight but also to elevate the devotees
to spiritual heights. This was the underlying
belief in integrating the arts like dance and
music with the temple rituals. Hence we
find land-grants given by the kings, nobles
and the common folk for employing and
fostering dancers and musicians in the
temples. Special pavilions were built in the

temples for the performance of dancesKoothambalam (or Natana-Sabha), Nritta
mandapa, and Natya mandapas. There
was a dancing-hall at Nagai called Natyasalai in l062 A.D.
A record dated 1425 A.D. from Tiruchendur
(Tirunelveli district), speaks of gifts for
dancing girls who danced during the Mahapuja and andikkappu. Even during the
Pallava times, the Mukteswara temple,
Kanchi and the Adipurisvara temple at
Tiruvottiyur maintained a large number of
dancing women (adigalmalar) and
musicians for singing and dancing during
the puja service and festivals. The women
dedicated to dancing were called
deveradiyal, talicheri-pendugal; kuthis,
These ladies on account of their proficiency
in dancing were held in high esteem by the
society.
The practice of employing dancing girls in
the temple increased during the Chola and
Vijayanagar times. Rajaraja the Great who
was an ardent patron of cultural and artistic
activities employed 400 dancing girls in the
Brihadeswara temple he built at Thanjavur
drawn from different parts of his kingdom.
He made ample provision for their
continuous service in the temple and
donated lands, houses and cash. A long
list containing their interesting names and
titles is found among the inscriptions of
the temple. A number of singers, drummers,
dancing masters were also employed to
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
by them. Thus at Thanjavur both Aryan
and Tamilian models were performed. A
Pandyan record mentions that SakkaiKoothu was performed in a Siva temple at
Dalapatisamudram by three women in the
month of Chitrai and Purattasi, At another
temple (Tiruvengavasal) near Pudukottai
provision was made for the performance
of Santi-Koothu by a lady. It is also stated
that she could perform nine kinds of
Koothus.In the Ranganatha temple at
Srirangam, members of particular families
called Araiyars perform even today dances
in the temple. They would wear special
dress and sing Tamil songs with hand
gestures and mudras. This is popularly
known as the Araiyar-Sevai. This
particular practice was in vogue in many
other Vishnu temples also.
In the temple sculptures also, we see a
link between the temple and dance. Our
artists took delight in depicting the dancing
girls as ornamental friezes in the temple
structures. The basement of the temples
at Tribhuvanam and Darasuram contain
several sculptures of women dancers, single

and in groups accompanied by musicians
and drummers. The Vishnu temples at
Tiruvallarai depict scenes of Krishnas dance
with the gopis. One has only to visit the
Great temple, Thanjavur or the Sarangapani
temple, Kumbakonam, to see the
importance given to the dancing in our art
motif. Why should all the Natya- Karanas
of the Natya-Sastra be sculptured on the
walls of the temple and around the
sanctum? They are obviously meant to
delight the Lord and the devotees who go
round the temple.
The artistes and the devotees conceived
of their gods as the masters of dance as
seen from the beautiful icons like Siva as
Nataraja (Kuthapiran or Adavallan), Krishna
as Kaliyanardhana or as performing
Navanita-Natya (dancing with butter ball),
Natya Saraswati (as at Halebid), Nritta
Ganapati (as at Gangaikondacholapuram).
The art of dance swayed the imagination
of the artists in such a profound way that
the whole temple pulsated with dance
forms investing divinity to the art.
140
DANCES OF INDIA
Therukkoothu-The Folk-Theatre Of Tamilnad

