research report - | indian culture

“Oral and written traditions in documentation of dance notation in indian classical dances” –Dr.Rajyalakshmi Seth

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RESEARCH REPORT

Submitted

To

GOVERNMENT OF INDIA

MINISTRY OF CULTURE

BY

DR. RAJYALAKSHMI SETH

For

TAGORE NATIONAL SCHOLARSHIP

F.No: 12-3/2015 - S & F

NODAL INSTITUTION: THE ASIATIC SOCIETY, MUMBAI

TITLE:

“ORAL AND WRITTEN TRADITIONS IN DOCUMENTATION

OF DANCE NOTATION IN INDIAN CLASSICAL DANCES”

SUBMITTED BY

DR. RAJYALAKSHMI SETH

MUMBAI

October 30, 2017


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DEDICATED TO

MY BELOVED HUSBAND AND SPIRIT BEHIND EVERY

ASPECT OF MY LIFE

LATE VIJAY NARAIN SETH

An Eminent International Cartoonist and Fine Artist

(March 10, 1944-June 26, 2014)

He inculcated the zeal and commitment for all my artistic pursuits. Himself an

eminent cartoonist of India, well known by pen name “VINS‟, he understood the

struggle in creative works. His demise just four days before my interview for this

prestigious scholarship at the Asiatic Society of Mumbai on 26th June 2014) left a

void but every minute, I felt his blessing hand and encouraging spirit. He was justified

in interpreting PhD as „peeche husband dependence‟ which I missed in his physical

presence terribly but is remembered for his dedication and commitment to

contribute to the art world. Who else can I dedicate my work but him, my mentor,

guide, life-partner and a single man behind my personal and professional growth.

Vijay ! this is for you!!!


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A TRIBUTE TO MY DEAR SISTER UMA AKKAYYA

LATE DR. K. UMA RAMA RAO

A legendary Kuchipudi Artiste, Guru, Sangeet Natak Academy Awardee

(July 04, 1938 - August 27, 2016)

Dr. K. Uma Rama Rao, fondly addressed as “Uma Akkayya” by me, stood like a

pillar of strength through the 58 years of dance journey I took from my tenth year

when she initiated me into classical dance.

In my journey from Rajyam to Rajyalakshmi Seth to Dr. Rajyalakshmi Seth she

played multiple roles. Provided dance education at different stages of my artistic life

as teacher, choreographer and researcher, including the ongoing research work for

“Tagore National Scholarship”. She facilitated my professional growth. Sheltering me

whenever I visited Hyderabad, guiding me in every research work I took up gave me

immense assurance that she was there for me.

What can I say more than this

“Matru devo bhava Pitrudevo bhava Acharya devo bhava”


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ACKNOWLEDGEMENTS

Angikam bhuvanam yasya vachikam sarva vangmayam

Aharyam chandra taradi tam vande satvikam sivam

Gurubrahma guru Vishnu gur devO maheshwaraha

Guru sakshat parabrahma tasmayisree guravenamaha

Sabha kalpa tarurbhati veda sakhopa shobitaha

Sastra pushpa samakeerna vidwat bhrama samyutaha

The three slokas addressing the the Lord of Dance, Nataraja, the gurus and the

audience explain the unique feature of Indian dances. They very much relate to my

present research study on “Oral and written traditions in the documentation of Dance

notation in Indian classical dances”. I am grateful to the teachers, artistes and scholars

who guided in all my artistic pursuits.

I feel privileged and grateful to Ministry of Culture, Government of India for

awarding me the Tagore National Scholarship which I feel is like „life time

achievement award‟ in my area of research studies.

I realised that the present topic on dance notation needed a detailed study while

working on my doctoral thesis on Kuchipudi dance in a sociological perspective

which limited my reference to dance technique..

I chose The Asiatic Society, Mumbai as my nodal institution considering my

familiarity with this prestigious society while working on two research projects for

fellowships awarded by the society to support two chapters of my doctoral thesis in

the past. I am ever thankful to the research committee members and staff at the

society office for considering me eligible and giving all the support required right

from processing the application to the submission of periodical reports to the

administrative work.

Whenever I mentioned about receiving the prestigious Tagore National scholarship to

the circle of artistes and acquaintances, they thought it is related to working on the

noble laureate Rabindranath Tagore. Though I explained that it is not so, I knew how

much he contributed to Indian literature, performing and visual arts. Establishing

Shantiniketan was a pioneering work in the area of learning art forms in the beginning

of 20th century. The national anthem written and composed by Tagore became the

national pride and gives that feeling of patriotism whenever it is played. Besides, the

lyrical content conveys rich culture and heritage of India. As a recipient of a

scholarship named after him, a legendary in the area of performing arts, I bow to him

and pay my tributes through this work.


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The first person I informed about the scholarship was my guru and eldest sister,

Dr. K. Uma Rama Rao, who not only was elevated but stood by me like a pillar in my

research work. It is both personal and professional loss when she passed away in

Auugust 2016. A legendary Kuchipudi and Bharatanatyam artiste, recipient of

Sangeet Natak Academy award , Founder-Director of Lasya Priya, Hyderabad, she

left a wealth of creative choreography work behind. Being associated with her till her

last days acquainted me with her dance activity at various levels. As an accomplished

guru, choreographer, contributed immensely in establishing various courses in dance

at academic level and training students to become performers, teachers and

academicians of repute. I am proud to be one of her first students and this work is my

guru-dakshina to her as she looked forward to my final report.

Equally significant is role of my other guru and second sister, Smt. Sumathy Kaushal.

The experience and knowledge I gained in teaching and conducting nattuvangam in

Kuchipudi and Bharatanatyam styles is unlimited and proved useful in every aspect of

my dance career. Each detail I wrote about the technique of Kuchipudi and

Bharatanatyam, reminded me of the moments I spent as a student, teacher,

nattuvangam player in her institute, Nritya Sikhara, Hyderabad. Immensely thankful

for sharing her experience as a teacher, performer both in India and in the USA

providing me with rare source material on dance notation. Grateful for giving me

intense training and guidance in dance activities. I pay my respects to her who

groomed me in various facets of teaching. I am ever indebted to her. This work is my

salutations to her contribution to my artistic abilities.

A research report cannot be written by me without remembering Prof. Kamala Ganesh,

my supervisor during my doctor studies. Her guidance and meticulous supervision of

the text directed me to look into various aspects of research. With respect and regard I

consider her my guru forever.

I can never forget the warm, affection gesture and hospitaliyy of my nephew, Shishir

and wife Deepa Shenoy Ramam in San Jose, USA during my visit in 2015 September.

Deepa provided the right guidance and assistance to visit the libraries, especially San

Jose University libraries that helped me in locating valuable source books related to

dance notation in world dance forms.

Many extended their hand to carry my work in various areas to whom I am ever

grateful for their timely support. Manik in scanning the documents carefully, my sister

Vijaya in Hyderbad providing me the hospitality and comfort during my visits, my

senior disciple V. Soumyasri Pawar for assisting and collecting sources and

accompanying me to the libraries, my daughter Eshna in administrative work, Sanjay

in rectifying computer problems, Dr. Devdutt Naik for keeping me fit in health to

carry on my work after getting injured in a road accident, my daily helping hands at

home , my beautician, Asha who seeing me struggle at home front came thoughtfully

with a lunch box to satisfy my hunger pangs and the printers at Trisha who patiently

printed copies after copies taking keen interest in shaping up the report. Not to forget

the silent observer, my pet Rio, who knows me as „granny-ma‟ who played a role with


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his unshakeable support by sitting next to my chair, all throughout the my two-years

working.

Parents play a key role in inculcating values, more in regard to art forms. Every

achievement of mine is credited to my parents Late. Dr. Vaddadi Venkata Krishna

Rao and Late Smt. V.Sowbhagyam who gave full freedom and encouragement for my

dance pursuits.

********************************************************************


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CONTENTS

I. INTRODUCTIO

II. INDIAN CLASSICAL DANCES: ORAL AND WRITTEN TRADITION IN

THE TRAINING PROCESS

III. DOCUMENTATION OF CLASSICAL DANCE TECHNIQUE: nritta,

nritya and natya

IV. NOTATION SYSTEMS IN INDIAN CLASSICAL DANCES

V. NRITTA IN BHARATANATYAM AND KUCHIPUDI: SIMILARITIES

AND DIFFERENCES IN REPERTOIRE

VI. DANCE NOTABLES IN KUCHIPUDI DANCE TECHNIQUE

VII. CONCLUSION

BIBLIOGRAPHY

APPENDICES


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CONTENTS DETAILS

I. INTRODUCTION

Review of dance literature

On the sources

Methodology and data collection

Interviews

Participant observation

Libraries visited

Audio-visual documentation

Significance of the study

My contribution

Limitations

Chapter-wise scheme

II. IINDIAN CLASSICAL DANCES:ORAL AND WRITTEN TRADITIONS IN

THE TRAINING PROCESS cess

Cultural background

Dance literature

Documentation

Lrchitecture

Painting

Inscriptions, manuscripts & other records

Literary works

Music

Oral-written traditions

Indian classical dances

Renaissance

Training

Bharatanatyam

Kathakali

Manipuri

Kathak

Kuchipudi

Odissi

Mohiniattam

III. DOCUMENTATION OF CLASSICAL DANCE TECHNIQUE: NRITTA,

NRITYA, AND NATYA

A. Classification

Marga and desi

in music


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in dance texts and treatises

Interaction between dance art forms

Dance systems

Classical dance forms

Changes

B. structure and content of dance technique

Presentation

Performers

Venues

Lyrics

Themes

Music

Repertoire

Technique: components -nritta, nritya and natya

Hand gestures

Movement

Training

Theory and practical

IV. NOTATION SYSTEM IN INDIAN CLASSICAL DANCE TRADITIONS

A. World dance forms B. Indian classical dances

A. World dance forms

What is notation\

Notation systems-review of dance literature

Labanotation

53 world notation systems

table-1

table-2

Published works

Dacne forms notated

Notations:-century-wise

-country-wise

Types of notation


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Process of writing

B. Indian classical dances

Available notation systems

Dance literature

Notation systems in : Bharatanatyam, Kathakali, Kathak, Manipuri, Kuchipudi ,

Odissi, Mohiniattam

V. NRITTA IN BHARATANATYAM AND KUCHIPUDI: SIMILARITIES

AND DIFFERENCES IN REPERTOIRE

Nritta in dance compositions: Invocation, kavutvams, jatisvaram, sabdam, varnam,

tillana, and keertana.

VI : DANCE SYLLABLES IN KUCHIPUDI DANCE TECHNIQUE

Section a : Features and notation

Section b: Repertoire (dance-drama and solo)

VII. CONCLUSION

BIBLIOGRAPHY

APPENDICES


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INTRODUCTION


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INTRODUCTION

This research project documents, through an examination of sources from both

oral and written, describes and presents an analytic interpretation of the

existing notation system in Indian classical dances.

The topic “ Oral and Written traditions in Documentation of Dance Notation in

India Classical Dances” was elected for the Tagore National scholarship awarded to

me by the Ministry of Culture, Government of India, with an objective to study the classical dance notation system in India.

During my doctoral studies, it is noticed dance notation, specifically the dance syllables used in the nritta (pure dance) aspect of dance technique did not receive much attention in the dance scholarship. It remained an unexplored area of dance

research studies. The dance literature indicates that existing notation systems generally connected to a teaching system followed by individual artistes or in a dance school or an institute following a tailor-made syllabus. This study is based on the need

felt to explore and examine the existing notation systems in Indian classical dance forms.

The use of ankle bells (dancing bells, the dance syllables, the neck movement and repeat a rhythmic beat three times at the end of a lyrical line is particularly represent a pan-Indian character along with some regional variations.

Presently there are eight Indian classical dance styles namely, Bharatanatyam, Kathak, Kathakali, Manipuri, Kuchipudi, Odissi, Mohiniattam and Sattriya. However, this

study does not include Sattriya dance which got its recognition as a classical dance in the beginning of this century limiting the study to the twentieth century.

The main focus of the study is to describe discuss, analyse the importance of a dance notation system in learning and performing a dance form, taking into

consideration the structure, content, distinct characteristic features of dance syllables.

We know from the historical and dance scholarship as well from the living tradition that there have been two traditions –Oral and Written or Textual followed

significantly in the process of training learning the performing art forms. Over the centuries, these two traditions functioned with equal importance. Oral tradition

involved teacher-taught training which is also called as “guru-shishya parampara” where the learning is on the basis of teacher-student relationship and the other being the textual tradition based on the treatises like Natyasastra, Abhinaya Darpanam,

Sangeet Ratnakara and others.

Over the centuries, two traditions functioned with equal importance. One is oral

tradition (teacher-taught tradition which is also called as “guru-shishya parampara” where the learning is on the basis of teacher-student relationship and the other being the textual tradition based on the treatises like Natyasastra, Abhinaya Darpanam,

Sangeet Ratnakara and others.


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Till about a century ago, the transmitting process in classical dance forms was confined to mostly the oral tradition which is evident in Guru-shishya parampara, a

method of passing on an oral tradition from teacher to student. Here in the guru-shishya parampara, the student lives with guru or interacts closely on the

subject of learning. The student or disciple is required to be committed, obedient and devoted to the guru. This strong bond which is formed with a close interaction facilitates the passing on of artistic knowledge and also contributes to an identity of

the dance technique. Thus through an oral tradition followed a succession of guru-s and shishya-s art form is passed pass on.

Here in the guru-shishya parampara, the student lives with guru or interacts closely on the subject of learning. The student or disciple is required to be committed,

obedient and devoted to the guru. This strong bond which is formed with a close interaction facilitates the passing on of artistic knowledge and also contributes to an

identity of the dance technique. Thus through an oral tradition followed a succession of guru-s and shishya-s art form is passed pass on.

No tradition is static. Due to the changes and the innovations that took place over the centuries, a gradual transformation can be noticed in the learning process of classical

dance traditions which are taught at academia and institution levels. Eventually not much documentation is available on the exact process of transmission process. Some interesting questions arise. Did these developments change the unique

character of dance forms? Were there any attempts to document the dance technique?

The published works in the second half of the twentieth century significantly highlighted the historical background, revival and development of classical dance

forms. The references and descriptions of dance syllables and their notation system did not get much attention. An initial survey of the existing dance notation systems

indicated that they are scanty and scattered too. This could be due to the extensive oral tradition practiced in the teaching system of classical dance forms. The description of the technique in the dance literature on classical dances, emphasis is

seen on defining names and use of the technical terms. While mentioning the characteristic feature of three main components of dance technique, namely nritta,

nritya and natya, a minimal or no reference to the dance syllables had been made. With the absence sufficient documentation on the structure and content of dance syllables used in dance forms, this study examined the teaching methodology

followed in each classical dance tradition. It is observed, within a dance tradition too, the dance technique , particularly the nritta aspect differed from one teacher to

another. Subsequently, different schools, banis, paddhatis or gharaans of training evolved. For instance, there are Tanjavur, Pandanallur and Kalakshetra bani-s in Bharatanatyam; Jaipur Gharana or Lucknow Gharana in Kathak; and Vedantam,

Vempati, Bhagavatula paddhati in Kuchipudi and like in other dance forms. This probably prevented any substantial recording of the dance syllables rendered for the


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dance movements. A need is felt to examine the nature of dance syllables used in the Indian classical dance forms and their notation system.

This study thus examines the dance literature and the documentation of the nritta aspect, discuses and analyses the details collected from various source material

pertaining to the following aspects and issues:

Review of dance literature and examine the oral and written traditions and training process in Indian classical dances

Nature of documentation that refers to nritta aspect of dance technique

The existing notation system in both Indian and other world dance form.

The nature and unique character of dance syllables in classical dances, comparing two dance styles of South India, that is, Bharatanatyam and Kuchipudi that exhibit both commonalities and differences in nritta presentation.

Importance of dance syllables during the process of learning, performing, teaching and choreography of dance compositions in a classical dance form,

taking Kuchipudi as a case study.

Analytical interpretation of the existing notation systems and their application in recording a dance movement to identify the areas of required future studies.

The content of the research report will briefly describe the teaching processes, document the reference to dance technique in both visual and performing arts,

examination of dance notation systems, compare and contrast the dance syllables used in various classical dance forms, and present an analysis of dance syllables used in a dance form at various stages of practicing a dance form and their application.

The theoretical submission is that in Indian classical dances, unlike in the

Western and other Asian countries, the regional variations still have a role in

identifying a dance form despite having their roots in the ancient texts and

treatises, especially the nature and use of dance syllables differed from one dance

form to another.

While there is an impressive documentation of the evolution, revival and development of dance traditions by various dance practitioners, scholars, dance historians, for

information on the dance syllables a need is felt to examine both the written works and interacting with artistes in order to study the oral and written traditions followed in classical dance forms.

My experience as a practicing artiste, teacher, researcher and choreographer in two styles of classical dances -Kuchipudi and Bharatanatyam for the past five decades

(this year marks the completion of 50 years of experience) also proved advantageous in providing an insider‟s perspective too in this study. The experience as a nattuvangam player for three styles, Kuchipudi, Bharatanatyam and Odissi and

teaching students with various cultural backgrounds, being on panel for various examinations both cultural and academic exposed me to realize the importance of

dance syllables in learning teaching, performing and conducting a classical dance presentation. Also the sources, in the form of books, journals, souvenirs, invitations,


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brochures, letters, manuscripts and my own notes in my personal collection formed a strong data base for this study. Interacting with artistes of various styles, age groups,

and categories also proved useful in collecting the details.i

Thus, the details noted as observer and in some cases as a participant observant at

the various training centres, institutes, seminars, festivals and conferences at which the structure and content of various dance forms is discussed, presented or performed have been included wherever appropriate.

My earlier research studies and the submission of research reports for fellowships at The Asiatic Society of Mumbai, and my doctoral thesis, presentation of research

papers on classical dances in general, and Kuchipudi in particular proved useful in compiling, describing and analysing the source material.

Visiting libraries at Asiatic Society, National Centre for Performing Arts in Mumbai, Sangeet Natak Academy and National School of Drama in Delhi and San Jose library at the Unites Sates of America proved useful in locating and collecting source

material on dance notation systems in India and abroad. The other source material comprised of hand written notation of various artistes, notes of participants at workshops conducted during the study period at places like Hyderabad, Aurangabad

and Mumbai and my own notes written for the students at my institute Muvva Kuchipudi Dance training Centre in Mumbai.

REVIEW OF DANCE LITERATURE

A preliminary reference is made to the published books, articles and other printed material, manuscripts available at the libraries and in the archival material collected

by me in the past

Three decades in Mumbai. Besides these, papers presented in seminars, articles in

journals and souvenirs and hand-written notes written by dance teachers or students at dance schools, institutes, and academic institutions are examined too. These sources indicated that there is lack of standard notation system followed by the dance

practitioners in learning nritta aspect but also that of nritya and natya aspects. Mostly they were the instructing notes prepared by the dance practitioners for

themselves or for their students. However, they related and became limited to a particular class, thus making them tailor-made and access was limited to.

In addition, with the impact of modern technology and digitization in the performing arts like music and dance, using prerecorded music for dance presentations brought changes, innovations in the training process. The teacher-student interaction changed

to distance learning by using more audio-visual material for learning the dance technique.

On the other hand, one found a variety of dance notation systems followed in the West and Asian countries. For instance, in the article published in the journal of National Centre for Performing Arts, Mumbai, description and the design of 53

systems of dance notation system is given. These notation systems evolved from the sixteenth century on wards were followed by the dance practitioners in different parts of the world. They helped in learning a dance form, or perform a dance ballet or a folk

dance. The most well-known notation system seems to be Labanotation. Also there


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are various published books describing these notation system the types of notation system followed like Abstract (Letters) Tracks, Signs,, Figures, Words, Symbols,

Music notes, Stick figures, Word abbreviations and so on. In the State Library in San Jose, the United States of America(a visit was made by this researcher in 2015), the

reference material available on dance notation system is not only impressive in number but also provided information on the variety of notation systems practiced by different dance forms in the world. India was not in the list. Probably, due the

extensive use of dance syllables in Indian classical dance forms unlike in the western classical dance forms like Ballets and other world dance forms, their notation system

may not be suitable or applicable for an Indian classical dance form but they form a useful reference material for evolving any notation system in India.

In the last century the application of a notation system to instruct the fundamental foot work and body movement in the dance technique is observed. The design of the notation system used different tools like staff notation (by Dr. Padma Subramanian, a

Bharatanatyam exponent and eminent dance scholar, (Subrahmanyam: 1982, pp.35-70) line and sketch drawings (Rele:1985), Radhakrishna & Rathna Kumar, to name a few) illustrate the fundamental foot work. The notation systems that is mostly

applied is the music notation system followed in the Hindustani and Carnatic styles to indicate the „tala-division‟ requiring the knowledge of music notation by the

learners. The notations provide, guide lines to follow the dance movements for the fundamental foot work, called as adavu-s along with the dance syllables or sollu-s used in Bharatanatyam. Another book worth mentioning in this context is Nritya

Geeta Mala by Rajee Narayan (Narayan: 1985), a senior Bharatanatyam dance guru and teacher from Mumbai. In this one finds the lyrical texts of dance compositions

presented in the repertoire of Bharatanatym dance style, along with the notation showing tala-division and ragas as per the Carnatic style of music. The script is written in three languages, that is, -Roman, Tamil and Devnagari. The „sollukattu‟

(dance syllables) are given at the end of composition, thus, not indicating their place in the lyrical texts.

The other published books that exclusively included dance notation system are: „Adavu- Basic dance units of Bharatanatyam, A unique dance notation‟ (Rathna Kumar: Undated) for Bharatanatyam learners, „Mohiniattam Adavus & Mudras‟

explaining the system of learning Mohiniattam fundamental movements (Radhakrishna:1991), „Kathak Nrutya Parampara mein Guru Lachhu Maharaj

(Hindi)‟ (Singh: 2006), describing Kathak boles with tala division as per Hindusthani Music. A published book by gives elaborate description of dance notation followed in Manipuri dance. The hand-written class notes by a graduate student in Manipuri

dance style provides the teaching system followed at Viswabharati University at Shantiniketan, West Bengal. Manipuri. „The Language of Kathakali (Notation of

874 gestures ((Venu: 2000) is one of the many books written by the dance scholar on notation. Kuchipudi Nritya Tarangini, Kuchipudi Melakartalu, Bhamakalapam, Gollakalapam, Prahlada charitam and other books by Vedantam Parvateesham

(Vedantam: 1988 & 1990) and Kuchipudi kala sagaram by Hemadrri Chidambara Deekshitulu (Hemadri:1989 are worth mentioning for their contribution to

Kuchipudi dance literature and dance notation. Acharya (Acharya: 1989), Nataraja Ramakrishna (Ramakrishna:1987) are other books that give details that distinguish one form from another in Andhra region. „Sabdams-The Lyrical Dance

Compositions in Kuchipudi Repertoire‟ by this researcher is one of the first books


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giving scripts and notating dance compositions called sabdam-s in Kuchipudi (Seth:2012). These books provided useful and valuable information on dance

syllables, their rendering style and so on. But as these books are written Telugu language (except Seth, with text both in English and Telugu), the reach and

understanding of these books is limited to Telugu speaking readership. These books significantly contribute to document the details on nritta aspect, but as most of them being in regional languages, the access becomes limited. Many of the books are

written in regional languages which needed translations into English. For example, the book on Navasandhi (in Tamil) and another one on Manipuri dance need

translation.

ON THE SOURCES

As mentioned earlier, the primary sources on dance syllables and their notation are limited. While the ancient treatises like Natyasastra, Abhinaya Darpanam, describe the three aspects of dance technique namely, nritta, nritya and natya, the written

works like Sangeeta Ratnakara, Nritta Ratnavali, and others, that followed in the later period started including more of nritta aspect in dance forms that evolved during the medieval period.

The other sources are articles in journals. A special issue on Bharatanatyam by Marg Publications (1982) and Kalasadan Cultural Society‟s publication titled „Sangeeta

Natya Kala Sangraham‟ (Mani, 1985), „Kuchipudi Nrityotsav „99‟ ( Kuchipudi Art Academy 1999) to mention a few and others where various dance scholars discussed nritta aspect in the classical dance forms. Some of the books written by

foreign authors,(a good example is Ambrose) articles included illustrations, line drawings, photographs of dancers in different poses, names of the technical terms and

their definitions based on Natyasastra and Abhinaya Darpanam and others. Ambrose description of costumes and body movements in Bharatanatyam, Kathak, Kathakali, and Manipuri provides an overview of the difference in the classical dance forms. But

again, with no reference to the dance syllables.

From the review of literature and interviews with dance practitioners of d ifferent

classical dance forms we can hypothesise thus:

The dance notation system has not received its due attention in the dance literature published on Indian classical dances.

1. The reference to dance syllables that are used for nritta or pure dance of the dance technique is found to be minimum compared to the lyrical texts that

accompany a dance composition. Also there is no record of instructing the dance movements executed for the dance syllables rendered. .

2. Even the available details on dance notation are scattered and scanty and mostly written in the regional languages.

3. Due to the oral tradition where a verbal handing down of all knowledge and art

forms existed, the training in the technique remained exclusive to a school of learning.


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4. The commonality and similarities create confusion and identity crisis in differentiating one dance form from another (as in the case of Kuchipudi and

Bharatanatyam).

5. The dance vocabulary describing the technical terms varied from one dance form

to another.

6. We can hypothesize the alphabets of dance syllables and their usage differed in each dance form. In some cases within a dance form too.

7. The performances on urban stage with the impact of modern technology brought significant changes in the repertoire to suit the audience taste and requirement,

significantly so from the second half of the twentieth century. This can be observed in the usage of dance syllables in the nritta-based compositions.

8. Increasing dependency on the audio-visual material in the teaching system and performing on the prerecorded music started replacing live music accompanying a dance presentation.

The study thus, taking into consideration the need for the documentation of the dance syllables in the nritta aspect the use of which is unique to Indian classical dance

traditions, proceeds to identify and distinguish the dance syllables used analyses and presents the existing notation system in Indian classical dance forms, in general, and

Kuchipudi in particular. Also to identify and distinguish the dance syllables and their unique nature in dance forms, a comparison will be made of the dance syllables used in the repertoire of Kuchipudi with that of Bharatanatyam. Finally, an attempt

is made to evolve a format to notate the dance syllables in Kuchipudi dance technique in order to highlight the role of notation in recording or documenting the

dance technique.

METHODOLOGY AND DATA COLLECTION

The sources include primary and secondary written sources including manuscripts, hand-written notes, interviews of dance practitioners (both teachers and students) and , accompanying musicians (singers, nattuvangam and mridangam players) and the

audio-visual recordings of repertoire in Indian classical dances. In addition, the inputs from experience of this researcher, as a Kuchipudi and Bharatanatyam dance teacher, choreographer, nattuvangam player are included to provide an insider perspective.

Interviews:

Regular interactions with legendary Guru, Late Dr. K. Uma Rama Rao, and

Kuchipudi guru, former Head, Department of Dance, P.S. Telugu University, Hyderabad and Founder-Director, Lasya Priya, Hyderabad gave valuable insights into the tala division of jatis (combination of dance syllables or sollukattu). In addition,

the guidance and permission to access the audio-video material of her creative choreography formed a valuable source material for analysis of Kuchipudi dance

technique. I feel very grateful and privileged to have received a hand-written jati, a complex one, composed by her especially for this research work. More so, to be


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present there while she viewed, calculated the syllables, arranged in an order to fit into a tala pattern is an experience that I cherish forever and take guidance from such

creative choreography. (Appendix : 2)

Interacting with Mrs. Sumathy Kaushal, a classical dance exponent in three styles- Kuchipudi , Bharatanatyam and Odiss, highlighted the learning, performing and teaching of three dance styles - Kuchipudi , Bharatanatyam and Odissi in her career

span of more than six decades as an acclaimed performing artiste. She also generously agreed to illustrate her system of notating dance syllables for all the three

dance styles by writing a jati showing the rhythmic variations and speeds to be followed for a nritta-based composition. Talking about her vast repertoire which also included rare and complex dance compositions which were taught to her by legendary

gurus like Vedantam Lakshminarayan Sastry, his son Vedantam Jagannadha Sarma, Chinta Krishnamurthy, Vedantam Satyanarayana Sarma (Kuchipudi); K.J.Sarasa,

Kalyanasundaram Pillai (Bharatanatyam), and Guru Pankaj Charan Das (Odissi) exposed her to nuances of learning different dance styles keeping in view the difference in body movements and the dance syllables used. A valid point she

highlighted was that gurus in 1960 were not easily convinced to teach rare or some compositions exclusive to their school of teaching to students coming from other

schools. For instance, learning navasandhi a rare composition in Bharatanatyam repertoire from Kalyanasundaram Pillai was not easy. She had to request some artistes, musicians to assure the guru about her ability and talent and accept her as a student.

More over she had to learn in a short period that the teacher could spare. She learnt, memorized , written her own notation of the movements and practiced to present in

front of the teacher next day. (a small note of the composition with her notes is included in the (Appendix:3)

An in depth interview was conducted with Mrs. Nirmala Madhava who is teaching as well performing in both Bharatanatyam and Kathak dance styles. In her dance school in Santa Clara, the United States of America, she manages teaching these two dance

styles which follow different teaching methodology. In Bharatanatyam the dance syllables are rendered by the teacher and the student notes it down as per her understanding or as given by the teacher. But in Kathak, a student is first made to

learn the reciting the syllables she or he executes. Also she discussed about the discipline one should follow while teaching two dance styles that have contrasting

features in the accompanying music used, in the body movements and also in the training process. In regard to dance syllables, she was trained to learn dance syllables till her graduation in dance at Bangalore University and while learning Kathak, as an

essential she memorized the „boles‟ and practiced rendering them in her performances. So opines written text helps in that learning. ( Appendix:4 & 5)

Besides the interviews, interaction with various artistes involved in dance activity as accompanying singers, mridangam and nattuvangam players, highlighted the importance of music in a dance performance. An in depth interview with Mrs.

Rajagopalachary, followed by a audio-video recording of conducting nattuvangam with mridangam providing the rhythmic beats to the dance syllables rendered by

this researcher is made to illustrate the characteristic features of rhythmic patterns followed in learning fundamental foot-work (called as adugulu) in Kuchipudi


20

dance technique and how they are different from the usage of dance syllables in Bharatanatyam which also uses Carnatic music system. ( Appendix:6)

The interaction with a select group of students pursuing various academic courses and doctoral studies at college and university levels revealed that the system of

notating is not followed restricting the practical lesions to oral tradition. This also indicated there is no notation system that a student is compelled to follow. Barring a few institutes like Nalanda Dance Research Institute in Mumbai, (courses offered in

Bharatanatyam, Kathakali and Mohiniattam styles) , Shantiniketan (Manipuri style) founded by Gurudev Rabindranath Tagore in the West Bengal, most of the teaching at

college, University levels follows oral instructions in practical aspect and provides notes for theory content. This indicates a need for notating system of the dance technique to document the content of the dance syllables. Also there are no

prescribed text books for students doing academic courses even at undergraduate and post-graduate level.

Participant Observation:

The report also includes information gathered during the choreographic sessions attended at dance institutes and workshops conducted by this researcher in the past

two years.

Libraries visited:

The source material collected at Libraries : Saint Martin Luther King‟s Library USA, Library (2015) on Western dance notation system; and others - Sangeet Natak Academy Library, National School of Drama, National Centre of Performing Arts

(NCPA, Mumbai) and The Asiatic Society, Mumbai provided valuable details on the subject. In addition, the reference material in the archival collection of this researcher

(spanning three decades and during the doctoral studies) provided useful information.

Audio-visual Documentation:

The audio-visual material containing interviews, interaction with students during workshops and dance events and performances supplemented the analytical interpretations. Also the audio-visual recordings helped in making the analytical

interpretations in the content. For instance, the audio recording of the rendering of dance syllables and their rhythmic patterns in Kuchipudi dance illustrates the need for such documentation.

SIGNIFICANCE OF THE STUDY:

A comprehensive study has been undertaken by including the major and significant

writings from the dance literature. Compilation of available sources, ( no claims that the sources are exhaustive) on dance notation systems and their analytical interpretations provide an insight into the significance and unique nature of dance

syllables in Indian classical dance forms besides indicating the areas that need further research. The examination and describing the nature of dance syllables, their usage

in Kuchipudi dance, the transliterated text (which is mostly written in Telugu) of dance syllables in English provides a useful and valuable reference data base for dance practitioners in classical dance forms in general, Kuchipudi artistes, in


21

particular. Developed from the earlier notation system followed in my dance class, a notation system, is presented, taking into consideration the required variables. The

content of the research project covers major areas of the subject which can claim to be a pioneering work on the dance notation system.

MY CONTRIBUTION:

In view of a very few studies made on the subject of dance syllables in India, the analytical interpretations on dance syllables, the framework for the notation system

in Kuchipudi dance technique makes a unique contribution to the dance literature. In addition, the inputs made by this researcher as a practicing dance teacher,

The translations of the content in Telugu describing Kuchipudi dance into English is made to make the content available to non-Telugu speaking dance practitioners and also indicate the need for similar translations in research studies.

LIMITATIONS

With an objective to show case the importance of notating the dance syllables and

need for more published works on the nritta aspect of the dance technique, a qualitative analysis of the dance syllables only in Kuchipudi dance technique is made highlighting the scope for further similar studies on the subject. The notation

system however, does not include the detailed dance movements for corresponding dance syllables except for the fundamental foot work in Kuchipudi dance to allow

creative freedom and individuality in the training process. No claims can be made the content is exhaustive, but an attempt is made to present a comprehensive details on the chosen topic.


22

CHAPTERWISE SCHEME OF THE RESEARCH REPORT

INTRODUCTION

Introduction delineates the scope and raises the issues to be invesitgated and

documented in regard to the use and documentation of dance syllables in Indian

classical dances traditions.

Identifying the need for a notation system for learning the dance syllables in the Indian classical dances, this study makes an examination of the existing dance literature referring to the nritta aspect of dance technique. The content of the located

source material is analysed to highlight the oral tradition as well the written or textual traditions followed in the training process. The study also compares the difference in the nritta which differs in each dance form. Since the dance syllables exhibit a

unique character in their composition and rendering style set to a tala system (time cycles) of two major music systems -Hindustani and Carnatic styles followed in

Indian music. To illustrate commonalities and differences between the classical dance forms, the repertoire of two forms practiced in South Ind ia, Kuchipudi and Bharatanatyam is compared taking nritta into consideration. To show case the distinct

characteristic features of dance syllables of a dance form, the study makes a detailed examination and analysis of the dance syllables used in the rite aspect of Kuchipudi

dance technique.

Thus, the study examines the existing dance notation system followed in the Indian

Classical dance traditions referring to the dance syllables used in the nritta aspect and

highlights the areas that need attention to form any notation system.

CHAPTER-II

INDIAN CLASSICAL DANCES: ORAL AND WRITTEN TRADITIONS IN


In India, each dance form draws its content from both oral and written traditions.

The classical dance forms exhibit a structured content involving disciplined training process where the guru-shishya paramapara plays a significant role. The ancient treatises like Natyasastra, Abhinaya Darpanam form the important reference sources

for dance technique and other written works followed later as commentaries on Natyasastra or as exclusive texts on dance technique in the medieval period. A review

of dance literature and other published works indicate the regional differences in the dance vocabulary as is the case with the dance syllables which are referred as sollu, chollu, teerikalu, jati, bol etc. A good example is Nritta Ratnavali by Jaya Senani

(12th Century AD) which describes the dance technique practiced in different regions referred as desi dance forms. In the modern period the both oral and written traditions

followed in the training process but differing from one dance form to another. However, the content does not refer to the differences in the dance techniq ue of the present classical dance forms due to the changes that took place in each form, despite


23

having their roots in the ancient dance tradition. In addition the continuity of the oral tradition in the transmitting process in the guru-shishya parampara, did not

follow any systematic documentation of the dance technique. Finding the need for locating and documenting these details, this chapter identifies the source material

highlighting the teaching methodology followed in instructing the dance technique in each classical dance form.

CHAPTER-III

DOCUMENTATION OF CLASSICAL DANCE TECHNIQUE: NRITTA,

NRITYA AND NATYA

The classical dance technique has three components, namely, nritta (pure dance,

nritya (expressional) and natya (dramaturgy). This chapter examines the nature of documentation evident through the literary works, sculpture, painting, inscriptions,

manuscripts, etc. referring to the dance technique.

Do these evidences point to any particular dance form or help in distinguishing the technique? In order to find the nature of these references, the three main components,

nritta, nritya and natya of the dance technique in the seven classical dances are considered for any analytical interpretation. A brief survey of the available source

material indicated that on one hand, some common features exist in the aspects of music system used and thematic content, but are different in the structure and content of the dance syllables used in the pure dance or nritta aspect. A brief description

of the dance syllables used in each classical dance form is made to highlight the distinguishing qualities the dance syllables exhibit.

CHAPTER-IV

NOTATION SYSTEMS IN INDIAN CLASSICAL DANCE TRADITIONS

The sound of dance syllables and of the ankle bells tied on the feet instantly produce

sounds that provide a pan-Indian character to identify the Indian classical dance forms. There are variations in the use of them. The number of dancing bells used or the

combination of dance syllables (known as solfa syllables in dance vocabulary use special characters like tajhem, dhalang, ta tai ta ta tai etc ), their rendering style give a distinguishing identity to the form. Their function can be compared to that of

the alphabets in a language. However, there seems neither a common notation system that guides in learning the dance technique or any documentation to explain

the way of using them. Even within a dance form with different schools of training following different teaching methodology, the existing notation systems provided by each teacher are like tailor-made catering to the needs of learning process in that

particular school.

This chapter investigates into the problems and issues revolving around nota ting a dance technique where the dance syllables have a significant role in nritta aspect,

unlike the world dance forms where the dance syllables are not use. After a brief analysis of the notation systems that are practiced in the World dance forms outside India from the sixteenth century onwards, the chapter describes and presents an

overview of the existing dance notation systems practiced citing select notation systems from the published works to illustrate the design selected by them.


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CHAPTER-V

NRITTA IN BHARATANATYAM AND KUCHIPUDI : SIMILARITIES AND

DIFFERENCES IN REPERTOIRE

In the previous chapter, the analysis of the dance notation system indicated that the

rendering style of the dance syllables differed. As they followed Hindustani or

Carnatic music systems for their lyrical content and tala division some commonalities are observed. For a lay person it created confusion in identifying a dance form. This is noted in the dance forms like Kuchipudi and Bharatanatyam practiced in the

southern states of India. Both the dance forms followed Carnatic style and the format of the dance compositions too has similarities. What are these similarities and

the distinguishing features of the two forms is analysed and compared to highlight the unique character of each dance form

CHAPTER-VI

DANCE SYLLABLES IN KUCHIPUDI : CHARACTERISTIC FEATURES

AND NOTATION

Taking into consideration the discussions, the analyses in the previous chapters, this

chapter examines and notates the dance syllables used in the nritta aspect and forms a

major chapter of the final report

A detailed study of the dance syllables in Kuchipudi dance technique is made and

notated to show case the importance of a notation system to understand the intricacies involved in executing the dance movements to the rhythmic variations of the dance

syllables. The content analysis focuses on the formation and pronunciation of the units, phrases and their permutations and combinations included in the jati

(composition of dance syllables) of various phrases that contribute to the nritta aspect. The presentation of the notation is limited to their rendering style and rhythmic variations and describing body movements to the fundamental work referred as

„adavulu‟, meaning the foot steps in Telugu. The rendering style and the tala-division of the dance syllables is illustrated with the help of audio and video

recordings. The objective is to highlight the unique and characteristic features of Kuchipudi dance syllables. The notation system will show case the importance of a notation system to understand intricacies related to the dance execution. Based on

the design of the notation system presented for Kuchipudi dance technique, similar design can be evolved by other dance traditions too.

CHAPTER-VII

CONCLUSION

BIBLIOGRAPHY

APPENDICES


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The list includes supporting documents that describe the dance syllables and notation system.

The phonetic transliteration rules are followed for dance syllables. They are

mainly the extensions of the following letters.

-tha, ta, tO, thai, da, di du de, da di dhu de jha, jhe, na, ne, ka, gi, gu, ge, re, ru,

ra, ree, vi, lU, ve, lA, ma, yU, ya, la, ha, hum and nu.

त ट त , त ,द, द, द , द , , , द , , झ, झ , ण, ण , क, , , , , , , , , , ,

, म, , , ळ, ह, म,

i My learning Bharatanatyam under guru Late K. Dr. Uma Rama Rao in early 1960 at Thyagaraja

Government School of Music and Dance in Hyderabad, acquainted me with the systematic process of

following a syllabus in theory and practical aspects. My training in Kuchipudi started with Late Sri

Vedantam Jagannadha Sarma, a senior Kuchipudi artiste belonging to the hereditary Kuchipudi families

who as a resident teacher provided me with the nuances of performing traditional compositions under his

guidance. Later my association as a student and teacher at Nritya Sikhara, under guru Smt. Sumathy

Kaushal provided me the inputs to differentiate the dance technique from one form to another.

Conducting nattuvangam for a decade in all the three styles was an enduring experience.


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CHAPTER-II

INDIAN CLASSICAL DANCES: ORAL

AND WRITTEN TRADITIONS IN THE

TRAINING PROCESS


27

CHAPTER-II

INDIAN CLASSICAL DANCES: ORAL AND WRITTEN TRADITIONS IN


The introductory chapter discussed and highlighted the importance of dance notation

in documentation of Indian classical dances, especially the dance syllables. It is noted that unlike the dance forms practiced in the West and Asian countries, Indian dance

forms have some unique features like:

- Wearing bells around the ankles

- Use of dance syllable

- Neck movement

The association of these aspects is made to the Indian dance form, specially for foreign authors and dancers, they served as identifying features. The sounds of the

dancing bells tied around the ankles of a dancer, the rhythmic rendering of the dance syllables immediately make one identity the dance form as Indian. Specifically in the classical dance forms, use of both dancing bells (Appendix:8) and

the syllables is very much important and its significance is associated with the traditions, training and technique of the dance forms practiced in different regions of

India

Another aspect of Indian dance that differentiates it from the world dance forms is its

approach and process of learning an Indian classical dance form. The dancers from the West who showed interest in learning during the revival of Indian classical dances, had to work on the language, culture and customs of Indian dance traditions. Even in

an established dance form like Bharatanatyam and Kathak.


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Indian dance history is centuries old. Considering the unique features of Indian dance traditions, the study of their notation system needs examining the process of training followed in the dance traditions. Since it has a history of many centuries a brief sketch

of the origin of dance is described to understand the customs, tradition that are involved in continuing the dance traditions. Indian classical dances are closely related

to Indian myths and mythology. Various studies in the dance literature already indicate that Natyasastra is the basic treatise that is followed by every Indian classical dance forms. We know that these various dance forms continued from generation to

generation, but how?

DANCE LITERATURE: Historical background

A brief examination of the historical background and the traditions involved in the training process of the seven classical dance forms is presented in this chapter.

