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Category Archives: Natya

The texts of the Indian Dance traditions – Part Eighteen

Lakshana Granthas Continued

Continued from Part Seventeen

12. Nartana-nirnaya of Pundarika Vittala – Part Two

 

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Nartana-nirnaya

The central theme or the focal point of the Nartana-nirnaya is the Nartaka, the Dancer and his performance (Nartana); and, all the other participants – the Taladhari (Cymbal player), Mrudangi (Drummer) and the Gayaka (Singer) – are ancillary to that. And, even the Nataka (Drama) is said to be a mere device to showcase his excellence.

The efficacy of the Nartana , the dance, is determined (Nirnaya) by the performances, the combined excellence and coordination  of  the Dancer (Nartaka) and his troupe (Vrnda), consisting the Singer (Gayaka), the Cymbalist (Tala-dhari), the Mrdangam-player (Mrdangi), flute-player (Mukhari), and the Dance-composer (Nattuva). These components, together, are the determinants (Nirnaya-kari) of the Dance (Nartana); hence the title of the text is Nartana-nirnaya.

shantalamag

The text Nartana-nirnaya is, at times , called as Nartaka-nirnaya , which some scholars opine is also quite appropriate; because , its principal  subject is the Nartaka (dancer); while the Taladhari (cymbal player); the Mrdangi (Mrdangam player), and the Gayaka (singer)  merely support  the Nartaka  as ancillaries.

nartaka

Thus, in a Dance performance, the Nartaka is the most important performer. The next to him, in importance, is the Gayaka, the singer. He is followed, in the diminishing order of importance, by the Mrdangam player and the Taladhari.

Bharatnatyam Music Player

The Nartana-nirnaya comprises four Chapters (Prakarana) each devoted to a type of participant, Viz., Taladhari (Cymbal player); Mrudangi (Mrdangam player); Gayaka (Singer); and, the Nartaka (Dancer). Thus the treatise focuses on the role of the artists involved in presentation of a Dance performance.

But, the very heart of a dance performance is the Nartaka, the Dancer. The other supporting artists supplement the Dance performance, by way of rhythm (Nattuvanga, Taala and Mrudanga); Melody (Raga); and Lyrics (Prabandha). The final Chapter is the very heart of the text; while the earlier three Chapters are about the infrastructural or ancillary support to the Dancer.

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At the beginning of the first Chapter, the author declares his plan to write on five topics:  Taala (rhythm); Vadya (instrumental music); Gita (vocal music); Nartana (Dance), and Natya (Drama) – NN. 1.3.

nartananirnaya

However, for some reason, he did not write the fifth Chapter, relating to Natya. The text of the Nartana-nirnaya, as it has come down to us, has only four Chapters, ending with the Prakarana on Nartana, the Dance.

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The text begins with a set of 34 verses, written in a variety of metres, in praise of the Moughal Emperor Akbar and his ancestors.

Nartana-nirnaya is characteristically different from other works on performing Arts, in regard to the arrangement of the subject-wise chapters; the Divisions and Sub-divisions; organization of the supporting material and exposition.

The Nartana –nirnaya adopts a logical, coherent and a consistent approach in the arrangement and depiction of its subject.

Each Chapter contains considerable, original, conceptual and descriptive matter. Even where it is largely indebted to earlier authorities, it achieves a remarkable degree of ingenuity, clarity by judicious aesthetic arrangement of its topics.

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Sopana-marga

The four Chapters of the text are arranged in what is known as Sopana-marga (or arohana-krama), in the ascending order of importance of the subject matter, like climbing up the stairs. Such a method of exposition; and, the arrangement of its subjects is said to be unique to Nartana-nirnaya.

Accordingly, the Chapter on Taladhari (the Cymbal-player), the one who keeps time and beats (Tala and Jati), appears first; and, is prior to the one on the Mrdangin (Mrdamgam player). And, Chapter on Mrdanga precedes the one on Gayaka.  Finally the performance of the Nartaka (the Nartana) ; and, the Dance, in general (Nrtta) are discussed in the Fourth Chapter.