SMT. SHYAMALA BALAKRISHNAN
he most popular form of folk-theatre

in Tamilnad is the Therukkoothu or
the street play. Yakshagana of
Karnataka is similar to the Therukkoothu.
The theme of Therukkoothu is generally a
puranic story .The enactment is in typical
folk-style, by the folk, for the folk. It
centres round the festivals and temples
of the villages and is generally staged during
the warm months, February and August.
What began as a pastime or recreation,
by the villagers for the villagers developed
gradually into a professional art. Hereditary
actors belonging to particular families
formed themselves into troupes and went
round from village to village, exhibiting their
histrionic talents and receiving in return
money, grain and other articles of utility
from the villagers. Like many other folk
forms of Tamilnad, the Therukkoothu is an
all night show. It is enacted in streetcrossings (and hence the name, TheruStreet+Koothu-Play), or on the threshing
floor in the fields. Nowadays a small
shamiana of, say, 15 feet by 17 feet is
erected in some places. No raised dais,
front screen, wings or screens, backdrops
are provided. Lighting is by two or more
big torches placed at the two front
extremes.
Music, of the classical, semi-classical and
folk-types dominates the show, serving
dialogues and conversation as well.
Occasionally, however, there are prose
renderings. Acting is accompanied by dance
of the rustic type. Whatever be the story,

the inevitable characters are the
Kattiakaran (Herald) and Komali
(Buffoon). The theme is usually a puranic
story taken from the Mahabharata,
Ramayana, Bhagavatha, etc. Invariably,
such themes have some moral and they
emphasise the importance of faith in god.
Background music is supplied by an
orchestral group consisting of a Mukhavina
(a small wind instrument like the
Nagaswara) a Thuthi (a bag pipe),
Mridangam and Tala (Cymbals).
The play usually begins with an orchestral
overture, followed by invocation songs
addressed to various deities and, lastly, to
the Guru (Teacher). This part of the play
will sometimes take even an hour.
Immediately after this, the Kattiakaran
appears and introduces the play in the form
of a discussion with the Komali. Every
character of the play appearing for the
first time on the stage comes behind the
Thirai Cheelai piece of white cloth held by
two persons. This improvised curtain does
away with the need for a front curtain.
The responsibility for providing indigenous
lights and Thirai Cheelai for the play
belongs to the dobhi of the village for which
he is paid in grain or cash. Nowadays
petromax-lamps are also used. The
manipulation of the Thirai Cheelai is done
in a skilful, artistic manner, creating
suspense and thrill in the audience. In the
beginning closeups, so to say of the
141
characters head or feet, as the occasion

may demand, are presented. The cloth is
then removed and the actor is. presented
fully to the audience. This type of front
curtain is used also in Yakshagana,
Kathakali, Bhagavatha mela and Kuravanji
Natakas (which are semi-classical and
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
comic stories by song, speech, grimaces
and dance. While he thus spreads mirth
and merriment among the audience, he
affords opportunities for his co-actors to
rest and get ready for the next scene. He
also helps to break the monotony or
heaviness of feeling if the theme is serious
or pathetic. Sometimes an actor known as
Pala vesham (actor of many parts) also
appears, sings and acts and makes the
audience laugh. These actors besides other
factors mentioned add to the simple charm
DANCES OF INDIA
of the performances. Thus, the play carries

on, from about ten in the night to the early
hours of the morning. Some plays, like the
Mahabharata, drag on for many nights.
Costume and make-up is an elaborate affair.
Important characters like, Hiranyakasipu,
Duryodana, Dharrnaputra, Bheema, etc.
wear headgears made out of light wood

called the Punna and lavishly decorated
with white and coloured mirror pieces and
gilt paper. They also wear huge ornaments,
all made of the same stuff as the headgears, on the hands, shoulders, neck,
chest, etc. Facial make-up is done with
indigenous coloured powders known as
Aritharam. Female characters are also
portrayed by men. Gentle characters use
yellow and white, decorated with yellow
dots. Red is used for the villain and white
underneath red with black dots is also
142
painted. Blue mixed with black is applied

on Bheemas face. Blue or Green is used
for Krishna. Thus, they have specific
colours for specific characters which help
both the actor and the audience in the
appreciation of roles. The make-up,
costume head-gears and other ornaments
of a therukkoothu performer remind us of
the Kathakali of Kerala. Short skirt-like
dress full of pleats, pyjamas, dhotis, richly
embroidered velvet coats, waistcoats,
jibbas are all used. Actors without headgears wear turbans. Masks are occasionally
used as, for instance, in Hiranya Vilasam,
for Narasimha. All characters wear ankle
bells on their feet.
The lyrics and dialogues for a play are
generally written by a learned man of the
troupe. Printed books of such plays are
available during village fairs and festivals.
The tunes of the songs are popular folkmelodies with occasional touches of
classical modes here and there. One could
spot out forms of ragas like Nattai,
Devagandhari, Chenjuritti and Sahana in
their music. There is no voice lending: the
characters themselves sing their songs.
When an actor sings he holds the figurative
centre of the stage; the other characters
follow his song in chorus and become a
part of audience, as it were. The same
thing happens to another actor when his
turn comes. Only one character dominates
at a time, all others just helping to stress
the importance of the former. This is an
interesting technique in the subjective
rendering of the art.
The orchestral party sits on a bench placed
behind the actors. Grand effects are
produced by such simple devices as
DANCES OF INDIA
exploding crackers at the time of entry of