In India, each dance form draws its content from both oral and written traditions. The classical dance forms exhibit a structured content involving disciplined tra ining

process where the guru-shishya paramapara plays a significant role. The ancient treatises like Natyasastra, Abhinaya Darpanam form the important reference

sources for dance technique and other written works followed later as commentaries on Natyasastra or as exclusive texts on dance technique in the medieval period. A review of dance literature and other published works indicate the regional differences

in the dance vocabulary as is the case with the dance syllables which are referred as sollu, chollu, teerikalu, jati, bol etc. A good example is Nritta Ratnavali by Jaya Senani (12th Century AD) which describes the dance technique practiced in different

regions referred as desi dance forms. In the modern period the both oral and written traditions followed in the training process but differing from one dance form to

another. However, the content does not refer to the differences in the dance technique of the present classical dance forms due to the changes that took place in each form, despite having their roots in the ancient dance tradition. In addition the continuity of

the oral tradition in the transmitting process in the guru-shishya parampara, did not follow any systematic documentation of the dance technique. Finding the need for

locating and documenting these details, this chapter identifies the source material highlighting the teaching methodology followed in instructing the dance technique in each classical dance form.

The Natyasastra, describing the origin of dance, tells how Bharata having been initiated into the art of dance, written by Lord Brahma in Natyaveda or Panchama

Veda, extracting essence from four Vedas and forming the fifth Veda. That is pathyam or text from Rgveda, abhinaya or expression from Yajurveda, music from Samavedan

and Rasa or mood from Atharwana veda and composed this science of dance.

INDIAN CLASSICAL DANCES

Origin


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The legend says Lord Siva dominates all dancing divinities and mentions his dance on various occasions. Specially the tandava style which has seven important varieties called, sapta tandava. It is believed that it is through Siva‟s tandava that the art of

dance descended to earth. Another legend describes while Siva danced these tandava-s vigorously his ankle bells get separated and fall on the earth at different

places thus the art forms descended on earth. i

Abinaya Darpanam (PSR 1997) , a text that followed Natyasastra describing the

principles of angikabhinayam (PSR 1997) mentions seven kinds of tandava performed by Lord Siva. They are:

1. Sandhya Tandava ( at twilight) 2. Ananda Tandava ( at Chidambaram in the form as Nataraja represents) 3. Kali or Shakti Tandava ( reveals energy that comes when Siva and Shakti are united) 4. Triputa Tandava (after killing the three demons -

Tarakaksha, Kamalaksha and Vidynmali) 5. Sati and Siva Tandava (Siva and Sati perform representing man and woman, unity of Purusha and Prakrithi depicting

tandava and lasya, 6. Ardhanari Tandava : shows the unity of Nature and God. 7. Samhara Tandava : dance of annihilation and release by Siva performing when Parvati burned herself in ashes. Siva in anger dances vigorously. The legend says

when Sicholava danced tandava at this time various letters emerged from his damaru making different sounds. (Bhagyalekshmy 1992:4-5)

As Vedantam Parvateesham describes they are :

Slokam:

nRuttAvsAnE -naTarAja rAjO

nanAda DhakkAM navapaMca vAraM

Uddhartu kAmassanakAdi siddhA

nE tadvi marshE shiva sUtra jAlaM !!

Letters:

a, i, uN, Ru, ik, E, Oj, ai, ouc, haya varaT-laN

jna, ma, ja, na ,Na,M-jha, bha,-gha Da dha,

ja, ba, ga , da, dha, L, -kha, pa,

ca, Tha, dha, ca, Ta ta, v -ka, pa, y-sha, Sha, sa, r, -hA l


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Natyaveda or panchama veda , composed by Lord Brahma contains excerpts from four vedas, taking text from Rgveda, expression from Yajurveda, music from Samaveda and the aesthetics from Atharvana veda.

The legend describes, Bharata, on the request of Brahma, Siva in jubilation and ecstasy said to Tandu, his follower- in-chief, who was himself an adept in Dance, to

initiate Bharata into the multifarious nritta - pure dance-patterns.

Bharata explains the importance of Ranga puja where worship of the stage is done to

propitiate presiding deities and the principles of dramaturgy to his one hundred sons. The two main forms of dance are tandava and lasya. Siva is acknowledged as the

creator of tandava and his wife Parvati of lasya. While the former is vigorous, masculine, the latter is quite the opposite with graceful movements.

Saint Bharata learns the principles of dramaturgy from Siva and prod uces a play called Amritamanthanam. i

In Natyasastra, Bharatamuni used the word „Bharata‟ to denote an actor. Some later writers explained that the three letters in the word bha-ra-ta correspond to „bhava‟ „raga‟ and „tala‟ respectively; so a combination of these three is known as „Bharatam‟.

In course of time this word Bharatam became synonymous with the word Nrtyam and various types of Bharatams are located in the libraries like Saraswati Mahal library

Thanjavur.

This indicates the evolution of various „bharatams‟ or dance styles over the centuries. But how are they passed on from one generation to another? A brief examination of

the historical background of the traditions followed in the transmitting process is as follows:

CATEGORIES OF DANCE TRADITIONS

As communities grew into the first civilizations, social laws and rituals developed with them. Ritual dancing became a part of the elaborate religious ceremonies.

In a complex culture like India‟s, with highly developed intellectual and written traditions, it is possible to find categories that are both native (indigenous to the culture) and analytic (not used in folk traditions).

The contrasts between oral folk and popular printed literature help clarify relations between folk and classical literature. Whether narratives are oral or are manually

inscribed (by stylus on palm leaf or by pen on paper), they remain human products that get circulated within the society. The written works are narrated orally or an

oral tradition is written. The important point to note is the role of documentation in transforming a folk or a classical tradition. The contrast seems to be not between oral and written but in between the oral-written and printed. In anthropological studies

these differences are discussed by scholars like Robert Redfield who used terms like “great‟ and „Little‟ traditions comparing them with the “reflected few” and the

unreflective many”. His views equate little tradition with folk tradition. In this subject


31

we find valuable viewpoints of A.K. Ramanujan, that folk traditions reflect indigenous culture but at the same time reflect some pan-Indian features. Cultural anthropologist, Kamala Ganesh (Ganesh, 2002:7) views it as “Oral culture in India

interpenetrates written culture: they are not simple oppositions but inter-meshed with each other.”

Ganesh further analyses these differences, says “Though the book view (which could be broadly correlated to the classical texts, high culture and elite classes) is

limited in its explanatory power, and the field view gives a greater depth as far as practices go, it is not that one or the other by itself is sufficient….in the current scenario of performing, visual and plastic arts, we see a plethora of forms flourishing.

Categories of „classical‟, „folk‟, „popular‟ are conventionally used to describe the variety of genres and forms. …” Ganesh points out that the term „classical music‟

continues to be widely used to denote Hindustani and Carnatic styles of raga music.

(Ibid 7)

In the introductory chapter of “Many Ramayanas”, Paula Richman, points out that the Hindu epic, Ramayana has many versions, oral and written, and they can be

represented in both the traditions.

A.K.Coomaraswaymy realized this many years ago. He pointed out that folklore in

India should not be contrasted with the classical traditions, as it is in Europe (Coomaraswamy 1936). Instead, he argued that whereas in Europe folk and classical traditions are separate, in India they share a common base.

Traditions

The commonalities are many but their descriptions do not fall within the scope of this study. Suffice to point out that the history of the medieval period (approximately

between the 9th and 18th centuries) was an eventful period when activity in music, dance and theatre survived invasions and conquest, and much of the regional culture

emerged with a distinct identity in this period being shaped by the changing social, political and economic conditions. The old traditions got revived and new genres were developed. These performing traditions got categorized as ritual, devotional, folk,

classical, modern and popular and others. The varied classifications indicate that in the Indian context the terms are used loosely and the difficulty in segregating the

categories and classifying them is not compartamental. The evolution of various genres from the interaction between the so called classical and folk drama forms and dance forms shows that the terms classical or folk are used for a form depending on

the nature of lyrical content, technique and proportion of music and dance in the performance.

Marga and desi: these categories also have overlapping-s indicating that the classification is not compartmental.


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Natyasastra mentions that the dance is related to other performing and visual art forms too. While dance, music and drama are inter-related as the plays in the medieval period show, even the visual art forms like architecture, sculpture, painting,

have represented dance forms in their work. These along with the inscriptions, manuscripts, and other documents provide the evidence of dance that existed from the

ancient times. Since these evidences form a part of documentation besides the notation system, it is important to present a brief examination of the reference to dance in arts and literature.

What do these references and the documentation of dance through the visual arts speak of nritta aspect of dance technique?

In India, similar to other art forms, dance too is linked up with the lives of people in many ways. This can be noted in the evolution of dance from the pre-historic Rock

Painting to the modern period. The descriptions, captions accompanying dance poses, scenes carved or sculpted; paintings on walls of temples, places of court rooms illustrate the kind of dance activity that existed in the past.

The temple architecture, sculpture, paintings portrayed various stories, forms of deities and some aspects of dance movements. One observes various forms of Shiva

and Krishna are the two divinities who find place in the scheme of Indian dance as well in representing the traditional painting and sculpture.

A brief survey of representation of dance in the visual arts.

1. Architecture

From its inception, the concept of the Dancing Shiva possessed the Hindu mind and is

exhibited in several ways in arts and literature, especially in the south Indian temple architecture and sculpture as is evident in the temple of Nataraja at Chidambaram. In

terms of dance, it provides the Shiva‟s tandava dance preserved in stone for the benefit of posterity. One sees dance movements defined as karana-s, in their frozen movements carved on the stone walls. The poses and postures constitute the

fundamentals of the dance art. Examples of karana-s, even though in less number after the effect of natural damages, “form the sole repository of the tandava variations

generated by Shiva and catalogued by Bharata” as Vatsyayan explains.

The magnificent temple structure built in the South during the rule of Pallava and

Chola kings (IMAGES) between the 4th and 12th century AD are a living testimony of their love for architecture, sculpture, paintings and belief in religion too. The chola kings maintained hundreds of dancers in the temples, thus the art of dancing and

music flourished during their rule.

The tradition was nurtured, sustained and kept alive by the successive Pandya,

Nayaka and Maratha rulers till the end of the nineteenth century.


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There are other evidences right from Mohenjo-Daro period to medieval period. like Jaya Nrityam, a victory dance, dancers greeting warriors after their return. Scholars, based on the sculptural and historical evidences, besides having roots in Natyasastra,

described the evolution and growth of dance forms like Bharatanatyam. The sculptural evidences from the fifth century on wards show that the classical dance

style followed the postures defined in Natyasastra. Later in the medieval period the basic positions can be noted in the dance styles practiced in various regions, West to South or North to South.

The wide spread influence of Natyasastra can be seen in the sculptural representation as is evident it In Brihadishwara Temple, Chidambaram, Kumbakonam,

Tiruvannamalai. The movement is captured in stone. The technique of karanas and the foot work points to the systematic record of sculpture in various temples.

Painting

A list of paintings depicting the dance purpose, type of dances, places where paintings are drawn, gods and goddesses, dance poses, occasions of dancing, solo,

duet or group and so on can be noted from each period from rock painting style to the Maratha rule in Thanjavur.

A brief description based on the details given in the book “Dance in Indian Painting” is as follows. (Vatsyayan 1982)

Pre-hostoric Rock Painting: varieties of dances represented are bow and arrow of wars and warriors, holding swords shields, dance with balls, ritual dances, martial dances, group dances with interlocked arms, ceremonial dances, processiona l dance, and

formation and movement of either a duet or group.

Mural Traditions:

Displayed on caves, in garbha-griha (sanctum sanctorum) walls of Brihadeshvara temple etc in the medieval period, we find dancing figures in mandala, or Nepalese manuscript, a painted book cover, Durga dancing in various poses reveal the dance

movements akin to karanas and charis of nritta aspect. Dancers in movements of elevations in ardhamandala using hand gestures like Svastika, arala ayatha sthanas,

tribhanga (as defined in Natyasastra) alidha pratyalidha provide the dance technique followed.

Pre and popular Moghul:

Moghuls watching a dance performance and a variety of dance scenes. Dancing at fort

entrance or in honour of a king, a duet dance and dance performances in the court of Nawab of Golconda and so on.


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In Rajasthan School of Painting:

Paintings exhibited dance scenes from Gita Govinda, Krshna Dancing in Mewar,

Krshna in rasamandala and others

In Pahari School:

Dance scene from GitaGovinda, Rasamandala, Krshna with gopis, a baithak dance scene.

Company school: a dancer balancing a decanter, martial dance in court rooms, dance before a British officers

Eastern Schools:

Krishna dancing with gopis, gopis dancing in moonlight, dance movements

South Indian Painting: Holi dancers on dance panel, , Siva dancing with Mohini avatar, siva Urdhvajanu pose in temple in mandala sthana in different temples.

The Maratha Tanjore School:

Tanjore paintings (19th CAD) dance performance before a king or a dancing girl, a drawing of a dancing girl by a British or French artist.

In much later period, the Warli painting in Maratha region stands as an example for recording certain movements of the people involved in a ritual worship. An interesting feature here is that the people drew figures relating to the activity on the

walls but erased it soon after the event is over. Thus there may not be a continuity in this style of painting carried by the fine artists.

Inscriptions and manuscripts and other records

The manuscripts and inscriptions provide various types of evidence. For example,

Machupalli Kaifiat dated 1506 AD which records a performance of Kuchipudi bhagavatulu in the present of King Veeranarasimharayalu. Written by traveller McKenzie, the document describes how Kuchipudi artistes happen to observe how the

chieftain of a village tortured the village people for extracting taxes from them. While presenting their dance (mentioned as keertana) in the court of King

Veeranarasimha Raya in 1506 AD, they incorporate and enact the atrocities of chieftain, Sammeta Guravaraju. (Seth 2005)

Another one is the firman (order) given by Golconda Nawab, Abul Hasan Tanisha (1678AD) gifting (Inam) a land to the artistes belonging to Kuchipudi village which established a tradition of artistes from that village to perform Kuchipudi dance. The

document records the rights of the distribution of land in Kuchipudi village (referred as Kuchipudi agraharam meaning the village where Brahmin families live).


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Literary works:

The literary works documented various aspects pertaining to twin-spheres of music

and dance. They wrote about movement of various parts of body used in nritta aspect such as caris, karanas and sthankaas etc.

The texts also described the discipline, practice and qualifying characteristics required by a dancer. After Natayasastra, Abhinaya Darpanam is considered a valuable text representing dance technique. The English translation of original text in Sanskrit by

Dr Manmohan Ghosh is considered the best documentation . many regional texts followed based on these texts.

An interesting account of the dance presentation in a sequential order is given in a text titled „Panditaradhya charitra‟ by Somadeva. This text is located in the book titled

„Andhra Dance sculpture‟ (Krishnamurthy 1975: 6)

The verses are from a classic ballad, a folklore titled, “palnadu vira carita” (Chronicle

of the heroes of Palnad).

(See Appendix No.)

An intense war took place in the early decades of the 13th century Century just on the southern banks of river Krsna in the Andhra region. Till date the war heroes are

remembered for their martial qualities. This ballad of poems describes this war and written by a great poet Srinatha and others. The description o f a dance concert is sandwiched in between the poetic text. Described in seventy two lines it covers

fetatures associated with a dance performance. Given below is the line by description of the English translation of the original Telugu text. (Source: Andhra Dance Sculpture : p.14)

1 Vinataga gayakul vinela buni “Harp-players held the vinas

2 Tantrulu bigiinci taga sruti cesi The strings were tuned up for the concert singing,

3 Sariga melana maina sapta svaramulu They were pitched for the staff notations.

4 Arohanavarohana bhedamulanu Ready for the crescendo and decrescendo,

5 Bahu raga samphurti pattuga cesi For playing the several melodies and

tunes,


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6 Sancari samasthayi sarasa bhavamula Soft orchestral sounds were

harmonised

7 Mrdutara sabdhartha milita mainatti

To exhibit feelings and emotions

8 Ghanataralamkara gati paramparalu Tuned were all the instruments, to

follow up the singer‟s voice,

9 Murchanal modalaina mukhya

dharmamulu

Which could even blossom the

branches, drought-ridden

10 Jantraga trambula janta kavinci

Endina mrakulu igirincinatlu

Musicians sang surpassingly in manner expert

11 Endina tama tama praudhi miraga The Players entered making

obeisance,

12 Padiri tama tama praudhi miraga To the king, Lord Kama

13 Celagi nataka janul ceri joharu Who waved smilingly to commence

the show

14 Gavinci nilacina kama bhuvibhudu The drummer, expert he was,

15 Navvucu selavicce natyambu ceya Took his place to the right of the stage,

16 Vara mrdangamulessa vayincu meti To the left moved the player keeping

time-beats.

17 Kudibhagamanduna kuduruga nilace Then stood there, pleasingly, the

player of Mukha-vina.

18 Tala managyundu taga nedama disanu Two accompanying songstresses

stood there at the rear;

19 Nilace nutsahambu nemmadi ninda And this was, thus a wholesome sight

20 Mukha vina vayincu mukhyu dokandu Kanjalocana, the prima donna

entered as the Queen of Cupid, majestically,


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21 Raga jalamu badu ramanu liddarnunu

She had a sweet voice, expert in

Bharata‟s Science,

22 Nindu veduka toda nilaciri venuka

(She) Pierced herself on the stage

like an arrow shot,

23 Kanjalocana yanu ghanamaina patra And stood before the eager audience,

24 Madanu pattapu danti manjula vani She approached the Master, who had a cane in hand-mark of authority.

25 Bharatasastrocita pranamul padiyu Took the anklet-bells from him.

26 Galigina yakkanta kantu banambu She wore them tight and comfortably

at the ankles,

27 Vale vacci sabhavaru varninci cuda Dressed she was in colourful

costume, in her blossomy youth.

28 Nilaci natyamunaku nerpari yaina Timing tuned to the beat of the drum

29 Vetra paniki taga vinayambu cupi She shyly glanced at the Lord

presiding- sabhapati.

30 Atadosangina gajjalati bhakti toda She stood in Sama pada sthanaka

(firm foot placement),

31 Padamula gattuka panca vanniyala She prayed to the Gods and with

flowers offered obeisance.

32 Kase gattiga gatti kadujavambamara Then the chorus girls sang from behind

33 Maddela talambu madhya nilucundi The auditorium was filled with Music agalore.

34 Ora cupula prabhu noyyana cuci

The troupe, offered obeisance to the elite and the august audience,

35 Sama pada yutamaina sthanaka sthitini Then commenced the Movements nine of the Bhu-cari audience,


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36 Akhila devatalaku alarula toda Then followed the sixteen Akkasa

caris (moves above ground),

37 Pushpanjali yosangi puni natyambu In succession, the dance sequences,

angaharas were played covering several gaits in a variety.

38 Avenuka samkatti nativvalu padu

Bhramara rounds were pirouetted

brightly

39 Sangita nadambu sabha yella kramma

Attitudes in cadences of hands and

feet flowed out.

40 Kaimudi katnamul kanupimpa cesi Dance varieties of perani, desi,

prenkhana, Suddha dandaka and kundalini were played,

41 Velayanga tommidi vidhamulainatti The seven species of vigorous Tandava were exhibited to the

amazement and surprise of the onlookers of the assembly.

42 Bh cari natyambu ponduga salpi

Two danseuses were stationed on

either side;

43 Padaharu vidhamula paragina vatti She posed the patterned single and

double hands, communicating a variety of meanings, combined with

the actions of the head, glances, cheeks, eyebrows, teeth, neck, chin,

face and the chest.

44 Akasa cariyu namaranga nadi Six actions of the limbs, six of the sub- limbs and other subsidiary limbs

were cogently practised heighten the excellence of the dance play

45 Angaharakhya ce namaru natyambu Not given from lines 45 to 66

46 Viditamau tommidi vidhamula nadi Technique-nine varieties of nadi

47 Gati cari bhedamul ganupadu natlu Cari bhedas


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48 Bhramana samyuta dipti patima

miranga

49 Pani bhedambulu pada bhedamulu nu padabhedas

50 Sthanaka sancaya samyoga mamara sthanaka

51 Perani, desini, prenkhana suddha Types of dances: perani, desini,

prenkhana suddha

52 Dandika kundali tagu bahu cari Dandika, kundali

53 Sapta tandavamulu saravi prakatimpa Sapta tandava

54 Sabhavaralascharya samyuktulairi Surprised the audience

55 Taruvata niru mela tagu celulamara

56 Samyukta samyuta samyuta hasta Samyuta hastas

57 Nanartha karamulu natya hastamulu Karanas hasta

58 Sirmunu, cupulu, cekkillu bomalu Head, eye movement, cheeks, eyebrow movement

59 Dantosta kanthamul taga cubukambu

60 Mukhamunu vaksambu modaluga

nenna

61 Angambu laru upangambu laru

62 Prtyangasamudayambarunu kuda

63 Enimidi padiyagu nesaga namgambu

64 lamaranganabhinayambascaryamuganu

65 Macerla cennuni mahimambu telupu

66 Andhra samskrtabhasalamaru gitamula All this in praise of the presiding

Deity Cennakesava of Macerla.


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67 Bhavamulu lessaga prakatana ceya The paeans extolling the Graces of

the Lord,

68 Cuci rambhadulu codyambu nondi Composed in Telugu and Samskrt,

were sung and danced to rouse envy in the hears of the Celestial Danseuses, Rambha and others,

69 Sirasulu vanciyu siggunu cendi- Who felt humiliated and hung down their heads in shame.

70 Rappudu bhumisudadaram boppa The Lord and King felt over-joyed.

71 Vastra bhusanamulu varala kicci The personnel of the troupe were

awarded presents, good clothing and precious ornaments. he personnel of the troupe

72 Bhattunu rammani pampince nanat (The king passed on to other engagements of the day)

Note : Srinatha, mentions the dance forms that were in vogue in his time.

1. The orchestra prelude lines 1 to 12

2. The entry of the Players lines 13

3. The King presided lines 14, 15

4. The time-bet keepers lines 16-22

5. The entry of the danseuse Kanjalocana lines 23 to 40

6. Gesture actions: Angabhinaya, Nrtta, Angahara, gait and Bhramara lines 41 to 50

7. Regional varieties of ballet, nrtya, natikas, pravrtta lines 51,52

8. Tandava lines 53, 54

9. Hand poses, Hasta-abhinaya lines 55 to 57

10. Other actions: Head etc, lines 58 to 63

11. Vacika abhinaya: singing of paeans to the Deity cennakesava lines 64 to 67


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12. The accomplishment: Siddhi attained; poetically it is described that even the celestials felt humiliated lines 67 to 69

13. The King is pleased lines 70

14. The Awards lines 71 and 72

Krishnamurthy mentions that “In Telugu, several poets, rather Men of Letters were scholars in different branches of study. During the periods of Royal Patronage

extended by Naik Kings of Tanjavuru, -encouragement was given to writing in Telugu on the Science of Dance. Besides separate books on dance, several Sanskrit books on that subject were rewritten with commentaries and copious notes in Telugu”

(Krshnamurti 1975: p.19)

LITERATURE

The Shaivagama-s, the sacred texts prescribing the mode of worships, refer to the consecration of dancing girls in the service of the gods. The present-day Bharata

Natyam appears to have grown from the forms of dances prevalent in Tamil Nadu. Two important Tamil works silappadikaram and Manimekhalai of the Sangam Age (500 B.C.-A.D.500) of Tamil literature refer to art of dancing. The commentary on

Silappadikaram written by Adyarkunallar (twelfth century A.D.) is important from the point of explanations regarding some of the aspects of the art of dance.

LITERARY EVIDENCES

Besides Kuthanul the term Adavu is found in the medieval Tamil work

Bharatasenapatiyam. Though the karanas are not mentioned in King Tulaja‟s Sanskrit work Sangitasaramrita, it describes the Adavu-s which are almost the same as those used by contemporary dancers. Of course, some adavus have become

obsolete. The descriptions are not based on any analysis. However, the movements are given under three classifications: Adavu, Bhramana and Padashikshavidhi. None

of these terms is defined. Tulaja mentions the broad groupings of the Adavus. In some cases he mentions that many variations based on the changes in hand or feet movements could be obtained under each type. About twenty-five movements

mentioned by him are now obsolete (Marg)

During the Maratha rule (A.D.1674-A.D.1854) the dance of the devadasi-s came to be

known as Sadir nautch. In Marathi sadir means to present. In the court when the dancer was announced before the king, it appears that the term sadir became current

and the nomenclature sadir nautch came into vogue. It was also known as Dasi Attam. During the time of Raja sarafoji II (A.D.1798-1832), four famous court musicians and dancers, the sons of nattuvanar Subbaraya, the court musician of Tulaja, contributed

in shaping the Bharata Natyam recita. They were Chinnayya, Ponnayya, Shivanandam and Vadivelu. They came to be known in the history as the Tanjore Quartette. It is


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possible that they brought about certain artistic changes and innovations to an existing tradition and as creative artistes added beauty to the Margam - the classical dance programme.

King Tulaja‟s (A.D. 1763-1787) work Sangitasaramrita in Sanskrit is an important text that gives a description of sixteen groups of adavus, the basic dance units. The

names of the adavus are given in Sanskrit. Tamil and Telugu, with their description and the relevant sollukattus, the rhythmic syllables. This brings us very close to the

present-day practice of Bharata Natyam, which too as is natural, is undergoing some changes.

MUSIC

The Bhakti movement helped the growth of various arts and inspired various poets, the vaggeyakaras (music composers), the saints, and the musicians.

The Indian melodies known as raga-s form the basis of both Hindustani and Carnatic styles of Indian Music. While the Carnatic music and Dance retained its original

stages while that of the Hindustani Music and Dance are seriously influenced by Persian and Arabic Culture brought in India on the wake of Muslim invasion of India who imposed their own language and culture as a result Bharatiya Sangeeth and

Nrtya had undergone vital changes.

The melodious compositions are preserved in the Marathi section of the library. It

consists of a number of compositions popularly used by the artists of yester years in their musical and dance performances. i

King Swati Tirunal, Serfoji II made significant contribution in promoting music and dance forms. A number of musician received patronage including the well-known Tanjore Quartet who formulated the technique and repertoire of Bharatanatyam

during this period. (Marg : 82)i

For a detailed description of various works in visual and performing art forms, refer to

the book titled Indian classical dances by Kapila Vatsyayan who examination and analysed period-wise, dividing the content into architecture, sculpture, paining, music

etc.

These records and other treatises and texts written in different languages refer to the

dance activity practice in their respective regions at different periods. A dance In ancient temple architecture one finds male and female dancers in different poses on the gopura or peak point of the temple structure. There are references to the

descriptions of dance of Siva. For instance, Jaya Senapati in Nritta Ratnavali (12th century AD) describes this dance as glittering like gems on earth, graceful movements

in sea-waves, swaying flames of fire, slow passing of breeze and lightening in the sky. A physics scientist compared with the moving cells in a matter. Dance became a vehicle for spiritual knowledge.


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The records of travellers documented dance activity. In royal courts too, one saw dancers dancing in praise of ruling kings. Literuters, poet-composers, musicians, ruling kings and even dancers themselves wrote a variety of compositions.

This formed the major lyrical text for dance repertoire which was passed on from one generation to another. The purpose of dance changed gradually. What was taught

depended on the dance teachers known as natyacharyas.

Thus the dance, formed by Lord Brahama, descended on earth to educate, entertain

common man and got propagated in every region under different names some of which got recognition as Bharatanatyam, Kathakakali, Kathak, Odissi, Kuchipudi,

Mohiniattam and latest that got added to the list was Sattriya.

Suffice to point out that the history of the medieval period (approximately between

the 9th and 18th centuries) was an eventful period when activity in music, dance and theatre survived invasions and conquest, and much of the regional culture emerged with a distinct identity in this period being shaped by the changing social, political

and economic conditions. The old traditions got revived and new genres were developed. These performing traditions got categorized as ritual, devotional, folk,

classical, modern and popular and others. The varied classifications indicate that in the Indian context the terms are used loosely. So the difficulty in segregating the categories and classifying them. The evolution of various genres from the interaction

between the so called classical and folk drama forms and dance forms shows that the terms classical or folk are used for a form depending on the nature of lyrical content, technique and proportion of music and dance in the performance.

Unlike folk dance where the performer participates in the community dance activity, learn the technique merely by exposure, in classical dance this can be achieved only

through formal instruction. Finally, classical dance is dance that has stood the test of time; it is dance evolved passing through generation after generation of practicing

teachers and students. The role of guru-shishya paramapara played an important role in the transmission process of classical dance traditions.

Folk and classical do diverge in language, them, and audience, however, as pre-modern traditions, they alike in the more basic processes of production, distribution and consumption. Whether narratives are oral or are manually inscribed

(by stylus on palm leaf or by pen on paper), they remain human products which circulate along prescribed conduits within personal networks. Even when they are

written, narratives in pre-modern traditions are still, as we have seen, usually orally delivered (told, recited, sung, or intoned) and aurally received. It is not the art of writing but the technology of printing that effectively transforms folk or classical

traditions. The real contrast, then, is not oral/written but oral-written/printed.

ORAL-WRITTEN TRADITIONS


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In a complex culture like India‟s, with highly developed intellectual and written traditions, it is possible to find categories that are both native (indigenous to the culture) and analytic (not used in folk traditions).

A.K.Coomaraswaymy realized this many years ago. He pointed out that folklore in India should not be contrasted with the classical traditions, as it is in Europe

(Coomaraswamy 1936). Instead, he argued that whereas in Europe folk and classical traditions are separate, in India they share a common base.

The analysis of the marga and desi ( marga and desi) styles of dance forms in India indicate that though identified with particular geographical area is still based on the ancient traditions and treatises like Natyasastra and Abhinaya Darpanam and so on. This, apart from entitling them to be called as ‘marga’ also blurs the line dividing

both the categories. Ultimately all the contemporary ‘classical’ dances in India are in some manner ‘desi’ i.e. they are regional forms but draw from treatises which define

the principles for structured presentations, and in this sense they are ‘marga’. they are also distinct from the other dance categories like ‘folk’ or janapada, loka nritya

or tribal dances which are deeply localized and generally independent of the principles propounded in Natyasastra or Abhinaya Darpanam (Seth 2005 ch-2)

The years between 800 and 1300 A.D. saw a great upsurge in temple building in

regions such as Orissa, Konark temple among temples of the world, is dedicated to the Sun god. The entire structure that has survived has a number of carvings. The statues of dancing girls and musicians on the ledge of the principal tower; nata-mandir

covered with the panels of dancing girls and musicians; are some good examples to indicate that an intense dance activity existed. Scholars opine, these dancing poses are

akin to the ones used in the present Odissi style. The dance sculptures of Orissa represent a guide to the art of dance developed in Orissa. For some time this are went into oblivion till it got revived in the second half of the twentieth century.

“The quintessence of Odissi as a dance form is its sculpturesque quality. No other classical dance form has such close resemblance to sculpture. The tribhanga three

body-bend aspect of sculpture has been exploited to the maximum in this dance form. The six Pada-Bhedas (the basic positions of the feet), the five basic Bhumis (the

manner of moving while performing the dance), the Bhangis (the basic postures with relevant movements), the Karanas (basic dance units consisting of a stance, pose, hand gestures and movements), the Hasta-viniyogas (the use of the hand gestures)

indicate that this dance style is classical in all its aspects.” ( kalasadan p.7)

The sculpture of Orissa depicting the style followed by the present Odissi, or the

adavu-s carved on the temple walls of southern region, the documented records of Machupalli Kaifiat describing about the dance-drama of artistes from Andhra region

and the fireman of Golconda Nawaz gifting Kuchipudi village in the 17 th century, all these indicate some kind of dance activity or other.

What is the technique incorporated as per the regional preferences. How did the technique continue for so many centuries and years?


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Guru-shishya parampara, a tradition followed in passing on the art forms, visual or performing provided the continuity but not without any changes. Eventually it is difficult to point out exactly the content of the technique? And what was the method

of training process? What are the differences?

The intimate association of dance with religion and as a r itual, a form of worship in

the temples is well established. The institution of the devadasis, the servants of the gods, whose duty it was to dance in the temples, contributed in perpetuating and

preserving the art.

INDIAN CLASSICAL DANCES

In regard to Indian classical dances, scholars in twentieth century categorized various

dance forms in South India under Bharatanatyam dance style. Only in the beginning of second quarter of this century, the dance forms got revived and developed as

classical dances originating from their specific regions where they were extensively practiced. Thus between the 1950s and 60s, Kuchipudi, Mohiniattam and Odissi got recognition as classical dances of India in addition to the earlier four classical dance

forms: Bharatanatyam, Kathakali, Kathak and Manipuri. However, they faced an identity crisis in regard to the music used and presentation style and costume too.

Consequently enormous research work took place in respect to the origin, development and distinct features they exhibited in their structure and content.

Dance Renaissance in India

With the significant impact of nationalism on rediscovery, revival of arts and literature: music, theatre, painting, the dance renaissance was a pan-Indian

phenomenon. Earlier dance traditions like Dasi Natyam and Kathakali in the South, Kathak and Manipuri (present Sattriya) in the North and North-East respectively

were structured and carried some rigid conventions.

“The revival movement started in Tagore‟s Shantiniketan and by Vallathol in Kerala

got spread to other regions as well. Regional styles were rediscovered, for example, Manipuri by Rabindranath Tagore, Bharatanatyam by Rukmini Devi Arundale, Kathakali by Vallathol in Keratla and Kathak by Shamboo Maharaj and others.

With the interaction between the dancers of India with other countries, an interest developed to learn as the dance traditions offered their training without any social

stigma or barriers.

From the late thirties, various regional styles evolved and transformed their structures

and practices into a new format. Bharatanatyam, Kathaka li, Manipuri and Kathak followed by other forms like Kuchipudi, Odissi and Mohiniattam which got

„rediscovered‟. i


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An important feature of the rediscovery of dance traditions was that forms where only males used to perform, and forms where women form certain entertainment castes alone used to perform opened up to women from educated and middle class families.

The danseuse, besides her perfect (as defined in Natyasastra) physical features, should have control of her dancing, know the presentation style and synchronize with

the accompanying musicians and so on. For the male performer, should have physical traits as per the Natyasastra specifications and should have knowledge of

related texts on the arts, confidence and well-versed in music.

The required traits for a dancer, as Sarabhai writes, she should be trained in the body

and mind so the movements become capable of conveying the meaning. A perfect knowledge of the technique helps the dancer to preserve the dance tradition.(Sarabhai)

TRAINING

Guru-Shishya parampara

Various texts were written following Natyasastra as commentary to NS or describing

the practices of that period. These form the textual tradition that helped the continuity of the dance forms. There also existed another tradition tha t facilitated the passing on

the various traditions, that is, „guru-shishya parampara‟ which explains the teacher-student tradition where the teacher teaches various aspects of the tradition and the shishya gets trained by dedicating himself or herself completely. Both the textual

and oral traditions played significant role in the functioning of the dance training.

With some difference, each dance form followed mainly the guru-shishya parampara

in training the students to become performers. For learning any dance form it is essential to know both theory and practice. They complement each other. How was the technique taught?

In guru-shishya parampara, the guru should be fully equipped with the technique of dance, vocal and instrumental music, and rhythm. He should have an imagination, a

keen memory, a sharp intelligence and strong creative bent. Above all, he should have the capacity to mould his pupils reach perfection. The pupils, on the other hand,

should be intelligent , dedicated, receptive, spirited and desire to excel. The teachers were called as nattuvanar, Asan, Acharya, Melanayaka, and so on.

The training process was rigorous, and required disciplined learning which took more than 5 years to be ready for performing. With some variations the initiation, followed by tuning the body with various exercises and then learning the technique from

fundamentals. It was a gradual learning of not only dance technique but other related subjects like music, vedas, epics, mythology and so on.

Though the training process still follows the guru-shishya parampara, there are many other alternative training programmes offered in the present classical dance scenario.


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Mushrooming of institutes, both private and academic opened up choices for dance students to select as per their requirement. However, considering the importance the teaching process in carrying a dance tradition, a short summary of the training process

in each dance is given below just to provide the nature of training process that was followed in each dance form .

Following is a brief description of the changes that took place and the training process followed in each classical dance form is given below:

Bharatanatyam

Bharatanatyam is considered to be the earliest dance form preserved and practiced as a classical dance art in South India. It has retained the many aspects of the earlier

tradition despite the ongoing changes in society. There were significant changes made in this dance tradition too, in the first half of the twentieth century.

Gaston (1997:16) who has worked on the history of Bharatanatyam says that when the purpose of „Dasi Attam‟ changed from worship of deities to catering to the tastes of

rulers, the tradition lost its original objective. A movement for reconstruction and revival started. With the pioneering efforts of dancers like E.Krishna Iyer and Rukmini Devi, the name was changed to “Bharatanatyam” in 1930s.

Bha, Ra, Ta in Bharatanatyam

The name Bharatanatyam, they said pointed to the three elements namely bhava, raga and tala. Furthermore it indicated that it was based on Bharata‟s NS. The form used Carnatic music. It became a very popular form in South India.

Bharatanatyam

Siksharambham or the beginning of the lesson used to be a special ceremony. Even today, many prefer to start the lesson on an auspicious day. The practice of

performing a „Puja‟ or special offering to god still exists as a tradition. The student is also expected to bring „Gurudakshina‟ or teacher‟s honorarium along with betel

leaves, betel nut, fruits, flowers and any other gifts such as garments, ceremoniously placed on a plate. This gesture of respect is offered to the teacher after which the student is expected to prostrate herself before him. The Guru starts the lesson after

placing the „Tilaka‟ on the student‟s forehead. This ceremony is only the simplified version of an elaborate ritual which is no more in vogue. After the Anti-Nautch

Movement gathered momentum, the entry of young girls from families outside the traditional families took place, albeit with a frown. Gradually the public opinion changed too. The first person outside the class of devadasis to learn Bharatanatyam

was one Kumari Bharati of Mudaliar family. She took systematic training and gave a few performances, but did not continue for a long time.


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Till date, despite many changes, the repertoire of Bharatanatyam mostly follows the format, (called margam) codified and planned for presentation by the Tanjore Quarted, the four brothers - Chinnaiah, Ponniah Vadevelu and Sivananda who exhibited in

depth knowledge of technique and how to present it.

Rukmini Devi‟s entry raised the status of the art. Her own institution Kalakshetra

became a centre of intense dance activity and interaction. Many schools or bani-s evolved based on the technique got established depending on the technique followed

by the teachers. Thus we have Pandanallur, Vazvoor, Tanjavur, Kalakshetra and others.

Kathakali

Kathakali is a highly developed pantomime like dance-drama form of Kerala. It has

its roots in forms like Koodiyattam, Ramanattam and influences of ritual dances like Bhagavati cult and dance-drama forms of Kerala region. The tradition also reflected element of “kalari” or physical training tradition of Keral. Considered as a descriptive

form, Kathakali involved rigorous training for about six years. Make-up and costumes played important role and required years of practice. Solely a male preserve women

characters were also represented by men. (Khokar 1988:38)

At that time there were few qualified actors to take place of senior artistes who passed

away and “ very few young students are willing to undergo prolonged and intense training necessary to become Kathakali artist.” The form was in danger of disappearing. The eminent poet of Kerala, Vallathol, rescued the art form obscurity

more than twenty years ago when he established the Kerala Kalamandalam in Cochin State with funds raised by a lottery. In this school, training is being given free to young boys by expert actors. ” (Ragini Devi 1953: 70-71)

In the later years, the tastes of the urban audience were catered to experiments introduced in the traditional form. Some dancers simplified the presentation style by

dispensing with some aspects of cumbersome make-up, and introduced plays in languages other than Malayalam. And, in keeping with the general desire for novelty

Kathakali plays have been produced on themes as varied and multicultural as “Life of Buddha‟, „Mary Magdalene‟, „David and Goliath‟, „Salome‟, Sohrab and Rustom‟ and „Fausti‟. (Khokar 1988:45)

The dance form got propagated in regions other than Kerala when some of the artistes shifted to places like Bombay in the second half of 20th century. With the shift of

performance to urban stage and the subsequent commercialization of performances, especially for tourists, the presentations underwent several changes.

Kathakali:

The dance literature of this dance form explains that Kathakali adopted a system called kalari where the performers called kalaris received training in physical combat.


49

The system included a carefully planned routine of exercises and massage. Though the impact of regional folk arts was there Kathakali followed Natyasastra in the matter of mudras, expressions etc.

The dancers got initiated at the age of 10-12 and the formal training began under an „asan‟ (guru).

One has to wake up at 3 a.m. On winter mornings when one would like to sleep away, the „asan‟ would arrive with his tamarind stick and wake up the students. If one

does not wake up he is beaten. If that too doesn‟t work, he empties a full pot of water on his face.

The student then applies oil over his body and does different types of jumps. There are four types, each one a hundred times at strength. There are also other exercises

meant to achieve bodily agility.

After the jumping exercises, he is taught steps. Then the massage. By now, it is about

ten in the morning. It is time for a bath. After bath, kanjee. Coffee and tea were not popular in those days. Once you have consumed your quota of kanjee, you start dozing. But the „asan‟ wielding his tamarind stick is ever watchful. Now begins the

study of puranas and Kathakali literature. The syllabus is tight. After lunch, the student is allowed some rest. The second session starts at 4.00 p.m. The eye exercises,

mudras, and such other lessons. This is followed by „bhavabhinaya‟,

Cholliyattam‟ and so on. Thus, the training goes on for seven years, after which a student gets a chance to participate in a play. This is his „arangetram‟. What he is

allotted for the „arangetram‟ is only a third grade character.

Once the „arangetram‟ is over, he can go about participating in performances under

the supervision of the „asan‟.

The gurukula form of training for more than a decade continues. The training, starting

at dawn with a rigorous course of physical exercises continues , separate exercises for eyes, he brows, the chin, the lips, the head and neck are taught. The eye exercises

continued along with the waxing moon for several nights till the actor can move minute muscle of the eye. The goal of training is to enable the actor to bring every part of his body under perfect control in the interests of abhinaya

(Kalasadan 1985:78-81)

MANIPURI

Manipuri has evolved from the ritual dances of the Meitei community. The evolution of its distinct form was the result of an interaction between the earlier ritualistic

dances and the vaishnava bhakti cultu of the 18th century which included the „Ras‟ theme. Thus, two streams of Manipuri repertoire developed, one emphasizing the ritual dances and the other of emphasizing vaishnava themes (Vatsyayan: 1994, p.xiii)


50

The twentieth century experiments in Manipuri dance and the commitment to preserving the spiritual element continued the link between ritual and artistic expressions. “The process of existed for centuries of the Manipuri dance form was

perfected with the introduction to the stage in the 1930s, which finally brought it to the notice of the general public (Vatsyayan 1994: p.1)

The style gained wide popularity due to Rabindranath Tagore, who realizing its subtle beauties introduced it to a wider world through the presentation of his dance--dramas

like “Sahp-Mocham‟, and „The Kingdom of cards‟ and others.

Mohan Khokar (1985:71) describes the present Manipur i thus: “the Manipuris are

born to dance…. today one is witness to a gradual change in respect of social mores of the people, for extraneous factors are beginning to distort the even pattern of life in Manipur that has subsisted for centuries. Dancing, however, continues to hold its own,

and there is not a single aspect of life, celebration or ceremony of which it was once a part, and is not so now. For Manipuri-s, dancing is their birthright.”

Guru Nilakant Singh writes on the process of adapting this form for modern stage saying that it posed a serious challenge to the creative process of this traditional art.

Some of the changes, as listed by Singh are “the barrier between the audience and the performances dictated by the stage, quite unlike the tradition of the temples, condensation of a two-hour piece into 10-minute item, taking into consideration the

presence of the strange, unfamiliar people with all sorts of attitudes, and the basic consideration for entertainment have imposed certain limitation on the modern choreographers.

However with the efforts of dance practioners in form like Guru Bipin Singh, Jhaveri sisters the classical heritage of this form got revived.

Manipuri

Being an art born out of the soil, Manipuri dance which achieves classicity thro ugh the ages retains still the abstract, magical quality associated with the Lai Haroba tradition.

In the actual performance the common folk simple weave their way through a set of simple, sinuous, ornamental and repetitive movements coupled with light, springy

steps while the maibas and maibis re-enact the theme of the creation of the world as explained in Meithei lore. (Kalasadan 1985: 66)

Kathak, fundamentally, a solo dance form, and in the past exclusively performed by females gives importance to pure dance as well the expressional aspect. Describing

the historical backdrop of Kathak, D.G. Vyas writes that “The dance which flourished under the impetus of Vaishnavism was pure Kathak in its style, technique and forms ….” “The classical dance, like music, was evolved and elaborated as a

system out of the art of the people - the folk art forms. The Kathak dance seems to have grown out of soil which has preserved its roots. … In style and form, the Kathak

dance is different from the other styles and forms, but it derives, equally with them, its


51

authority from the Natya Sastra.” Vyas 1959: 6-7) Kathak dancers as a community seem to have gained greater prominence following the advent of Mughal rule. The dance received patronage from both Hindu and Muslim rulers. In due course of time

local variations took place in the presentation styles within the dance form. Jaipur and Lucknow became the central places for the practice of Kathak, and got identified with

distinct schools. The special technique of expressional dance through song and mime was emphasized in Lucknow gharana,whereas ornamental dance and rhythmic combinations was emphasized in Jaipur gharana. Gradually, in the first half of the

twentieth century the artistes migrated to other regions like Bombay and Allahabad to make a living during the difficult times.

During the Moghul rule “importance of professional dancing-girls from Persia” took place. These „dancing-girls borrowed some aspects of the stylized dance form then

extant in North India- Kathak. Gradually a new form - the Kathak of the nautchwalis took shape. These „nautch girls‟ who were patronized by the courts and elite men became eventually degraded and exploited sexually and so the Kathak dance form

was not considered as fit for women from respectable families. Kathak was subjected to changes and innovations, significantly from 1930. more girls from different family

backgrounds and social class got trained and performed on stage, as it got rid of the social stigma earlier attached to the „dancing girls‟ tradition.

Interestingly the genealogy charts given in a special issue on „Kathak‟ by Marg publications (1959) features the names of only male artistes. It also mentions that the traceable ancestry of the families does not go beyond 150 years. However the

biographies of gurus and contemporary artistes (Ibid:16-18) do not indicate any kind of rigid rule or condition for including women artistes. Amongst male dancers, the list of names include -Acchan Maharaj, Birju Maharaj, Chiranji lal Gauri Shankar, Gopi

Krishan, Hanuman Prasad, Ramgopal, Shambu Maharaj. Names of women dances like Sitara Devi, Maya Rao, Jai Kumari, Kumidini Lakhia, Pooviah sisters, Rani

Karna, Rohin Bhate, Roshan Kumari to mention a few.

Another feature that got added by pioneering dancers like Madam Menaka was

presentations of Kathak in ballet form. Gradually the performance formula presented before a closed audience, shifted to larger venues. Changes took place in the accompanying music. Earlier the singing was done by the dancers themselves. This

was replaced by vocal support by professional singers. More musical instruments were added to the earlier sarangi and tabla. The dance form gained prominence in

places like Bombay with Hindi films featuring the Kathak technique based dances. Dance based films like Jhanak jhanak payal baje and the dance numbers performed in films by the legendary Kathak dancer, Sitara Devi, and the late Gopi Krishna

enhanced the enthusiasm of aspiring dancers to learn Kathak. Even for distinguished Bharatantyam dancers like Kamala who acted in Hindi films during the 1940s

learning Kathak became a must.

Kathak


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Kathak evolving from the nautch dance came to known as Kathak in the later years. The was the dance content of the sacred Ras Lila plays of Braj, near Delhi, which revolve round the childhood of Krishna. The element of story-telling is strong in these

plays, and this, again, is derived from the professional narrators who were attached to temples in the region of Braj. They were known as kathakars, and from this sprang

the style of Kathak.

Though the common performers of Kathak were nautch-girls, their teachers were all

men, who were known as kathaks. Most kathaks were themselves outstanding performers. They were attached to courts, both Hindu and Muslim. The last Nawab of Oudh at Lucknow, Wajid Ali Shah, for instance, was a great patron of Kathak. Later,

Raigarh, in Madhya Pradesh, Rampur, in Uttar Pradesh, and several courts in Rajasthan such as Jaipur, Jodhpur, Udaipur, Alwar and Bikaner, served as ha vens for

Kathak masters.

After the anti-nautch movement, the teachers started teaching their own sons or

nephews and the art form got propagated extensively throught the northern region. In the later years it was taught and performed in cities like Mumbai, Delhi, Jaipur and Lucknow through the teaching of masters. In this dance form too, various gharanas or

schools evolved depending on the style of technique the teachers followed. The genealogy indicates for many years the dance tradition passed on from one generation

to another through the male members of the families who practiced this dance form. The gurus of various gharanas were employed in the courts of ruling kings.

KUCHIPUDI

Kuchipudi got propagated and popularized through the efforts of dance gurus and performers. Thus the tradition remained as the main pillar with the disciples receiving the artistic strength from their gurus, and in turn they becoming the teachers later

passed on the tradition to the next generation. The process of training and teaching continued over the decades. Similar to the knowledge in any sphere here to it is

compared to the waves of an ocean. As each wave reaches the sea shore and goes back and paves way for another wave to come, with different length and speed, the artistes too continued to propagate the dance tradition from generation to generation.

But the training process continued in the oral tradition that is characteristic feature of Indian tradition, specially in the performing arts arena.

The performance started with rituals like purvarangam, i.e. purifying the stage and invoking the various gods, followed by the introduction of the theme and story line by

the sutradhara or the actor who conducts the performance. Then the main story would unfold.

Also there is no evidence to show that Kuchipoudi artistes were performing Veedhinatakam prior to Siddhendra Yogi. They became bhagavatulu (as their themes emoted bhakti sentiment, the artistes were known as bhagavatulu and their troupes as

bhagavata melamulu) at the instance of Siddhendra Yogi and not by their own choice.


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The artistes did not face any opposition whatsoever, as Siddhendra Yogi intiated them after formally securing the permission from the Sringeri peethadhipati (the head of Sringer Math) Siddhendra Yogi also made the people of Kuchipudi village promise

that every boy born in that village would wear the dancing bells at least once in his life time and perform in front of the local deity in Bhama vesham (donning the

Satyabhama role). the women were kept out. These instructions were followed by Kuchipudi artistes starting from approximately 14th century AD (Gangappa 1990:11-16)

Kuchipudi artistes believe that they have imbibed this tradition from Siddhendra Yogi who spotted the talent of the Brahmin boys residing in Kuchipudi village. He saw that

the brahmins living in the village were orthodox Vedic scholars who recited vedas fluently and that the young boys possessed delicate physique and other physic al

qualities which were suitable for dance performances. He initiated the boys into this dance after taking permission from their elders (Acharya 1969: 16-17, Gangappa 1990 11-16, Chintalapati 1983: 81-91)

The gift of land of 600 acres by the last Nawab of Golconda, Abula Hasan Tanisha in 1678 Ad gave them the right to enjoy, sell, and inherit the agricultural land in

Kuchipudi village. i(fn 11) This was significant in that it provided a base for many families to stay in the village and continue the dance tradition in the centuries that

followed. The firman (the order of the ruler) mentions three artistes namely Yajnanna, Suranna and Narasanna. After the initial dispute about the inheritance of this property, artistes bearing nine family names acquired the rights to this property. They are

Vedantam, Bhagavatula, Chinta, Vempati, Yeleswarapu, Mahankali, Pasumarti, Hari and Josyula. (appendix genealogy)

In Kuchipudi dance-drama, the play begins with the recital of extracts from the Vedas. Next the stage is consecrated by the sprinkling of holy water, known as Punyavachana; this is performed by a dancer and is followed by rangalankarana, the

decoration of the stage with coloured powders. Dancers bring the objects of worship like incense, flowers, an oil lamp and camphor which are offered to invoking deities.

Afterwards the flag-staff of Indra is brought and taken around the stage and set up on the stage to drive away of the evil forces. This tradition was followed strictly by

male artistes only till the second half of the twentieth century. A significant break through was shift from male-dominated tradition to entry of women and presentation from dance-drama to solo. In the late1950s Kuchipudi got recognition as one of the

classical dance forms of India and the solo format evolved, the credit to which is attributed to the legendary Kuchipudi artiste Late Vedantam Lakshminaratyana

Sastry.

The technique of Kuchipudi dance follows the rules propounded by ancient texts and

treatises on dance and drama , importantly Bharata‟s Natya Sasta, and Nandikeswara‟s Abhinaya Darpanam.. The training for the performing artistes included singing, delivering dialogues and executing the dance movements and

gaining proficiency in languages like Telugu and Sanskrit. The learning followed the guru-shishya parampara wherein the disciple received the training directly from the

guru.


54

Their day started in the early hours of the morning to noon, and again in the evening where they practiced body exercises, adavusamu system and Angikabhinaya. In the afternoon, they learnt Sanskrit verses of Natyasastra and Abhinaya Darpanam.

Since the availability of text books was not easy, and also it was the tradition, they learnt all aspects related to dance technique in oral tradition with guru teaching them

from their hand written notes of the books given by their respective gurus.

The knowledge of the guru included sufficient knowledge in Hindu mythology,

Carnatic Music, command over Telugu and Sanskrit languages, Indian Philosophy, and the technique of the dance tradition. A notable feature of Kuchipudi dance is that it got propagated and popularized through the efforts of dance gurus and performers.

The tradition remained as the main pillar with the disciples receiving the artistic strength form their gurus, and in turn they becoming the teachers later passed on the

tradition to the next generation. The process of training and teaching continue for many years.

ODISSI

During the later phase of the dance renaissance I.e., in the second half of the twentieth century, Odissi which had for some time been under “corrupting influences”

(Jeevan Pani 1984:31) got transformed. The dance form and its lyrics could have remained as mere entertainment if timely efforts of some scholars and leading gurus had not been made. The task of restoration, writers Jeevan Pani, “would have been

extremely difficult had the tradition been entirely an oral one, but, fortunately, a few treatises on the dance are extant.”

According to many scholars, the task of restoration traced back one of the four dance styles mentioned in NS, the historical evidence reveals that a dance existed in Orissa with women dancers, known as Maharis, performing at temples as part of the

temple-worship. During the medieval period, this tradition too came under the influence of Bhakti movement.

With the development of a distinct technique based on a treatise Abhinayachandrika written by Maheshwara Mahapatra in the sixteenth century, the mahari tradition

continued till some of the vaishnava saints took objection to the idea of women dancers. So the initiation of boys, known as gotipuas came into practice. The tradition of boys performing dressed up like girls, continued for centuries till the dance

tradition fell into disrepute as was the case with many dance forms during the early twentieth century. The modern version of this dance style evolved out of many

multiple strands as an art form which was both worship within the temple and art and entertainment outside the temple….

“Odissi dance of today is a reconstruction of mahari tradition, gotipua tradition, bandha nritya tradition of the martial arts and Chhau tradition known to Orissa” (Vatsyayan 1992:56-59) Khokar summarises the development of the dance thus:


55

“Though the maharis are known to have danced the Geet Govinda in temples for centuries, it is not known precisely how they performed this. With the passage of time, it became a mere formality, no one took it seriously. In fact, till the middle of the

present century, few outside Orissa even knew that there was a major dance tradition in Orissa. When, in the early „fifties‟, it was revealed for the first time that Orissa had

a mature and formalised system of dance, that had been nurtured over a long period by the maharis and, to some extent, by the gotipuas, it came as quite a shock to the world outside Orissa. But, at the time, the dance had no clear structure, no vocabulary,

no repertoire, and not even a name.” (Khokar 1985:58-59)

As the dance literature indicates, the credit for the revival of this dance form goes to

Guru Pankaj Charan Das and Guru Kelu Charan Mahapatra. The latter is consided the founder of the present Odissi tradition that has been propagated all over India and

abroad. Late Samjukta Panigrahi, Madhavi Mudgal, Sonal Mansingh, are some of the women dancers who started popularising the dacne from the early 1950s.

The practice of dedicating girls to Hindu temples is as old as history, such women were attached to temples in Orissa too, but little is known of the nature of the dance they performed in early times. Devadasis in Orissa are known as maharis, and they

were the first to accept the Geet Govinda as part of their repertoire.

After that in the 15th century, Kapilendradeva continued the practice of having the

maharis dance twice every day in the temple of Jagannath. He also started the tradition of having the Geet Govinda rendered in song and dance as part of the daily worship of the Jagannath temple.

As with the devadasis in Tamil Nadu, the maharis of Orissa were initiated into the order after a token marriage with the Lord of the temple. In the ceremony, a piece of

cloth was taken from the idol in teh temple, and tied round the bride‟s head. Only after this did she become a mahari and could she begin her service as a dancer.

Whenever she danced, for the maharis attached to any temple took their turns dancing, she had to have a purificatory bath before coming to the temple. Maharis were also enjoined to observe certain restrictions and austerities in their everyday life.

Though there are some major cultural institutions like Kala Vikas Kendra and Utkal Sangeet Mahavidyalay turning out a number of students each year in Odissi dance,

professional artistes are few. There was a time when a number of young talented girls came forward to take it up as their profession and they were quite proficient and

sincere. As Gurus started leaving Orissa, their enthusiasm ended with marriage. The same situation persists. I personally know about a number of girls who availed of national talent scholarship for three years and soon got married. The money spent on

them by the Government of India is now giving some thought to the problem. There should be an agreement that they must be in the field at least for ten years, otherwise

the money should be refunded.

Since its revival in 1956 and from the time Indrani Rehman started presenting it on

public platforms in 1958, the Odissi dance has gradually come into its own. Yamini Krishnamurthy, Ritha devi, and later on Sonal Mansingh helped to arouse interest in


56

this form. Among the better-known Oriya exponents are Sanjukta Panigrahi, Minati Misra and Kumkum Das. Three gurus, Pankajcharan Das, his disciple Kelucharana Mohapatra and Debuprasad Das have trained the Oriya and non-Oriya exponents of

the dance. Other younger gurus like Surendranath Jena, Harekrishna Behra, Mayadhar Raut, Ramani Ranjan, Raghu Dutta and shankar Behara train the artistes in the cities.

There is a State College of dance and Music in Bhuvaneshwar. The Kala Vikash Kendra, in Cuttack has rendered pioneering service in the propagation of Odissi dance.

Odissi taken out the temple precincts from the hands of the Maharis and the Gotipuas has now entered modern auditoria. Its technique has been chastised and re-oriented to

suit the modern audience. Now it is unthinkable to send it back to its old home, the temples. Since it is a visual art presented in modern theatres with sophisticated

lighting and sound equiments it will continue to stay. Moreover now-d-days nobody dances for devotion or joy. Everybody learns to dance on the stage. Though cinema has become the most popular entertainment, there is a section of our people who can

be called culturally conscious who still love to see a good performance of dance or drama or listen to classical music.

Though there are some major cultural institutions like Kala Vikas Kendra and Utkal Sangeet Mahavidyalay turning out a number of students each year in Odissi dance,

professional artistes are few. There was a time when a number of young talented girls came forward to take it up as their profession and they were quite proficient and sincere. As Gurus started leaving Orissa, their enthusiasm ended with marriage. The

same situation persists. I personally know about a number of girls who availed of national talent scholarship for three years and soon got married. The money spent on them by the Government of India is now giving some thought to the problem. There

should be an agreement that they must be in the field at least for ten years, otherwise the money should be refunded. (Kalasadan 1985:57-74)

MOHINIATTAM

In the case of Mohiniattam, which follows closely the science and art of Bharata has its own style, technique, and expressions, it faced a “difficult situation in its native

Kerala owing to many reasons. There are different schools; each one, in effect, either keeps closer to Bharatanatyam or to Kathakali. One result is that this art form does not

have the self-generative force to strike an individuality that it legitimately should possess, but is considered to be coloured by Kathakali and other art forms of Kerala. Performed by women, it is nritta based technique but uses abhinaya aspect

extensively for interpretation of stories. The songs are based on classical Carnatic music but which has a distinctive style of singing. A speaial term sopanam is used for

describing the music of Mohiniattam (Panikkar, 1985:20)

It became one of the near extinct arts of Kerala, despite a number of women practising

it. The reason could be that the dancers did not belong to one particular community like devadasis or maharis. These dancers were called “thevadichi” meaning „a street walker or a cheap courtesan.


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Similar to other dance forms, schools Mohiniattam too could not withstand modern experiments and faced the degeneration due to the liberties taken to change the form by those without adequate knowledge about the dance tradition. In the process, the

dance became vulgarised diluting the technique which was once guarded and preserved by generation of asans (teachers). It got revived around with the efforts of

people like poet Vallathol, Kalyani Kutty Amma, Kavalam Panikkar and others followed and developed his efforts.

As Kalyani Kutty Amma explains, the role of teacher (called natuuvanar or Asan) was banished from the stage and the instruments like violin, flute and mridangam were added. Even the arrangement of the accompanying musicians shifted to the

wings on the right side of the stage. Recollecting the period after 1965, she mentions that educated and high-caste girls began to come to her to learn Moniniattam.

Gradually the highly technical aspects of the dance form was reconstructed. The fact that this artiste received the Kendra Sangeetha Nataka Academy fellowship in 1973 indicates that the dance form started receiving its recognition from 1970s.

A major contribution of pioneering in nature has been from Kanak Rele, a Mohiniattam exponent who with diligent care, intense research work and her creative

brilliance has to a large extent succeeded in rehabilitating this dance form. She is the first to get Ph.D in the faculty of Performing Arts in the University of Mumbai. As a

dance exponent, scholar and academician and director of her institute, Nalanda Dance Research Institute in Mumbai, she has worked on many fronts to structure this form and formed a curiculum and got it affiliated to Mumbai University. (Rele 1985: 8-27)

The earliest recorded evidence of Mohiniattam as a dance staged professionally belongs to the beginning of the 18th century. Though mention here is made only of

how the fee for the performance was to be distributed between dancer and musicians, it does tend to confirm that Mohini Attam must by then have been a developed and identifiable art. Yet there is no knowing for certain what the nature of the dance was

at the time.

“Do we term today‟s dance styles which vary from region to region as marga or desi?

Is the terminology classical (sastriya) appropriate to describe today‟s dance styles? And in this context, what is the position of the various folk and tribal dances prevalent

in the country today and which have an indisputable antiquity and traditionalism?” [Rele kalasadan p.8]

Dr Raghavan- “The development of dance and different forms and variations of it could be easily understood if we bear in mind the linguistic analogy.”

themselves came to be the media of literary expression, they too became sophisticated and standardised and gave place to the Aprabramsa. [Marg :9]

The newer material attained again county-wide vogue by being incorporated into the older tradition. Further, local variations and varieties them came to be observed, recognized and dealt with by the writers and the process thus went on showing that

there was no stagnation, nor failure to get enriched by fresh development. Gradually


58

non-Sanskrit terminology got introduced in place of the earlier Sanskrit, thus incorporating the desi or regional element.

This historical, social and cultural background of each dance forms indicates to the evolution, development and practice of various classical dance forms in the past and

in the present dance scenario. The documentation represents the practice of dance activity.

Scholars in the twentieth century categorized various dance forms in South India under Bharatanatyam dance style. Only in the beginning of second quarter of this century, the dance forms got revived and developed as classical dances originating

from their specific regions where they were extensively practiced. Thus between the 1950s and 60s, Kuchipudi, Mohiniattam and Odissi got recognition as classical

dances of India in addition to the earlier four classical dance forms: Bharatanatyam, Kathakali, Kathak and Manipuri. However, they faced an identity crisis in regard to the music used and presentation style and costume too. Consequently enormous

research work took place in respect to the origin, development and distinct features they exhibited in their structure and content.

The content of the dance technique is exam

Educated and high-caste girls began to to learn Mohiniattam. The gender-based earlier

traditions got opened to all. For instance Bharatanatyam exponent, Bala Saraswati, belonging to Devadasi communitiy was taught the nuances of abhinaya, by Vedantam Lakshminarayana Sastry in 1950s. This was a big breakthrough in Kuchipudi dance

tradition. In Kathak, nautch girls were taught by male teachers who were attached to courts of both Hindu and Muslim rulers who reigned Oudh, Raigarh , Lucknow,

Jaipur in North, Central and parts of West of India.

The influence of British education can be observed in the way a teacher is referred as

„master‟. i

Teachers, who were traditionally called as nattuvanars, asans, or melanayaka and so

on

All this leads us to conceptualize Indian culture as a composite of classical, folk, and

popular streams. In the case of classical tradition in India , studies have been done to explain the classical traditions. In dance, similarly many texts and books have been written, significantly in the twentieth century, highlighting various aspects of dance

technique. A common opinion is that those dances which base their technique on the ancient texts and treatises and follow a structured pattern in learning or training

process are called classical dance forms.

If music is referred as Sangeet in Indian literature, dance is usually referred as nrityam

and natyam. Again these terms are used with varied interpretations, depending on the


59

content and context. An examination of these variations in terminology and their usage in dance scholarship suggests that different types of dance activity developed at different historical periods. (Seth, 2005 p.16)

Nrityam is also referred by various names depending on the nature and purpose of these dances. For instance, brinda nrityam (group dances), nritya rupakam (dance

drama), nritya natakam (dramatic dance), janapada nritya, (folk dances), shastriya nrityam, shuddha nrityam, devalaya, aradhana, etc.

This chapter highlights the process of transition and development from the earlier Sanskrit-based textual training method to oral or guru-shishya parampara (tradition )

and in the modern period getting established as structured dance forms but based on the old tradition. This is similar to the process of „accretion‟ explained by anthropologist Iravati Karve, while describing the changes in Indian society and

culture where old is not replaced by new, but both exist. In this context, the training continued to be in guru-shishya parampara partly due to the non-availability of

reference books and texts in English or any other instructing reference material.

**************************************


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III CHAPTER

DOCUMENTATION OF

CLASSICAL DANCE TECHNIQUE:

NRITTA, NRITYA AND NATYA


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III CHAPTER

DOCUMENTATION OF CLASSICAL DANCE TECHNIQUE:

NRITTA, NRITYA AND NATYA

In the previous chapter we have pointed out that the Indian classical dance forms

followed a tradition. They went through various social, cultural and political changes and got revived developed and got established as classical dance forms. A question

arises as to which art forms are labelled as „classical‟ and what makes them classical in nature? Which art forms are labelled as classical?

A. CLASSIFICATIONi

The classification or categorization is more applied in performing arts like music,

dance and drama than in the other. The earlier classifications broadly divides all the art forms, (listed as sixty four in number as per the ancient text called Grantha sangya darpanam into drushya, shravya and mishra (visual, audio, and combined or mixed

respectively) Another cross cutting division is into fine arts which are emotion-based (rasa pradhanam) and that of utility-based handicrafts (upayogitha

pradhanam). Under the former category are included art forms -painting, sculpture, architecture, music, literature, dance and drama. In the latter, creative arts like pottery, weaving, basket making etc are included.

Marga and Desi

Traditionally,the dance forms are again were grouped into two broad categories - marga and desi. Not only in music and dance, but also in literature we find this categorization. With the growth of new regional genres and forms in literature, music

and dance, the system of classification into marga and desi got established in the medieval period.

This division is briefly mentioned in the second chapter when interpreting the nature of different tradition in cultural forms. In regard to any technique, marga refers to the

structured, codified, systematized and stylized forms, also in general Sanskrit-based,


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i.e., following rules and principles as propounded in ancient Sanskrit texts like Natyasastra. Desi refers to forms which are flexible, represent regional characteristics in customs, beliefs and are based on the regional language. Marga forms are also

those presented in the natyadharmi style, i.e., following conventional presentation styles while desi follows the lokadharmi or realistic and popular style of

performances.

In Music

A rich body of textual material in the form of manuals and treatises emerged from the medieval period. Gradually the categorization of these works was done with terms

like desi and marga depending on the extent of localization and or adherence to earlier Sanskrit texts. In general, Sanskrit texts and even their translations in regional languages (like those of the treatises on different discipline like politics, mathematics,

performing arts.) were classified as marga texts and those written in vernacular languages and dialects on different disciplines but reflecting regional customs, culture

and art forms were classified as desi.

Marga and desi terms were used more in music, dance, drama and literature than in

the other art forms like sculpture, and architecture.

In regard to music, music which is sung by women, children, cowherds and kings or

by the general populace in various regions is defined as desi, and marga meaning the classical traditions with a pan-Indian scope. Sarangadeva defines marga as that “which has been discovered by Brahma and was performed by Bharata and others

before Lord Siva.” and that is played, sung or performed to delight or appeal to the tastes of people of different regions as desi.

After Matanga‟s introduction of this classification, the terms got extended to describe the other aspects of musical forms like the ragas used in music which were also classified as marga and desi raga. The terms like marga pranam which referred to the

grammatical aspect of music and marga sangeetam which referred to the ancient music known as gandharva ganam were also used.

Kohala, dated between Bharata and Nandikesvara is credited with having introduced uparupaka-s, a term meaning off-shoot of rupaka and gives names of 23 varieties of

uparupaka-s i adding to the already existing Bharata‟s classification of Sanskrit plays into ten types of dasarupakas (namely, nataka prakarana, anka, samavakara, chamariga, diman, vyagogam, praharana, bana and veedhi). These too were also

classified as marga or desi based on criteria such as content, theme, proportion of music and dance used, presentation style,etc. Thus, dombika, bhana, prasthana,

shidgadaka, bhanika, prerana, ramakreeda, hallisaka, rasaka, goshti, srigadita were grouped as raga kavya (musical plays), considered suitable for presenting as dance-dramas and known as marga uparupaka-s. They strictly followed the rules

expounded in treatises on music and dance. On the other hand the desi uparupakas which Jayapa Senani describes in his Nrittarantavali included forms like perani,

savpriya, prenkhana, kotatam, kanduka nrityam, chindu, bhandika, ghatasari which were available for the common man‟s enjoyment and were flexible in their structure and presentations. For instance, Jayadeva‟s Gita Govinda was considered to be a raga


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kavya, and Sidhendra Yogi‟s Bhamakalapam (which is described in the sixth chapter) is categorized as srigaditam belonging to marga uparupaka. . On the other hand Yakshagana, Kuravanji and Bhagavata Melam were grouped as desi traditions.

(Rajamannar et al (1987:481) Eventually the theatre performances, the te rm marga sampradayam is used .

However they all followed Bharata‟s Natyasastra, thus having their roots based on the principles propounded by Bharata on dramaturgy and the traditions of presentation

indicates a history of unbroken continuity as we see the convention of performing purvaranga in many of the dance-drama forms. Themes revolved around the bhakti sentiment. In spite of various changes and transformations and assimilation processes

one observes a continuity in music and dance. How did it take place?

In Dance

As dance literature indicates, the terms marga and desi were given importance as two distinct categories from approximately tenth cnetury A.D. onwards. The fact that

these two categories are not mentioned in the treatises like Natyasastra and Abhinaya Darpanam, implies that these texts mainly deal with aspects of marga and there is

only an indication that desi styles can be evolved in future if the need arises. It is only after the evolution of various regional forms in the medieval period that texts were written that referred to the desi styles practiced in a region at a given time.

Jayapa Senani‟s Nritta Ratnavali (13th century) is one such text that made a significant contribution to the categorization of forms into marga and desi styles and mentioning of the popular desi forms.

The review of Sanskrit literature and other literary works on music and dance indicates that for a majority of these texts, Bharata‟s NS formed a basis for

interpreting and describing the principles of dance. Some of them were written as commentaries of Natyasastra. Nandikesvara‟s Abhinaya Darpanam, Dhananjay‟s

Dasarupaka, Sagarnandin‟s Natakalakshana ratnakara, Ramachandra‟s Natya Darpana, Jayapa Senani‟s Nritta Ratnavali, Saradatanaya‟s Bhavaprakasana, are just a few examples.

Nandikesvara codifies the principles and provides details such as the four types of acting and three types of dance movements. The content of this text too does not refer

to any bifurcation into marga and desi. His description of various aspects of the dance technique such as nritta, nritya and natya, with Sanskrit text i suggest a marga or a

pan-Indian prescription.

Nritta Ratnavaili

In Nritta Ratnavali, Jayapa Senani‟s text in Sanskrit consists of a total o f eight chapters describing angikabhinaya or the body movements with special focus on the

nritta aspect. While the first four chapters deal with the already existing terms drawn from earlier texts, the remaining four exclusively describe the nature of desi forms and the techniques followed by them in respect of nritta.


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He describes the various kinetic movements used in dance. Jayapa Senani‟s classification of marga and desi apply to both form and content of the dance traditions. He demonstrates how the same technique can be used in both marga and desi forms.

He also highlights that both marga and desi styles have some terminology in common indicating that desi terminology followed the one given in the earlier texts like

Natyasastra and Abhinaya Darpanam. etc.

Thus, he differed from the other writers like Matanga and Sarangadeva who made

similar distinction between marga and desi but with the focus on musical forms along with a few aspects of dance. (Anantha Sarma 1969)

A review of texts suggests that the literature and art forms that developed in the early period (i.e. between 2nd B.C. and 12th Century A.D.) were generally considered as marga , and the term desi was used to refer to the regional forms that developed later.

The two terms gained importance in the medieval period.

Dance forms : Interaction

During the evolution of regional literature and art forms, marga and desi categories exchanged elements with each other other leading to the emergence of various genres

in the disciplines of performing arts, especially in dance forms which can be called „mixed‟, since they do not completely fit the rules for either marga or desi. In a way,

these concepts formed a basis for understanding, categorizing and classifying the later genres that developed as “structured” or “classical” dance forms (like Kuchipudi, Odissi and Mohiniattam, from the early twentieth century on wards.

What also emerges from these analyses is that the so called desi dance style though identified with a particular geographical area is still based on the ancient traditions

and treatises like Natyasasta and Abhinaya Darpanam and so on. This, apart form entitling them to be called as „marga‟ also blurs the line dividing both the categories. Ultimately all the contemporary „classical‟ dancers in India are in some manner „desi‟.

They are regional forms but draw from treatises which define the principles for structured presentations, and in this sense they are „marga‟. they are also distinct form

the other dance categories like „folk‟ or janapada, loka nritya or tribal dances which are deeply localized and generally independent of the principles propounded in Natyasasta and Abhinaya Darpanam.

Vatsyayan writes that the common principles that govern the technique of Indian dance are the same as those which govern the technique of classical Indian drama.\

and elaborates thus: “ Most theoreticians of Indian dramaturgy agree that the conventions of stage presentation are a vital part of the structure of Indian drama, and

that a literary piece can be understood only as a configuration of various aspects of stage presentation. The rules which govern this stage presentation are the manifold conventions of the Sanskrit stage.

In Natyasastra these principles have been discussed as a part of dramaturgy and histrionics and not particularly in the context of dance or drama alone. The later texts,

which deal with dance as an independent art, consider these principles in relation to


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dance only. It is not until we come to the work, Abhinayadarpanam that we find a full and independent treatment of dance form the point of view of the principles enumerated above. He is followed by other writers of treatises on dance. Sarngadeva

and the authors of the Visnudharmottara Purana and the Natyasastra Sangraha all follow the analysis of Nandikesvara. “(Vatsyayan: , p.24-25)

Many of the dance traditions like Bharatanatyam of Tamilnadu, Kathak of North, Odissi in Orissa, Mohiniattam from Kerala and the solo dance form of Kuchipudi

from Andhra region belong to the category called Ekaharaya Natyam. In this dancer expresses through a language of gestures and body movements (angika abhinayam) without changing the costume (aharya). However, there is a significant scope for

dramatic element also.

On the other hand, the classical dance-drama like Kathakali, Kuchipudi kalapams and

yakshaganam-s like Bhagavata mela Natakam and Kuravanji, and folk dance-dramas like Nautanki, Bhavai, Terukuttu, etc.are all examples of the integration of dance with

dramas.

In India , studies have been done to explain the classical traditions. In dance, similarly

many texts and books have been written, significantly in the twentieth century, highlighting various aspects of dance technique. A common opinion is that those dances which base their technique on the ancient texts and treatises and follow a

structured pattern in learning or training process are called classical dance forms.

Dance Systems

Describing dance systems of India, Tandava Krishna, a Kuchipudi dancer and artiste writes:

There are altogether sixteen varieties of dance systems called Bharatam-s which

are the offshoots of the original type of Bharatams propounded by Bharata in

Natyasastra. Tandava Krishna opines that there is a relationship between the

sixteen bharatam-s and the different dance systems of India. According to him

each different style followed a particular bharatam. The author explains about

the undercurrent of unity of principle and action throughout in these various

dances despite the different systems practiced in each dance.

The authors of these bharatams are said to be Shambu, Gouri, Bhama, Madhava, Nandikeswara, Dattila, Kohala, yagnavalkya, Brihaspati, Arjuna, Ravana and Usha.

(Tandava Krishna 1945 p.251)i

Unity in diversity is the law of Nature. This phenomenon applies aptly to the dance art

of India as in the case of other cultural aspects. They are the combination of Bhava, Raga and Tala.

Canons

The canons of Bharata, as per the Sanskrit verses mention, that in dance, the

song is to be adopted by voice; the meaning is to be exhibited by hand; the


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expression through the movement of the eyes; and then the timing to be done by

feet. The author, in this article refers to these four canons. He enunciates the

differences that exist in different styles of dances of India with reference to the

use or elimination of one or more of the canons.

According to the author, these are to be found in strict accordance in the two types of

dancing prevalent in Tamilandu and Andhra. In other systems that are practiced in other parts of India, one does not see all the canons carried to the letter of them. The

author explains further that for instance the Kathakali actors of Malabar do not themselves sing while acting; thus violating the canon the song is to be adopted through voice, is not observed. In the two types of dances, Kathak and dances of

Assam one does not find many mudra-s or hand symbols and so they fail to express the meaning through hands. But the second canon, that is the timing is to be observed

by the feet finds amply displayed in Kathak type of dance. The dance has more floor contact than in any other type of dance in India and uses minimum facial expression and eye movement. In Kathakali the eye movement is par excellence and the actors

appear as though they speak with their eyes. These actors do not themselves sing while acting; thus violating the first canon. In Tanjore and Andhra types o f dances,

eye movement is less and the facial expressions are well handled especially when emotions are to be depicted using thirty three sanchari-bhava-s or variations in expressing the theme. Thus the principles of Bharata, are observed indifferent types of

dances to the partial neglect of or to the partial attention to the four canons mentioned above.

Classical dance forms

However their purpose of performances differed. For instance, Kathak is a

story-narration dance form from the norther region, Manipuri from the north-east is based on devotion, Odissi is based on madhura-bhakti, as also is Kuchipudi. Bharatanatyam is a temple-centered ritual-based solo dance from the Tamil region.

Kathakali is a dance-drama tradition and Mohiniattam is a lyrical solo dance tradition from Kerala. Sattriya, the latest dance form to get the label of a classical dance is from

Assam region and is based on vaishnavite themes. But the connecting thread for all of them, despite their distinct regional identities, they all follow the principles propounded in Natyasastra, and in this they are pan-India.

Dance Renaissance and changes

With the impact of nationalism on the performing arts was significant and wide-ranging in the second half of the twentieth century, its impact was felt particularly sharply in the dance scenario.

The dance renaissance was a pan-Indian phenomenon; with the same kinds of changes occurring in each dance form. They can be listed as follows:

An important feature of the rediscovery of dance traditions was that forms where only males used to perform, and forms where women from certain entertainment castes

alone used to perform opened up to women from educated and middle class families.


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The dance forms by the hereditary entertainment castes was broken and it became open to all strata of society. From social stigma it became a field of prestige, a symbol of national pride.

But Bharatanatyam was the foremost dance form that received recognition as a classical dance form along with Kathakali (South India), Kathak (North India) and

Manipuri (North-eastern region of India). Even the dance literature indicates various aspects of this dance form have been written in the published books and articles by

dance scholars, practitioners and teachers. A very few books focussed on the dance technique used. The contribution of Marg publications is significant by devoting one entire issue on structure and content of various classical dances - Bharatanaytam,

Kathak, Kathakali and others. (in issue on Bharatanatyam it has covered nritta, dance notation and guruparampara in its various chapters and provided valuable

information which is incorporated contexually in various chapters of this report.

The following text describes the nature of dance technique used in the classical dance

forms.

B. DANCE TECHNIQUE: STRUCTURE AND CONTENT

Structure: Presentation, Performers & Venues

The presentation of each classical dance form underwent changes to suit the conditions of the society. They were presented in the solo or dance-drama format

following the principles based on the ancient treatises, mainly, Natyasastra, Abhinaya Darpanam and other texts written in the regional languages. While forms like Bharatanatyam, Kathak, Odissi, Mohiniattam followed a solo format, Kathakali

performances were in the dance-drama format. A form that changed from its original dance-drama format to Kuchipudi solo form was Kuchipudi. However, in the present

scenario, it is performed both in dance-drama and solo format.

The gender-bias or social stigma eliminated the restrictions on the performances by

male or female dancers as was the case in the period before they got recognized as classical dance forms. Venues to shifted from rural areas to urban auditoria.

The venues became diversified innumerable with cultural organizations (sabhas) and State Government patronizing both religious and secular occasions. Eventually the performers needed to face the challenges and increasing competition. Different

schools of teaching emerged in the due course. Lyrical compositions from other regional languages got included to the earlier repertoire.

Content : Lyrics, Themes, Music, Technique and Repertoire

Lyrics, and compositions


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Lyrical compositions were written by various poet-composers both in north and south of India which were adapted to dance execution. Even the rulers in the medieval period contributed to the dance repertoire. For instance, during the Maratha rule over

Tanjavur in the South the art of Bharatanatyam received considerable fillip. Three kings, Sahaji (Ad 1684-1711), Tulaja (A.D.1765-1787) and Sarfoji II (A.D.1798-1832)

were men of letters and wrote dance-compositions. Shahaji‟s five hundred padams and Tyaga Vinod Chitra Prabandha are important compositions. He modelled them on Kshetrayya‟s padams. These Marathi padams are found in form of palm-leaf

manuscripts in Telugu script. They are transcribed in Devanagari script and are preserved in Saraswati Mahal Library at Tanjore. They include various types of darus

- dance compositions , like Vinayaka daru, Salam daru, Jakkini daru and Suladi daru. The swarajatis and jatis are set to a variety of Dhruva talas. It gives an idea of the repertoire of Bharatanatyam during the time of the Maratha rulers. Tulaja‟s

Sangitasaramrita deals with adavus, the basic dance-units and forms an important landmark in the dance literature.

Themes

The manifold changes prompted the inclusion of a variety of lyrical compositions and

themes, thus expanding the repertoire.

Music

Not only poet-composers, even the rulers of southern region of India contributed to the music and lyrical compositions that are incorporated in the dance forms like

Bharatanatyam, Mohiniattam and Kuchipudi in the solo format. For instance, Swati Tirunal (early 19th century) of Travancore, Kerala, a most extraordinary and gifted ruler left a lasting imprint on music.

Dance Music

Before any living thing existed on earth, the universe of galaxies, stars, planets, moons was a great rhythmic creation moving through apace; planets circling their

planets. On our planet, earth, the movement of the earth around the sun, and the moon around the earth, created the rhythms of day and night, of the tides. Later, when living

plants appeared, winter and summer created rhythms of growth and decay. On this world evolved ever changing species of creatures, themselves kept alive by the rhythmic beating of their hearts, the rhythmic breathing of their lungs, the rhythmic

swimming, sunning or flying of their bodies. (p 8world)

In classical dance music both movement and rhythm are combined to provide the

aesthetic and artistic expression to what is presented. We know that Natyasastra is considered as an extraordinarily detailed and enormous work on the subject dance,

drama and music. This treatise and others that were written became the vehicle to know what, why and how of various aspects of the arts of dance, drama and music which is passed on from one generation to another in oral tradition. This forms the


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connecting thread, despite despite their distinct regional and individual identities. In this sense they are pan_Indian and referred as classical. A classical dance form can exhibit desi or regional flavour in its lyrics and language and technique that is unique

to it.

The unique character of each classical dance is noted in the dance syllables included

in the dance compositions that are presented in their repertoire. The commonality is that they follow two major music systems practiced in India, that is, Hindustani and

Carnatic. Also the dance music is rhythm-centric and is interspersed or embedded with dance syllables or the sof- fa syllables like - ta, dhi, tOM, taka, tari, kiTa, naka, tadhigiNatom, dina didina, and so on.

Music forms an important component of dance presentation and expression. They go hand in hand enriching the performance level. Vatsyayan summarises about the role of music in thus :

“As Music and dance go hand in hand to produce certain effects and, by repeating identical techniques and methods the distinctive characteristics of the dance style

become an integral part of the special quality of this music.” (Vatsyayan :341)

Also the dance music differs from that of a music concert where certain rules are

followed to select ragas that suit a morning or an evening or a late night concert. In dance, the focus is on the sequence of dance compositions that balance the three main components of dance technique -nritta,nritya and natya. (I prefer to call them so in

place of „item‟, since this term, though used in the earlier dance literature to refer to dance compositions, the meaning or connotation of the term is used to refer to a film

song which is sensational). The exercises and the practical lessons in dance can be compared to the ones followed in exercising the vocal cords in music. The fundamental foot-work, the later complex rhythmic compositions and the expression

to the lyrical content is practiced thoroughly before performing on a stage in front of an audience. All this requires dedication, discipline and commitment from the student

to reproduce the technique as taught. This is like tapasya or meditation skill in yoga.

The musical modes or ragas and time measures or talas in both Hindustani and

Carnatic music are systematized and codified by poet composers and writers like Sarangadeva, Venkatamukhi, Purandardas, to name a few in in Carnatic music and in North the music scholars like Bhatkhande and Vishnudigamber have significantly

contributed to the music notation system to render compositions in different genres such as: padam, javalis, keertanas, varnams, tarangams, daruvu, tillana , bhajans,

dohas keertans etc in Indian music, with some differences in the nomenclature , the language and lyrical structure of the compositions.