heroic characters like Bheerna in
Mahabharata and by blowing out sparks of
fire from the mouth (containing chemicals
in a mud-saucer) to denote extreme anger
as, for instance Hiranyakasipu in Prahlada.
All these delight the simple-minded rural
folk and transport them to the land of sheer
imagination. They sit gaping at the actors
throughout the night or nights-the long
summer nights- enjoying thoroughly their
open-air-theatre with the sky as canopy.
The songs though simple, sometime contain
big philosophic thoughts and ethical
principles. The moral of a play is always
that good will triumph and evil will perish.
These rustic plays have a large degree of
direct elemental appeal capable of moving
and uplifting the folk. Good Therukkoothu
troupes may be said to be mobile
educational institutions for they try to
inculcate, through the medium of Art, in
the minds of the masses, a deep love of
god, good conduct, social virtues and a
capacity to distinguish the good from the
bad. Their pent-up emotions find release,
against evil-doers and in sympathy with
virtuous characters and in the end they
feel highly refreshed, elated, and enabled.
North Arcot, South Arcot and Chingleput
Districts in Tamilnad are famous for this
traditional art. There are parties in other
districts also, differing slightly in regard to
details. A Therukkoothu party generally
consists of 12 to 16 members. But I should
mention here of an interesting party in
Coimbatore District consisting of only 4
members who enacted a drama that needed
more than 10 persons. The accompaniments were a Thuthi (bag-pipe)
143
Mridangam and Talam which were played

by 3 persons out of the 4. The fourth one
was dressed in a womans apparel and the
accompanists played the other roles even
as they were playing on their respective
instruments! I wondered at the crowd that
had gathered and the interest evinced by
them in witnessing such a play which was
a little more than dramatic monologue. This
tiny party somehow kept the audience
spellbound and was earning genuine
appreciation from them. On enquiry I found
out that there were several other such
parties travelling from village to village in
the District. The actor and his
accompanists received gift after gift, in
kind, from the audience. The simplicity of
it all was so touching.
In the tradition of Indian Art, music, dance
and drama always went together. Bharatas
Natyasastra, the oldest extant work on
stage-craft, is also a treatise on dance
and music. No wonder, therefore, that our
drama has to this day, largely kept up the
character of dance-drama or musicaldrama. (Ballet and opera correspond
approximately to these). While the art of
the city has succumbed to prosaic ideas
of the modernists who champion realism,
the rural stage has, (thank! god!) more or
less preserved the poetic nature of the
art and has not given up the symbolism of
music and dance.
Recently, however, a change is noticeable.
In a survey of folk arts taken up by the
Madras State Sangitha Nataka Sangam of
which Therukkoothu forrned a subject, it
was painful to note that most of the
traditional Therukkoothu troupes had given
DANCES OF INDIA
up their old techniques and taken to