TALA SYSTEMS

Tala in Indian Music System:


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The tala system in both the music systems vary in structure of the tala and its divisions and sub-divisions. (which is shown in the later chapter). The rendering of the both music systems show a vast difference. Shakuntala Narasimhan, a music

scholar acquainted with both the system and a critic pointed to this difference saying that in Carnatic music, if the consonants in lyrical words or sahitya are stretched or

sung for alap, in Hindustani, vowels are stretched in rendering musical melodies. Thus, the language of the music played an important role in expansion of the musical nodes for dance execution, and making a difference to the dance technique. So we

find the classical dance styles in the South follow Carnatic system and those in the dance Hindustani music. Some exceptions are the compositions written by rulers like

Sahaji II, and Serfoji who wrote dance compositions in Marathi language as well in Telugu and Sanskrit. The scholars interpret his contribution mentioning that, Raja Serfoji, being an outstanding exponent of carnatic music and southern styles of dance,

wrote several pieces of dance and musical compositions in Marathi visualizing the combination of north Indian Hindustani music and a south Indian dance style to

interest the Maharashtrians. i

In the two major Indian Music Systems, North Indian or Hindustani and South Indian

Carnatic music systems, Taal (North Indian) or Taala (South Indian) or time-measure used in the music rendering occupies a significant place. Tala is an instrument to measure the time spent in music and comprises various divisions or anga-s.The word

taal or tala is derived from the Sanskrit root „tal‟, which points to stability. For maintaining consistency, in this chapter, „tala‟ will be used.

In Western music, Mishra points, that “the concept of taal is restricted to beats and rhythm (which correspond to matra and laya of the Hindustani system). Most Western compositions are set thr rhythmic patterns of 2-2, 2-3,3-3,3-2 or 4-4 beats.

These rhythmic patterns do not correspond to any specific compositions of syllables, as is the case with the Hindustani system. “ [Mishra:p.109]

In Hindustani system, Dhrupada is an ancient form of vocal music, and Pakhawaj is used as a percussion accompaniment to suit the the characteristic sonorous notes and

its tonal quality. Also a Pakhawaj player must have mastery over competitive accompaniment and impromptu composition or rendering and be adept in the use of various rhythmic patterns in singing. The talas used are 12-matra cycle of

Chautaal , 10-matra cycle of Sooltaal, Matta

In the Khayal music there are talas have different matras or units numbering 16, 14

matras, 12, 8 and 6. The tempo varying in three speeds or laya are vilambit, madhyam and drut laya.

Various compositions from classical to light music like Dhamara and Hori, Thumri, Tarana, bhajan, geet, ghazal are rendered in concerts. Same compositions are taken

for the abhinaya or expressional aspects in dance forms like Kathak.

Odissi music combines both Hindustani and Carnatic along with some regional or desi

musical modes and rhythms. Kathakali and Mohiniattam follow Carnatic music but


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the rendering style is called sopanam music. Manipuri the music sounds different as it combines both Hindusthani raga-s but following regional tala-s.

Bharatanatyam and Kuchipudi follow Carnatic music system. In this system seven tala-s or sapta talas are used. Again each tala have five variations called panchajAti, that is the units per finger count vary using 3,4, 5, 7, and 9 called as tistra, chaturasta,

khanda, mishra and sankeerna . Thus there are about thirty-five (7 talas multiplied by 5 jatis) tala-patterns applied in singing. ( this is explained giving examples of the

dance syllables set in different tala-s in the Kuchipudi dance later in the chapter six ).

Thus nritta - the pure dance aspect has two major constituents, the tala and laya, that

is, the time-measure and the rhythm. In nritta, the emphasis is on dance movements creating patterns in space following a time pattern without any specific intention of conveying any emotion.

While the lyrical compositions accompany the nritya and natya aspect in the dance technique, the nritta aspect is presented following a rhythmic pattern produced by a

combination of solfa syllables. These syllables do not convey any meaning but their rendering in a variety of rhythmic patterns set to a tala or time cycle provides the

required dance music to compliment the execution of various body movements.

TECHNIQUE:

ComponentsS Nritta, Nritya and Natya

According to Abhinayadarpana, the Sangitaratnakara and other medieval treatises,

dance is divided into thee distinct categories, viz., nritta, nritya and natya. Nritta to pure dance where the movements of the body do not express mood (bhava) or meaning; nritya to mime performed to song; and Natya corresponds to drama.

Again these three categories are further divided into tandava and lasya and other components. These terms are used in the dance technique of almost all Indian

classical dances.

From the verses of sloka “Angikam bhuvanam ….” it is evident that there are four

types of abhinaya-s . Angikaabhinayam corresponds to body movements, gestures and actions vachikabhinayam : the voice and speech; Aharyam: make-up and costume; Satvikabhinayam : the emotional expression, that is, expression of

various moods.

In regard to music, laya and tala play an important by using vocal and instrumental

music with percussion instruments form the dance music which have both song compositions and dance syllables which are characteristic features exclusively of

Indian dance music.

There are no songs in this dance. There are only musical notes as tAm tai or sa re ga

ma. The dancer‟s movements are rhythmic. This movement is nritta. (Ramakrishna 1958: 40)i

Hand gestures


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Hastas or hand gestures are stylised and codified to convey or interpret the words of the song or even to present pure dance or nritta aspect in a dance form but only a select few are used unlike those ysed for a lyrical content. The usage of these

gestures differs too from dance form to dance form. For instance, in Kathakali (literary meaning-Story play), the dancer expresses by using various movements of

hands without speaking a word. The dance literature points out to various texts and treatises that are followed. The most important and common for all of them are Natyasastra and Abhinaya Darpanam. In addition there are some specific texts used

by each dance form, for instance, Hasthalakshana Deepika, a book of hand gestures is followed in Kathakali. --- in Kathak (other dances)

Movement

Nritta technique of dance dictates the laws of human movement. Nritta has a variety of poses which have the sculpturesque quality and the movement follows a

time-cycle.

Apart from the cari, karana, mandala and angahara, the other important types of

movement in the nritta technique are the movements and compositions indicated by the technical terms recaka, bhramari and utplavana. The group composition indicated

by the term pindibandha. The Natyasastra only defines the recaka and pindibandha, though bhramari (spiral movement) and the utplavana (jump) are mentioned in the context of the karana. There is a large volume of texts and published works focussing

on definition and uses of technical terms.

Abhinayadarpanam forms one the important works on dancing with complete text

on dance exclusively, which constitutes a discussion of the dance proper (nritta) and acting (nritya and abhinaya).

There is a large volume of texts and published works focussing on definition and uses of technical terms.

How did the technique pass on from generation to another and what was the process of training?

Gurukula system or guru-shishya parampara trained dance students the technique through verbal instructions. The learning process involved memorizing what is taught to them by guru-s till they perfected their skills in various related subjects like music,

Sanskrit, epics and so on.

No barriers

All classical dances were offered to learn without any barriers. Students from different parts of India, other than the region they practiced extensively, and even

from the countries outside India began to learn classical dance forms. Interestingly the guru-shishya parampara continued to be followed then also, but with some changes.


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A few institutes like Kalakshetra, Kuchipudi village, Kerala Kalamandalam , to name a few, offered training in their premises as is with the guru-kula system. A concentrated dance activity from dawn to evening trained students in various apects of

a particular dance style. On the other hand, changes came in the teaching system with the mushrooming of dance institutes both private, government owned, offered

various training programmes by hereditary as well the second generation of teachers. Various schools or styles got established with each one differing in technique from one another. Students belonged to different cultural background.

Theory & Practical

The texts were written in English to acquaint the students speaking different regional and even foreign languages. Theoretical aspects like historical background, the content of dance technique were available. Learning hastas and four types of abhinaya

(chaturvidhabhinaya) was done by referring to the dance treatises and texts like Natyasastra and Abhinaya Darpanam which got published in English as well in the

regional languages. A kind of textual tradition evolved from the earlier oral tradition. But training in the practical aspects followed oral (verbal) tradition, with teachers interacting with students to instruct the dance subject. Any noting down of the

instructions any other documentation by teachers and students of dance remained little known.

The texts covered various aspects like hand gestures, different types of body movements from head to toe to express various moods (nritya), rules for dramatization (natya) and also for codified body movement (nritta).

Repertoire

This aspect is taken up in the next (fourth chapter) chapter where the distinguishing characteristic features pf each dance form is taken into consideration despite having some commonalities.

Was there any noting down system describing the dance movement and the sounds used to instruct the nritta aspect? There seems to be not enough documentation. In the

earlier chapter we have noticed the reference to different kinds of dance activity in visual arts like sculpture, architecture, painting and so on. These evidences represent

the dance movements to certain extent. However, with some of them being affected or damaged over the centuries, there is a loss of documentation too. Some of them were retrieved or renovated for posterity. However, the nature of the documentation of

these evidences merely relate to the events, festivals, celebrations, and the context of the dances. But they do not provide any idea of the musical or other sounds that

accompany the dance activity. I see them as “silent movements”.

Considering the three components of dance technique, we notice that nritya can be

taught with the help of codified body movements along with the accompanying musical compositions to express a mood or interpret the word. For example, a dance composition like padam (performed in southern dance styles) gives the mood and

type of heroine represented in the verses. Natya too can be executed as per the thematic content of the story- line which are usually taken from the epic and other


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literary works. Then how was nritta executed and to which musical rendering? To certain extent, kautvams and sabdams (as performed in Bharatanatyam and Kuchipudi styles) have some letters which do not convey any particular meaning but are

rendered in line with the other verses in the composition.

The musical sounds for nritta aspect seem to be an unexplored area in dance literature.

Not much documentation is available on this subject. Or on any notating system There are not many written documents available on the dance music for nritta aspect.

What could be the reason for this lacuna?

How are the dance syllables incorporated and represent nritta in each classical dance

form? Following is the description of type of music used in each classical dance form with examples of dance syllables used in the nritta aspect.

Bharatanatyam:

The adavus or different types of foot work called adavus, when combined into a

sequence, they make a korvai. The accompaniment is called sollu kattu or chollukettu is rendered to suit the movements the dancer performs and in accordance to the talam. The rhythmic sequence of the dance syllables are called as jati. The

nattuvanar, the artiste wielding the cymbals matching to the rhythm and movements executed, has the control of the sequence of the dance composition. A jati repeated

three times is called teermanam which can be simple, complicated or elaborate is performed as the concluding movement for a section of the dance composition or a nritta piece in the repertoire. (Marg 1985)

Teermanams are another characteristic feature of Indian dance. Besides classical dance forms even they occur in other categories like folk, devotional and

semi-classical music and dance rendering but mostly played on the percussion instruments to indicate change in the lyrical line or a rhythmic pattern that is repeatedly rendered.

A combination of dance syllables in Bharatanatyam when they are arranged in a particular order following a tala pattern, they are called sollukattu. A sollukattu or jati

appears in the nritta for the first time in Jatiswaram . the following is a jati executed at the beginning of a jatiswaram in rUpaka tAlaM having two parts having three

subdivisions , that is, a phrase divided into six parts.

Bharatanatyam:

tAtahata jheMtari tA, takuMdari kukuMdari kiTataka

tAhata jheMtari tai, tatahata jheMtari tai

tajheMtari takajheMtari takanaMtari takaruMtari

tA dhI takadiku tadhIM giNata (3)


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Kathak

The dance syllables have a smooth and continuous flow. These dance syllables are

never out of place and used extensively throughout the presentation of repertoire. A feature unique to this dance form is the dancer himself or herself render the dance syllables set to a particular tala first and execute the same for the foot work. Each

gharana or school of Kathak display unique character of the syllables used. (for example, natwari syllables developed my Janki Prasadji who wove syllables into

compositions in such a way to have perfect blending with the dance execution.

There are various nritta pieces included in the presentation of Kathak dance. They are

called as : thaat, Aad, tukade, thode, primalu, paran, tihai and tatkar.

For example, the boles used in Amad

dhatakathuMga, dhAgEdIMgEtA

dhAdiMtA , dhEttA kiDhadhA

thuMgA takiTatakA tiTakatagadigan

tAthEI tatathEI, AthEI tatathEI

thEIt thEIt thEI, thEIthEI tatatata tA

(taken from the book titled “ Kathak nritya parampara mein Guru Lachchu Maharaj” (Hindi) p. 90)

Kathakali

An exclusive Marg publication on Kathakali (Nair & Paniker 1993:123-124,126-127,

132-133) describes kalasams and tala system in Kathakali music.

“Kalasams are pure dances when they form part of todayam and purappad dance

sequences, which are not integral parts of the text of Kathakali. However, when kalasams form part of the enactment of the text, they should be danced to sustain the emotion of the character in that situation. These are, accordingly, danced slowly and

aggressive siguations involving emotions such as anger, Kalasams are not interpretative, but support emotional expression.

The kalasams usually used in Kathakali are nine:

1. Vattom vecgy jakasanm

2. Iratti

3. Idakalasam


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4. Atakkam

5. Thoonkaram

6. Eduttukalasam

7. Murikalasam

8. Valiakalasam

9. Ashtakalasam

(p.123-1240)

Kathakali has four main talas -adanta, champa, chempada, and panchari, and two subsidiary -muri adanta and tripuda.

There are no dance syllales given specifically accompanying these talas but the sounds musical instruments produce are as follows:

takkida

tta-ri-ki-da

nna (syllable-kaam)

dheem - (goom)

chaalu - (syllable-tta)

Ppotu - (syllable - dhom)

sounds on maddalam

Tta, tti, tom, nnaam, dhi, Kki, nnaa, dhim

On Idakka-tta, kku, ki, Ta

Talas of Kathakali

Manipuri

In general one can feel that Manipuri is very slow. But the dance movements are

always are composed in accordance with the syllables of the drum. The syllables are in accordance with the laya which depends upon the mood and expression. Three speeds , slow, medium and fast are used as in all other dance forms. Manipuri has a

variety of talas and rhythmic patterns to suit different characters, moods and situations.


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There are tala-prabandhas which have more than one composition of tal are played together with laya variating with the tala as well as composition of the syllables or bols. However, compositions based entirely one tala seem to be not very common in

Manipur as the texts describe.

“The vocal raga and ragini of the Hindusthani music has been adopted in classical Manipuri singing but the primary connotations are that of the kirtana style of the

laiharaoba singing. Moreover the pre-existing style of the laiharaoba singing has influenced the classical technique also.” (170) … so the prevalent mood of singing

was introduced in Rasalila, the lack of adequate training in Hindusthani raga was perceived. But the outlook of the Manipuri people gave this type of singing a special nuance which became the identification of the Manipuri singing. Kirtana received a

special treatment in Manipur and a new dimension was set to this presentation. … the style of singing is called the Natasaishak.

The system of tala followed in Manipuri dance can be traced from the prevailing tala sastras or the rhythm texts of our country. The word sangita (commonly indicating

music only) includes gita or songs, vadya or percussion and nrtya or dance. (171)

The different rhythmic patterns of Manipuri dance are enlisted by the author, as he

mentions are primarily taken from Guru Bipin Singh‟s collection. Here two terms „stress‟ and „unstress‟ are used for denoting the emphasis in the taala.

dhin gragra ! dhin thenta then taghin

dhinten-ten! dhinten-ten tan tentang!

tata khita ! tata khita tenta taghin !

Ginagar)

dheighin taghin! dhei ghin tenta tenta!

tankhita tankhita! Ta khrang s-gragra !

ginagar)

dheidhin tanghin! Dhei ghin tenta tenta!

tankhit tanghin! Dhei dhin s ginagar!

dhin gragra ! dhin tang s tang!

khit tan khit! tenkhit tankhita tankhtia then !

jha drigi ! jha tini tini ta!


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ta drigi! ta tini tinita!

khit khinta ! dhin tang gragra gragragragra!

dhin khita ! dhin tang ta tang ! (pariman)

tang-traka! tankhi tang ghin tangin!

dhei ginagar! dhe dhei gin tan ! (naam-taka)

gragra) dhenta dhin ! s gargar dhenta ghinta!

ten ta ! tang s s kharkhar!

tenta tankhit tata ghinta tenta takhit !

Ten ta ! tang s s gargar!

Kuchipudi

In the earlier dance-drama tradition, the thematic presentation included regional

genres like daruvu, dvipada and other desi compositions which are interspersed with dance syllables suiting to the mood of the compositions. (Good example is Bhamakalapam) . The nritta-based compositions which are presented in the solo

format of present Kuchipudi dance were earlier presented in the dance-dramas or kalapams in between the story-line to break the monotony or to keep up the audience

interest. Some of the compositions like tarangam-s, sabdams gained popularity and got associated with the identity of the form. A variety of sabdam-s are presented with each one incorporating dance syllables that complimented the thematic content of the

verses. (Seth 2012)

The rendering too has a special style with change of rhythm and word play. In

dance-drama a sutradhar wielded cymbals to the rhythmic rendering of syllables while singing the lyrics. It required a sound knowledge of the dance technique, tala system and musical modes for an artiste to play the role of a sutradhar. The

accompanying music follows ragas and talas in Carnatic style of music.

In dance-drama Bhamakalapam, after the protagonist enters with a poetic verse, a jati

follows and then a daruvu to introduce herself as Satyabhama. The graceful movements executed in the jati compliment the lyrical content.

Dance-drama

Jati:


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takkiTa takatOM takatOM tadhiMgiNata (2 times)

dhIM takiTa dhIM takiTa tOM ditai diditai (2 times)

didinakiTataka dinakiTataka dinakiTataka (2 times)

tAkiTa jhaMtari }

ditAkiTa jhaMtari }

taditAkiTa jhaMtari tatOM tadigiNata } (3 times )

Jati from a solo composition called jatiswaram which has various jatis that reflect the Kuchipud dance technique.

In solo

takattO dinda dinda dhI tO dikki takka

tadikattO dinda dinda dhI tO dikki takka

tAkattO dinda dinda tadikattO dinda dinda

tadhaNa tajheNu tadhimI dikitaka taka tarikiTatOM

tadhaNa tajheNu tadhimi dikitaka

Odissi

In the accompanying music of Odissi dance style is soft and melodious following the Hindustani style. The lyrics (written both in Sanskrit and Oriaya languages) are set to a particular raga and tala and are sung by the vocalist.

Describing the nature of Orissi music, Vatsyayan writes “ has a distinctive character which is a happy blend of Hindustani and Karnatic schools of music. Like Manipuri it

seems to have developed its own raga and tala system fairly early. Perhaps Jayadeva‟s GG followed an already existing system or at least gave it a creative imprint which has been continued by later composers. Contemporary Orissi dance utilizes the

musical compositions of Oriya poets and musicians. The treatment of the musical sound (svara) and treatment of voice production however is distinctive although

reminiscent of both Hindustani and Karnatic ragas. Ragas like Krnata, Deshabaradi, Drabida (Dravida), Todiparaja are characteristic, so also are talas like Athatali, Nihsarea, Sarimana, Jati and Padi. The structure of the ragas is similar to the pallavi


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anupallavi and the carnam of Karnatic music, although the treatment is unmistakably Oriya. (Vatyayan :347)

A book titled „Knowing Odissi‟ (Biswas 2008) describes the „Taala‟ system of Odissi

Dance and Music as “ imbibing from both, the Carnatic and the Hindusthani styles. The geographical location of Orissa had always made it a melting pot of various outside influences. Thus enriched, Orissa has given birth to a wide variety of rhythms,

indigeneously. These rhythms have influenced the structuring pf Odissi Taala tradition. In the past 20 years the gurus and musician have worked to create a unifying

system which all the practitioners of Odissi music and dance can follow.”( 91)

The Odissi Taalas as listed in the book are:

1. Ekataali (4 matras) 2. Khemata ( 6 matras) 3. Rupak (6 matras) 4. Tripata (7 matras) 5. Jhampa (10 matras) 6. Kuruk ( 12 matras) 7. Adtaali (14 matras)

(The names and the divisions (called bibhag) of taalas resemble both Carnatic and Hinsustani but matras differ.)

dhe-Dhe-Dhe Tingat Tinam Di Takat

ta Ta Tadhi Tharikita Thalanga Digutaka

jha Jha Jha Jhin JhiJhi Jhena

tethe Te The Nam Tho

ta Thena Tho Jeena Dhi Takata Tethe Tethi Nam Tho.

Mohiniattam

A search in the available source books did not mention any syllables. The following

syllables are written after viewing video on Mohiniattam (Youtube)

tAm dhIM takita

takajheNu jhaM takiTa dhikiTa

tAMkiTataka tadhikiTatOM

Music Accompaniments:

In the solo format, an artiste playing cymbals, rendering dance syllables and conducting the sequence of dance compositions (referred as nattuvangam) is known as nattuvanar. This role has great significance in various dance forms like

Bharatanatyam, Mohiniattam, Kathakali and the presently practice in the solo format


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of Kuchipudi classical dance form.

In devadasi tradition, the earlier form of Bharatanatyam, the role of nattuvanar was

significant. While the daughters of devadasis became temple dancers, their sons either became nattuvanars , musicians or dance masters. These nattuvanars took the surname Pillai or Mudali. This is evident in the names mentioned in the genealogy

and the history of nattuvanars in Bharatanatyam style. Meenakshi Sundaram Pillai, Vazhvoor Ramiah Pillai, Dandayudapani Pillai, Kalyanasundaram Pillai are some of

the names that are mentioned frequently when talking about gurus and teacher. A point to note here is that one does not come across any female nattuvanars.

These masters (the word „master‟ to refer dance teachers came into practice in the late 18th and 19th century probably due to the influence of prevailing British education system) have guarded and preserved the art of dance music in spite of a grave danger

of loosing it. The danger arose because many of them being illiterate and had no access to the dance texts. However, some families set a standard for both the practice

and theory of music. The Tanjore Quartet consisting of brothers- Chinnaiah, Ponniah, Shivanandan and Vadivelu deserve particular mention for their work. They composed and formed a set an order of those compositions called margam to be presented by

dancers of Bharatanatyam.

On the other hand, a common feature in the presentation of various Indian

dance-drama traditions is the role of sutradhar who narrated, explained and interpreted the story- line interlinking the various episodes of the thematic presentation.

Various dance-drama groups or troupes had a group leader. A troupe leader can be a producer as well as stage manager that is Sutradhara. As a stage manager, sutradhar,

literally meaning “holder of thread or strings” is the architect of the theatre. A sutradhar ‟s responsibility included distributing the roles to artistes, teaching the rules

of the art craft and the technique.

The artiste playing the role of a sutradhar should have excellent memory and

intellectual approach , well-versed in music, command over the language of the text, lyrics and familiar with the customs and traditions of his region.

Modulate voice suiting to the emotion

Use appropriate speeds and rhythm during the musical renderings and conduct the

presentation in all three aspects, nritta, nritya and natya. This is evident in Kuchipudi dance-dramas, specially in Bhamakalapam.


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A Kuchipudi artiste as Sutradhara

In dance-dramas of Bhagavatamelanatakam only male artistes perform and conduct music till today. An interesting feature is that they are mostly Tamil-speaking but sing

the lyrical text in Telugu written in Tamil script. Till date this practice is adhered to.


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CHAPTER-IV

IV. NOTATION SYSTEMS IN

INDIAN CLASSICAL DANCE

TRADITIONS


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CHAPTER-IV

IV. NOTATION SYSTEMS IN INDIAN CLASSICAL DANCE TRADITIONS

A. World Dance Forms

B. Indian Classical Dances

In India, the syllables play an important role both in contributing to the classical

nature as well in attributing unique character to the dance form. The flavour of

the dance technique depends on the nature of the arrangement, rendering

execution of dance syllables and place in the repertoire of each classical dance

form.

In this chapter an examination and analysis of various notation systems is made in order to find their signigicance and applicability both in India and abroad.

WORLD DANCE FORMS AND NOTATION SYSTEMS

It is observed a variety of dance notation systems are available and followed in the

Western and Asian countries but not many in the Indian dance scenario.

Though the number is not the consideration here, there are no notation systems

followed in India. Why is it so? Probably some features are unique to Indian dance traditions due which the world notation systems are not applicable to follow. Some significant contrasting features are as follows:

INDIAN WORLD

Ankles bells used as instrument and part of costume

No ankle bells. Wear shoes as part of the costume

Extensive use of dance syllables producing aesthetic sounds

No dance syllables. In some non-meaning words like la la are incorportated

Dance execution has right and left

movement

The movements do not have any rigid

directions


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Repetition of a phrase of dance syllables

or a lyrical phrase thrice at end of composition

No such phrases are used

Execution of steps follows concept of

„right foot first‟as in other Indian customs and rituals. Starts with right followed by

left foot or moving right side followed by left. However a movement is repeated

both sides.

No such concept is adhered to.

Presentations in solo, duet or group The number varies

Music is Indian and have a complex tala

system with roots in ancient texts. Also follow two major music systems.

Notation system is different from the west or Asian dance forms

Music has standard notation system on

which the dance notation is based irrespective of the language of the song

The existing notation system mainly

relate to classical dance forms. Exceptions are some recent research

studies which are focussing on notating folk dance and music forms

Notation system is applied in both

classical and folk dance forms

Costumes for each classical dance are

different having an Indian touch

Costumes depict the country they

represent.

Rhythms flow through all the arts in all ways of life. Every living being in the nature

moves in rhythm. The rhythmic patterns are either repetition of phrases in a native poem or story, or seen in the art of movement of the dancer through leaps, jumps,

slides, circling, or the sophisticated dance forms like classical dances in India or the ballet dance forms. Dance, music, all arts depend on some kind of rhythm.

A brief review of the dance literature on world notation system is presented below:

WHAT IS NOTATION

Hudson, the author of book on Labonatation, in his introductory chapter, poses various questions regarding notation and asks:

“Dance Notation! What is it? Why is it needed? How does it work? Who uses it?”


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Answering these queries, he writes in his various chapters on need of dance notation, the existing modes, method to describe a dance movement, components of a stylized movement, specifications, use and others which are important to consider in notating

a dance movement.

He defines “ Dance notation is the translation of four-dimensional movements (time

being the fourth dimension) into signs written on two-dimensional paper.” (p.no)

He explains further that the dance notation is (or should be) to dance what music

notation is to music and the written word to drama.

For a system of notation it has to look at the variation of a dance movement be it in

sports, gymnastics, or classical dance and so on.

Various books in dance literature on Western and Asian dance forms indicate that

dance notation is nothing new. However questions arise, when was the first system evolved? Who have been inventors? Which is the longest „surviving‟ system to date?

How they continued after evolving? Where are these notations available and who are the specialists in notating.

The dance notation applies to those dance forms where the learning process is disciplined, and the technique is structured as in Indian classical dance forms and classical ballets in the West. This may require qualified teachers or specialists in

dance, certification of the content whether in a dance school or at an academic institution and resources for learning. Thus, notation can be one of the resources for learning under the supervision of expert teachers.

In the west some dance schools have trained teachers, physical trainer, certification in dance

The purpose of dance notation has been to preserve the choreographic works, revival of earlier dance forms, dissemination of knowledge, learning lessons from dance

notation. The books surveyed and reviewed for this study described subjects on various dance movements relating to floor design, air design, time patterns, meaning

of gestures,

Despite encountering some errors in writing and movement description, over-analysis

in the existing notations, a variety of dance notation systems evolved, developed and followed by the world dance forms.

Notation Systems: A review of dance literature

In the State Library in San Jose, the United States of America (a visit was made by

this researcher in 2015), the reference material available on dance notation system is not only impressive in number but also provided information on the variety of notation systems practiced by different dance forms in the world. However, in the

absence of any dance syllables in the western classical dance forms like Ballets and other world dance forms, their notation system may not be suitable or applicable for


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an Indian classical dance form, but provide a database in guiding to notate a dance technique in India. The review of literature on the dance notation system in the USA indicates the Western classical dance performances use dance notation systems in

practicing both classical dance-ballets and group folk performance as well. They use different standard notation systems. The Labanotation is the most common and

well-known dance notation system.

A brief summary of the content of the books referred are as follows;

Among the thirteen books referred for San Jose Library, the titles like “Dance Notation-The process of recording movement on paper” by Ann Hutchinson Guest;

“Folk dance for Boy & Girls” by Mary Effie Shambaugh ; “Natural rhythms & Dance” by Gertrude K. Colby : and “Labanotation or Kinetography Laban-The system of analyzing and Recording Movement” by Ann Hutchinson , to name a few, throw light

on the various aspects of the dance notation system in the World dance forms practiced in different countries.

Labonotation:

Ann Hutchinson in her Note ( Second edition, 1970) on the purpose of her book Labanotation or Kinetography Laban-The system of analyzing and Recording

Movement, writes, “because of the existence now of specialized Labanotation books and materials designed to fill the particular needs of different age levels, styles of dance, and areas of movement study, the aim of this book is to present the principles

of the system in definitive terms with sufficient examples of its practical application to provide a firm foundation on which specialized skills may be built. Because each

chapter progresses from a broad outline of the material at hand to specific detail in its application, the student may delve as lightly or as deeply as his needs demand. The teacher may modify the sequence of material to serve the interest of his students.

Because so much separate reading material now exists.

About filming a dance movement, Hutchchson, opines, that films “are useful only in

indicating the style of the finished product and in suggesting the general over-all visual picture and stages. A film cannot reproduce a dance step by step, since the lens

shoots from but one angle and there is a general confusion of blurred impressions which even constan re-showing can never eliminate.”

“Labonotation records the structure of a dance, revealing with perfect clarity each of the specific movement of the each performance.”


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„

The other books that provide different perspectives and methods on natation system

are as follows:

Folk Dances from Old-Homeland ( ), describes various folk dance forms belonging

to different groups of people: Danish, German, Lithuanian, Irish, French, Polish, Swedish, Czechoslovac, Russian, Spanish, Belgian, U.S.A, Finnish, and English.

The special Index provides the titles of various dances, and in the classified Index mentions 1. dances and singing gamies especially suitable as play for very small children. 2. Dances especially suitable as vigorous physical activity for larger Boys

and Girls and older groups and social recreation for adults.

The description of each dance form includes details on steps, formation and

instructionfor movement along with its music notation. Use of diagrams to show the placing, position of the feet the lyrical words (like Tra, la, la, la) in each bar. In some

the music the verses, formation, action with diagrams are illustrated.

An article published in the journal of National Centre of Performing arts gives an

overview of 53 notation systems are listed, with a brief description of type of notation and who is contributing author, time and place of origin in the article (Hutchinson 1985 )


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An analytical presentation is made below with the help of some tables indicating the century-wise, country-wise development, types of notations, based on an article titled, “A Brief Survey of 53 Notations systems” (Hutchinson Guest 1985 p 1-14.) i

TABLE 1: World Notation Systems: Year-wise

YEAR AUTHOR TYPE PLACE Notations

1 Mid 15th C CERVERA Abstract (Letter) Spain 1

2 1588 ARBEAU Letter France 1

3 1688 Lorin Tracks, signs, figures, words France 2

4 1700 FEUILLET (BEAUCHAMP) Track France 3

5 1831 THELEUR Abstract Symbols England 1

6 1852 SAINT-LEON Stick Figure France 4

7 1855 BOURNONVILLE Words/Signs Denmark 1

8 1855 KLEMM Music Notes Germany 1

9 1887 ZORN Stick Figure Germany 2

10 1892 STEPANOV Music Notes Russia 1

11 1915-18 NIJINSKY Music Notes Russia 2

12 1919 DESMOND Stick Figure Germany 3

13 1926 ALEXANDER Letters/Numbers U.S.A 1

14 1927 PETERS Music Notes/Abstract Symbols

France 5

15 1927 KOOL Stick Figure/Music/Floor Plans

Germany 4

16 1927 LABAN Abstract Symbols Austria 1


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17 1928 MORRIS Abstract Symbols England 2

18 1928 WAILES Abstract Symbols England 3

19 1931 CONTE Music Notes France 6

20 1931 MEUNIER Word Abbreviations, Signs France 7

21 1932 CHIESA Music Notes Italy 1

22 1934 CROSS Letters/Signs Numbers U.S.A 2

23 ca 1935 ZADRA Abstract Symbols Italy 2

24 1939 BABITZ Visual (Stick Figures) U.S.A. 3

25 1940 KORTY Music/Figures/Signs Germany 5

26 1940 LISSITZIAN Stick Figure Russia 3

27 1940 RUSKAJA Abstact Symbols Italy 3

28 ca. 1940 SCHILLINGER Abstract U.S.A. 4

29 ca 1945 NIKOLAIS Music Notes U.S.A 5

30 1946 SAUNDERS Words U.S.A. 6

31 ca 1950 KURATH Abstract Symbols U.S.A. 7

32 1951 ARNDT Stick Figure Germany 6

33 1951 KAHN Abstract Symbols U.S.A. 8

34 1952 BIRDWHISTELL Abstract Symbols U.S.A. 9

35 1954 MISSLITZ Stick Figure Germany 7

36 1955 LORING/CANNA Abstract Symbols U.S.A. 10

37 1956 BENESH Visual (Abstracted Stick Figure)

England 4


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38 1956 PROCA-CIORTEA Letters/Abstract Romania 1

39 1957 JAY Stick Figure U.S.A. 11

40 1958 ESHKOL/WACHMANN Abstact/Numbers Israel 1

41 1960 PAIGE Abstract Symbols U.S.A. 12

42 1964 McCRAW Music Notes U.S.A. 13

43 1965 SUNA Abstract/Figure Latvia 1

44 1968 SCHWALB-BRAME Abstract Symbols U.S.A. 14

45 1969 VASILESCU/TITA Abstract/Music Romania 2

46 1971 HARALAMPIEV Music Notes Bulgaria 1

47 1973 BAKKA Abstract Symbols Norway 1

48 1973 PAJTONDZIEV Abstract/Music Yugoslavia 1

49 1973 JUDETZ(POPESCU) Letters/Signs U.S.A. 15

50 1973 SUTTON Stick Figure U.S.A. 16

51 1974 FITZ Abstract Symbols U.S.A. 17

52 1977 JORGENSEN Abstract Symbols Denmark 2

53 1978 BLAIR Word Abbreviations, Signs U.S.A. 18


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TABLE 2: Type of Notation

YEAR AUTHOR TYPE PLACE

28 ca. 1940 SCHILLINGER Abstract U.S.A.

27 1940 RUSKAJA Abstact Symbols Italy

40 1958 ESHKOL/WACHMANN Abstact/Numbers Israel

1 Mid 15th C CERVERA Abstract (Letter) Spain

16 1927 LABAN Abstract Symbols Austria

52 1977 JORGENSEN Abstract Symbols Denmark

5 1831 THELEUR Abstract Symbols England

17 1928 MORRIS Abstract Symbols England

18 1928 WAILES Abstract Symbols England

23 ca 1935 ZADRA Abstract Symbols Italy

47 1973 BAKKA Abstract Symbols Norway

31 ca 1950 KURATH Abstract Symbols U.S.A.

33 1951 KAHN Abstract Symbols U.S.A.

34 1952 BIRDWHISTELL Abstract Symbols U.S.A.

36 1955 LORING/CANNA Abstract Symbols U.S.A.

41 1960 PAIGE Abstract Symbols U.S.A.

44 1968 SCHWALB-BRAME Abstract Symbols U.S.A.

51 1974 FITZ Abstract Symbols U.S.A.

43 1965 SUNA Abstract/Figure Latvia


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45 1969 VASILESCU/TITA Abstract/Music Romania

48 1973 PAJTONDZIEV Abstract/Music Yugoslavia

2 1588 ARBEAU Letter France

38 1956 PROCA-CIORTEA Letters/Abstract Romania

13 1926 ALEXANDER Letters/Numbers U.S.A

49 1973 JUDETZ(POPESCU) Letters/Signs U.S.A.

22 1934 CROSS Letters/Signs Numbers U.S.A

19 1931 CONTE Music Notes France

8 1855 KLEMM Music Notes Germany

21 1932 CHIESA Music Notes Italy

10 1892 STEPANOV Music Notes Russia

11 1915-18 NIJINSKY Music Notes Russia

29 ca 1945 NIKOLAIS Music Notes U.S.A

42 1964 McCRAW Music Notes U.S.A.

46 1971 HARALAMPIEV Music Notes Bulgaria

14 1927 PETERS Music Notes/Abstract Symbols France

25 1940 KORTY Music/Figures/Signs Germany

6 1852 SAINT-LEON Stick Figure France

9 1887 ZORN Stick Figure Germany

12 1919 DESMOND Stick Figure Germany

32 1951 ARNDT Stick Figure Germany


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26 1940 LISSITZIAN Stick Figure Russia

39 1957 JAY Stick Figure U.S.A.

50 1973 SUTTON Stick Figure U.S.A.

35 1954 MISSLITZ Stick Figure Germany

15 1927 KOOL Stick Figure/Music/Floor Plans Germany

4 1700 FEUILLET (BEAUCHAMP) Track France

3 1688 Loring Tracks, signs, figures, words France

37 1956 BENESH Visual (Abstracted Stick Figure) England

24 1939 BABITZ Visual (Stick Figures) U.S.A.

20 1931 MEUNIER Word Abbreviations, Signs France

53 1978 BLAIR Word Abbreviations, Signs U.S.A.

30 1946 SAUNDERS Words U.S.A.

7 1855 BOURNONVILLE Words/Signs Denmark

Published works

The late 15th century publication (the first published book using the dance notation of

Abstract (Letter) L‟Art et Instruction de Bien Dancer places the letters underneath tge appropriate music notes.

Many of the published works are written by dancers, teacher, choreo grapher, researchers, academicians, medical professionals, musician-soldier, gymnastic

teachers, army personnel, priest, anthropologists, musicians, dance masters, theatre and contemporary dance practitioners, physical educators and others belonging to different countries. Note India did not feature in this list, even in the 20 th century by

which time some type of notations evolved (Padmasubramanyam, Gopi are some good examples)


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Dance forms notated

The notations described different dances like:

Skillful dances, Ball- room dances, folk dances, theatre presentation, Classical Ballets, physical Education, Exercises, Gymnastics, Classes for Children, Music appreciation,

Classic Dancing, Tap Dancing, Modern Dancing, Dance Movement and others.

They served the purpose to point to

Basse (low) Dance

The male and female characters (for instance hat for men and crown for women)

Teaching and learning a dance form

Dance Movement

Academic courses in schools and colleges

Dance education

Physical education

Choreographic instructions and recording

Facial expression

Number of Notation Systems : Century-wise

Century-wise:

The analysis shows an impressive notation systems evolved in countries in the West

and Asia. (See Table 1)

CENTURY-WISE

15th Century AD 1

17th Century AD 1

18th Century Ad 1


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19th Century AD 6

20th Century

1910-20 2

1920-30 6

1930-40 0

1940-50 0

1950-60 8

1960-70 5

1970-80 8

Country-wise:

Each country added notation systems depending on the need for various dance forms practiced in their countries. A list of the countries and the date of notation systems

evolved is as follows:

Spain 1

Austria 1

Israel 1

Latvia 1

Bulgaria 1

Norway 1

Yugoslavia 1

Denmark 2


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Romania 2

Russia 3

Italy 3

England 4

France 7

Germany 7

U.S.A 18

Types of Notation systems: ( Sometimes they are used combining one or more types

of notations)

1. Abstract

2. Music

3. Words

4. Visual

5. Letters

6. Tracks

7. Stick figure

8. Word abbreviations

9. Signs

For details synopses of the Notation type-wise ( See Appendix No: )

Out of these various notations, Labonotation has become a well-known notation

system. The book by Hudson on this notation systems covers aspects like the approad, fundamentals of notation system, variations in steps, position of the feet, aerial steps

(jumps) arm gestures, leg gestures, space measurement, floor patterns, paths, touch and slide of the legs, parts of the body tilting, rotation of the limbs, equilibrium or balancing the body and others.


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The modifications to this system too took place. The publications of more editions indicate the demand. The author mentions this development as “The International Council of Kinetography Laban, founded in 1959, has brought together speicalists in

movement notation from many different countries who have benefited from each other‟s knowledge. Modifications in the system have resulted from a consesus of the

most experienced research and field workers. Through the adevent of Motif Writing, a specialized applications of the system, the introduction of notation during the early stages in the study of dance and of dance compositions I snow possible. This provides

the student with a greater insight into the nature of movement, as well as providing the tool of dance literacy from the start.” (Hutchinson 1970: Note)

In the later times, various books were written to fill the particular needs of different age levels, styles of dance, and areas of movement of study.

The book by Hutchinson describes the dance notation progressing from a “broad outline of the material at hand to specific detail in its application, the student may

delve as lightly or as deeply as his needs demand. The teacher may modify the sequence of material to serve the interest of his students.”

The author refers to Albrecht Knust‟s dictionary of the system “ A Hand book of Kinetography Laban” as a valuable companion book.

However, one notices some dance forms are recorded and others are unwritten as in popular acrobatic dancing and the story of ballet is complete. “ From the chroniclers of bygone courts to the dance-designer choreographers of the present day, people

have sketched its scenes, described its steps. For ballet, unlike acrobatic dance, developed in an atmosphere of learning. Unlike acrobatic dance, ballet evolved in princely courts alone.” (Huskell p. 61)

Changes happened in Ballet dance forms too despite all that written about their technique, the early ballets differed from the art we know today.

Process of writing notation

Slower to write, more difficult to learn, but some claim more precise, Labonation takes its name from Rudolf Laban, its inventor. It claims to represent every possible movement of the human body, from a dancer‟s pirouette to the twitching of her little

toe. Its symbols can show whether a movement is a punch, press, dab, glide, s lash, wring, flick or float. Labanotation can show the movements of factory worker,

swimmer, acrobat or ballerina with equal ease and detailed accuracy.


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NOTATION SYSTEM IN INDIA

In the absence of any dance syllables in the western classical dance forms like Ballets

and other world dance forms, their notation system may not be suitable or applicable for an Indian classical dance form, but provide a database to guide to notate a dance tradition in India. Due to the continuous oral tradition practiced in India, the content

of the dance technique and its teaching methodology belonged to a particular teacher or a school. No written instructions were provided. The learning mainly depended on

the verbal instructions to do or not to do. Nritya and natya aspects could be taught with the aid of treatises like Natyasastra, and other texts, the epic stories, literary works which defined the suitable movements and gave vivid descriptions of a story to

dramatize. But for the written word in the nrtta aspect it was the teacher who taught that orally and made the student to memorize. A student perfected it through regular

and rigorous practice. In the absence of a notation system, which remained as an unexplored area of concern for both scholars and dance practitioner, we lacked a common or standard notation system as is the case with the West. Why is it so?

Whatever available notations are referred they pertain to classical dance forms, with a very few on folk dance forms (which is fairly a new area in dance research in India).

Ethnomusicologist, late S.A.K. Durga showed the participants in “Documentation Workshop for performing arts” organised by National Centre for Performing arts,

Mumbai( 1988) on how to write down the song and the corresponding movement. As one of the participants I understood the significance of such work for continuing the traditions without getting them lost. Also in the folk music and dance forms a

minimum use of syllables like olala or repetition of some words which do not have any meaning and are not complicated. A book on Santhal folk dance of Oriya region gives various songs, their context, formation, music etc, but there are no syllables nor

any notation given.

The intense month long workshop in its various sessions conducted whole day,

instructed how to preserve, document, analyse and describe the content of performing arts in the available sources like; photographs, audio and video recording, manuscripts,

music. It provided valuable information and guidance to conduct research in that are for interested artists. (I was privileged to be one of them)

Different sources referred did not include any notation system which is followed uniformly or individually.

With reference to Indian classical dance forms, a possible issue to evolve a notation system could be that each classical dance form developed differently sounding, arranged dance syllables. Depending on the creative ability of the artists, a number of

permuations and combinations of dance syllables evolved.

In the last century the application of a notation system to instruct the fundamental foot

work and body movement in the dance technique gained some attention.


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The available notation systems in the Indian classical dances are as follows:

The design of the notation system used different tools like staff notation (by Dr.

Padma Subramanyam, a Bharatanatyam exponent and eminent dance scholar, Subrahmanyam: 1982, pp.35-70) line and sketch drawings (Rele:1985, Radhakrishna & Rathna Kumar, to name a few) illustrate the fundamental foot work. The

notation systems that is mostly applied is the music notation system followed in the Hindustani and Carnatic styles to indicate the „tala-division‟ requiring the knowledge

of music notation by the learners. he notations provide, guide lines to follow the dance movements for the fundamental foot work, called as adavu-s along with the dance syllables or sollu-s used in Bharatanatyam. Another book worth mentioning

in this context is „Nritya Geeta Mala‟ by Rajee Narayan (Narayan:1985), a senior Bharatanatyam dance guru and teacher from Mumbai. In this one finds the lyrical

texts of dance compositions presented in the repertoire of Bharatanatym dance style, along with the notation showing tala-division and ragas as per the Carnatic style of music. The script is written in three languages, that is, -Roman, Tamil and

Devnagari. The „sollukattu‟ (dance syllables) are given at the end of composition, thus, not indicating their place in the lyrical texts.

The other published books that exclusively included dance notation system are: „Adavu- Basic dance units of Bharatanatyam, A unique dance notation‟ (Rathna

Kumar:Undated) for Bharatanatyam learners, „Mohiniattam Adavus & Mudras‟ explaining the system of learning Mohiniattam fundamental movements (Radhakrishna:1991), „Kathak Nrutya Parampara mein Guru Lachhu Maharaj (Hindi)‟

(Singh: 2006), describing Kathak boles with tala division as per Hindusthani Music. The hand-written class notes by a graduate in Manipuri dance style give the nature of nritta in Manipuri. i „The Language of Kathakali (Notation of 874 gestures ((Venu:

2000) is one of the many books written on notation by the dance scholar. Books by Vedantam Parvateesham(Vedantam: 1988 & 1990) Hemadrri (Hemadri:1989),

Acharya (Acharya: 1989), Nataraja Ramakrishna (Ramakrishna:1987), „Sabdams-The Lyrical Dance Compositions in Kuchipudi Repertoire‟ (Seth:2012) i provide a useful and valuable information on dance syllables, their rendering style and so on. But as

these books are written Telugu language (except Seth, with text both in English and Telugu), the reach and understanding of these books is limited to Telugu speaking

readership.

Dance literature

Nataraja Ramakrishna

Two interesting texts have located in this study. The book titled “Dakshinatyula natya charitra” (Ramakrishna 1968 p.63) the author besides mentioning in detail about the

dance syllables used in different compositions starts with the description of seven types of dance, known as sapta tandava, performed by Lord Siva.


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These syllables and notation represents the roots of dance syllables and do not refer to any particular dance tradition but the dance of Lord Siva, the king of dances.

Here in the context of Urdhva tandava dance of Siva, the author presents

syllables which are arranged in a way to form the shape of a mridangam, kalash

and damaruka called mridangayati, kalasha jati in mridangayati and damarukayati

respectively. These jatis are rendered when Siva danced along with Parvati. A

typed transliterated text in English of the original in Telugu is presented in

Appendix. No.2

Similarly the author gives the text of Sivapanchaka sabdam where in a set of

jati-s in panchajAti, that is in tisra, chaturasra, khanda, mishra and sankeerna

are included. (Ramakrishna 1968 :p.71) See Appendix

There are not syllables included in the Natyasastra, Abhinaya Darpanam (taking into consideration the earliest treatises and texts). The other source books that mention about the dance syllables and the way they are marked with tala division, description

of the lyrical texts, usage of figures, line drawings etc.

For a systematic presentation the following notations are presented in the order that

has been following throughout the text, that is, Bharatanatyam, Kathakali, Kathak, Manipuri, Kuchipudi, Odissi and Mohiniattam.

Bharatanatyam:

Padma Subrahmanyam

Rajee Narayan

Rathna kumar

Avi sharma

Janardhan

Navasandhi

Ambrose

(APPENDIX)


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Kathakali

Venu

Kalasadan

Kathak

Katha lacchu maharaj

Manipuri

“Punglon Bhangi Pareng Mangagi” by Yaihom Hemanta Kumar, ihighlights an important element of Ras, the classical dance form of Manipur. The publisher,

Kethellakpam Meghachandra Meetei writes in his note saying, “There are in total five Bhanggee Parengs - three for women and two for men. Lasya is one of the parengs used in the graceful and intricate dance movements of women performers.

Gracefulness is, undoubtedly, the most important feature of Raas that gives it a unique quality through which it is identified. Similarly, the Tandav Bhanggee Pareng of male

dancers is an intrinsic element of Gostha Leela, the reason for which it is also called the Gostha Bhanggee. It is indeed a matter of happiness and pride for all of us that Shree Yaikhom Hemanta Kumbar hs come up with a book on a very important

element of Raas. This book will definitely be of great help to the scholars and students of Manipuri Dance which is included as a field of study in many colleges and

universities. It is not very often that knowledge that was existing traditionally in

oral form is reproduced as written text as books. This makes the value of this

book higher. Shree Hemant Kumar has a long experience in teaching and spreadig

the knowledge of Manipur Dance to people outside Manipur specially.”

Further he adds, “The many changes and modifications that have been brought about

in Manipur classical dance has made it difficult to pin-point the stable nature of its essence. It is hoped that this book will act as a catalyst for younger scholars in their endeavour for deeper knowledge of Manipuri dance.”

The author himself expresses, in his introduction , “in this book the different Taal Prabandhas are written for the five different Bhangi Parengs four Taals are used viz.

(1) In Achouba Bhangi Pareng it begins with Bhushna Men or in another name Duitaal Sekhara, tanchap, Menkup, and Chali, (2) In Gopi Vrindavan Bhangi Pareng

Tintaal Achouba, Chali, Menkup, Tanchap and Chali, (3) In Khurumba Bhangi Pareng Rajmel or Duitaal Sekhara, Menkup, Tanchap and Chali, (4) In Gostha Bhangi it begins with Rajmel or Duitaal Sekhara, Menkup, Tanchap and chali and (5)

In Gostha Vrindavan Bhangi Pareng it start with Tintaal chouba, Chali, Tanchap, Menkup and conclude with Chali. Tanchap, Menkup and Chali are commonly used in

five Ghangi Parengs.” i


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Kuchipudi

Nataraja Ramakrishna

Vedantam Parvateesham

Hemadri Chidambara Deekshitulu

C.R.Acharya

Rajyalakshmi Seth

Kuchipudi nrityotsav

Rajyalakshmi Seth

A note on Classes at institute “MUVVA Kuchipudi Dance Training centre”

Mumbai. Established in 1981 by Rajyalakshmi Seth

“Muvva Kuchipudi Dance Training Centre” a four line advertisemen was inserted in

the Times of India in 1981 drew response from one girl living in a thickly populated with Sikh families. She just joined on August 2nd 1982 and all ready to learn

Kuchipudi dance despite having no knowledge about the dance forms. From that day she became my student who inspired me to evolve a teaching methodology to teach those coming from different backgrounds. I taught her the basic steps and

fundamentals for a year before introducing her to dance compositions. There was no language problem in teaching nritta but instructing her to execute the steps with the

required body movement of Kuchipud dance technique was time-consuming but made me improve my vocabulary in Hindi and English to instruct her. There were more enquiries from neighbourhood but for learning Bharatanatyam. South Indians

preferred that as it is a dance form known to many. For north Indians it did not matter which one, but opted for Bharatanatym as they felt it was popular. So I thought why not. So my classes gave training both in Kuchipudi and Bharatanatyam. Ratio

was 1:10 in that order. But once my first student started learning compositions, it created interest in the beginners to opt for Kuchipudi as the technique was not only

new but the rhythmic music attracted them.

My classes provided inputs that lead me to evolve a method to noting down whatever

I taught in a class, right from the day one in a 200 pages note book which they had to bring every class. Parents asked, „dance class mein book ki jarrorat kya hai? (Where is the need for a book in a dance class?) but I insisted. First half of the book was (am

mentioning as past because no more regular classes are conducted by me except for giving training in how to teach and conduct nattuvangam which is my forte) had notes

on practical learning and the second half for writing theory notes which included topics such as , origin of dance, names of Indian classical dance forms and places of their origin, single-hand and double-hand gestures, panchajati and tala etc. The notes

were written by me for under ten age groups. Others wrote on their own but I corrected for any errors in spellings etc. Computers were not so much in use in


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those days. The most frequently occuring mistake was t and T ( for t T in tea) in English every day for every student. The notes written details on the dance technique as follows:

Basic steps

Then fundamental

Neck movement

Moving forward and backward using basic steps

Teaching Kuchipudi fundamentals

For each step:

Instructing the movement of the Step with emphasis on bending, raising or jumping

movement

Introducing the hastas used from the Asamyuta hastas

Explain the number of beats and marking the instruction

Speed variations along with the rendering of the sollu

( examples)

When a student is learning a composition she is explained first what she is going to learn structure like length, time taken (2 minutes kautvam takes about 3 to 6 months depending on the aptitude) and the content like raga and tala. Each selection of the

composition taught in a class is written down in the book and rendering is taught. Knowing the song by heart is made compulsory. The lyrics in Telugu are written in

English line by line as per the tala division. A composition like kautvam is divided is into ten small selections breaking the song as per the change in the movement. After No.1 selection is practiced and learnt thoroughly, next selection is taught and the

student is given practice to do both the selections together to get continuity.

These are some of the instructions followed in the class and a class test (both theory

and practical) conducted regularly once in six months. Amusingly the students used to skip that test day if not prepared. They were told it was for their benefit to perfect the

learning and not to get marks as in their academic learning.


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Training in certificate and diploma courses offered following the syllabus prescribed by Telugu University. But the interest to appear for examinations is not impressive due to the lack of awareness of its usefulness in their careers.

Kuchipudi Dance Academy, Mumbai

“Kuchipudi Natyasangraha” by Vijaya Prasad p.43

A book let printed for the benefit of class students learning under the teacher, Vijaya

Prasad. The content gives basic information about the teacher‟s qualification, some question and answers on Kuchipudi technique, photographs of students. It includes a small note on „Technique of Kuchipudi‟ giving dos of the fundamental foot work

and which variation of the foot work (bhedas) should be used for which step. The explanation is not adequately proof read for spell check, and expression, so the

instruction is not conveyed as it should. The details are not covered any specific nrtta aspect.

Odissi

Mohiniattam

Kanak Rele

Geeta Radhakrishna

WRITTEN NOTES BY ARTISTES, TEACHERS AND CHOREOGRAPHERS

These masters have guarded and preserved the art of dance music in spite of a grave danger of loosing it. The danger arose because many of them being illiterate and had no access to the dance texts. However, some families set a standard for both the

practice and theory of music. The Tanjore Quartet consisting of brothers- Chinnaiah, Ponniah, Shivanandan and Vadivelu deserve particular mention for their work. They composed and formed a set an order of those compositions called margam to be

presented by dancers of Bharatanatyam.

NOTATIONS FROM TEACHERS AND STUDENTS

When requested to provide a sample of a jati written by them or handed over by their teacher, mostly the answer was that it was noted down by them for their guidance and

references. Sometimes they wrote it down for me on the spot after recollecting the phases and tala. A few did not know the tala-division. Even those who have gained

proficiency in performing for a long period either did not have them ready to show or showed apprehension to part with them. This could be due to

The reasons for not writing down could be that the teachers belonging to certain families where generation after generations the members either female or male carried the traditions for decades. For instance, in Bharatanatyam, the practice of tradition

remained the families of devadasi community. While female members became


106

devadasis and performed at the sanctum sanctorum of temples, the male members accompanied these dacne presentations as accompanying musicians, nattuvanars, mridangam players, and so on. In Kathakali, the art form was practiced in Kerala in a

concentrated manner with males who lived in Kerala only were learning and performing this dance style. In Kathak, the genealogy presented in an issue on

Kathak published by Marg Publications indicates the males only taught the dance style, mostly those belonging to their families.

Manipuri was exclusively participative and native to Manipur region for many years.

In Kuchipudi, the documentation highlights the fact that the tradition got propagated

by the artistes belonging to families bearing twenty-five surnames for more than four centuries. Also it was male-oriented dance tradition with no women participation.

In Odissi, the community of maharis and gotipuas carried the tradition forward for centuries and eventually limiting the dance activity to males only.

Mohiniattam remained and continued to be so, as female dominated dance form. The body movement too are also of lasya type. So no male dancers ventured into learning this form.

So when teaching students belonging to communities, or regions other than the family or community originally practiced, required to adapt to new teaching methodology.

But that is all unwritten and not record available which can guide the future students.

The following notations are recorded by teachers, students, performers, nattuvanars,

and so on.

Notation system developed from as early as the 15th century. Different systems

evolved in notating a dance movement. Different methods followed in notating like signs, figure drawing, line drawing, symbols, words, letters, abbreviations etc. The number of published works on notation system indicates the importance given to

notation system in learning, teaching, choreography, academic courses and so on.

Some problems and issues erupted from the existing notation systems too. For

instance, writing errors in movement description, access to the written choreography, speed of notating, organising the work to notate, public acceptance of a notation, and

so on. Comparison of notation system, rights and copy rights

Mentioning of notator rights points to the notating as a profession which is unheard of

in Indian dance or music system. Notation is used as a language of dance to study an academic course or a choreographic study. Notation is used as a teaching tool.

*********************************


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CHAPTER-V

NRITTA IN BHARATANATYAM AND KUCHIPUDI: SIMILARITIES

AND DIFFERENCES IN

REPERTOIRE


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CHAPTER-V

NRITTA IN BHARATANATYAM AND KUCHIPUDI: SIMILARITIES AND DIFFERENCES IN REPERTOIRE

With roots in ancient treaties Indian music, dance and drama exhibit some common features in their presentation. But with the regional variation in the language used for lyrical content and the rendering style of music (though following one of the two

main streams of Indian music. They exhibit distinct characteristic features.

In dance, different techniques developed over the centuries. While there exists some

commonalities in the nritya and natya of dance technique, nritta of each dance form varied, especially in using the dance syllables. In the fourth chapter the analysis of

these dance syllables shows the reference to them is made using different terminology like:sollu, bole, jatikattu and so on.

Do any of these classical dance forms exhibit similarities and how they differ from each other.

The dance renaissance was a pan-India phenomenon; there were some specific characteristic features in the regions, but the sequence of changes and development were similar. Especially the exclusive association of the dance forms with the

hereditary entertainment castes (as devadasi) was broken.

The learning of the dance forms became open to all strata of dance without any

social stigma. From social stigma it became a field open to those interested and in fact learning a classical dance gained prestige in the society they lived and also a symbol

of national pride. Some borrowing of traditions and technique happened with the interaction of teachers and student belonging to different regions. i

The development of distinct regional styles took place prominently in the medieval period, it was their rediscovery, recognition and revival in the early 20th century which marked the beginning of the modern period of classical dance in India.

Some of the innovations were similar across the dance forms but incorporated to different degrees. For example, a shift from only male-participation to include female


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dancers happened in Kuchipudi and Odissi. Revival of the dance form without any change in the presentation, that is, from solo to solo form happened in the case of Odissi and Mohini Attam. In almost all the dance forms, except Bhara tanatyam, the

shift was from the rural to the urban stage. The major shift from dance-drama to solo format took place in the case of Kuchipudi. Kathak no longer remained confined to

North India. Similarly Bharatanatyam travelled from the South to the North, especially to the metros and cities.

An important feature of the rediscovery of dance traditions was that forms where only males used to perform (as in Kuchipudi) and forms where women from certain entertainment castes alone used to perform (as in devadasi tradition which

redeveloped as Bharatanatyam ) opened up to women from educated and middle class families.

Vatsyayan also writes, “ forms in the regions have many affinities and some sharp differences. While some features are shared by two forms, some others are shared

with a third form. Thus a pattern of overlapping circles of these forms emerges when examined from the point of view of their inner structure, design and technique. (Vatsyayan 1980:59-64)

The evidence can be noted in the patronage given by the rulers of Tanjavur when king Sahaji and Serfoji II not only encouraged various dance forms, but they themselves

wrote compositions in Tamil, Telugu, Marathi and Sanskrit. We find some of the compositions of Swati Tirunal (Travancore) in Hindi which are till date are popular in Bharatanatya repertoire.

However, multiple languages, regional traditions, and customs and cultures, geographical and historical background, tastes of the ruling kings, lyrics, music, are

the main factors in forming separate dance traditions.

There were broad differences in the dance styles, especially between those practiced in the North and in the South with respect to the music, techniques, texts and

repertoire. For instance the eye movement during the execution of bodily movements (referred to as angikabhinayam in southern s tyles) follows closely the sloka „yato hasta tato drishti yato drishti tato manah, yato manah tato bhava‟

meaning, where the hand moves, the eyes follow‟ whereas in Kathak and Manipuri the hand movement is independent of the eye movement. The Northern dance styles

follow the Hindustani music system whereas in the South, Carnatic music is the base. However, Odissi, which it its basic structure is close to South Indian forms like Bharatanatyam and Kuchipudi, follows Hindustani music but with regional flavour.

According to Tandava Krishna, four canons (that is, “the song is to be adopted by voice, the meaning is to be exhibited by hand, the expression through the movement

of the eyes, and then the timing to be kept by feet) are followed by Indian dance traditions. However differences exist due to the differing use or elimination of one or

more of the canons by each dance form. All the four canons are found in some dance traditions of Tamilnadu and Andhra Pradesh. In other dance traditions practiced in other parts of India, one does not see all the canons adhered to strictly. For example in


110

Kathakali, as Tandvakrishna explains, the actors do not themselves sing while acting; thus discarding the canon that the song is to be adopted through voice (vachikabhinayam). In Kathak and in the dances of Assam one does not find many

„mudras‟ or symbolic hand gestures and so they fail to express the meaning though hands, thereby not observing the seconc canon. The other canon, that the timing is to

be observed by the feet, is displayed very strongly in Kathak. Also the different forms follow different dance systems (called bharatams) which are considered as off-shoots of the original system propounded by Bharata and authored by Shambu, Gouri,

Bhama, Madhava, Nandikeswara, Dattila, Kohala, Yagnavalkya, Brihaspati, Arjuna, Ravana, Usha and otehrs (Tandavakrishna, 1945: p.251)

After eliminating the apparent commonalities like music, language and presentation style and the north-south divide, i it is noted that Bharatanatyam and Kuchipudi bear

some striking similarities particularly in their presentation (solo), performers (females, taking into consideration the present Kuchipudi solo form that evolved), shift of venues from temple and temple premises to urban auditoria and to using Sanskrit and

Telugu lyrical texts (only difference being Bharatanatyam uses Tamil compositions also and Kuchipudi uses only Telugu besides Sanskrit. Themes too are based on the

bhakti sentiment. Then, in which aspect they differ from each other and what contributes to their unique character.

Despite using dance syllables that are formed and rendered producing similar sounds, the difference is noted in their rendering style, pronunciation, repetitions, rhythmic variations and their place in the repertoire presented.

In this chapter, the dance syllables in the nritta aspect is described, analysed , compared and presented, using illustrations and examples from the repertoire of

Bharatanatyam and Kuchipudi. Source material used is from the documented notes on various compositions during my teaching career and conducting nattuvangam spanning five decades. Thus the inputs carry an insider‟s perspective based on the

experience acquired in the areas specialized. Specially while conducting the nattuvangam for all the three styles of Kuchipudi, Bharatanatyam and Odissi

performed by legendary danseuse and one of the pioneering Kuchipudi woman performer, Sumathy Kaushal‟s (also my elder sister and guru). Specialization course in nattuvangam included learning the order of a jati, render according to the rhythm

and speed changes, voice modulation and coordinating with the movement of the dancer. i

South-North differences as seen in Carnatic and Hindustani Music.

Carnati Music and Music of Maharashtra (Hindustani) music fundamentally differs from each other. In Bharatanatya the classification of Ragas (melody) and Talas now

in vogue in the South comprising of Tamil Nadu, Kerala, Karnataka and Andhra regions are known as Carnatic music and dance as Bharata Natyam, while that of

North India incljuding Maharashtra are known as Hindustani Sangeeth and Kathak Natya or Nrtya. The Hindustani music and dance have undergone changes from those that were prevailing in ancient times in the whole of India (Bharat) due to the impact


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of Muslim domination and their culture and language to a large extent altering the structure and system of Hindu music and dance prescribed by Gods and Rishis. As a result of their domination the Hindu system of music and dance came to be

synthesised with Persian and Arabic Sangeeth and Nrtya: what was prevalent prior to their advent in tenth century experienced substantial changes. The altered system of

music and dance of North India came to be knows as Hindustani Music , and Kathak dance, having their separate identity and existence and sphere of influence.

A notable feature in the development of these common themes is that while in many parts of India like Gujarat, Orissa and Bengala, Radha as the devoted lover of Krishna was the focus of attraction (where the rasleela dances depicted the relationship of

Krishna and Radha), in souther regions like Andhra and Tamilnadu, Rukmini and Satyabhama, the cosorts of Lord Krishna acquired a prominent place (as for example

in Bhamakalapam and Rukmini kalyanam)

The similarities between two dance forms , in this context, Bharatanatyam and

Kuchipudi can be explained considering the interactions that took place in the medieval as well the twentieth century.

Commonalities and differences

Bharata Natyam considered one of the ancient dance form of India (scholars mention dates between 2000-3000 years ago) The „Hastas‟ of Bharata Natyam are used, in a slightly modified way, in Kathakali also. Bhagavata Mela, Yakshaganam and

Kuchipudi are also closely related. The Ashtapadi songs and the „Nayaka-Nayika Bhavam‟ of Kuchipudi are connected with Krishnattam. Mohiniya ttam which is

believed to be of Kerala origin, is also related to these. And so is Manipuri. Thus, every art is mutually connected, or rather, connected, or rather connected to one recognized form. This aspect of the brotherhood of Indian arts is worth fur ther

research and study.

Starting with prayers and paying obesience to gods, followed by invocation and

concluding with a song called mangalam are performed too in both the dance styles.

The above descriptions point to the commonalities in the structure , that is, their

presentation style (solo or dance-drama format), performers (male and female dancers) and shift of venues from temple to urban auditoria. Also to certain extent in the

content where the themes are based on the bhakti sentiment, and lyrical compositions written in Sanskrit and Telugu are used. (difference being, Bharatanatyam uses Tamil compositions also). Considering these similarities, the focus of this chapter is

specifically on the dance syllables in the nrtta aspect, their place and variations in the repertoire of both the dance forms though the structure of dance compositions

being same.

For examining the commonalities and differences in this aspect, the structure of

dance compositions included generally in a solo presentation of Bharatanatyam and Kuchipudi dance forms are chosen. The syllables may sound similar but their


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formation, rendering style, execution, body and spatial movement differs contributing to the identity of each dance form. .

PRESENTATION

While Bharatanatyam performance were always in solo format since the times of

devadasi tradition belonging to nattuvamelam category,Kuchipudi, on the other hand shifted from its original all male-oriented group performances natyamelam category presenting in dance-drama format, to solo format in the second half of the twentieth

century and got established as a classical dance form making multi-dimensional changes to its structure and content of its presentations. A debut performance in

Bharatanatyam is referred as Arangetram and in Kuchipudi it is called Rangapravesam.

Kuchipudi dance belonged to natyamelam category with no role for female participation and these were touring troupes performing at temple premises, important junctions in the villages only in the night.

Another broad division of the dance traditgion in Andhra region into two categories as natyamelam and nattuvamelam included Kuchipudi dance-drama tradition in the

natyamelam category where only men performed, including the female roles. On the other hand only women performers participated in nattuvamelam. So Bharatanatyam,

is considered belonging to nattuvamelam, despite the changes in the nomenclaure from devadasi, dasiattam, to sadir. Only after its revival in the early twentieth century, male dancers got initiated into the dance form, E. Krishna Iyer Ram Gopal,

Uday Shankar, Chandrasekhar, Dhanjayan, to name a few started learning the dance form. The technique remained almost same with some minor changes to suit the male body language.

In Andhra region nattuvamelam is again divided as Aradhana nrityamulu, „kelika‟ performed by groups at kalyana mandapam, a platform in the temple premises but

outside the sanctum sanctorum or on any other stage to entertain people. Mejuvani, katcheri ata and dance traditions like Navajanardhan parijatam are also grouped

under nattuvamelam kind. The performances of nattuvamelam type consisted either of pure dance or had a small lyrical content like kautvam-s and sabdam-s. kautvams, simhanandini

The performances of the Aradhana Nrityamulu included dance compositions like kautvam and simhanandini which were ritualistic and were performed in the sanctum

sanctorum of temples in front of the deity. The verses used in these items were in Sanskrit. This is a contrast to dance-dramas performed by Natyamelam troupes

outside the temple premises. They were meant for the public, and so the language had to be easily understood by ordinary people. For this they depended on Telugu lyrical composition of composers, poets and scholars. (Seth 2005:31-32)

(*Eventually both the natayamelam (performed in group by male artistes only) and nattuvamelam (the solo performances performed by woman dancers.) performed the

themes that related the bhakti sentiment.


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PERFORMERS

In the contemporary dance scenario, both male and female dancers perform in Bharatanatyam as well in the Kuchipudi dance tradition. (both in dance-drama and

solo format. )A difference that can be pointed out is that in Bharatanatyam, the dance tradition is passed on from the female dancers who were known as devadasis, but the accompanying musicians were male artistes. In Kuchipudi, till about the first quarter

of the twentieth century, the dance traditions was not only male-oriented but a dance-drama tradition. In the late 1950s, when it was recognized as a classical dance

form, a solo format was formed and women dancers got initiated into it gradually. i

Due to the impact of these transformation, the significance of the role of nattuvanar

and sutradhar changes accordingly, specially in the Kuchipudi dance tradition. Though both the roles have the same responsibility of conducting a stage

performance, the artistic abilities and the interaction with the audience differed from one to another. These differences are noted significantly in the presentation of Kuchipudi dance both in the sutradhar role played in its dance-drama tradition as well in the newly evolved nattuvanar role in the solo format that gained popularity in the post-independent period. (Appendix on article “sutradhara and nattuvanar”)

VENUES

Both dance forms shifted to urban auditoria though Bharatanatyam from temple sanctum and santorum and Kuchipuir from temple premises and important village

juctions and all night performances to modern stage with performances lasting two three hours. The case of Bharatatanatyam, as the dance tradition shifted from dasiattam to Sadir and then establishing as Bharatanatyam in the twentieth century.

Kuchipudi dance tradition which included some dance compositions for solo presentations earlier in its dance-dramas to break the monotony of the thematic

presentation and keep up the audience interest too. These compositions made the content of the repertoire presented in its solo format after its recognition as a classical

dance form.

CONTENT

Epics and mythological stories have significant place in the repertoire of both

Bharatanatyam and Kuchipudi. Apart from Shiva and Krishna, Shiva‟s two sons, Ganapati and Kartikeya, are among the handful of divinities in the Pantheon who are

associated with dancing, though what they offer is of little consequence.


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LYRICS

Among our numerous composers of dance and music, blaze the names of Jayadeva, Tirtha Narayana, Kshetrayya, Muvvalur Sabhapati Iyer, Ghanam Sinayya, Ghanam

Krishna Iyer, Melattur Venkatrama Shastri, Ponnayya, Chinnayya, Shivanandam, Vadivelu and Svati Tirunal. But apart from these classical figures, mention may also be made of Vaidisvarankovil Subbarama Iyer, Chengalvaraya Shastri, Mysore

Sadasiva Rao, Kundrakkudi Krishna Iyer, Pallavi Seshayyar, Pattabhiramayya and Dharmapuri Subbayar.

The language of the lyrical text of the dance compositions are mainly in Telugu, Tamil and Sanskrit in Bharatanatyam and in Kuchipudi mostly they are in Telugu

with slokas and dance compositions like tarangam-s and ashtapadi-s in Sanskrit.

The background of traditions in both the dance forms indicate that the aspect of nrtta

differs in using the dance syllables, points to the aspect of nrtta

MUSIC

Though both the dance forms follow Carnatic style of music, the accompanying

instruments, particulary mridangam playing differs. In this context, mridangist, Raja Goplachary explains that in Bharatnatyam, cross rhythm is extensively used. That is,

in a given lyrical line of having 16 or 12 aksharas in each avrutam (time cycle), complex rhythmic beats are calculated and set in the tala. For instance in Jatisvaram, the dance execution is independent of svara pattern. Whereas in Kuchipudi, the body

movement synchronizes with the svara. Another feature is using cross-rhythm meaning nattuvanar and dancer follow one pattern of rhythm and mridangist plays opposite beat.

Similarly in Kuchipudi a word is sung in different rhythmic patterns (pancha jati) at the same time keeping the thematic mood of the character. For instance, in

Bhamakalapam, a word “emdu botive” (meaning where have you been?) is repeatedly sung in different rhythmic variations (changing from jAti into another) both for giving

varied expressions as well to exhibit the artistic ability of the character, in this case, Satyabhama, to express different moods while executing the foot work and body movement.i

TECHNIQUE

According to Chary, a lecturer in mridangam at Government College of Music and Dance, Hyderabad and accompanist in demand for Bharatanatyam and Kuchipudi performances, associating to accompany for one artistes (though not it is in practice

any more except few artistes who are having same group of musicians.) is advantageous compared to the prerecorded music. He explains, that, a better


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understanding establishes between the performer and accompanying musicians how and where their role of playing a musical bit is present. Particularly, for a mridangam player, understanding of the rhythmic variations helps in better synchronization in

the stage presentations. He quotes an incident where he worked with Dr. K. Uma Rama Rao, who choreographed more than one hundred dance-dramas on various

themes, he sat for sessions when Rao composed a jati-s in sapta-tala-s for “Dashavatara suladi” (See Appendix ) a lyrical content retrieved from the inscriptions carved on the walls of Tirupati Sri Venkateswara Swamy temple. She had to give the

content which was composed in one raga -mayamoula raga only to shape it to dance execution. This she had done by interspersing lyrical text with the theme on

dashavatara (ten incarnations of Lord Vishmu), with a jati. For every avatara she used different talas. So while composing jati-s she discussed suitability of a tala for the mood. But made changes often for better dance expression. Chary noted down the

jati , practiced and incorporated the rhythmic variations as per her visualization and conceptualiztion.(she had amazing capacity to visualize the dance movements during

the recording of the music itself and accordingly instructed musicians.) Sometime they had to adjust the jati and avrutam. So the coordination and understanding they developed over many years worked better between the set of musicians she had. For

instructing the musicians for dance music is also, the performing artistes or a teacher should be well-versed with the musical aspects.

B. REPERTOIRE

Bharatanatyam

Referred as margam, the sequence of dance compositions contain a variety of musical

genres to which the dancer performs. Of these, the padams, javali, ashtapadi-s and padavarnam-s have lyrical and musical significance. Padam-s and Javali-s are sung in

slow tempo and dance expression is abhinaya-based, Varnam-s are the tempo changes mid-way doubling up the speed. In slokas or verses, mostly in Sanskrit the music rendering is raga-based to suit the abhinaya aspect.

The pure dance numbers in Bharata natyam are Alarippu, Jatiswaram, Tillana and nritta passages in Shabdam, Varnam and Swarajai. The adavus are so woven in an

article manner forming the sequences of pure dance that they create fascinating patterns of great visual beauty.

Kuchipudi

One of the striking features of Kuchipudi today is its dual existence as a solo dance

and dance-drama (group) form. Contemporary Kuchipudi gurus and artistes are involved in both types, though the solo dance presentations by women artiste gained popularity . Prior to the twentieth century, it was purely a group dance-drama form

performed by groups. But often, in a dance-drama performance, a few solo items were


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interspersed. Furthermore the (group) dance-drama form had its structural linkages with some of the solo forms of the historical past.

As mentioned earlier about Kuchipudi dance form, it was originally a dance-drama tradition performed by only male artistes living in Kuchipudi village. These artistes belonging to families bearing 25 odd surnames carried the dance-drama tradition for

more than four centuries. They were known for presenting the popular dance-drama, Bhamakalapam, credited to the medieval saint-composer, Siddhedra Yogi, a medieval

saint-composer. He structured the dance-drama deriving technique from both marga and desi traditions based on vaishnava bhakti sentiment. The structure of Bhamakalapam which is different from the other dance-dramas like Yakshaganam,

will be briefly described.

In the previous chapter reference is made to the development of different schools in

each dance tradition referred as bani-s, paddhatis , gharana , melams and so on. These schools varied particularly in the methodology and the manner performing the

fundamental steps called adavus. In Bharatanatyam these schools have been associated with the names of the villages like Pandanallur school, Vazhuvur school, Tanjore school, Kalakshetra school and others. In Similarly in Kuchipudi, variations

can be noted in the execution of fundamental steps referred as adugulu depending on the style carried by artistes belonging to particular melam or group which was

referred by the group leader‟s family surname. For instance , there are Chinta vari melam, Bhagavatula, Vedantam, Vempati and others. As informed by an artiste belonging to the hereditary families of Kuchipudi tradition, the styles got established

if the teacher played only a male or female character or a sutradhara role throughout his artistic career. (he further explained saying he played only male characters like Hiranyakasipu, Siva or Banasura in the dance-drama tradition as his physique suited

to these roles which required vigorous body movement. On the other hand, Vedantam Satyanarayana Sarma who played only Satyabhama, the female protagonist role in the

popular dance-drama, Bhamakalapam and never played a male character barring few exceptions in his life time performing career. (FN) His specialization din this role got him many national and international awards. His enacting the various moods of

Satyabhama was so convincing that it was next to impossible to believe that the artiste was a man. He was never into teaching during his prime performing career and later

trained some select male dancers to perform this role with an objective to continue this practice of male performing a female character. (In 1960s, when my guru Smt. Sumathy Kaushal went to Kuchipudi village, she was trained in Bhamakalapam under

the expert guidance of Late Sri Chinta Krishnamurthy with Vedantam Satyanarayana Sarma demonstrating the technique.)

With this background on both the dance forms I proceed to present the

repertoire in Bharatanatyam and Kuchipudi.

The list does not refer to any innovations and changes made in the dance

compositions in recent times.

Dance compositions in the Repertoire


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BHARATANATYAM KUCHIPUDI

Adavus Adugulu

todaimangalam ambaparaku

alaripu Sabhavandanam (slokas & daruvu)

jatisvaram jatisvaram

sabdam sabdam

varnam varnam

javali javali

padam padam

tillana tillana

ashtapadi ashtapadi

keertana keertana

Folk (kurati) Folk (mokka jonna thotalo)

Snake dance (semi-classical) absent

absent daruvu

mangalam mangalam

The dance compositions and interpretations referred in the following text is based on the technique in which this researcher received training from Smt. Sumathy Kaushal

who followed the technique taught by Late Sri Vedantam Lakshminarayana Sastry and his son Late Sri Vedantam Jagannadha Sarma, Chinta Krishnamurthy specifically.

The initiation process is almost similar with some differences in Bharatanatyam and Kuchipudi. (BN and KP also refer to Bharatanatyam and Kuchipudi respectively)

This is described in the second chapter while referring to the traditional training followed by each dance form.


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Adavu : The technique in Bharatanatyam style is known as Adavu. There are about 9 main groups of adavu-s with each having variations hand, leg movement to the same phrase of syllables. They are listed as following:

FUNDAMENTAL FOOT-WORK

In the fundamental foot-work called adavu (in BN) and adavusamu (in KP) there are a

variety of movements practiced to the suitable syllables rendered. Thers is a difference in the rendering style. Chary explains that BN the rendering speed changes along with the feet movement which is termed technically as anulOma. Its

opposite way is vilOma where the vocal rendering is in one speed but the speed of the step changes. I take one step from each style to illustrate this point::

anulOma: Speed of vocal rendering is increased)

BN 1 R 2 L 3 jump on

heels

4 strike R

5 L 6 R 7 jump on

heels

8 strike

L

syllables ta ttai tA ha di ttai ta ha

I ta

1

ttai

2

ta

3

ha

4

di

5

ttai

6

Ta

7

ha

8

II tattai

12

tAha

34

dittai

12

tAha

34

tattai

12

tAha

34

dittai

12

tAha

34

III tattai

taha

1234

dittai

taha

1234

tattai

tAha

1234

dittai

tAha

1234

tattai

tAha

1234

dittai

taha

1234

tattai

taha

1234

dittai

taha

1234

vilOma:

Speed of rendering is constant and the step is executed in three speeds.


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KP 1

R

Bend & strike

2

L

Raise & keep

1 2 1 2 1 2

syllables

tAM tehi , tehi ta tA tehi , hi datta

I 1 2

II 1 2 1 2

III 1 2 1 2 1 2 1 2

FUNDAMENTAL FOOT-WORK

Bharatanatyam

In Bharatanatyam sollu changes for group (listed around 9 ) of steps each having

eight counts. They are listed as:

Classification of the Adavus:

1. Tattadavu- striking the floor with the sole.

2. Nattadavu- striking the floor with the heel.

3. Tatti Mettadavu- striking the floor with heel, while keeping the toes on the ground.

4. Mardita Adavu - to strafe or bruise the floor with the foot.

5. Sarika Adavu -to move without lifting the foot.

6. Kudittu Adavu -jumping with toes and then stamping with heels.

7. Khuttadavu - striking with the toes.

8. Sarukkal Adavu - movement which allows the foot to slip

9. Mandi Adavu -gives importance to the body resting on the heels.

10. Paiccal Adavu -is made up of leaps and jumps.


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11. Surradadavu - whirling.

12. Korvai Adavu - different variations are woven together.

13. Tirmana Adavu- is usually used for the finale of any part of the concert number.

Kuchipudi

Foot work is called aDavusAmu. This includes jaati-s, sapta-talas (detailed content is

given in sixth chapter) and fundamental foot work having a variety of movements such as swinging, swaying, jumping, sliding, jerking, off-beat stepping, alternating with even and odd beats and others. Some are grouped under a name and others are

referred by the phrases used. Mainly they are as follows:

paluguDu - foot work has variations of graceful body movements having swing, spring,

swaying, and jumping actions.

Cavakam- going in a circle

Katteranatu - the feet movement is scissor- like that is crossing the legs and striking feet

jAraDugu - sliding side ways or forward-backward

maMDekoppu -sitting and stretching leg

tOtumaMga - jumping

venakanATu -going backwards straight or diagnally

chuttaDavu - going in circle

Kuchipudi styles combines in it many basic units called adavusamu and adugulu (Kuchipudi) Karanas, Angaharas, Abhinaya, Mudras and many other units. The

adavus form the foundation stone on which the entire nritta rests. These basic steps when artistically and rhythmically woven form different sequences of pure dance called jati-s.

The training in both the dance forms form starts with the basic and fundamental steps to introduce the student to the rhythm patterns and body movements. Then jati-s

composed in different permutations and combinations set to talas and their variations are introduced. These jati-s which form the main component of nritta aspect are

incorporated in the dance compositions.


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A main difference in most of the dance-music compositions, the jatis or intricate patterns of foot-work are interwoven wherever appropriate. The conductor in Bharatanatyam is known as nattuvanar in Bharatanatyam and as sutradhar in

Kuchipudi dance-drama tradition and nattuvoju in solo format.respectively, will play the role of rendering the passages of jati-s. These jati-s are usually sung in

cross-rhythm.

In the musical pieces for dance, provision is always made for interpolations of jatis or

intricate pattern of footwork along with hand movements. The conductor will often interject passages of jatis which are in cross-rhythm. A regular feature of dance performances, cross-rhythms are devised in different times. If, for example, the

composition is in four-time measure, the nattuvanar may introduce a jati in three-time measure and then revert to the original four-time measure. He may again interpolate

another rhythm in different tempo in the course of the dance. Except for the tillana which is employed in both music and dance programmes, musical pieces designed for music performances do not incorporate passages of jatis.”[Marg:1982, p.17]

INVOCATION

Thodaimangalam (BN)

Thodaimangalam : In Bharatanatyam performance starts with thodaimangalam where a phrase comprising dance syllables is recited repeatedly till the dancer enters and executes the purification of executed in the beginning of a performance where

dancer

Ambaparaku (KP)-

Any Kuchipudi performance commences with a prayer to Saraswathi and Balatripurasundari, the deity worshipped in the Kuchipudi village where the

Kuchipudi dance tradition evolved and intensely practiced. The hereditary artistes begin any performance or rituals related to dance activity with this song. The unique

feature of this lyrical composition is rhthmic variations used in rendering both pallavai (starting line) and charanam (stanza) rendered changed from one rhythmic musical mode to another. For instance, the line “ambaparaku deviparaku mammelu

ma sharadamba paraku” starts in seven beats and changes to four or three and comes back to seven. (a notation of this song noting the rhythmic variations is provided in

the chapter-6)

This prayer song sets the aesthetic mood of the artistes as well draws the attention of

the audience.

Alaripu (BN)

Its a purely a nrtta-based opening piece. There is no lyrical text, expression or meaning to the rendering of the dance-music which contains only sound syllables


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like “tam dittam tai ditai” repeatedly in three speeds. The movements are equally distributed to the right and left side of the spatial movement. (Right and left concept FN). the dancer stands erect, and starts her movement first with eyes, followed by

neck, shoulder, arms and hands, then the torso, and legs and feet. The movement of the hands follows straight lines, semicircles, or angular. Dance scholars describe the

body movement as communicating, in the language of dance, its oneness with the cosmic force that surrounds it.

The concept of having body movements on both right and left sides is extensively applied in South Indian styles, either to balance the movement or to provide view to the audience sitting on both the sides of the stage.