doubtful modern theatrical methods. The
music being replaced by hybrid film tunes,
the dialogues becoming more realistic and
changes in their traditional costumes and
make-up too, have become common. It is,
however, heartening to find out that there
are still a few who carry on their original
traditions in spite of the difficulties they
have to face. One such troupe belongs to
the Purisai Village in North Arcot District,
which is perhaps the best of all extant
Therukkoothu troupes. The troupe known
as Raghava Thambiran troupe is led by Sri
Raja Thambiran and Natesa Thambiran,
(After the demise of Natesa Thambiran,
the troupe is led by his able younger
brother Kannappa Thamibiran), both of
them belonging to a family of traditional
Therukkoothu actors. The troupe has
gained high popularity by their
performances at the Madras All India Radio
and at the III Folk-Dance festival conducted
by the Madras State Sangitha Nataka
Sangam in 1961. The Sangam also
encouraged the troupe by giving them a
very decent sum of grant towards
purchasing new dress and make-up
materials, after which a grand performance
was also held in Madras City under their
auspices.To enjoy such folk-arts, one
needs genuine love and appreciation of the
rustic simplicity of the art and the people
participating in it. There may be artificiality
in it. But it has to be enjoyed with a childlike faith in its culture and tradition. These
arts fully deserve to be preserved for they
have been partly responsible for the
unbroken continuity of our national
heritage.
144
DANCES OF INDIA
CHAKKIYAR KOOTHU
MRINALINI SARABHAI
he first of the sophisticated,

stylised and scholastic dancedramas 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 idakka is
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 Jayadevas 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.
also utilised along with the Kombu and

Kuzhal, As in Kathakali, the conch is used
as an instrument whenever necessary.
Usually only selected portions of the plays
are performed. After the period of training
the students give their primary recital.
Selections from the Balacharitam are
chosen for their first performance on the
stage. An interesting fact in Koodiyattam
is that women, not only sang but also took
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 dancers make-up is similar
to Kathakali, though the chutti is smaller
and used also by women characters.
Beautiful and awe-inspiring masks are
employed frequently. One of the loveliest
items is the dance of Krishna with the
Gopikas and here the transition of the folkdance into the classical form can be
clearly visualised. Apparently, this dance
is akin to the various Kalis of Kerala, the
Kolkali, like the tras of Gujarat, the
Kaikottikali, danced by women during the
Onam festival and the Thiruvadirakali, the
maidens worship of Manmatha God of
Love.

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What are some of the major classical Indian dance forms discussed?

What are some of the major classical Indian dance forms discussed?

What role did temples play in patronizing dance?

What role did temples play in patronizing dance?

VIVEKANANDA KENDRA PATRIKA

The Dance of Shiva

The Gift of Tradition

The Spiritual Background of

The Art of Dance

Dr. C. P. Ramaswami Iyer

The Place of Language in Dance

9. Waiting in the Wing

11. The Art and The Artist

12. Kuchipudi Dance

13. The Veedhi of Bhagavatam Andhra

14. Bhagavata Mela - Dance-Drama

16. Origin and Development of Thullal

17. Kathakali-The Total Theatre

Dr. (Smt.) Kanak Rele

VIVEKANANDA KENDRA PATRIKA

20. Dance can Play a Therapeutic Role

21. Yakshagana Bayalata

22. A Glimpse Into Odissi Dance

Dr. Minati Mishra

23. Mayurabhanj Chhau

Dr. (Mrs.) Kapila Vatsyayan

24. Kathak Dance as an Art -Form

26. Temples as Patrons of Dance

Smt. Shyamala Balakrishnan

28. Chakkiyar Koothu

29. Vivekananda Kendra Samachar

30. Folk-Dances of Gujarat

31. Folk-Dances of Punjab - Bhangra

Dr. (Mrs.) Kapilavatsyayan

32. Folk-Dances of Haryana

33. Folk-Dances of Madhya Pradesh

Dr. (Mrs.) Kapila Vatsyayan

34. Natya Tradition in Maharashtra

35. Folk-Dances of Rajasthan

Dr. (Mrs.) Kapila Vatsyayan

36. Folk-Dances of West Bengal

Dr. (Mrs.) Kapila Vatsyayan

37. Manipuri Dance

38. Folk-Dances of Arunachal Pradesh

40. Assamese Dance

VIVEKANANDA KENDRA PATRIKA

his volume of the Kendra Patrika on

Traditions of Indian Folk-Dance

Lesser Known Forms of

The Art of Dance from the

The Dance of Shiva by Ananda

Origin and Development of

Bharatiya Vidya Bhavan, Bombay

VIVEKANANDA KENDRA PATRIKA

We are very thankful to artiste Kalpana

with which they executed the whole

VIVEKANANDA KENDRA PATRIKA

BHARATIYA NATYA AND NRITTA

he earliest extant literature on the