In Kuchipudi, there is no equivalent of Alaripu. However a short composition made of dance syllables set in pancha jaati, (5 variations of rhythmic beats like 3, 4, 5,7, 9)

referred as tisra, chaturasra, khanda, mishra and sankeerna. The beauty of this presentation is that for each rhythmic pattern different objects of worship god are

brought on the stage such as: Kalash (a pot of water with a mango leaf to sprinkle water for purifying the stage, next follow incense, a lit lamp (deepam) arati, and flowers which are offered to the idol of god kept on the stage. This was in the earlier

dance-drama tradition. Presently in the solo format, an idol of Nataraja is kept as in Bharatanatyam. This is followed by an invocation composition or Sabhavandanam

where slokas and daruvu are included singing in praise of Lord Ganesha,Lord Rama, Lord Krishna and Siva

“In Indian dance, “ music is an integral part of dancing. Even in an absolute dance

like the Tandava, which is performed to the accompaniment of pure rhythmical sounds, the syllables are sung or sounded on rhythmical notes. Dance-Music, that is,

the musical compositions that are included in the repertoire are intended to provide three basic factors, musical aspect, the scope for rhythmic execution and the lyrical content. These differ from the compositions sung in a music concert. Here the musical

values do not carry same degree of importance as is the case in a musical performance. Exceptions can be a padam or a padavarnam where musical values are

highlighted.”(MaRG 1982:17)

In the dance compositions the dance syllables in the form of small phrases or

combination of syllables as jati are arranged and rendered for the entry and exit of the dancer, or they are interspersed in the lyrical text. these dance compositions are described in both the dance forms selecting those compositions that are performed in

both the dance forms but with a difference.

Kautvams (BN)

Kautvams have jatis and sahitya (lyrical text) interwoven and end with „kitataka diki tome‟ sollu. According to dance exponent Chitra Visveswaran, though both kautvams and sabdams are sung in praise of a deity, that is having a devotional theme called

„devathavishaya‟, kautvams do not contain the slightest hint of a prayer for benediction.


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In kautvams, pure nritta is executed as per the time-measure and nritya is performed with hand gestures and body movements. Kautvams are mostly performed in temples as an offering to the presiding deity there.

A variety of kautvams are presented in Bharatanatyam such as Natesha kautvam, and others. A rarely performed compositions is navasandhi kautvam. A note from

danseuse, Vyjayantimala, one of the pioneering Bharatanatyam exponent, mentions details on the nature of these compositions which I am presenting here as it is. (This is

the only text in English, rest being in Tamil).

“Navasandhi Nrityam is one of the forgotten forms of Bharata Natya. This is now

being revived. This was performed in the Temples in Sout India during the Annual Festivals. This is a ritual dance which is done as an offering to Deities. According to Tradition at the commencement of the annual festivals in temples the Deities ruling

the different directions have to be propitiated for their successful conduct of the festival. This is done during the flag hoisting ceremony and the flag with the emblem

of NANDI is hoisted and then the festival commences. The presiding Dieties of the various directions are Brahma in the Centre with Indra in charge of the East, Agni in charge of the South East, Yama for the South, Niruthi for the South West, Varuna for

West, Vayu for North West, Kubera for North and Esanya for North east. The Dance for each Deity is composed in a rare Thala and based on a particular combination

poses of and Nritta Hastas. It starts with a Jathi followed by the Sahitya which is in praise of the particular Diety. Appropriate Raga, Thala, vadya, Nritta hast and Jathis are used, on the occasion. In these dances one will find a few hastas and usage not

usually in vogue in the Bharata Natya as performed to day.

“It is said that Navasandhi music used to be sung about 200 years ago in the Temples

when it was a musical form. It was during the time of Tanjore Quartette, Ponniah, Chinniah, Sivanandam and Vadivelu and their father that Navasandhi was choreographed into dance form and the sons of the Tanjore Quartette Sabhapathi a nd

Mahadevan were performing this in Temples. As says passed by, this art was slowly forgotten and the practise of performing in temples was completely stopped.

The credit for having revived this dance form goes to Kittappa and Sivanandam., descendents of Tanjore quartette and sons of Vidwan Ponniah Pillai who was a great

scholar in music and dance. When veena vidwan K.P. Sivanandam sang it for me in 1955, I was convinced that there must be many forgotten dance forms like Navasandhi Nrityam. Gurus Kittappa, Sivanandam & myself worked together and

both Navasandhi and Panchamurthi Kauthuvam were written and choreographed. Panchamurthi Kauthuvam is another important kavuthuvam dedicated to five

important Dieties, Vinayaka, Subramania, Sambandar, Chandikeswarar and Nataraja. Pancha Murthi kauthuvams are sung when the Deity Lord Nataraja is taken in procession on Thiruvathurai day. This is sung in five ragas by Nattuvanars.”

(Vyjayanthimala 1964:ix-x) i

In Kuchipudi one observes only Ganapati kautvam being performed. Reason could be that Kautvams belonged to the ritual worship in temples in Aradhana Nrityam tradition which belonged to nattuvamelam. In the earlier dance-drama tradition, entry


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of Ganesh at the beginning of the performance is made for the song composition of „Tandava nritya kari gajanana‟ or Vinayaka Kautvaam (also called Ganapati kautvam). In the decades after its recognition as a classical dance form Kuchipudi presentations

included this kautvam which was suitable for the execution of dancers under 12 or 10 years age group. Some senior Kuchipudi gurus replaced the Tamil lyrical text with

Telugu sentences. The technique too differed in both styles.

In kautvams, pure nritta is executed as per the time-measure and nritya is performed

with hand gestures and body movements. Kautvams are mostly performed in temples as an offering to the presiding deity there. Sabdams are presented in kelika performances presented in royal courts albeit the themes are devotional.

Jatisvaram

The Jatisvaram, (also written as jathiswaram or jathisvaram, jatisvaram) comes next

after a kautvam or invocation dance. It takes the second place in the order of repertoire. It is an abstract dance having no song, no variations in the expression and except maintaining a pleasant smile all through the dance execution. r meaning. After

starting with the musical notes in the set raga and tala, a short jati is executed and then followed by various dance movements executed to the variations of the musical

notes. The dance movements follow synchronising with the rhythm of the lines and in harmony with melodic mood. The dance movements are composed of fundamental steps or adavus formed into a paragraph kind of jati. Each jati ends with a teermanam

or a rhythmic pattern repeated thrice.

(BN)

In Bharatanayam, the Jatisvaram has one jati, just to introduce the execution to the dance syllables recited. It involves fast movements but punctuated throughout with

pauses or dancer moving forward or backward for the front line. After repeating the first line for two three paragraphs or koruvai, composition of music notes changes and

are presented in small paragraphs ending with a teermanam. Besides having jathis that are artistically combined with svara compositions, the dancer executes a sequence of adavus in dufferent nadai (meaning rhthmic variations called panchajait. Various

angaharas, adavus, charis, karanas are incorporated too.

(KP)

In Kuchipudi, the sequence is different. Starting with a jati which can be in three speeds or trikala jati ,the term used for such jati compositions and the pallavai or the

first line is repeated alternating with a jati. Beginning with a short jati, more complex and lengthy ones get incorporated which in the end alternated with svara

patters in the same raga or in different ragas. A popular jatisvaram is in Athana raga set to Adi tala. In this way jatisvaram in Kuchipudi differs from that of Bharatanatyam by including more jati-s in between the svara patterns.


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The rendering of jati-s give the flavor of the Kuchipudi nrtta aspect. There are some variations in rendering the musical svaras and jati-s where a jati is rendered simultaneously along with the first line. This style of singing is a special feature to

Kuchipudi technique. But a perfect synchronization of the nattuvangam player and the vocalist is required in this rendering.

Vatsyayan summarises the structure and content of Jatisvara thus:

“The jatisvara, the next piece, is the first musical composition in music; it follows the rules of the svarajati in musical structure and consists of three movements, the

pallavi, the anupallavi and carnam. It is distinguished from the musical compositions called the gita on the one hand and the varnam on the other by having

no sahitya (sung words of poem) passages in it. The solfa passages are all important and the composition is set to any of the five jatis (time units) of the metrical cycle patterns (tala) of Karnatic music, i.e., 3,4,5,7,9. The basic metrical cycle which guides

the music guides the dancer; to the repetition of the sung melody the dancer weaves different types of rhythmic patterns in terms of the primary units of the dance (the

adavus). The entire koreivangal (dance cadence of jatisvara) is based on this principle of the constant repetition of the svaras (notes) of the melody in a given metrical cycle (tala) to which the dancer weaves a variety of dance patterns. Thus, what is pure svara

(note) in music becomes pure dance cadence (nrtta) in dancing. The dancer and the musician may begin together on the first note of the melody and synchronize to arrive back on the first beat of the meterical cycle, or the danccer may begin the dancce

pattern on the third beat instead at the beginning of the melodic phrase and may yet synchronize with the end of the melodic line. The variety of permutations and

combinations within these self- imposed limitations is infinite, and the more dexterous the dancer the greaater is the complexity of patterns which are woven. However, nowhere is the basic raga (melody) ignored and it is seldom that the characteristic

adavu patterns of rhythm of one jatisvara can be transferred to a different jatisvara in the same tala.” (Vatsyayan : 337)

Svarajati

Svarajathi is another nritta-based composition where beautifully woven svara passages are inter-woven with lyrical text or sahitya for which abhinaya can be

performed. Due to the inclusion of sahitya it belongs, to nritya category introducing abhinaya, though in simple and without any improvisations. Nritta consists of adavus,

angaharas. Some of the composers of svarajathis are Swati Tirunal, Tanjore Quartette, Dandaydhapani Pillai and others have composed swarajathis. The structure of swarajathis is tala-based, with sollu-kattu or nemonics forming the main

body.


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These jathis are recited by nattuvanar while vocalist sings song. One needs to point out one similarity here with Kuchipudi that is the vocalist sings Tiruppugazh while the dancer performs Alaripu and the nattuvanar recites the jathis.

Sabdam-s

(BN)

Sabdam is a form of dance in Bharatanatyam and Kuchipudi and belongs to the nritya

category wherein abhinaya supersede nritta.. Sabda is a Sanskrit term meaning words of praise of a deity. It means a song in praise of the glory of a deity, a Lord or a King.

A very important and notable feature of sabdam-s is that in the lyrical song structure, the first line is not repeated after stanzas as is the case with most of the other lyrical songs.

In Bharatanatyam, Sabdam are written mainly in two languages -Tamil and Telugu. They are sung in raga malika set to Adi, Chapu or Rupaka tala. The sollukattu is

interspersed between the sahitya lines or stanzas. A common sabdam that is taught in both private and academic institutes is “sarasi jakshulu jalaka made” . A simple

interpretation is taught introducing nritya aspect. However there are presentations where the dancers expand a line or two where there is scope for dramatization. The song also is sung in ragamalika. The lyrics are well documented with some variations

in the lyrical words. i

In Sabdam nritta is presented for the dance syllables that intersperse the lyrical lines.

portion. There are varieties of sabdams known as Krishna Sabdam, Dasavatara sabdam, Prahlada Pattbvhisheka Sabdam, Manduka Sabdam and others.

Sabdams are also presented in Bhagavata Mela Natakas. In Kuchipudi dance, a wide variety of sabdams are presented, Bharatam Kasinaayya, Melattur benkataramasastri, Koti Reddy and others have composed numerous beautiful sabdam-s intended for

presentation in Bhagavata Mela Nataka and Kuchipudi.

TABLE SHOWING DIFFERENCE IN STRUCTURE AND CONTENT OF

SABDAM-S PERFORMED IN KUCHIPUDI AND BHARATANATYAM

S.No ASPECT KUCHIPUDI BHARATANATYAM

1 Classification Devotional, royal &

historical

No classification

2 Music Carnatic Carnatic

3 Raga-s Mostly Mohana & Kambhoji

Set to various raga-s

4 Tala-s (Rhythmic cycle) Mostly Adi, Misrachapu Misrachapu and Adi


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4 Number oF sabdam-s located

Approximately 50 to 60 More than one hundred

5 Language Telugu Telugu and Tamil

6 Dance technique Combination of nritta, nritya and natya aspects

with more desi flavour.

Nritta is less. Nritya and abhinaya are introduced in

this song using marga technique more than desi

7 Place in repertoire No order Third in the order of performances

8 Themes Devotional, in praise of kings, and historical

Devotional themes are performed.

9 Dramatization Incorporated frequently to interpret the lyrical lines

Limited. Mime is incorporated to interpret

any expansion of the theme.

10 Number of sabdam-s

included in a performance

More than one One only

11 Use of dance syllables (Jati)Beginning

With a jati varying from 4 to 8 lines

With a short jati

12 Jatis in between lyrical texts

Extensively used to interpret the mood of the

song

No jati-s in between the lyrical lines. Jati-s are

incorporated after a stanza is completed

13 Presentation in the performances

Still presented Less presented except in debut performances and practical examinations of

academic courses

14 Popularity Still popular Not as popular as

Kuchipudi sabdam-s

15 Word play Extensive Not done

16 Style of presentation Narrative Interpretative

17 Academic Included even at higher levels of learning

Included in the second year syllabus of any course.

SOURCE : PROJECT REPORT FOR SENIOR FELLOSHIP SUBMITTED BY

ME IN 2008 TO MINISTRY OF CULTURE, GOVT OF INDIA (Later published as a book in 2012)

Sabdams are presented in kelika performances presented in royal courts albeit the themes are devotional.


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Note: Though both kautvams and sabdams have narrative content, in kautvams the lyrics are in praise of a deity only, whereas in sabdams, the text is written both in praise of a deity or a king.

Another difference between kautvams and sabdams, is their presentation technique. In sabdams nritta is used for executing mridangam syllables, and for sahitya (lyrics)

meaningful interpretation with expressional movements is executed. In kautvams, the starting jati-s sound different from sabdams. In the latter the length of jatis

incorporated in the beginning and at the end are longer than the ones used in kautvams. In addition the lyrical content in sabdams have more scope for expression and interpretation through hand gestures and body movements, that is nritya aspect

and for dramatization of a theme.

In kautvams, the starting jati-s sound different from sabdams. In the latter the length

of jatis incorporated in the beginning and at the end arE longer than the ones used in kautvams. In addition the lyrical content in sabdams have more scope for expression

and interpretation through hand gestures and body movements, that is nritya aspect and for dramatization of a theme.

Varnam

The structure and content of varnam as described by dance historian and scholar, Kapila Vatsyayan, is given below;

(BN)

“Varnam presented in Bharatanatyam is padavarnam which is the most intricate and

complex item. The learning and mastering of this item reveals the artistic skill, genius and knowledge of the performer. The term „varna‟ means description or varna. Pada varna forms a major brand of varma. The other being Tana varna. Pada varna is also

known as choukka varna and Atta varna. In this, the dancer becomes very intimate and personal and tries to identify herself with the dance. This belongs to Nritya

category giving equal importance to nritta and nritya. After the presentation of pure Nritta items, she enters the Nritya category with sabdam but only with the presentation of varna, this reaches perfection. Herein she presents the fundamental

adavus, angaha ras, jathis and technical niceties of Bharatanatya she improvises on abhinaya exhibiting her full talent and originality in this aspect. By studying varna

and presenting it before the elite audience, the dancer enters a difficult phase. But this item enables the dancer to exhibit her virtuosity in the various aspects of Nritta, Nritya and Natya. Varna offers full scope for the dancer to perform abhinaya in an

exhaustive manner.

The literary and musical beauty of varnam is superb and highly classical. The sections

are divided into groups. The first section or pallavi describes the beauty of the Lord, while the second section or anupallavi deals with the sufferings of Nayika and her

earnest desire to unite with the Lord. In the Chittasvara sahitya, the Nayika„s request


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to Lord to save her from the agony of separation is described. In the charanam Nayika asks her sakhi to go to the Lord and fetch Him to her immediately. The etthukada charana svaras describe the joyous moments, she had spent with her lord and sweet

dreams and fond remembrances she had in his company. The underlying predominent theme is sringara bhakthi and the various aspects of Nayaka-Nayika bhava is

expressed with imaginative detail. For the proper and full exposition of varna, it requires nearly 45 to 60 minutes duration. The artistic skill and talent of the dancer, nattuvanar, mridangist as well as the singer is revealed in its full form only in the

Varnam.

In a varna consisting of the angas pallavi, Anupallavai, Chittasvaram, Charana and

Charanasvara, each anga is preceded by beautifully choreographed jathis. It is in this item that the dancer presents complicated adavus and tirmanas. For each anga, she

performs abhinaya in all possible bhavas and sanchari bhavas. Each section of the varnam rises like a tier upon tier pattern like a highly decorated Gupura.

In the varnam, the jathis recited by nattuvanar played by the mridangist and danced by the dancer though different will be having a unison and intimacy so that together they create a harmonic effect.

Pada varnas are usually set in auspicious ragas having the ability to create musical atmosphere. Some of the prominent ragas suitable for varnam are Kalyani, Thodi,

Sankarabharanam, Anandabhairavi, Purvikalyani, Khamas, Saurashtra, Vachaspathi, dharmavathi, Shanmukhapriya, Bhairavi, Saveri etx. Since pada varnams are presented in vilambitalaya suitable to varnam, talas like Adi, Chappu or Rupaka in

choka nadaka are selected. Mahraja Swathi Tirunal has enriched this field of musical form composition many pada varnas. In addition Vadivelu, Ponnnayya Pillai,

Papanasam Sivan, Dandayudhapani Pillai, Ramaiah Pillai and many others have added to the rich repertoire by composition innumerable pada varnas.(Vatsyayan 120-121)

A popular varnam in Bharatanatyam repertoire is padavarnam in Shankarabharanam raga and Adi talam: starting with a trikala jati, the lyrical lines are interspersed with

jati-s ending with a teermanam and the next line starts where the dancer executes a complex rhythmic foot work while the two tamrachuda hands are locked raised above

the head for the line coming next. Both the foot movement and the line end on completing the tala cycle. This movement needs mastering of the technique and testing piece for student‟s proficiency. The learned audience too enjoy the perfect

synchronization of the singer, mridangist and dancer. This is referred as ardI. (this term used in Kuchipudi for different foot work.)

Varnam: Shankarabharanam ragam and Adi talam:

Jati

Manavi cEkOnaradA aa.. cakkani sAmi nA


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Jati

mamatA mIri yunnAnurA

Jati

vinarA srI tandhyA puri nI velayU mA brihadIshA …

Jati

Ninu nera nammi nAnurA nikkamugA madilO

(KP) Varnam

The varnam-s are rarely executed in the present Kuchipudi repertoire. In place

sabdams like Ramayana Sabdam, Prahlada sabdam or a Tyagaraja or Annamacharya keertana are performed in similar format including jatis inbetween the stanzas.

The following varnam in thODi rAga and rUpaka tala is taught to me while preparing for certificate course in Kuchipudi dance in early 1970s. Unfortunately I do not have

any notes for guidance to teach the same. However, after locating the lyrical content given by C.R.Acharya, in his book on temple-ritual dances. (Acharya 1969) and recollecting the dance sequence and execution, this varnam was taught to my student

who performed in a programme at National Centre for Performing Arts (NCPA) Mumbai in 1997. The whole process of retrieving the lyrics, reviving the dance

execution no doubt took some time but the experience was rewarding.

dAnikE tagu jANArA nIvu

tAku dhaNaku jhaMtA

kiTataka tadi tadi tadi tadi

tadI kuMdaku tOM

dhaNaku kiNaku jhaMta

kiTataka tadi tadi tadi tadi

tadI kuMdaku tOM


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tAku dhaNaku jhaMta tajhaMtari

dhaNaku kiNaku jhaMta tajhaMtari

tAku dhaNaku jhaM

dhaNaku kiNaku jhaM

tAku dhaNaku dhaNaku kiNaku }

tattattOM kiTataka tarikiTatOM } (3) (dAnikE)

Here after executing various body movements with rhythmic foot work, the dancer

executes an elaborate abhinaya for “dAnikE tagu jANarA”. The song continues alternating with swara and sahitya but no more jati-s are included.

anupallavi: kAmuni kELi kainA bhAmanu cEra rAveLa

Here execution of a variety of steps in the double the speed of earlier musical

rendering is done for the lyrical line.

Then follow svaras and sahityas alternately.

In folk or semi-classical dance forms too, the dance syllables are used. These dance

jati-s are used for the dancer to enter the stage and in between the stanzas. They provide a rhythmic continuity.

(BN)

In Bhratanatyam, kurati, a gypsy dance uses the dance syllables like tAm tAm dhiM

tarikiTataka, dhIM dhIM dhiMtarikiTaka and end with a teermanam.

Kurati

tAM tAm dim tarikiTataka tAM tadhiM tadhiM takita

diruguDu toM ta diruguDu toM tai diruguDu toM (teermanam)

engalnAdu malai nAdu soLLakElame

adi ingidamai

(KP)

In Kuchipudi a popular song is „Mokkajonna tOTalO‟. In this, the jati is as follows:


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diMta nagina diMta nagina diM diM taka

diMtaka diMtaka (2)

diMtaka diMtaka (4) diM diM diM diM

diM diM diM diM (2)

dhiMtaka dhiMtaka tA

dhiMtaka dhiMtaka tai

dhiMtaka dhiMtaka tA

Mokkajonna tOTalO

Musirina cIka/tlalO maMche kADa kalusukO maruvaku mamayya


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CHAPTER-VI

DANCE SYLLABLES IN KUCHIPUDI DANCE

TECHNIQUE


134

CHAPTER-VI

DANCE SYLLABLES IN KUCHIPUDI DANCE TECHNIQUE

SECTION A : FEATURES AND NOTATION

SECTION B: REPERTOIRE (DANCE-DRAMA AND SOLO)

A. DANCE SYLLABLES IN KUCHIPUDI ; FEATURES AND NOTATION

Kuchipudi got recognized as a one of the classical dance forms in the late 1950s after

going through some changes in its structure and content for instance, in the proportion of nritta aspect used in the both dance-drama and solo presentations which are

presently practiced. Thus Kuchipudi retained its roots in the Sanskrit theatre too. The dance compositions in the solo format include more nritta aspect in varied proportions. In Dance-drama nritta is incorporated for entry of a character; in between stanzas in

dance compositions called daruvus which form the structure of dance-drama lyrical text. The solo compositions are also performed between the scenes to either break the

monotony or keep up the interest of the audience.

Kuchipudi dance-drama tradition went through a process of changes to stylizing, and

standardizing the already structured dance technique to achieve classicism and evolve a solo format in the second half of the twentieth century. For instance, the thematic content excluding dialogues or speech( vachikam) in Telugu, for the benefit of

non-Telugu practitioners and for keeping the audience interest in the dance aspect only.

This chapter discusses the classical nature in respect to the proportion of nritta aspect in the structure and content of Kuchipudi repertoire both in its original dance-drama

tradition as well in the solo format that gained popularity after it gained the classical status. The presentations, while retaining its roots in the Sanskrit theatre, either incorporated some new elements or eliminated some other to stylize, standardize

the already structured dance technique to achieve classicism to suit the solo format that evolved in the second half of the twentieth century.


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In Dance-drama and Solo format

Two dance-drama traditions called kalapams, known as Bhamakalapam and Gollakalapam earned important place in the Kuchipudi repertoire as they included intricate dance technique. Their presentations start with a prelude referred as

purvarangam as mentioned in the Natyasastra followed by a variety of lyrical compositions like daruvu-s, ragada, elalu, churnika, seesam, padyam and gadyam in

Telugu, the language of Andhra region using different rhythmic meters and tala patterns to suit the thematic content. Here again, the solo dance compositions like jatiswaram, varnam, sabdam, padam, javali, keertana, tarangam, tillana are

presented interspersed in the thematic content to keep up audience as well to break the monotony of the thematic presentation.

Though some similarities exist with other neighbouring dance forms, Kuchipudi dance technique has some distinct qualities. A Kuchipudi dancer is required to learn

the aspects of angikabhinayam or the basic body-movements used in the nritta that is used in the structure of various dance compositions performed in Kuchipudi repertoire. Besides getting trained in angikabhinaya, a Kuchipudi dancer needs to learn the

rendering of sollu or jatikattu too. This is necessary as traditionally a dancer sang while executing the movements. A special and unique feature of Kuchipudi dance

tradition. In solo format, with more nritta aspect included, the vigorous movements are not conducive to sing simultaneously, but the performer gives lip movement. Which is strictly not followed in Bharatanatyam.

This tradition prompted the artistes to learn the variations of dance syllable formations and their rendering style. This facilitates the dancer to execute complex rhythmic foot

work accompanying a lyrical structure with ease. The knowledge of music is advantageous. Another feature that highlights the unique character is that jati-s in some contexts are rendered in tune with the raga of the song to set the mood of the

character entering the stage or while dramatization.

The tala of the jati and the song in which the jati-s are placed need not be in same tala

but to denote changes from rhythm to another a teermanam is used.

Keeping in view this requirement the description of dance syllables in Kuchipudi

dance are given step-wise as follows:

DANCE SYLLABLES : Formation, Arrangement, Rendering style and Place in

repertoire.

The syllables can be compared to the letters or alphabets of a language when joined

are combined to make a word, sentence, paragraph with a full stop and finally an essay.

Formation:


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The dance syllables are formed as:

The alphabets

Word formation

Phrases and variations

Sentences or ardI-s

Jati or teerikalu

tIrmanaM-s - ending or concluding jati-s which are repeated thrice

Features

In the fourth chapter it has been shown how the dance syllables or alphabets chosen in a dance form and their rendering pattern differ from one dance to another. The

dance syllables include letters like tha, thai, jhem, ginatome, dha, dhin and so on in various dance forms but each dance form emphasized on certain letters or alphabets

attributing an identity to the dance form.

One can notice an extensive use of only a few letters from this set of letters in each

Indian classical dance form (similar to the number of alphabets in Indian languages). Again the sounds produced differ from north to south Indian dance styles. This narrative style also represents the identity of a dance technique used in a particular

dance style. For instance, in both Bharatanatyam and Kuchipudi some sounds like tajhem, tadiginatome can be used.

In this chapter, an attempt is made to highlight the unique character of the dance syllables used in a Kuchipudi dance form, taking into consideration the nature and use of dance syllables both in dance-drama and solo format.

A senior Kuchipudi artiste who belonged to one of the hereditary families, Late Vedantam Parvateesham had made a significant contribution to documenting the

dance technique and place of syllables in the fundamental foot-work and in various dance compositions. Its a unique work in providing the nritta aspect and thus differs

from the other books on Kuchipudi dance form. As the book is in Telugu, the content remained to Telugu-speaking readership and unknown to others. Out of 7 books published, each book has highlighted both dance-drama lyrical texts and solo format.

The translation and transliteration was done with an objective to reach wider readership.

Another contributing artiste in providing details on nritta aspect is Hemadri Chidambara Deekshitulu. The following details on the dance syllables used and

applied in Kuchipudi dance are excerpts from mainly these two books.


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Formation

Hemadri provides the list of alphabets that form dance syllables in nritta aspect of any

dance form. The unique identity is acquired by using only a few alphabets from this set of letters in each India classcial dance form (as is the case with any regional languages in India

Arrangement

Hemadri, explains the single units or alphabets of dance syllables in the following

sloka:

“Tala sabdena jatashthu panchatrim shati varnakah,

Tata todhai dadhi dhu dhe da di do de gha ghe

Na ne ka ki gu ge ri ru ra re vi lu ve la ma

Yu ya la ha havamuswara yuktamchab

Bharata scheti lakshanam”

(Source of this sloka not given)

He says, the dance syllables that form the nritta aspect of the dance technique used in a dance form consist of thirty-five letters such as:

-tha, ta, tO, thai, da, di du de, da di dhu de jha, jhe, na, ne, ka, gi, gu, ge, re, ru, ra,

ree, vi, lU, ve, lA, ma, yU, ya, la, ha, hum and nu.

त ट त , त ,द, द, द , द , , , द , , झ, झ , ण, ण , क, , , , , , , , , , ,

, म, , , ळ, ह, म,

These units of the dance syllables synchronize with the accompanying music,

There are thirty-five letters that form the dance syllables in the nritta aspect of

dance technique.

In the following text, the use of these units is described and analysed to highlight the

unique characteristic feature of dance syllables used in the nritta aspect of

Kuchipudi.


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They are used in permutations and combinations and rendered in extended form

of vowels like „aa‟, „ee‟ etc.

One word Two-words tIrmAnaM

1 taamta 1 tataku- dinnatta tadhIMgiNata (repeat 3 times)

2 takiTa 2 tahadhaNata- tAM tAdhItatai (repeat 3 times)

3 takadiki 3 tattai- tatatAM kiTataka taikiTa (repeat 3 times)

4 tatajhaNu 4 tAMgu-takadiki tarikiTa takatai (repeat 3 times)

5 kiTatongiTa 5 tAkiTataka-tarikiTataka tarikiTa takatAM (repeat 3 times)

6 dhikiTa 6 tarikiTa-takatai kiTataka-tarikiTatak (repeat 3 times)

7 tAMtajhanU 7 tAtai-tatai

8 tAdInA 8 dhItata-jhaNu

9 takadina 9 tatta-dRuguDu

10 tAMtatOM 10 jhaM-jhaM

11 tArI 11 taddhi-tAhata

12 taritaka 12 tehi-dattatAM

13 tAkita 13 dhIM -dhikkiTataka

14 jhEkiTa 14 tAttakajheNu

15 tAtaitA 15 takiTa-tAM

16 teyitta 16 dhItata-jhaNU

17 takkiNAMgu 17 dhaNa-dhaNata


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18 kiTadhA 18 tAttakajheNu

19 tattahita 19 dA-Di-gI-NA-tA

20 tarrAMta 20 takTa-tAM

21 tAdhIMda 21 tAMgu-NAM

22 doddo 22 dhIkuNAMgu-taka

23 dhIMdA 23 dhIMda-diMdhI

24 dodoho 24 toMga-toMtoMga

25 tuMga 25 dhIM-dhIM

26 toMtoMga 26 takatOM-dikatOM

27 tadhaNata 27 tadhikkattO

28 kiTatA 28 tO-dhikkitaka

29 taitA 29 dhittA-dimita

30 dhAkiTa 30 tA-dhaNA

31 tAjhaNUta 31 tajhE-tarE

32 takiTatai 32 takiTa tai/dhikiTa tai


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A combination of words in a flow or different formations like repetition of words,

rhyming word-play, tongue-twisting, emphasized, increase-decreasing order,

rhythm-play, ascending-descending order, variations, in three speeds, and

teermanam.

A select words and phrases are presented below. The rendering is illustrated in

the audio-recording (rendered by this researcher) given in appendix (????)

PHRASES

1 tAMtaita tAMtakITa

2 kiTatoMgiTa-kiTataka

3 tattaiyita-kiTataka

4 tAMta-jhaNUta

5 takadiki-tatajhaNu

6 takajheNu-dhimitaka-jhaNUtaka

7 tAkiTa-jhEkiTa-tatakiTa-jhEkiTa

8 taddhitata jhaNU tAMta

9 dhittata jhaNu tAMta

10 tatajhaNutAMta

11 kiTataka tA tA-kiTataka tai tA

12 kiTadhAkiTa-kiTataka

13 takkiNAMgu-tarita

14 tattai-taikiTa kiTatakatA

15 tAkiTa jhEkiTa-tA tatOM


141

16 tAkiTa jhEM tAtai

17 tAtai tA-tattai-tA

18 tAkiTa kiTataka-degadega-taLaMgutOM

PHRASES -VARIATIONS

FLOW

tAkiTAkiTa-kiTataka tarikiTa

takkiNa naga-takuMgari kiNanaga

toMgiTakiTa-toMgiTataka

tAkiTataka-takajhaNutAM

DA gadi gadi-tatta gadi jaga

tAkiTataka-takajhaNutAM

dhAkita dhA-kiTatai-kiTatai

tAkiTataka -Dega jhaNUtAM

tAM kiTataka-tattatai

WORDS REPEATED

takkiTakiTa-takakiTa kiTataka

taridirikiTa-tAkiTa taka tarikiTataka


142

tadhimitatA-tadhimita tadhimitatA

tAtai tAtaitA

taLaMgutOM-taLaMgu taLaMgu tOM

toMgiTa -toMgita kiTataka

diri diri tarikiTa-tarikiTa

tAkiTA tAkiTa takatai

takiTa takiTa dhIMtA

tOdigidAM tO digi daM daMdAM

daM daM- daM daM-daM dAM

diM diM- diM diM-diM dIM

RHYMING

tAMta teyita-tAMta jheNuta

jheMtaka-naMtaka-ruMtaka

tA-dI-nA-dInA

dhIM dikitaka doddo dIMdA

dhIM dAkiTa doddo dIMdA

WORD-PLAY


143

taga} NagaNa naga naga nagaNa naga naga

taga naga naga -naga naga naga naga

tagaM nagaM DegaM jagaM

taga)nagaNa naga naga

TONGUE- TWISTING

tAkiTa tAkiTa taka tai

tatakiTa taka-tAkiTa tai

kiTataka takatarikiTataka tA

tAdRuguDujaM-nagajaM-tadhimita tA fast in speec 3

EMPHASIZED

tatta kiTataka-tattakiTatai

jagajagaNaku-jakaku nakaku

taLaMgu dhinnnatta-taLAMgu dhinnatta

taddhimmi-taddhimmi tAM

tAku dhinnatta-tAku dhinnatta

~dhIM ~dhIM ~dhinnakiTataka dhIM


144

diddi dinakiTa

diddinakiTa dittA

INCREASE-DECREASE OF

SYLLABLES

tAkiTa takajhaNutAM decrease

kiTa takajhaNtAM

tAkiTataka Dega jhaNUtAM decrease

kiTataka Dega jhanutAM

taddhitAMguDutaka-tarikiTataka

dhittAMguDu taka tarikiTataka

kiTataka taditiNata

taka tadigiNata

tadigiNata

giNata


145

kiTataka tadigiNata speed 3

taka tadigiNata in panchajati

tadigiNata

digiNata

giNata

RHYTHM PLAY

tA-dI-nA-dInA tA-dIM-dI-nA

taka-dInA-dI-nA/taka dIM-dI-nA

ASCENDING-DESCENDING

tAkiTataka-Dega Dega-taLaMgutOM ascending

tatakiTataka Dega Dega-taLaMgutOM descending

tAkattO diMda diMda dhI tO dikkitakka ascending

tadikattO diMda diMda dhI tO dikkitakka descending


146

~tai ~tai, tajhEku tarEkuta tarEku

dhaNEkuta variety

takiTa- dikiTa toMgiTa naMgiTa

tA-kA-jhE-Nu-tA-jhE-NU in 3 speeds

ta.ka.jhe.Nu. tajheNu

takajheNu-tajhaNU

tA dinna takadinna ttOM- tata dinna directions

TEERMANAM-S

tari diri kiTataka 3 times 4 counts caturasra

tarikiTatOM 3 times 3 counts tisra

tatakiTataka taitA 3 times 7 counts mishra


147

taLaMgu tattakiTataka-dadigiNatOM 3 times 9 counts sankeerna

taLaMgu takadina-taLAMgu tOM 3 times 4 counts chaturasra

kiTataka tarikiTataka-tarikiTataka dhIMtA 3 times 5 counts khanda

taLaMgu dinnatta-taLaMgu dhinnattAM 3 times 5 counts khanda

taddhitajheM tadigiNata

ddhitajheM tadigiNata

tajheM tadiginata

taddhitajheM-takatadigiNata

ddhitajheM taka tadigiNata

ddhitajheM taka tadigiNata

taddhitajheM-takadiku tadigiNata

ddhitajheM -takadiku tadigiNata

ddhitajheM-takadiku tadigiNata

diddi dinakiTa

diddinakiTa dittA


148

Characteristic features of Sapta tala-s

1 name of the tala

dhRuva maThya rUpaka jhaMpe tripuTa aTa Eka

2 day of the week

sunday Monday Tuesday Wednesdya Thursday Friday Saturday

3 Birth star puShyami astami makha puShyami Arudra hasta swAti

4 colour fair green red green fair/white delicate body black

5 physical features

big eyes hugh body coquoid lotus eyes green eyes

beautiful red eyes

6 ornaments pearl

necklace various

red

garlands

pearl

necklace flowers pearl garland

red flower

garland

7 dress

colour white dress red dress

white

dress green silk dress silk dress

quality silk

dress

8

name of

the rishi who

composed it

shAMDilya bhAradvAj vasiShTa jamadagni kashyapa vaShiShTa

9 type of

rasa shriMgAra veera karuna hasya bhIbatsa

10 chandassu shca bRuhati paMkti supratiShTa sRuShTi quality

alphabets

11 deity brahma maheswari parvati maisha koumari mRugALini/p

Arvati saraswati


149

12 resident jaMbu

dveepam

pakSha

dveepam shAlmalI kush krounca kashyapasca shaMba

13 division

of tala

laghuvu,

dhRutaM, 2 laghuvu

laghu,

dhRutam, laghu

dhRutam,

laghu

laghu,

aradhRuta, dhRuta

laghu, 2

dhRutam

2 laghu, 2

dhRutam one laghu

14 no. of

aksharas 14 10 6 10 7 12 4

The simple are again arranged in a required order matching to the set

time-measure or tala following the Carnatic music system.

Symbols for angas or parts of talas

1 anudhrutam U 1

2 dhrutam O 2

3 dhRutavirama

m UO 3

4 laghuvu I 4

5 laghu viramam

UI 5

6 laghu dhrutam OI 6

7 laghudhRuta viramam

UOI 7

8 guruvu S 8

9 guruvu

viramam US 9


150

10 gurudhRutam OS 10

11 gurudhruta viramam

UOS 11

12 phlutam 3 12

13 phlutavirama

m U3 13

14 phlutadhrutam O3 14

15 phluta

viramam UO3 15

16 kaakapadam 0 16

A brief introduction to tala-division and rhythmic variations are as follows:

The Sanskrit sloka explains the order of the seven tala-s namely: dhruva, mathya, rupaka, jhampe, triputa , ata, and eka.

dhRuvamaThyA rUpakascha ! jhampE tripuTa Evaca

aTatALEka tALEca ! saptatALa prakIrti tA:

1 dhRuva ankshara-14 anga-4

1-0-1-1 one akshara for one finger count

ta ka jhe Nu ta ka ta dhi mi ta ki Ta ta ka

1 2 3 4 1 2 1 2 3 4 1 2 3 4


151

2 maThya akshara-10 anga-3

1-0-1 one akshara for one count

ta ka di na ta ka ta ka di na

1 2 3 4 1 2 1 2 3 4

3 rupaka akshara-6 anga-2

0-1 ( 2-4 ) one akshara for one count

ta ka jem Nu ta ka

1 2 1 2 3 4


152

4 jhumpe akshara 10 anga-3

1-U-0 (7-1-2)one akshara for one count

ta ki Ta ta ka jhe Nu ta ka tai

1 2 3 4 5 6 7 1 1 2

5 tripuTa akshara-7 anga 3

1-0-0 (3-2-2) , dhimi taka jheN

U

tA , dhimi taka taka dhimi taka jhen

u

1 2 3 4 1 2 1 2

6 aTa akshara 12 anga-4

1-1-0-0 (4-4-2-2) count 2

tA , kiTakiT

a tOM tatta ,

kiTaki

Ta tOM taka

jheN

u taka

jheN

U

1 2 3 4 1 2 3 4 1 2 1 2


153

7 eka akshara-4 anga-1 3 2 2

1 (4) count 1 ta, dhimi

taka taka jheNu

taka jheNu

ta dhimi

taka taka jheNU

taka jheNu

paMCAJaTI

sUcika

1 tishra jAti 3 ta ki Tai

2 caturashra 4 ki Ta ta ka

3 khaMDa 5 da di gi Na ta

4 mishra 7 ta ka da di gi Na ta,

5 saMkIrNa 9 ki Ta ta ka da di gi Na taka


154

usi sign ,

These lines of syllables are rendered applying tala-division, following one or

more counts per beat known as Pancha jaati, that is tisra, chaturasra, mishra and

sankeerna having 3,4,5,7, and 9 counts respectively.

jaati prastaramu chaturashra jaati-Triputa

taalam-

1 0 0 4/ count one for finger

1 2 3 4 _ 5 6 7 8 | 9 10 11 12 _ 13 14 15 16

1 ta a a ta _ te i i ta | ta a a ta _ ki , Ta ,

taM . . ta _ tai . , ta | ta

m . . ta _ ki , Ta ,

_ | _

2 ta a a ta _ te i i ta | ta a a ta _ ki Ta jhe Nu

taM . . ta _ tai . . ta | tam

. . ta _ ki Ta jhe Nu

_ | _

3 ta a a ta _ te i i ta | ta a a ta _ tari taka jheNu taka

taM . . ta _ tai . . ta | tam

. . ta _ tari taka jheNU taka

_ | _

4 ta a a ta _ te i i ta | ta a a ta _ kiTatom kiTa kiTa taka


155

taM . . ta _ tai . . ta | ta

m . . ta _ kiTatom kiTa kiTa taka

. | _

5 ta a a ta _ te i i ta | ta a a ta _ tatai yitta kiTa taka

taM . . ta _ tai . . ta | ta

m . . ta _ tatai yitta kiTa taka

_ | _

taM , , ta

kiTatoM kiTataka

kiTatoM kiTataka

kiTatoM kiTataka

tisra jAti

Adi - tisra gati- 3 counts/ per finger

1 2 3 4 5 6 7 8

123 123 123 123 123 123 123 123

1 tAmta jhaNuta takiTa dikiTa tAmta jhaNuta takiTa dikiTa

2 tAmta jhaNuta taka. diki. taka. diki. taka. diki.

3 tAmta jhaNuta takadikitakadikitakadiki tAmta jhaNuta takadikitakadikitakadi

ki


156

4 tAmta tajhaNU takadiki tatajhaNu takadikita

tatajhaNu

tadhaNa tadhimi

5 tAkiTa jhEkiTa tatakiTa jhekiTa tAkiTa jhEkiTa tA.ta tO . .

tkiTa jhEM tA..tai

tkiTa jhEM tA..tai

tkiTa jhEM tA..tai

khaMDa jAti

Adi khaMDa jAti 5 letters / finger count

1 tAM tattai teyitta tatta tai tAtehita

2 tAM tattai tadhaNata tarrAMta takiTataka

3 tA jhaNUta tAdhIMta tA takiTa taka takiTa

4 tattaihita tAtehita tattehita tadhIMta


157

5 tadhimita tadhimita tahadhaNata tAhaMta

kiTataka tarikiTataka / kiTataka tarikiTataka/ kiTataka tarikiTataka

mishra jAti (taka tadigiNata) 7 letters 3+4

1 ta ki Ta ta ka ta ka

2 ta ki Ta ta ka ta ka

ta ki Ta tOM , , ,

3 dhA kiTa taka dhA kiTa kiTa taka

jhE kiTa taka jhE kiTa kiTa taka

4 dhi mi ta dhi mi ta ka

dhi mi ta dhI , , ,

5 tA ki Ta jhE , ki Ta

tata ki Ta jhE , ki Ta


158

3 times {

ta ki Ta ta ka dhi mi

{

ta ki Ta tOM , ,

saMkIrNa jAti 9 letter (5 + 4) taka takiTa

takadimi

ta ka ta ka Ta ta ka di mi

1 2 1 2 3 1 2 3 4

1 tai , ta tta tai kiTa taka tai ,

2 tai , tta ki Ta ta ka tai ,

3 ki Ta ta ki Ta di gi Na tOM

4 ta , di , nna di , nna ,

tA , dhI , M dI , nA ,


159

5 dI nA kiTa taka jhaN

U

dhim

i kiTa taka jhaNu

3times dhinnA kiTa tA tai kiTa tA tai tA tai

The following syllables are arranged in the above jAtis to acquaint the student with the rhythmic changes.

dhIM dhikitaka doddO dIMdA !

diMdAkiTa doddO daMdA

takiTa takiTa takuM darikiTataka !

takadhikitaka taka tadigiNatoM

dRuguDu tAtAkiTa takatOM tattOM (2)

dRuguD dAdA kiTataka dAdA kiTataka nannaM kiTataka

toMguDu diddhi kiTataka taka tadigiNatoM !!

dhIkuNAMgu tAM tAMhatta kiTataka

dhittaLAMgu dhittaLAMgutOM !!

tarikuNAMgu tAMhatta kiTataka

tarikuNAMgu tarikuNaMgutoM

dhIkuNAMgu tAMhatta kiTaka

tarikuNAMgu tAMhatta kiTataka

dhikuNaMgu tarikuNAMgutoM !! (3)


160

doddo dhIdAM, doddoddo dIMdAM

taddhikitaka tAMhatta kiTataka

takadhikitaka takata dihiNatoM

kiTataka tadigiNata, taka tadigiNata

tadigiNata, digiNata, giNata

mishracApu jati-s

takiTataka taka takiTatoM (2)

takiTa takataka takiTa takataka

taddhitA tAdhitA tadigiNatoM

tAM tadigiNatoM tai tadigiNatoM

dhAkiTataka dhAkiTa kiTataka

jheM kiTataka jhE kiTataka

tarikitataka tattarikiTataka

tatatata jhEM, tatatatajheM, tatatatajheM

dhimita dhimita takadhimita dhI

dhimita dhimita tadhimita dhI

dhimita dhimita tadhimita dhimitaka

dhimita tA takadhimita tadigiNatoM (3)


161

ardIlu

Caturasra - rUpaka 101

1. tA tA dhIM - dikitaka -tAtAdIMdA

dhimi dhIM dikitaka- dimita dIMdA

2. tala diku tadigiNatOM (3)

3. kiTataka taddhittOM

4. dittA tadigiNatOM

5. kiTataka tarikiTataka tarikiTataka tadhittOM (3 times in 3rd speed).

mishra jAti Jhampe tala 1 U 0

taddIM -daddO kiTatattA - hattai I

tat tat tattai kiTa -tattA hattai I

tA kiTataka - Dega Dega -taLaMgutOM

tatta kiTataka - Dega Dega -taLaMgutOM

taLaMgutOM-taLaMgu - taLaMgu tOM

taLaMgu tatta kiTataka -dadigiNatOM

Tishra jAti tripuTa ardI 1 0 0

1. dhIM dikitaka -doddo dIMdA

dIM -dAkiTa - doddo dIMdA

2. tadhaNata jhaNu -takuMdari kiTataka

takadhiki taka -taka tadigiNatOM

3. taddhikitaka -tAhata kiTataka

takadhikitaka - taka tadigiNatOM


162

4. daM daM -daM daM=- daM dAM

diM diM -diM diM -diM dIM

Tadhikitaka - tAhata kiTataka

Takadhikitaka -taka tadigiNatOM

5. toMguDu -tAdhA kiTataka - tatOM tatOM (2)

toMguDu -tAdhAkiTataka - tatOMta-nnaM kiTataka

toMguDu -tAdhAkiTataka -taka tadigiNata

mOhana rAga

daMda -daMdada dAMda dAM

kiTataka - dIMda dIMdada -dIMda dIM

tI dugu daM daM dAM -tO digi diM diM dIM

dAM dhikitaka -tatOMta doddo

daM daM dAM -dikitaka - tatOMta doddO

dAM dikitaka -daM daM dAM -dikitaka

dAM dikitaka -taka dadigiNata

mELaviMpu ardI

doddO - dhIM dAM - do do do -dIM dAM

tadhikitaka - tAhata kiTataka

takadhikitaka -taka tadigiNatOM

dhIguNAMtaka -tAhata kiTataka

dhittaLAMgu -dhittaLAMgu tOM

tarikuNAMgu taka -tAhata kiTataka

dhittaLaMgu -dhittaLaMgu tOM


163

dhIguNAMgutaka -tAhata kiTataka

tarikuNAMgutaka -tAhata kiTataka

dhIguNAMgutaka -tarikuNAMgu tOM

mishracApu

dhAkiTataka-dhAkiTa kiTataka

jhEkiTataka-jhEkiTa kiTataka

dharikiTataka-dharikiTa kiTataka

dhA kiTataka-dadigiNatOM

jhE kiTataka -dadigiNatOM

dharikikiTataka -dadigiNatOM

Adi tALaM ardIlu

Taddhitata jhaNu tAMta

Dhitata jhaNu tAMta

Tata jhaNu tAMta

tadhIM giNata (3)

tAMdhi takajhaNu -tadhimita - takajhaNU (2)

dIM dIM -dhikkiTataka (2)

dhIM dhikiTataka dhIM dhikkiTataka -dhikkiTataka

dhIM -dhikkiTataka-dhikkiTataka (2)

dIM -dhikkiTataka dittOM


164

naDaka

Adi-tisra

tAMta tajhaNu-takadiki tatajhaNU (2)

tAMta tajhaNU -takadiki

diddI-dinakiTa (2)

DiddinakiTa (2)

dinakiTa

diddinakiTa dhittA

diddinakiTa dhittai

diddinakiTa dhittA

tA dinna taddinna - taddinna takadinna (2)

tA dinna -taka dinnattOM (3)

Note: The last letter „tA‟ in teermAnaM-s is rendered as „tA‟ in first time, „tai‟ in

second time and as „tA‟ again in the third time.

tIrikalu (jati-s)

Adi :

1.

kiTataka tadigiNatOM (saMkIrNa)

Taka tadigiNatOM (mishra)

tadigiNatatOM (khanDa)

digiNatOM (chaturasra)


165

giNatOM (tisra)

* 9+7+5+4+3=28 per count four syllables Rendering is fast to fit into Adi tala having 4 syllables/finger =32

Combined syllables for five jAtis are _ 28

Remaining 4 are fittered at two places (takatadigiNata and giNatoM) in between the

jAti starting syllables after 2 beats

2.

taddhaNa- tajhaNu - tadhimi - takiTa

taLaMgu -Takadhimi- taka tadi-giNatOM !!

3.

dhittA -dhimi -tA- kiTataka !

dhaLAMgu takadhimi - Takatadi-giNatOM !!

4. taLaMgutOM taka tadigiNatOM (2)

taLAMgu tOM (2) takadiki jhaNU dadigiNata

5. tatta dhimita - dhimita -dhikitaka taitA kiTataka tataihitatOM

tatta dhimit -dhimita dikitaka -tA tA kiTataka tattaihita tOM

tatta dhimita -dhimita dhikitaka (2)

tajhaMtatO -tadIdditO

takadiki jhaNU -dadigiNatOM

6.

Timi timi tinna kiTataka (2)

Timi tinnA kiTataka (2) tinna kiTataka


166

Timi dhinnAkiTataka dhittA (3)

The following are the traditional tIrikalu which are performed frequently in various

nrtta compositions reflecting the special features of Kuchipudi dance technique.

1.

tAkattO diMda diMda dhI , - tO dhikkitakka

tadhikattO dhiMda dhiMda dI, - tO dhikkitakka

tAkattO diMda diMda -tadhikattO diMda diMda

tadhaNA -tajhaNU- dhikitaka-taLaMgu

takadhimi takatadigiNatOM

2. toMga toMtoMga toMtoM gattO dhikkitakka }

doddO dOhaddO diMda dhI, tehidattatAM } (2)

tAkiTa jhEM tatakiTa tatakiTajhEM takiTa dikiTa toMgiTa naMgiTA

tAkiTajhEM tatakiTa jhEM

dhittA tadigiNatOM ~ tadigiNatOM (3)

(The symbol ~ denotes off-beat called usi, term used in Telugu in the dance form. Usi

means letter starts after the beat which is silent)

3.

takatOM dikatOM -digi digi takatOM tattaLaMgu dhittA aveNu

takatOM dhikatOM - digi digi takatOM -(2)

Doddo dhIMdA -dododO dhIMdA

toMguDutakka - dhikkitakka -toMgutaka - dadigiNatOm

4.

taiyattO tatehita tO

Tatai tehitta tAM -tatehitta dadigiNa


167

Note: the last teerika is used for finishing either a nrtta piece or a lyrical line to indicate the end of one dance execution.

A point to note here is that same jati, besides movements and foot-work differing, it is rendered with variations by extending or changing the tIrmAnaM.

An umpteen number of jati-s can be created depending on the dance teacher‟s creative abilities. The variety depends on the creative ability and expertise, known as manodhandi vidya in Kuchipudi.. The spontaneity and skills in utilizing different

time-measures of a dance teacher can create myriad rhythmic sounds or jat i-s. (refer to the composed jati pattern in appendix-2

Kuchipudi artistes introduced various aspects of dance technique in their dance tradition and changed Sanskrit names to Telugu. The units of foot-work, called adavus,

are combined to form adavu-samu. These are executed using different types of body-movement from head to toe. A manduva is again a combination of adavu-samu. The position of the feet while practicing the mandava is to keep feet turned sideways

with four inches gap in-between the two heels and about nine inches gap between the toes of the two feet. A muktayi is a step done thrice to indicate the end of one

fundamental difference in the usage of these muktayis between Bharatanatyam and Kuchipudi dance styles. A muktayi is called tirmanam in Bharatanatyam and is used at the end of a jati or a line of the song. In Kuchipudi the muktayi is also used as a

signal to coordinate between the performer and the singer.)

The training in the dance technique starts with basic foot-work called adavu-s which

are combined to form adavu-samu.( a group of dance units). suitable dance syllables are used for each adavau-samu. A combination of single syllables is formed to make words, then phrases, ardi-s, that is one or two line phrases with a short teermanam and

then into teerikalu (term used for jati-s) ,is These teertikalu are composed in various tala-s and subdivided into pancha jatis- which are executed using different types of

body-movement from head to toe. Melavimpu is another term used for rendering the jatis in rhythmic and musical manner for entry of the performer or a character in a dance-drama.

The rendering varies as per the structure of various compositions and the rhythmic movement which can be sideways, circular, angular, forward-backward etc and also

according to the swaying, swinging movement of the body., i

A special feature of rendering these dance syllables for the movements of

fundamental foot work in the beginning of the training is in many of the adavu-s

a line of dance syllables set to a tala remains constant for all the three speeds.

Also the dance syllables used for each variety compliment the movement. „tam

tatehi hita tatehi dattam‟, „to dimmi to dimmi to dimmi ta‟, dhakita kitataka, „tai

ta kitataka tatehita tome-tata kitataka tatehita tome‟ etc. suiting to the swinging,

jumping, and swaying movements respectively.

aDavu-sAmu (Fundamental Foot-work)


168

Beginning and concluding of a training class or a performance starts with a namaskritya or salutations to gods above, learned scholars and gurus, respected audience and goddess of earth - Bhudevi.

The jatikattu is as follows:

tadhIM dhaNata dhimi tAM dhaNata dhimi

tadhIM dhanata dhimi [tadigiNatOm (3)}

Before starting to learn the fundamental foot work, a student is made to do body exercises which are named as follows in Kuchipudi dance training.

daMdemulu (3)

baskIlu (3)

guMjIlu (2)

kAlisAmu

kuppIlu (jumping up)

Moggalu (2) (somersaults)

vAlu moggalu (side somersaults)

maMDuka phlutaM (jumps like frog)

kukkuTagamanaM (walking like hen)

pAmu naDaka (snake like movement )

hariNi phlutaM (running like deer)

mayUra phlutaM (walk like peacock)

sUryanamaskAraM

(these exercises are for both male and female students for toning the body)

For each fundamental foot work called adavu, a line of syllables is sung in a set tala division having multiples of 3, 4, 5, or 7. There are about -----number of adavus with

each having varied movements for the same phrase.


169

Fundamental foot-work or aDavusAmu:

Step

No.

1 2 3 4 5 6 7 8

1 tAM tehi , tehi ta tA tehi hi Da

(ttAm)

2 tehi , hi da ttAM ta tehi tehita tAM

3 digi digi tAM , digi digi tai ,

4 tAm digidigi tAM digidigi tAM digidigi

tAm ,

tatta digidigi tatta digidigi tatta digidigi tai ,

5 tAM , digi digi digi digi digi digi

tai , digi digi digi digi digi digi

6 A tai tA kiTa

taka

tate

hita

tO tAtA kiTa

taka

tate

hita

tO

6 B taitA kiTa

taka

tadi

naka

tO tAtA kiTa

taka

tadi

naka

tO


170

6 C taitA kiTa

taka

tajhe

M ta

tO tAtA kiTa

taka

tajhe

Mta

tO

7 dhA kiTa kiTa taka , kiTa kiTa taka

8 tAM digidigi tai , tatta hatta tai ,

9 tattai hita tattai hita tattai hita tAM tAM

tattai hita tattai hita tattai hita tai tai

10 tO

dimmi

tO

dimmi

tAM, tadhIM

takka

tO

dimm

i

tO

dimmi

tAi tadhIM

takka

11 tAM tattadi

Mda

, tattadi

Mda

tAM tattAdi

Mda

, tattadi

Mda

12 dittA tadi giNa tOm dittA tadi giNa tOM

teerma

nam

ditta tadi giNa tOM (3)


171

The fundamentals of Kuchipudi differ from that of Bharatanatyam in rendering

the syllables in three speeds. For example:if 8 beats have to be executed on right

and left foot

1 2 3 4 5 6 7 8

1 tAM tehi , tehi ta tA tehi hi Da

(ttAm)

Speed

1

R L

Speed

2

R L R L

Speed

3

R L R L R L R L

Description: STEP ONE

Number of beats -8

Action of feet - 2

Posture -aramandi and samam

Hands - two pataka hands

Eye movement- right hand and left corner (45 degrees angle

Head movement - turn right and turn to left corner

Back -erect

Speeds -3

Feet - Right foot beat or strike* (pressing down right foot down) for number 1

(Different words are used for same expression - strike, stamp, stress, emphasize.

Sabda adavu (sound producing step)

Left foot - just raise little and keep on the floor. No sound is produced. Body raises

straight up along with the foot.


172

20170614_203723.mp4

STEP 2 SAME BOLE AND RHYTHM

Number of beats -8

Action of feet - 2

Posture -aramandi and samam

Hands - two pataka hands

Eye movement- right corner and straight and left corner and straight (45 degrees

angle)

Head movement - straight right corner for Right foot

Straight left corner for left foot

Back -erect

Speeds -3

Feet - Right foot strike on heel for number 1

Right foot strike flat for number 2

Left foot strike on heel for number 1

Left foot strike flat for number 2

This movement is opposite of step no.1 in making sound.

Step 1 -beat 1 is sound or shabda adavu beat 2 is silent or nishabda

Step 2 -beat 1 is silent or nishabda and beat 2 is sound or shabda adavu

For both steps the body raises and bends down accordingly giving a spring kind of action.

These examples are given to illustrate a possible notating and description to accompany a fundamental steps. Once these are practiced thoroughly, the movement

in the nritta aspect flows automatically as per the technique of the dance form.


173

Eventually it is very important to practice the variety of fundamental steps to get perfection. Also practicing them daily builds up stamina to perform on the stage.

After learning the foot-work, a student practices ardIlu, tIrikalu and the various

dance compositions.

Once these movements are thoroughly practiced, a combination of them is taught to a composition of dance syllables called jati-s. The

Along with the practical training, theoretical aspects include:

Single hand gestures

Double hand gestures

Eye, head and neck movement

Pancha jAti nadaka

Speed concept

Memorizing the sequence of jati-s

Expression

And other aspects of technique


174

CHAPTER-VI

B. KUCHIPUDI REPERTOIRE

(DANCE-DRAMA & SOLO)

CHAPTER-VI

B. KUCHIPUDI REPERTOIRE

(DANCE-DRAMA & SOLO)

In Kuchipudi dance technique as illustrated in the earlier section dance syllables are rendered rhythmically, musically following specific grammar. Vedantam Parvateesham refers this as “bharata vyAkaraNaM” . They are recited using melody

and modulation in different compositions and are known as mELakartalu. The rendering follows ascending and descending order (as followed in music systems)

called mELakartalu which are fourteen in number. Following tables illustrate the syllables used in each mELakarta and where they are used in the dance compositions of Kuchipudi repertoire, both dance-drama and solo format.


175

The presentation of dance-drama and solo repertoire differ. In dance-drama, the role of sutradhara is very important as is the case with the Indian dance-drama traditions. Sutradhara narrates, explains and interprets the story- line interlinking the various

episodes of the thematic presentation. He also provides vocal support, rendering syllables and wielding cymbals rhythmically. In the solo presentations, an artiste

playing cymbals, rendering dance syllables and conducting the sequence of dance compositions (playing nattuvangam) is known as nattuvoju, an equivalent term for nattuvanar. Though both the roles have same responsibility of conducting a stage

performance, the artistic abilities and the interaction with the audience differed from one to another. These differences are noted significantly in the presentation of

Kuchipudi dance style. Another notable feature is that the role of sutradhara is usually played by an artiste who belonged to the hereditary families who practiced the dance tradition in the Kuchipudi village. As pointed out by anthropologist, Iravati

Karve, the process of changes happened not in the replacement of the old by the new but a co-existence of both old and new. In this process either the sutradhara played

by the hereditary artiste with his acquaintance and exposure to all aspects of the dance technique gradually adapted to the nattuvanar role. Or an artiste is trained to conduct nattuvangam for solo performances.

mELa kartalu (14) Grammar in dance technique with Ascending and

Descending order (Table 1)

These mELakarta-s are used in the dance compositions of Kuchipudi

repertoire (Table 2)

TABLE 1:

Name of

mELakarta

ArOhaNa avarOhaNa

1 pIThika tA digi digi tai Tattahatta tai

2 kautavaM toMgiTakiTataka-DE..Na ttaM ghikkiTa takadhikkitta

3 kUTamAnaM dhirrakka kataM dhIguNaMgaM

4 kaiyaDu takkatto dhikkatto Dhiga taddita

5 turupu tattA dhi ttA daM daM diM diM dIM

6 kaLAsika jhaMtari-jhaMtari

kiTataka

tAdhimita-taddIMta

7 pracura tAhata jhaMtarita dukuMda rikuMdarita


176

8 vasara jhaMta-tajhaM jhaMta dhaNaku dhaNaku jhaMta

9 sabdamu tadhIMgiNata taddiMgiNAtOM

10 marALa Dugga digga tadhiM dhIM takiTa dhaNaM

11 kaDakaTTu dIM

dadhIM-tadhIM-dIMda

taddIMdha

takadIMda taddIMda

12 cALIya tAM….tattAM….kiTataka Tai… tattai….

13 cAramAnamu dAM dAM-takadhikitaka tatOMta doddO

14 natramu tAdhimiddimi dhimi

dhimiddimi

Tadhikku tadhikkutAM

TABLE 2

Melakarta Use in dance compositions

1 pIThika vinAyaka kautvam ; bhamakalapam

2 kautavaM End of vinayaka kautvam

3 kUTamAnaM maMDuka sabdam; mELaviMpu

4 kaiyaDu prahlAda sabdam;

5 turupu ardI mOhana-mishra jhaMpe

6 kaLAsika jatisvaraM

7 pracura prahlAda sabdam

8 vasara jatisvaraM (in svaraM jhaMta ruMtakiNa tAri)

9 sabdamu muktAyi or tIrmAnaM (repeated three times)

10 marALa dashAvara sabdam

11 kaDakaTTu Entry to a song (dhIM dikitaka doddo dhIMdA) in

different jAti-s


177

12 cALIya Similar to alaripu sollu

Used in foot work tAM digi digi digi digi digi digi

13 cAramAnamu In ardI like dAMd dAMdada tAM dadAM kiTataka

14 natramu maMDUka sabdam and taraMgaM

VinAyaka prArthana -Adi tAlaM-nATa rAgaM

mahA gaNapatiM mansA smarAmi

vashiShTa vAmadEvAdi vaMdita manasA smarAmi !!ma!!

1. mahA dEvasutaM guruguhanutaM

mAra kOti prashAMtaM shAMtaM

mahAkAvya nAtakAdi priyaM ….

mUShikavAhana mOdhakapriyaM !!mahA!!

mELaviMpu mishra cApu (3+4 akshara-s)

Mishra jaati

aksharas (3+4)

Doddo! dIM dAM !!

do do do !dIM dAM !!

Taddhikitaka! tAhatakiTataka !!

Takadhiki taka! taka tadigiNatOM !!


178

Caturashra (4)

dhIguNAMgutaka tAhata kiTataka

dhittaLAMgu dhittaLaMgutOM!

tariguNAMgu taka tAhata kiTataka

dhittaLaMgu dhittaLAMgutOM

dhIguNAMgutaka tAhata kiTataka

tariguNAMgutaka tAhata kiTataka

dhiguNAMgutaka tariguNAMgutakatOM

1 2 3 1 2 3 4

do do , dhI

M dA ,

do do do dhI M da

ta diku taka tA hata kiTa taka

taka diku taka taka tadi giNa tOM

caturasr

a

dhI ku naMgu taka ta hata kiTa taka

dhi ttALAM Mgu dhi ttaLAM gu tOM ,

tari kuNAM gu taka tA hata kiTa taka


179

dhi ttaLAM gu dhi ttaLAM gu tOM ,

dhI kuNAM gu taka tA hata kiTa taka

tari kuNAM gu taka tA hata kiTa taka

dhI ku NAMgu taka tari kuNAM gu taka

AMBA PRARTHANA -MOHANA RAGAM- MISRACHAPU TALAM

Pallavi:- aMbA parAku dEvI parAku

mammElu mA ….shAradAMba parAku !!aMba!!

vANi parAku shArvAni parAku

vANI cakkani nIlavENI parAku !!aMba!!

sarashijalOcana cellelavai mammu

karuniMcu baMgArubomm parAku !!aMba!!

AruvIdhula naDuma shEgamain AlaM

pUrilO velase jOgulAMba parAku !!aMba!!

kanakAMmra jaladhilO jalakamu lADucu

Kulukucu tarigETi kaliki parAku !!aMba!!


180

appaDaMbulu vaDapappu nunakamulu

Oppuga deppiMtu kuppa parAku !!aMba!!*

takiTa tAMtAM tAMtAM tAtaiyya yanucunu

tAMDavamADina taruNi parAku !!aMba!!

kuMbhikuMbhaya kuMbhapayOdhari

kaMbukaMdhari mahAgourI parAku !!aMba!!*

OMkAri koumurivarAhi sharvANi

shaMkari voulOkashakti parAku !!aMba!!

mUDumUrtulaku mUlamaina

kUcipUDilO velasina bAla paraku !!aMba!!

I rItigA mimmi kOrinavArini

kAvale kanakadurgAMba parAku !!aMba!!

* these two stanzas are not included in singing

STANZAS

1

(7

beats)

2 3 4 1 2 3 4

pallavi aMBA

pa

rAku dEvIpa rAku mamm

Elu

mAsh

Ara

dAMb

apa

rAku


181

Stanza-

1

vANip

a

rAkush

Ar

vANi

pa

rAku vANIc

a

kkanI

nIla

vENi

pa

Aku

Stanza-

2

sarasIj

a

lOcana celleli Vai

mammu

karuNi

Mcu

baMg

Aru

Bomm

a

parAku

Stanza-3

Aru vI Dhula naDum

a

shEga mai

Na AlaM

pUrilO Velase jO

gulAMba

parAku

Stanza-4

kankAMbra

Jaladhi lO

jalakamu

lADucu

kulukucu

tirigETi

kaliki parAku

Stanza-5

takiTa tAM tAM

tAM tAM

tA

taiyyanucunun

u

taMDava

mADina

taruNi parAku

Stanza-

6

OMkA

ri

koumA

ri

vArAh

i

shArv

ANI

shaMk

ari

voulOk

a

Shakti parAku

Stanza-7

mUdumU

Urtulaku

mUlamai

Na kUci

pUDilO

velasina

bAla parAku

Stanza-8

I rIti Ga mamm

u

kOrina vArini kAvale Kanaka du

rgAMba

parAku

mishra

(7)beat

s

1 2 3 4 1 2 3 4

pallavi AMBA parAku dEvI pArAk

u

mamm

Eu

mAsh

Ara

dAMb

a

parAku


182

Tishra

(3)beats

aMbA , pa rA ku devi pa rA ku

ma mammElu

mA shAra dAMba

pa rA ku

NOTE: pallavi “aMbA parAku” starts in mishra chapu and then shift to tishra at the stanzas no.2,4,5,6 and either continue in same jaati for pallavi „aMba parAku‟ or shift

back to mishra jaati. For stanza no.8. the rhythm changes to chaturashra, that is four beats and comes back to mishra for amba paraku

Gurustuti (Siddhendra) hiMdOla rAgaM –Adi tAlaM

(this is included in Kuchipudi dance syllabus (practical) at Telugu University.

AMgikaM bhuvanaM yasya

vAcikaM sarvavAngmayaM

AhAryaM shcandratArAditaM

vaMdE sAtvikaM shivaM !!

Gurubrahma, gururviShnu ! gururdEvO mahEshvara !!

gursAkShAtparaM brahma !Tasmai shrI guruvEnama !!

samudravananE dEvI ! Parvata sthanamaMDalE !

nATyaMkariShyE bhUdEvi! pAdatADakShamasvamE !!

Sabhakalpa tarurbhAtI ! vEda shAkhOpa shObhita !

shAstra puShpa samAyuktaM! Vidvadbhramara saMyuta!!:


183

DANCE-DRAMA TRADITION

Bhamakalapam

Music:

In Bhamakalapam, the tunes used are from Carnatic music system. They are- Nata,

Mohana, Aahiri, Sourashta, Arabbhi, Ananda bhairavi, Mukhari, Khamas, Sangarabharanam, Madhyamavati, Todi, Hindola, Kambhoji, Bhairavi, Pantuvarali,

Kedar, Devagandhara and so on. The variations in rhythm are as per the mood of the protagonist Satyabhama. When she writes a letter to her husband, Lord Srikrishna, describing her pangs of separation from him. The singing style, as Ramanadham

points out is in padantic style. (Ramanadham 1994: p.35)

SutradhAri :- saMdhi vacanaM

Entry Satyabhama:

padyaM :

Vinavamma nEnu telpedA

ghanuDagu shri kRishNu bAsi gAnaka nEnun

panibUni vetukavacciti

anuvaMdaga satyabhAm aMdure nannun

Jati in mishracApu talaM

-takkiTa taka tOm taka tOm tadhIm giNata (2)

dhIm takiTa dhIm takita tOM dittai didittai (2)

Di dinnakiTataka dinakiTataka dinakiTataka (2)

tAkiTa jheMtari dittakiTa jheMtari

tadhittAkiTa jheMtari tatOm tadigiNata (3)


184

1 2 3 1 2 3 4

ta kkiTa taka tOM , taka tOM

, ta di giN NAM , ta

dhI Mta kiTa dhIM ta kiTa tOM

di ttai , di di tai ,

di dinna kiTataka dina kiTataka dina kiTataka

First

time

tA kiTa jheM tari di ttA kiTa

jheM tari ta di ttA kiTa jheM

tari tatOM , , tadi gin ta

Second

time




Third

time




First time


tai , diti tai tai diti tai


185


tai tai tai diti tai


bhA , ma nE , , ,

, , , sa , tya ,

(ne) bha , ma nE ,

va i

(va) yyAr ri , Sat

Ya(bha)

yyA , , ri , mu ,

ddu la , , , va y

yya , , ri , sat Ya

(bha)

Stanza-1 bha , ma nE , pa di

yA , ru vE . la .

kO , ma lU , laM ,

da ri , lO , la la

nA che li

ya ma gu


186

va sa khi

ya , , , , , ,

bha , ma nE , pa di

yA , ru vE , la ,

kO , ma lu , laM ,

da ri , lO , na na

rA , ma rO go ,

pA , la mU , rti ki

prE , ma dA , na

nai , , na , sat ya

bha , ma ne , , ,

, , , , ,

The execution of this jati needs practice to render the syllables as per the tala-division, specially at “ta tOM” after which there is a silent gap for two counts before

„tadiginata‟.

Also the dance movements for the first two times is same but executed first time on

right side, second time on the left side and the third time the hand movement and direction changes to moving diagnally back on tishra jaati and finishing line

„tadigiNata” being same as it occurs first and second times.

Daruvu :-

rAgaM : mukhAri

tALaM : aTa (mishra cApu)

bhAmanE satyabhAmanE

vayyAri (muddula) vayyAri muddula !! satyabhAmanE satya bhAmanE !!


187

bhAmanE padiyAruvEla kOmalu laMdarilOna

lalanA celiyA maguvA sakhiyA

rAmarO gOpala mUrthiki prEmadAna naina !! satyabhAmanE satya bhAmanE !!

2.

aTTa ! hAsamu !!

cEsi ! surula !!

aTTe! gelicina !!

pari! jAtapu (2) second time after parjA lalanA celi ya maguvA sakhiyA

(aTTa hAsamu)

ceTTu ! decci

nAdu !peraTa

gaTTi !gA nA

tiMcu! konna !!

bhAma !nE !! satya ! bhAmanE !!

3

kUri mi sa

trA jittu !!

kUtu rai iM

darilO (na) lalanA celiyA maguvA sakhiyA

Kuri mi sat

trA jittu!!


188

kUtu rai iM

darilO gO

pAla mUrtiki

bAsi! tAla

jAlanI vayyAri

“Satya bhamanE”

4 [cAlamadaniki bAsi tALa jAlaka yunnaTTi !! satya !!

gOpAla devuni bAsi tALA jAlani vayyAri

5. vArijAksha dvArakA vAsuni kougiTi lOna

kUrimi penagoni ratula gUDina vayyari !! satya !!]

Many lyrical structures and dialogues follow to carry the story forward. The three

main characters are: Satyabhama, Madhavi and Srikrishna. The story can be extended by including or eliminating select portions from the thematic presentation.

REPERTOIRE - SOLO

In the Kuchipudi solo format, referred as eka patra kelika meaning performed by a

single dancer included various musical compositions such as padam, tarangam, ashtapadi, Sanskrit slokas, jatiswaram, kautvams, tillana, javali and a variety of

sabdams.

In total, the nritta aspect contributes to the classicism of Kuchipudi repertoire In

a pure-dance composition such as jatiswaram, tillana, jatikattu etc.only nritta is used. When used in the dance compositions like kautvam-s and sabdam-s , tarangam-s, keertana, varnam and so on, the proportion of nirtta varies and uses

particular combination of jati-s suitable to the composition. is used variedly. For instance, in kautvams where very less lyrical lines (sahintyam)is used, a lyrical line is

embedded with jati-s. . Time-measure used can be complicated as in the case of Vinayaka kautvam where vinayaka talam having 72 beats is used.


189

Ganapati kauttam

(mELakarta 1: pIThika

GANAPATI KAUTAM - VINAYAKA TALAM i

Parts& units Source : S-8 [P.197]

8 taa kiTataka tai; dittitai; dittai dittata datta taahaM

8 dattano takiTa kiNatoMga Deku taaM - toMgaa

toMga naMgiTa kiTataka naMgiTA kiTataka

8 dhIM dhaaM nutakiTa kiNatoMga DekutaaM -toMgaa

taa taMgi taMgI kiTaka

4 dikkitaaM dattaa diruguDu doMdaM

4 dikuMdari dikkiTakiTataka dikkutoMga haridaru

12 marimoga vighnavinaayaka venakaTa harulava gaNapati

jhE jhE jekkiTa notariki DheM, jhE jhE jekkiTa

8 notarikDeM; kiNNaM tadikku todhikku aanaM goutari

toMgiTa kiTataka

4 toMgu takkadEvara gaNapati dikkiTakiTataka

4 dikku toMga gaNapati kautaM gattari

12 vinayara taruguDutaaM taruguDudhEM taakku

dhEkku takkiTa toMgiTa kiTataka

dhEyaa tamgI kiTataka dikkitaaM

daruvu: Composed by King VijayarAghava Nayaka (1633-1673 A.D. )

khaMDa cApu

srI rAja ! gopAla !! cirakIrti! jAla!!

kAruNya !guNasheela!! kaLyANa ! lOla!!

gO !vardha!! nO!dhAra!! gOpa!kumArA!!

bhAvaju! samarUpa!! bahuLa! pradApa!!


190

naMdagopa kumAra navanIta cOra

caMdana maMdAra samakIrti hAra

karuNAra sApAMga garuDa turaMga

Parama vacO vEda bhava roga vaidya

dakShiNA dvAraka sthala kRuta lIla

rakShiMpa gadavayya rAdhikA lOla

radhikA lOlA rAdhikA lOlA rAdhikA lOlA

jatisvaram

Jatiswaram has jati and swara alternating with each other. Jati-s are the permutations and combinations of various dance syllables called „ardi‟ or „melakartalu‟ that are rendered following „arohana‟ or ascending and „avarohana‟ or descending order. For

eg:

„takatto dinda dinda di to dikkitakka‟ (arohana)

„tadikatto dinda dinda di to dikkitakka‟ (avarohana)

In Kuchipudi jatiswaram the structure contains both jatis and swaras as already discussed in the fifth chapter but differs from that of Bharatanatyam in having more jati-s alternating with the first line or pallavi. These jati-s range from simple, short to

long and complex jati-s and reflect the special character of Kuchipudi dance technique as well the body movements.

Some jatis like “takatome dikatome” “ditta dhimita”, tAkatto diMda diMda dhI”. toMga totoMga” are regularly included though the execution of nritta differing from one school or teacher to another. Vedantam Parvateesham refers these jatiswaram-s as

“nrtta pALi”

The structure and content of the following jatiswaram is based on the order taught to

me by late Vedantam Jagannadha Sarma who was a resident teacher at our place during 1963-64.

JATISWARAM - ADI TALAM RAGA-ATHANA

sa ri ma pa ni sa -sa ni da pa ma ga ri sa


191

tA . . a a a ri - jhEM . . yEM taka

NAM . . u uM ta ri - tAkuM uMdA

ri I I da a aM dha NA tA jhaNu

tajhaMta rUMtaku -tarita -dadigiNata !! tA a !!

1. jheMta rUMatakiNa -tArijhaMtarita

tajhaMtarita -dhaNa jhaNuta - takuMdari

tajhaMtarita - dhaNata -jheNuta -takuMdari

Ta a a -aridAM - dhaNata -dadigiNata !! tA a !!

2. dhA pA ma pA -dani sani padApa

danisari- samarisa- nirisani -padanisa

padamapa - rimasari - sapamada - pasaniri

samarisa - nirisani - takiTa tadi ginata !! tA a !!

3. sA ssani padApa -dApama -gAmapa

mA dA . . tarita dhaNata - mapagama

pamA -dhapamarisa-tagaNa -jagaNa -dhapa

Sanirisa - jagakiNAM tarita-danisari

sanipadAm dhaNata -gama pamadhapa - - tari

Dhanata -sari samari - takuMda rikuMdarita

Nisarisa-marisani - takiTa dadi giNata

takiTa dadigiNata -takiTa dadigiNata !! tA a !!


192

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

1 tA , , ri jhE

eM

ta ga

2 nA

M ta ri tA kuM

, ta

3 rI ,t

A

, ,d

ha

N

a

tA jh

e

N

U

4 ta jh

eM

ta

ru

M

ta

ku

ta

ki

Ta

ta

di

gin

N

atO

M

dit

tA

Ta

di gi

nNa

tO

M

dit

tA

ta

digi

Na

tO

M

dit

tA

ta

digi

Na

tA , , Ri

2 jati

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

1 tA , , ri jhE

eM

ta ga

2 nA

M ta ri tA kuM

, ta

3 rI ,t

A

, ,d

ha

N

a

tA jh

e

N

U

4 ta jh

eM

ta

ru

M

ta

ku

ta

ki

Ta

ta

di

gin

N

atO

M

ki

Tata

ka

ta

digi

Na

to

Mta

ka

ta

digi

Na

to

Mta

di

gi

Nat

oM

di

giN

atoM

gi

Nat

oM

tA , , Ri

Order of jatis incorporated:


193

1. dittA tadigiNatOM (3) starts overlappingly at 4th line of pallavi „tajhEM ta ruMtaku tarita tadiginata‟

2. jati

kiTataka tadigiNatoM takatadigiNatoM tadigiNatoM digiNatoM giNatoM again at

4th line

3. jati

takatOM dikatOm digidigi takatOM}

tattaLAMgu dittA avENU } (2)

takatOm dikatOM digi digi takatOM } (2)

doddO dhIMda dodohO dhIMdA

tuMgutaka dikitaka tuMgutaka tadigiNatOM

4. .jati

dhittA dhimitA kiTataka dhaLAMgu takadiku taka tadigiNatOM (2)

dhittA dhimitA ~ tai ~ tai dhittA dhimitA ~tai `tai

dhittA dhimitA dhimitA kiTataka (2)

tadhiMgiNAtOM (3)

5. . jati

tattarikiTataka tarikiTa (3) tadhittAm (2)

Tattarikitaka tarikiTa (2)

takadinata takadinata takadinata

takadiNata takadiNata takadiNata

Tattarikitaka tattarikiTataka tattarikiTataka (tAri jhEM)


194

jheMta ruMtakiNa tArijheMtarita

tajheMtarita dhaNa jheNuta tAkuMdarita

tajheMtarita dhaNata jheNuta tAkuMdari

tA , , , rita tarita tadi giNata !!tAri!!

Speed 1

tA,, dhaNA tajhE tarE (Avrutam 1)

TadhittAhata jheM tajheM

Taka dittAhata jheM tajheM (2)

tattajhEM takatattajheM

dhaNa kiNa taruM gadhiM tattOM (3)

Speed 2

tAku dhaNAku tajhEku tarEkuku

tadhittAhata jheM takadhi (4)

ttAhata jheM

tattajheM takatajheM

dhaNa kiNa taruM gadhI (5)

Speed 3

tAkudhaNAku tajhEku tarEkuku

tadhittAhata jheM takadhittAhata jhEm

tattajheM takatajheM

dhaNa kiNa taruM gadhi tattOm (6)


195

[in the first speed jati rendering took 3 cycles or avrutam-s, in the second speed 2 cycles and in the third 1 cycle. Total 6 cycles.]

Svaram

dhA pA mapA follows‟

6. Jati:

toMga tuMtuMga

tuMtuM gattO dikkitakka doddO dohatto diMdha dhI takadiku tadhigiNatOm (2)

dhAkiTa jhEm tatakiTajheM takiTa dikiTa toMgiTa naMgiTa

dhakiTa jhEm tatakiTajheM

ditta tadigiNatOm , tadigiNatOM (3)

svaraM :

!!sAssani padApa dhApama!!


196

SABDAM-S

Starting with simple and ending with complex jati-s it is a pure-dance or nritta-based dance presentation.

On the other hand in sabdam-s, the dance syllables intersperse the lyrical text after every two or four lines and also start and end with complicated jati patterns.

Sabdam-s begin with a jati that is rendered in the raga in which the lyrical composition is set to. Jati-s the intersperse the lyrical content are rendered in modulation with the mood of the following lyrical verse. A variety of sabdam-s are

presented in a single Kuchipudi performance, unlike in Bharatanatyam, with each sabdam differing in structure and content. They can be two or four liners, sung in

narrative (Ramayana sabdam) or descriptive style (dashavatara, krishna sabdam-s) or using word play as ( manduka sabdam). Mostly sung in medium and fast tempo. A majority of sabdam-s are composed in Mohana khamboji raga set to mishrachapu and

adi talam of Carnatic music. The dance technique suits the body movements of both male and female dancers. In sum, the sabdam-s reflect the flavor of the Kuchipudi

dance technique which is evident in. Konagolu that is included as an end piece having various complicated jati-s rendered in five rhythmic patters called Jhati-s. (Seth 2012)

PUNDARIKAMU MADUKA SABDAM - ATA TALAM -GAJENDRA MOKSHAM

taddhaNAMdhimi -tahata jhaMtari

jhaMta jagadari -jagada kukuMdari

kukuMda takuMdari -takuMda kiNa dharitAM

tehidattatAM

tannanaMtA -tA jagaMtari

Ponna mallelu - pogaDa pUvulu

sannajAjulu -saMpegal

Chennu mIra -celaMgucunna

vanaMbunan vilasillu -kamala


197

taTAkamuna -manDUkashabdamU

Taga NagaNa -Naga Naga -NagaNa -Naga Naga-NagaNa -NagaNaga NagaM

Dega DegaDa -Dega Dega -DegaDa -Dega Dega -DegaDa Dega DEga- DegaM

Jaga jagaja -jaga jaga -jagaja -jaga jaga -jagaja - jaga jaga jagaM

taga NagaNa -Naga Naga - NagaM

Dega DegaDa-Dega Dega -DegaM

Jaga jagaja-jaga jaga -jagaM

Taga NagaM -Dega DegaM-jaga jagam

Taga-NagaNaga-NagaNaga-NagaNaga-NagaNaga-NagaNaga

De-Dega Dega-Dega Dega-Dega Dega-Dega Dega-Dega Dega

Jaga-jaga jaga-jaga jaga-jaga jaga-jaga jaga-jaga jaga

tagaM - NagaM - DegaM - jagaM

TagaNa Naga Naga- DegaDa- Dega Dega

Jagaja -jaga jaga

bAgugA IlAgunanu

maNDUkamulu ghOShiMpagA -

Tarra ghirraTa -ghirra DAkuku

DhAku DhEkuku -DhEku DhiMkuku


198

Idda shApamutO gajEMdruDu

badduDaibal makari cEtanu

kAvavEnanu shrI harIyani

gAsinoMdiyuvEDagA

takiTa tata dhimi-takiTa tata dhimi -takiTa tata dhimi

tattarikiTataka-tattarikiTataka-tattarikiTataka

dikkutOcaka -pakkinekkaka

grakkunanuyA vanamu jEriyu

naMdi kiTataka -diddi kiTataka

cAtavEsina -shata cakramu

cAta makarini -saMhariMcina mahimanU

dhInutAhata -takUMdarikiTa

jAnakIrAmA -bhajabalabhImA

jagadabhirAmA -shrI raghu rAmA

kOdaMDa rAmA -salAM

dhAkiTataka-dhAkiTa kiTataka

jhEkiTataka-jhEkiTa kiTataka

dharikiTataka-dhari kiTataka

Tatta dadigiNata -(3)


199

RAMAYANA SABDAM - ADI TALAM -MOHANA RAGAM

daMdhaNA-diM dhimIM dhimitat taku

taddhikutaku -takuMdata -tari tari kiNa

tattAritakuM -datatari kiNanaga

takkiNAMgi -kiTataka-takkiNAMgi

tattadiddhi-naMguDu -tattaka -naMtari jhaMtari-dadi giNatoM

tAkkiTataka -dadigiNatoM -tattakiTataka dadigiNatoM

dasharadha vIra kumAruDavaitivi

dayanu koushukuni -yAgamu gAciyu

Janakaja sItanu -peMDlADitivi

ravi kulamuna balavaMtuDavaitivi

jhaMta kiNA diri -jA jA gadi jiM

aMtaTa vanavAsamu jEsitivi

Arayakamrugamunu veMbadiMcitiv

ciMtiMpaka nadi vashamanukoMTivi

dhInu dhaNAMtaka -dhitta kiNAMtari

jaTayu delupaga -vinumani yataniki

caDani padavigA nosagina venukA . . . .


200

tattai tehita tAM - tatai hitta dadigiNa toM

hanumaMtunicE- nabhaya mosagitivi

ala sugrIvuni -AdariMcitivi

tadhari -dharitakiNa-dharita -dharita jhaM

jayamuga vRkShamucATuna nuMTivi

sharamuna vAlini kUlanEsitiv

huMtaka Namtaka-huM ta NAMta taka

vAnarasEnala daMDu gUrcitivi

vAridhi-gaTTiga baMdhiMcitivI . . . .

DA gadi gadi jiM -DA DA gadi jiM

sharaNani vaccina -vAnikAcitivi

hari hari hari-raNa birudu gaTTitive

takkiTa kiTataka -dhA kiTa kiTa jhaM

asuruni kulamella -hatamu jEsitivi

arayaga tammuna -kabhaya mosagitivi

daM daM dhaNa dhaNa -dAnu dhaNAM dhaNa

laMkakekki - yA laMka gUlcitivi

aggaliMci rAvaNu drucitivi . . . .


201

tadhimita kiTataka- jhaNu tari kiTataka

paTTamu gaTTI vibhIShaNu laMkalO

peTTi veDali mI sIta samEtuDavai . . . .

aTTi ayOdhyA paTtaNamuna mari

paTTabhadRuDai-prabalina rAmA . . . .

gaTTiga bhaktula -paTTi shubhamulanu

kaTTaDi jEsina karivaradA . . . .

peTTeda padivEla sAShTAMga daMDamu

peMpuga jUDumu parAku

bahu parAku -rAmA parAku lEkanu

nA diri diri -nannaM diri diri

tA tA diri diri -taka dadigiNatoM

VARNAM RAGAM : tODi tALaM: rUpaka

dAnike tagu jANArA nIvu -daya yuMcara I vELa

mAna ghanuDaina shrI mahadEvuni pUjiMcu shrI nidhi nIvEra

sshivAji mAhA rAjEMdra

dA, nisanidhA, - risani, dhA, -garisadhA, -risani, sAni


202

dA nitamidA caturadA nIsarigA nabhuvi lOna

Dhaninisa sarisasa! Nidhapama - pa dha ni padha mapaga ! magarisa

Dorakadu dorayani dorikenu ikanu rati salupa samayamu

Dhani sarigama -sari! Gamapadha -nigarinisA -nidha! pagA - nisari

padarayipuDu sadanamunaku aramarashAya tagunA manavi

gA, -mapama

Gai konumu

“kAmuni kELi kaina bhAmanu cErarAra”

1. gAri gAri ! dhAnisAni ! dhAgarIga! sAri nisani

gAraviMca vEgarAra gAravaMbu sEyatagadu

2. gA,ma-gagarisarI, , , rI, ga - ririsani sA, , - sA,ri -sasanidha

mARu palukadurA maMci guNanidhirA vEru dalacaku

nI, - ni ! dhaA, risanidhapa -dhanisari !!

rA ni viMtalakutagi nasatira!!

3. sA, ni - dhanisA , ni - dhani, nI, dha -madhadhA, - padhani, dhA ,

kOsa lakulA bdhi pati nIve yanirA valaci yu


203

dhanisadhA, - rIsani ! dhanisari - sanidhapagA , , ! gamapama

nnadisadA vinumu karuNatO kougaliMcarA ghanuDanI

pamagarisA , , , , dhanisarI - sarigamamA , , , , gamapama

kaina jANarA ratulaku mETigadarA vitaraNa

garirigagA , , 1 djamo sarigama - sarigamapadha !gama padhanidha

shAliaderA eMto pogaDina iMtike tagunu svAMtamuna dAni

Padhanidharisa !nigari - nirini - dhanidha - madhama -gamaga-rigari

ciMtaludIrcara yElara bAlara cAlura jAlamu yElara shElara

Dhani sarigama

vELara yipuDu

TARANGAM

Tarangams are compositions written by Saint Narayana Tirtha i Kuchipudi artsites not only excelled in enacting these stories but through their performances tarangams became popular and contributed to the identity of Kuchipudi dance technique. The

special feature is that the dancer stands on the rims of a brass plate balancing a brass pot filled with water on the head. Nritta is performed for the verses like “tam tahatta

tai dattam” which form a part of the lyrical text or complex foot-work (pada-bhedas) are executed to the musical variations of the lyrical verses.


204

taraMgam -1

mOhana rAgaM mishra cApu

slOka:

Ya~jna patnastha mIshAnAm, lIlA gOpAla vigrahM

prasAdayaMtiyaMvEda: tAtparyENa AmanaMtitEE !!

bAlagOpAla mAmuddarakriShNa ! paramakaLyANa guNAkara!

nIrada nIla kaLEbara kriShNa nirupama kousthubha kaMdhara !

naMdanaMdana bhakta caMdana sura briMdArcita bahuvaMdana!

maMdashmitA suMdarAnanA kOTi madanasuMdara jaganmOhana !!

iMdira maMdira bhakta suMdara hrudayAraviMda

bhRumga bhakti makaraMda naMdita gOpikabRuMda !!

(change of rhythm or jAti to caturasra triputa for the line iMdira maMdira bhakta

which is repeated a number of times incorporating suitable jati-s for dance execution balancing feet on the rims of a brass plate with a brass pot with water on the head)

This expansion of the dance execution ends with a teermAnaM:

dittA tadigiNatoM - 3 times (iMdira)


205

kiTataka tadigiNatoM - 3 times (iMdira)

dhittA dhimitA kiTataka taLaMgu takadhikitaka tadigiNatOM - 3 times (iMdira)

tOdhikki NAkiNa tOdhimmi rEtakka

tOdhimii dhimikiTa tOdhimmi rEtakka

todigiNaM gaM giNaM toMga dRuguDu

tadRuguDu tattOMga terimiLaMga tiruttOMga

dRuguDu tadhimita kiTatadigiNata !!

(dance execution for the first line - bAlA gOpAla mA muddarasing first line)

nritya or Expressional dance

Line : bAlagopAla

vaTapatrasAyi

Child in arms

Child in cradle

Child swinging

walking child

Child playing with mud

Playing marbles and other games


206

Flying kite

Eating butter

Stealing milk and butter

Mischevious actions like tying plaits of gopi-s

Grazing cow

Playing mischief with friends

At “parama kalyANa guNAkara”

pUtana saMharaM

Releasing yaksha-s from curse etc.

At “krishna”

One who has peacock feather in his hair bun

Holding and playing flute

Having conch and disc in his hands (shankha chakra dhari)

Wearing pearls

Wearing flower garland on his neck

Wearing yellow color clothes


207

The lyrical text provided in a book titled Srikrishna Leela Tarangini, a Telugu version of the original Sanskrit work is given below to indicate changes that takes place in the oral tradition.

Generally the performances have chose only one jati in between the lyrical lines whereas the actual text contains more than one jati in between the stanzas. Even the jati included show some variations in the dance syllables used.

tAm tAhatadhai dattattAM-takka

tOdhimmiNAMgiNa tO dhimmirE-takka

tOdhimmi dhimikTa tO dhimmirE-takka

tO digiNAMgaM giNattOMga

dirguDu dadhiguDu dhattOga-

tOdhigiNaMga ttiruttOMga-dadirguDu

dadhikitakiTa dadhigiNatOM (bala gopala)

2. yajnAdi karma phalaprada-krurshna yadukula jAta sukhaprada

yajnasaMrakShaNa dIkShita0kruShna yatijanamuktidasuvrata


208

jati:

tAdhaiyya dhaiyattatA-kiTataka tatkiNNaM -tarikiTa tarikiTadhimi

dhiM dhiM dhimikiTa -tOMgiTa kiTattOMga TAMgiNa - kiNa kiNa dhari dhari

kuMtakataka -dhirguDuka taka taka dhIrguDutaka - gaNapati guru shRIpati

ShaNmukha jaya jaya jaya - jhaMtari kiTataka tattOMgiTa tOMga -ttaka

giNadinuha tadhimi tA tA dhAM -taka dhirguDu taka dadhi giNatOM-dina

Hata dhimi tA tA dhAM -takadhirguDu taka dadhigiNatOM-

ciMtitta jana ciMtAmaNi gaNa - saMtata sukha saMtAna prada

maMdara dhara maMjuLa mouktika naMdita jana naMdAtmaja vara

bRiMdAvana bRuMdAraka gaNa vaMditapada vasudEvAtmaja

jaya jaya jaya -jhaMtari kiTataka tattOMgiTa tOMgittokagaNadinaha

tadhimi tA tA dhAM-taka dhirguDu taka dadhigiNatOM- (bAla)

3.


209

annamayAdiShupamacasu tvA-mamtara mAnaMda vigrahaM

Unnata phamAmanaMtitE jaga -dudayanayAdiShu lakShitaM

taddhitvamEvAsi taddhitvamE vAsitatsavamE tattva mEvAsinUnaM.

taduttujaMgamuktAmaNi prasphuraddivya -mattEbhavadyOgicittE

nRutyaMtamatyaMtamAnaMda mIDE -hitaMtvAmahaMtAvAma

3. Jati:

takkiTa kiTakudharikiTa tatOMga -kiTTa kitakiTa dadhigaNatOM -(bAla)

4. saMtata maMta ravasthitaM hRudi satya vijnAna sukhAkRutiM

aMtaryAmitayOditaM - yOgi ciMtita mAkalayAmi taM

ttadhirguDu dhattAM - tatta dhirguDu dattAM -kitataM tattarikita ttarikidOgu

takadhOM dhOM -kuMda kiTakiTa dhari kukuMda ttakukuMdhariki

dEku DEku kuMdharikiDikka prabhEdamiha -khEku jhEku jhaNaja

yashIla naTanaM -sakala jagadAdiM sakala mnigItaM

sakalanigamAMta janitAMta mati viditaM


210

taM paramayOgi gaNa ciMtita makhaMDa sukha

saMpada mapAra mahimAna maNimAna miha

raMgatturaMga mAtaMga varahaMsagati

maMjIra maMjuraTnaT makhila raMjanaM

tadhiMta tadhiMta takiTa dhimi dhimi dhimi tadhItakiTa dhimi takiTa dhimita

kiTahaM

tadhIM tAhattadhIMtAhattadhinnAM -tAhattadhImM -dhinnAdhi

nnAha ttatAMdhinnA dhinnadhIM - tAtA dhinni dhIM taddhinnataka

dhinna tAhatta dhinnAM - kattariDika ttariDikAhu rekAhure -

kaMjariDikaMjariDi dEhu rEdAhurE

saMgIta sAhitya vidyA vinOda vara gOviMda gOpAla

gOpI manOharE -matirastu maMgaLaM bhavatu mama

taddhIMta taddhiMta takiTa dhimi dhimi dhimita - dhItakiTa dhimitakiTa kiDtaka

tatakiTadadhi


211

gaNatOM (bAla gO)

5. tAraka samamukta hArakaM bhakta -kAruNya rasapUradhArakaM

tAM tAhatadhaNa tAMdhanAMdha tAM-dhaNNSMdhaNNatAM

tadhimmi tadhimmi tADavAlOlaM -riMjhi riMji riMghaNa radhAlOlaM

kuMda kiTakiTa dhariki gOpikAjAraM -nagadharMtOdhitta navacOraM

tvAmahaM kalayAmi dhIra - manAmayaM sakakAmadaMbhuvi

samtata mAnanMda tANDvAlOlaM -sadguNa maNi gaNa bhUShaNa jAlaM

suMdaragOkula bAlagOpAlaM -satya pratijna saMtAna madana gOpAlaM

vikhyAta satkIrti vijayagOpAlaM -maMdasmi tAnanda madana gOpAlaM

kaMdarpa kOTi kalyANa gOpAlaM -bhakta janabRuMda prasanna gOpAlaM

siddha jana siddhAMta siddha gOpAlaM -matyAvatArAdi mahima gOpAlaM

taM tvA mahaM tvA mahaM

taddhitakuku dhikuku ttattakuku dhikukutatta- tOMgutakkiTa kiTakudhariki

tatadhOMga -kiDta kiTa takiTa takiTa dadhi gaNatOM- (bAlagO)


212

6. Jati

dhai dharikiTa tAjaMdhittA - jEjE jhaMtari dhigi dhigi dittaaa-dittari digi dirgu

Du digi dirguDudittA -tadimi tO dimiTOMgiTa dittA tattOMtattoM

gakkiTa takkiTa -dhaNadhaNata di mahiNNaM-dhaLaMgutaka taka dadhigiNa

svAminaM vicitra vanamAlinaM - patatri rAjagAminaM [dhOM

paripAlita gOdhanaM -bhujaga patishAyinaM -sadAnaMd dAyinaM

samasta vEda sAdhanaM-sanAtanaM -bAlagOpAlakaM-bhajAmi

rEhu rEhu rEriMkhaNa riMkhaNa -kAhu kAhu rEkaMjari kaMjari -

ruMjhari hariTakumu riMkhaNa -takkiTa kiTatakadikkiTa kiTataka-toMgiTa

kiTataka naMgiTa kiTataka tahatatahata dimita- dhaNEku dadhigiNatOM 9bAla)


213

taraMgam -2

mOhana rAgaM Adi tAlaM

nIla mEgha sharIra nityAnaMdaM dEhi

bAla gOpAlakRuShNa pAhi pAhi !!

1. kalabha suMdaragamana kastUri shObhitanana

naLinadaLayata nayana naMda naMdana

miLitagOpa vadhUjana mInAMka kOTi mOhana

daLita saMsArabaMdhana dAruNa vairI nAshana !!bAla!!

2. ya~jna ya~jna saMrakShaNa yAdava vaMshAbharaNa

Ya~jnaphala vitaraNa ytijana sharMNyA

A~jnAnaghana sAmirANa akhilalOka kAraNa

Su~jnAna daLitavAraNa vEdaMta vAkya pramANa !!bAla!!

3. vetyastA pAdAraviMda vishvavaMditA mukuMda

satyakhaMDA bOdhAnaMda sadguNa bRuMdA

pratyastAmita bhEdAkhaMDa pAlita naMda sUnaMda

nityadA nArAyaNarIrdha nirmalAnaMdA gOviMda !!bAla!!

(In this tarangam also the dancer performs balancing feet on the rims of a brass plate and a brass pot of water on the head at the line “kalabha suMdarA” or at

“vetyasta pAdAraviMda” )

(The expansion is also done by executing a variety of footwork at kalabha and

vyetyasta)


214

TILLANA (NRUTYA HELA) - PHARAJU RAGA - ADI TALA

tadIM dIM -tadhanAM . . tOM ta da ra !! tadhIM !!

!!a!! pa !! takiTa dhIM -tarikiTataka -

tAM kiTa kiTataka -taka tarikiTataka !! ta dhIM !!

1 nA da ra dIM -nA dara dIM

Tadiyana -ra dhIMta

Tadara dAni - toMdra

dAni -teru nA dara -dara diM

tA jhaNu taka dhIMta- takajhaNu

takidhIMta - taka tarikiTataka

Taddhi ttaLaMgu toM - takadhi

taLaMgutOM - taka dadigiNatoM !! ta dhIM dhIM !!

Sudati nIku tagina cinnadirA

SuratakELikadi - balu sUTirA

sadayuDaina -veMkaTEshvarA ninu

Saraguna rammanerA -samayamura !! ta dhIM dhIM !!

KEERTANA

NATYA HRULLOLA - KEERTANA RAGA -KALAHARIPRIYA TALAM-ADI


215

tAM takiTa -tAM takiTatO

tai takiTa -tai takiTa tO

tajhaMta tO -tadIddi tO

Taka takiTa - (3)

parAku cEsEvEmirA -rAjagOpAla !! parA !!

a!! pa!! mArADavEmirA -madana janaka -ipuDiTu !! parA !!

1 jagadbhirama - ghananIrada shyAma

suguNa gaNAdhAma -surucira nAmA

nigamaparamArAma - nikhila mOhavirAma

Ajahari hara nAma - asura maMDalabhIma !! parA !!

tAttalakjhaM -takuMdarikiTa (2)

tadhitAM -dhitAM -tatai - tatAM (2)

tAM kiTatakajhaNu - tatakiTataka jhaNu (2)

tAkiTa -jhEkiTa -tAkiTa tAM (2)

Taka takiTa -taka takiTa - taka takiTa tAM (2)

taddhitta kiTatAM - dhittakiTa tAM -takiTa tAM

(tishraM) dadigiNata (3)


216

JAVALI

NATYA HRULLOLA - KEERTANA RAGA -KALAHARIPRIYA

TALAM-ADI

tAM takiTa -tAM takiTatO

tai takiTa -tai takiTa tO

tajhaMta tO -tadIddi tO

Taka takiTa - (3)

parAku cEsEvEmirA -rAjagOpAla !! parA !!

a!! pa!! mArADavEmirA -madana janaka -ipuDiTu !! parA !!

1 jagadbhirama - ghananIrada shyAma

suguNa gaNAdhAma -surucira nAmA

nigamaparamArAma - nikhila mOhavirAma

Ajahari hara nAma - asura maMDalabhIma !! parA !!

tAttalakjhaM -takuMdarikiTa (2)

tadhitAM -dhitAM -tatai - tatAM (2)

tAM kiTatakajhaNu - tatakiTataka jhaNu (2)

tAkiTa -jhEkiTa -tAkiTa tAM (2)

Taka takiTa -taka takiTa - taka takiTa tAM (2)


217

taddhitta kiTatAM - dhittakiTa tAM -takiTa tAM

(tishraM) dadigiNata (3)

padaM

Composer : Kshetrayya rAgam : Bhairavi tALaM : tripuTa

Nayaki : virahotkaMThita

Pallavi :-

muMdaTivale napai nenarunnadA nA sAmi

muccaTa lika nElarA !!

Anupallavi:

Enduku moga miccakapumATa lADEvu

mEragAdu pOpOra

1. caranaM:

piluvanaMpina rAvu pilacina gaikOvu

palumAru vEDina palukavu

valapu nilupa lEka celuvuDavani ninne

talaci talaci cAla talla dilluTegAni !!muMdaTivale!!

2. cinnanATanuMDi cErina deMcaka nannu

couka jEsEdi nyayamA

vannekADa nIdu vaMcana lerugaka ninnana

pani lEdu nE jEyu pUjaku

3. kaluval rEDaMcu kaMci varadA ninnu

lalana iMta dUramu rAniccEnA?

alaru vi(or ni)ltunikELi nalumukonucumunnu


218

kalasina pApAnakA ? kanula jUDa vaccitivo !! muMdaTi!!

“muMdaTivale” :

Meaning-referring to the past, heroine asks whether her beloved remembers his promises, how he played and showed love in good times when she and her beloved

played, made sweet talk

“nenarunnadA” :

do you love me? have regard for me? Remember me ? do you yearn for me?

“muccaTalu” : sweet chattings

Going for strolls in garden, having feasts, playing water games, annointing sandlewood paste and other sweet memories

Enduku =why

“mogamiccakapu mATalu” :

You said -

“I love you very much

You are my life

Do not know any one else except you

Will do as you say

Will not disobey your word

I promise

I am your slave”

And pretended you love me and acted as if you care for me lot

Why so?

Stanza :” piluvanaMpina rAvu”


219

She says

I sent many messages through various means like sending a mediator and my close

friend

That I will do as per your wish

That I will do as you like

I am unable to to bear the pangs of separation

Unable to withstand the impact of the cupid arrows

Unable to bear the effect of moonlight

In Stanza 2 she says

You have let me down without considering that I have been with you from my childhood,

I did not know your cunning ways and admired you, so I am to be blamed not you

In the third stanza, addressing him as “kaMci varadA” she questions him whether the other woman has stopped him from coming and meeting her addressing him as

“kaMci varadA” where one can show him as:

Lord Vishnu

Lord Rama

Lord Krishna

Or the ten incarnations of Lord Vishnu

[in a Telugu film „Atma gouravam‟ this padam features as a stage show performed by Kanchana and Rajasree using Kuchipudi technique, choreography by Smt. Sumathy Kaushal, first woman dance choreographer in 1960s. Film directed by K.Viswanath.

On youtube

“muMdaTivale” :


220

means like old times, so heroine refers to the past asking whether her beloved remembers his promises, how he played and showed love when she and her beloved played, made sweet talk

“nenarunnadA” :

do you love me? have regard for me? Remember me ? do you yearn for me?

“muccaTalu” : sweet chattings

Going for strolls in garden, having feasts, playing water games, annointing

sandlewood paste and other sweet memories

Enduku =why

“mogamiccakapu mATalu” :

You said -

“I love you very much

You are my life

Do not know any one else except you

Will do as you say

Will not disobey your word

I promise

I am your slave”

And pretended you love me and acted as if you care for me lot


221

Why so?

Stanza :” piluvanaMpina rAvu”

She says

I sent many messages through various means like sending a mediator and my close

friend

That I will do as per your wish

That I will do as you like

I am unable to to bear the pangs of separation

Unable to withstand the impact of the cupid arrows

Unable to bear the effect of moonlight

In Stanza 2 she says

You have let me down without considering that I have been with you from my childhood,

I did not know your cunning ways and admired you, so I am to be blamed not you

In the third stanza, addressing him as “kaMci varadA” she questions him whether

the other woman has stopped him from coming and meeting her addressing him as “kaMci varadA” where one can show him as:

Lord Vishnu, Lord Rama, Lord Krishna or the ten incarnations of Lord Vishnu

ASHTAPADI

Dashavatara ashtapadi is included in appendix

FOLK DANCE

FOLK DANCE COMPOSITION (TELUGU)

dimta nagina dimta nagina dimta nagina dim dim taka

dimtaka dimtaka dimtaka dimtaka dimtaka dimtaka dimtaka tAm (2) tai


222

dimtaka dimtaka tam

dimtaka dimtaka tai

dimtaka dimtaka

sukkalanni konDamIda shOku cEsu konEvELa

paMTabOdi varimaDilO paka paka navvE vELa

callagAli tOtakaMta cakkili gili peTTE vELa

mokka jonna tOTalO musirina cIkaTlalO

maMcekADa kalusukO maruvaku mAmayyA

Jati : diMta nagina diMta nagina diMTa nagina diM diM taka

diMtaka diMtaka diMtaka diMtaka diMtaka diMtaka

diM diM diM diM

diM diM diM diM

diMtaka diMtaka ta

diMtaka diMtaka tai

diMtaka diMtaka

goDDu gOda mallEsE kurra kuMkalaku gAni

Kalupu tIta lai maracE kanne paDuculaku gAni


223

Bugga mIsa meli vEsE bhU kAmaMduku gAni

tOva keduru vastivA doMga cUpu cUstivA

taMTA mana iddariki tappadu mAayya !! mokka!! jati “diMta nagina”

cIkaTi miNuguru jOtula cikili sillu laDakamuMdE

AkAshapu taDavi tOTa AvaliMta liDaka muMDe

podduvAlinaMtanE puMta dAri ceMtanE

Saddu maNage niccerA cakkani mAmayya !!mokka!!

Panulu gaTTi etti nannu palukariMca bOyinapuDu

mOTa bAvi venaka nAtO sarasa mADi napuDu

Kasiri tiTTi nAnani visiri koTTi nAnani

Cinna bOku nalugurilO siggadi mAmayya Siggadi mAmayya siggadi mAmayya………exit

*************************************


224

CHAPTER-7

CONCLUSION


225

CHAPTER-7

CONCLUSION

“sishya-dvayen-iva pada-krama-mukharena nupura-yugalena vacalita caran”

The steps of Goddess Saraswati were musical with the pair of anklets (nupura yugala) that jingled in accordance with the movements 9krama) of her steps (pada) as if they

were the two disciples of her, busy intoning the veda in accordance with the padakrama. (Source reference: Bana of the anklets of Goddess Saraswati in his book

titled „Nupura)

„Among human beings its functional purpose and is mainly related to dance. A bunch of bells is tied or laced into a long cord or to a leather strap. Worn round the ankles

the foot movement or the dance step is elevated to a musical sound and lends itself to rhythmic expression. The ghunghroo and Indian dance are inseparable‟

(Ethnomusicologist, Dr. Komal Kothari description of the use of ankle bells)

Along with the significance of bells both as instruments as well as ornament in Indian culture, another feature unique to Indian dance is the syllables that are included in the

dance music. Similar to the varied nomenclature in referring to the dancing bells these syllables also differed from one form to another.

About sixty years back, in a casual chat with my father about dance forms my sisters were learning,(in 1950s), we casually pondered over the postures of each dance form. I presume that was the seed of my awareness to know about the differences. Much

later it became my probing question in different areas of dance technique. As I started my classes at my institute established in 1982 and giving training in both

Bharataanatyam and Kuchipudi, often I was asked about the difference between the two dance forms by artistes as well the students, their parents. That was the start of my probe I suppose. I looked into my collection of dance books at my disposal and

then collected many more in the past four decades. I laboriously went through the texts and the details were not in one book but in many but with little information on


226

the dance syllables. So it was my experience as a nattuvangam player in three style during 1970s that indicated the dance syllables differed from one form to another.

The students‟ answers to my questions in theory examinations increased my interest in this subject. To „what is classical dance‟ they answered „what is taught in a class‟ or „teacher teaches beating rhythm‟ or „dancer wears gold ornaments in classical and

silver in folk. To more technical questions like what is rhythm and speed, their answers though sounded raw and childish at that moment those answers became the genesis of this study. During my doctoral studies I had taken up the identity crisis of

Kuchipudi but analysed in a sociological perspective. The technical details were not incorporated but a data base was formed for future study. However, it is observed

there is misrepresentation of technique of a dance style. A participant in a competition performing in Bharatanatyam for Kuchipudi dance syllables when questioned about it she answered that is how she is taught. I questioned myself it is right? Another issue

is about using pot and place in any composition other than a composition called tarangam a popular presentation in Kuchipudi repertoire that became synonymous

with the identity of Kuchipudi dance. How far that adaptation is acceptable in preserving the purity and authenticity of a dance form?

What is the reason for this misinterpretations? Initially examination indicated that awareness levels differed. Written books were few and also mostly written in regional languages.

I realised based on my experience in conducting nattuvanagam for three styles, the dance syllables play a key role in maintaing the identity of a dance form.

The hearing impaired children interpreting a national anthem conveyed that

expressions can be many but one sees the „univesity in diversity‟ an often used interpretation in regard to the Indian culture. Many musical versions evolved but the significance of national anthem of India but message conveyed remains unchanged.

This indicated a similarity the dance syllables of Indian dance traditions. Regional variations took place, but there is a pan-Indian character attributed to the dance forms,

particularly the classical dance forms.

In the beginning of the study as I went through details on contribution of Nobel laureate Rabindranath Tagore, in every state there is an auditorium named after the

legendary poet, writer, artiste. For the inaugural function of one in Hyderabad in early 1960s, his two popular dance-dramas „Chitrangada‟ and „Basant‟ were presented. We

were told that the notation for the music and dance was written by Gurudev is followed without any changes incorporated. For six months musicians and dancers (Dr. K. Uma Rama Rao and Raja Reddy played key roles) practiced for six months

before the final show. However, neither the presentation was repeated in Hyderabad nor any audio-video recording is available (not to my knowledge). The music with

about twenty artistes singing in synchronization with dance movements was not recorded in any medium. The concern of this study is that many such presentations may go in oblivion if not documented.

A search in dance literature for any documentation of dance technique from ancient days pointed out that most of it is evident in architecture, sculpture, painting,

inscriptions, manuscripts and documented records etc. As the dance is


227

movement-based they all conveyed the technique as in a still photography. They spoke about the various ways of dance forms, poses, events, patrons and so on. But it was in a silent mode. What was the accompanying music?

The dance compositions, the lyrical content highlight the nature and genres of compositions of the dance performances. But again there was not movement

interpreted except for the technical terms used for hand, head, body and feet movement. Many studies have been taken up in the past, but on dance music one observes some short comings.

Prior to working on this topic, as a Kuchipudi artiste, teacher and researcher, how the dance traditions got transmitted from generation after generation. Experience as a

practicing artistes, provided me with an opportunity to look at the broader frame in examining the technique and nitty gritty of transmission.

Initial survey in my personal book collection indicated there is not enough documentation on the nature of dance syllables used in classical dances, both in dance literature as well in the documentation of individual artistes. A more intense probing

pointed to the teaching systems that existed in training the classical dance forms. The learning mostly followed guru-shishya parampara, building a strong teacher-student bond and also discipline. The instructions are carried verbally and for

theoretical aspects texts and treatises provided details on various technical terms and their usage. Due to this tradition, documentation of training methods remained

unavailable to people other than students learning from a teacher. Eventually more schools of learning evolved. Gharanas, paddatis or melams pointed to the variety of training centres. The teachers following a particular school became protective or

reserved about the technique they followed. Process of training thus followed mostly oral tradition, particularly in the guru-shishya parampara.

During this research study, the apprehension to part with technical details became hindrance to certain extent. After much convincing about the purpose of collecting sources, a few samples could be collected. These showed more individual perception

rather than a uniform method of noting down the dance syllables. These variations made me look into the western and other dance forms where a var iety of notation systems evolved and writers contributed to this aspect of dance literature. One survey

at the San Jose library and going through the books revealed there is enormous volume of published works and research conducted in this area. No doubt encouraged

me to look into Indian dance literature. They were helpful in locating books on dance forms like Manipuri, Kathak,, Kathakali, Odissi, and Mohiniattam. Comparitively a less representation of Kuchipudi is observed. However, having a large collec tion

of books on Kuchipudi dance in my archives and translated them for an Annotated Bibliography for The Asiatic Society a comprehensive data base was already

available. Still the details on the dance syllables are found scattered and scanty except for three to four books which provide the wealth of information for an entire chapter on Kuchipudi dance syllables. It was found not many exclusive books on notation

systems are available. So the study limited the analytical interpretation to few forms instead of all the seven classical dance styles considered for the study. Sattriya, a new

addition to the list of classical dances probably is in a better position to contribute to the dance literature in filling the gaps on this subject.


228

Prior to working on this topic, as a Kuchipudi artiste, teacher and researcher, a query kept coming to me why so many variations in the dance traditions, music and execution. The previous experience provided me with an opportunity to look at the

broader frame in examining the technique and nitty gritty of transmission.

An examination of he dance syllables used in various dance forms is made going through the published works. A very few books written in English were available.

Mostly notes are prepared by students for their own understanding. The efforts to reach a wider learning process started much later, specifically in this century with

social media playing a key role in communications. How far the notation systems applicable to learning a dance forms or forms?

An analysis of the notation systems mentioned in various books points our to the variety of notation systems available to interpret dance movements. But the dance forms are different from the Indian dance forms as in the world dance forms, there is

no use of dance syllables, not many hand gestures are there. The technique is quite different. So applicability or use of those systems is minimum but a possibility to use some of them to Indian dance is felt by senior dance scholars and practitioners like Dr.

Padma Subrahmanyam, Smt. Rajee Narayan, Vedantam Parvateesham, Hemadri Chidambar Deekshitulu Dr. Kanak Rele, to name a few. They evolved systems based

on staff notation or kinetics followed in the west. They need to be brought into the attention of dance practitioners.

An examination of the available notation systems points to the variety again but with more individual approach. Also access to them may not be easy. Some other books mainly included technical terms and their execution. These books helped in comparing the two dance forms Bharatanatyam and Kuchipudi for their similarities

and differences. In addition, my own notes on the teaching and nattuvangam became useful at various stages.

While looking into the Kuchipudi dance literature, a handful of books provided wealth of details on dance syllables written for both teachers and students learning Kuchipudi. However, they can be understood by a trained artistes in both theory and

practical of the dance form.

One notices a process where both oral and written traditions are practiced in parallel.

They complimented each other in learning an Indian classical dance form. The issue raised in the study pertains to the various regional languages the dance forms are associated and have roots of origin making it difficult to evolve a uniform notation

system. With differences in the technique followed the nuances and unique characteristic features require to be highlighted. Since dance activity is mostly

considered a physical activity, use of written works is not given a focus. Even the availability and locating the published works is a task in view of their scattered and scanty nature. The awareness levels of both students and teachers about the

characteristic features of dance syllables in a dance form be raised to represent the identity of a dance form. The attention to accompanying dance music also be made

important in the training process.


229

Though the impact of technological development has been encouraging in most of the spheres, in regard to art forms, it had both advantage and disadvantage. The earlier oral tradition of transmission process continued, on the other hand the learners sought

quick and short time courses. However to learn the theoretical aspects of any dance technique books remained an importance source material. The growth of dance literature in the last century catered to this need. A survey of the dance literature in

different classical dance styles indicate they dealt with the historical background, changes and development in both their structure and content. A very few books are

located which provided information on what and how to execute dance movements, particularly the pure dance or nritta aspect.

These need felt aspects have been considered in presenting the structure and content of dance syllables in Kuchipudi dance. The efforts, to make it comprehensive if not exhaustive have been made to make the content useful for dance practitioners as well

those interested in the subject. The case study of structure and unique character of dance syllables used in Kuchipudi dance is aimed at guiding the dance practitioners as well those interested in the subject in making similar studies. The content in different

chapters can form an useful reference material too for the dance practitioner and scholars.

While the number of students taking up classical dances is impressive, the facilities for their learning and the training process seems to be still in oral tradition, even at academic levels with minimum documentation. A syllabus is followed but it varied

from one training centre to another. Also a more clarity and uniformity is required in defining the technical terms.

The communicating language also plays an important part in the transmitting process, eventually a method to transcribe the dance language is important aspect to be taken care.

The reluctance and unwillingness of artistes to part with their knowledge seems to be due to misusing the creative work of others without acknowledging or giving credit to the artiste. If some guidelines are set to protect the creative (or intellectual) rights of

the artiste‟ choreographic pieces, the significance of dance notation gains attention.

An overall view of the dance literature on notation poses a variety of questions , How

significant is dance notation in the stylised movements like Indian classical dance? What should be recorded ?With no copy right acts to protect the content, the apprehensiveness of the teacher is understandable. The violations of ethics is a point

to be taken care of.

In Indian classical dances notation can be used to illustrate type of dance syllables

used, their rendering style, rhythm variations, tala division, speed variations, voice modulation, grammar in composing a jati, place and significance of jati in repertoire and so on. Uses are manifold but needs careful and meticulous work on evolving a

notation system for useful reference in learning, teaching and choreographic presentations.


230

The dance literature also points to certain inconsistencies in mentioning the names of compositions, meanings in glossaries differing. Co-existence of oral and written traditions in teaching system, presenting both in dance-drama and solo formats as in

Kuchipudi, the lyrical texts and published works being in regional languages, the teachers belonging to both hereditary or traditional families and outside and importantly the the difference in dance syllables and their tala division makes a

notation system not only a complex one but also requires a team of experts comprising dance practitioners , teachers, musicians to work on a workable notation

system.

The language used to instruct the dance movement also plays an important role. Choosing the right words in notating a movement. For instance, it is observed that

for instructing a rhythmic beat with right or left foot, words like „stress‟, „stamp‟, „beat‟ or „strike‟ are used to move or to make different sounds with feet. A cartoon

illustration in the book „Labanotation‟ illustrates this point.

Realizing the need for documentation of performing arts , workshops and digitization gained attention. There are institutes and university departments trying to

systematize teaching and are developing syllabi and courses, but there is a lack of qualified faculty to teach and question arises what are the eligibility qualifications as

there are no teachers‟ training courses as is the case with general education system.

An approach to studies in future can be taken up by considering the related subjects like music, language, history, culture, ethnomusicology, transcription of audio-visual

material, knowledge of Indian myths and symbols, categories of Performing arts, organology, the training methods and so on.

The noting down of the syllables and their nature needs more attention. With no written notes given or taken in dance schools even at the university levels, variations are bound to take place. The students have to note down the lessons in their own way.

Neither they are checked for any corrections. A gradual variations are bound to happen in the scripts, specially when the language is alien to the student.

There are not enough text books to support the syllabus even at university levels too. A student relies, in this circumstances, mainly on the practice without any reference to written notes.

With technology like using skype, and youtube channel and the use of modern stage is the dependency on the recorded dance music is replacing the oral training process. However, these ways of learning still are dependent on the guidance of the teacher.

While advantage of pre-recorded music is that it permits performances independent of teacher‟s presence. Decision to perform can be taken within a short notice, and

duration of the performance can be edited. But again the ethics of observing obedience and discipline in performing Indian dance tradition are no more adhered to strictly. How such deviations help in carrying the dance traditions without any

distortion to the dance technique?


231

Each dance class follows a tailor-made system of documenting the dance lessons. In the absence of any certifying school for teachers training, the standards of teaching and changes in the content are bound to take place.

The sources on dance notation indicate that a single notation system may not be applicable to all the dance forms. But evolving a system to learn and understand the dance technique is essential in order to prevent any distortion of the dance technique.

Also it helps in distinguishing one from another. We have seen in the case of Bharatantyam and Kuchipudi despite having some similarities differ in many aspects

in respect to the nritta, particularly, the dance syllables.

Notation may not be important to perform, but for posterity, documentation of the content of dance technique is necessary in some way. The contribution of this

researcher is some samples of audio-video recordings made to illustrate the rendering style, pronounciation, tala-division, voice modulation and their place in the Kuchipudi

repertoire.

There is voluminous content left by the artistes in the past which needs to be explored. It needs a team work comprising artistes, historians, scholars, literates, musicians,

academicians and others. The styles and technique of a gharana, a paddhati, or a melam speak volumes of the uniqueness of their dance expression.

kitataka tadigiNatOM

taka tadigiNatOM

tadigiNatOm

digiNatOM

giNatOM


232

BIBLIOGRAPHY

BOOKS IN TELUGU

Acharya, C.R. (1964 a)

„Andhrula natyakala ounnatyamu‟ [The richness of dance traditions of Andhra people], Natyakala,

Andhra Pradesh Sangeet Natak Akademi (henceforth APSNA), Hyderabad. December :2-4.

Acharya, C.R. (1965 b)

„Natyakala: Andhrula visishtatha‟ [Dance art: Andhra‟s specialty}Natyakala, APSNA, Hyderabad.

June : 5-8

Acharya, C.R. (1966 c)

„Kuchipudi natyamu: Chari bhedamulu‟ [Kuchipudi dance: different body movements called charis],

Natyakala, APSNA, Hyderabad. June : 26-30

Acharya, C.R. (1966 d)

„Andhrula Natyakala‟ [The dance art of Andhras] Natyakala, APSNA Academy, Hyderabad.

October : 39-42

Acharya, C.R. (1969 e)

Kuchipudi aradhana nrutyamulu, [Kuchipudi ritual dances] Sangeet Natak Academy, New Delhi.

Appa Rao, P.S.R. (1967 a)

„Siddhendra Yogi‟ [original art icle courtesy “Bharati” (January 1960)] in Bhamakalapam

( compilation of text), APSNA, Hyderabad : i-xv

Appa Rao, P.S.R. (1994)

Chestakrutaabhinayam- (Chari, mandala, karana, angahaara-sthanakamulu), Angikabhinayam-4,

P.V.R.K.Prasad, Hyderabad.


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Appa Rao, P.S.R. (1995)

Hastabhinayamu, Telugu University Publication NO.158, Hyderabad.

Appa Rao, P.S.R. and Uma Rama Rao, K. (1994 b)

Kuchipudi Nrityam- B.A. Ist & IInd year Text Book, Telugu University, Hyderabad.

Chinta, Ramanadham. (1988 a)

Kuchipudi Natya Bharat i, Akhila Bharata Kuchipudi Natya kala mandali, Kuchipudi village, Krishna

District, Andhra pradesh.June.

Chinta, Ramanadham. (1988 b)

Kuchipudi Natya charyula charitra putalu, [The biographical sketches of Kuchipudi dance teachers],

Akhila Bharata Kuchipudi natya mandali, Kuchipudi, Andhra pradesh.

Chinta, Ramanadham. (1994 c)

Kuchipudi Natya Visishtatha, [ The special features of Kuchipudi dance], Tirumala Tirupati

Devasthanam , Andhra Pradesh.

Chinta, Ramanadham. (1994 d)

Sloka Ratnakaramu -classical dance concerned [ a compilation work of Sanskrit poetic veses] Chinta

Ramanadham, Hyderabad. March.

Hemadri, Chidambar Deekshitulu. (1994)

Kuchipudi kalasagaram-Nritya sastramu [Kuchipudi dance art-dance technique], Sri Kondapalli Book

House, Rajahmundry, Andhra Pradesh. October.

Kaushal, Sumathy. (1966)

Kuchipudi natya sampradayam‟ [Kuchipudi dance tradit ion], Natyakala , APSNA,

Hyderabad.June.pp.5-8

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Andhra Natyam Perini International, Hyderabad, Augus


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Ramesh „Krishna. (2012)

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Nataraja Ramakrishna, Andhra Pradesh Hindi Academi, Hyderabad.

Seth, Rajyalakshmi. (1991)

„Desha videshalalo Kuchipudi Nrutyam‟ [Kuchipudi dance in India and abroad] Ippude, Just Now

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Uma, Rama Rao, K. (1992)

„Sahaji Maharaju-Pallaki Seva prabandhalu‟, Korada Ramakrishnaiy Centenary Festschrift, SITA Trust,

Visakhapatnam, A.P. and SRI Foundation, USA.

pp.395-402

Uma Maheshwari, K. (nee Uma Rama Rao, K.) (1993)

Sahaji Yakshagana prabandhalu- Kalatmaka pariseelana, Ph.D thesis in Dance, Department of Dance,

Telugu University, Hyderabad.

Vedantam, Parvateesham. (1969 a)

Kuchipudi Nritya Darpanam Mirror of Kuchipudi dance, Tirumala

Tirupathi Devasthanam, Andhra Pradesh.

Vedantam, Parvateesham. (1964 )

Kuchipudi vari Bhama Kalapam, Vedatam Parvateesham, Kuchipudi, Andhra Pradesh.

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Kuchipudi Prahlada natakam-yakshaganam, Vedantam Parvateesham, Kuchipudi, Andhra Pradesh.

Vedantam, Parvateesham. (1986 )

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Kuchipudi Melakartalu, Vedantam Parvateesham, Kuchipudi, Andhra Pradesh.

Vedantam, Prahlada Sharma. (1965)

„Natyodayam‟, Natyakala, APSNA, Hyderabad:pp.1-5109.

Yajnanna Sastry, Somanchi. (1991)

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