Following such scheme of arrangement, each chapter (beginning with that of the Cymbal-player) leads on to the next Chapter, which deals with the more important aspect of Dance.  Here, the first two Chapters are concerned with the auxiliary of Dancing, viz., the rhythmic content (Nattuvanga, Tala and Mrdanga); the next (third) Chapter deals with the melodic content (Raga) and the lyrics of the song (Prabandha). The final and the most important Chapter is about Nartaka and Nartana.

The first Chapter, consisting of 260 verses, is on Taladhari, the Cymbal player, who provides rhythm; and, the second Chapter, in 116 verses, is on Mrdangam, the drums.

The Mrdangam and the Tala (Cymbal) provide the rhythm and time-units in terms of Tala and Laya. Of these two, the former is more important; because, his performance is more visible to the spectators – prekshitamukha (NN.2.7a). The Mrdangam player, in a sense, is the leader of the percussion instruments; and, the other percussion instruments look up to him for the lead. He is assigned 116 Slokas. The Chapter on Mrdangam follows that on the Tala.

But, the size of the Chapter on Taladhari is more than twice that on Mrdanga. That is merely because; the former includes about 144 slokas on Marga and Desi Talas and Tala-pratyayas.  Otherwise, both the chapters are almost equal in extant – 127 and 118 Slokas respectively

The next in importance of the  dance performance, is devoted to the Gayaka, who provides the textual and melodic framework for the Dance, in the form of the words, their content and the music (He is assigned 578 Slokas , in two segments concerning Raga , the melody (234 Slokas) and the Prabandha , the text (344 Slokas).

flute player

The role of the flute-player (Mukhari), who just follows the singer and provides the ambiance; but, has no independent function in the dance recital; is described in just 38 Slokas in the Chapter on Dance.

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Eventually, following the hierarchical arrangement of the components of Dance , proceeding in the successive stages of importance, the earlier three Chapters lead to the Fourth and Final Chapter which deals with the most important component of Dance, the Dancer, the Nartaka, himself, the central figure of the performance.

The fourth Chapter, the largest one, having 913 verses, is devoted to Nartaka and his performance. This Chapter starts by defining Nartana, a term used by the author to mean Dance, in general. The Dancer’s (Nartaka) performance is presented in its two aspects: Nartana (dance in general combined with Abhinaya-237 Slokas); and, the Nrtta (pure dance- 676 Slokas).

Here again, the Nartana is said to comprise three kinds: Natya, Nrtya and Nrtta (Natyam Nrtyam Nrttam iti trividham tat prakirtitam); of which, the last is again divided into three types: Visama (difficult, acrobatic), Vikata (hideous) and Laghu (light).

Natya, as the wise explain, is adorned with a narration, teaching, Vritti, Bhava and Rasa; and, is complete with four kinds of Abhinayas (NN.4.3-4)

Nrtya is Dance that is beautiful in all its four components and delighting the hearts of the spectators.

Nrtta is that which provides aesthetic pleasure enjoyed by the people; it is resplendent and spectacular in all its aspects (Angas) through the display of the movements (Vikshepa) of the hands, feet etc., although it is bereft of the Abhinaya –element (NN.4.5-6)

All the types are defined; and, the author reproduces in the first ten verses of the Nartana-Adhikarana, the Sangita-ratnakara’s view that Nrtya and Nrtta may both have varieties of Tandava and Lasya.

Nartananirnaya contents

Outline

Each Prakarana (Chapter) of Nartana-Nirnaya gives, at its commencement, a summary of its content. Further, Each Prakarana begins with a definition of the respective performer, in terms of his function, merits and defects.  It then proceeds to describe and discuss the materials of the performance medium; the techniques; and, the forms of compositional repertoire.

[The exception to this rule is the Chapter Nartana-adhikarana (4.1). Its summary is given at the beginning of Chapter Three at 3.1 and 3.2, thus treating both the Adhikaranas as a single Chapter. ]

Separate lists of the contents for the Tala, Raga, Prabandha, Pratyanga-abhinaya, compositional structural elements etc., are given in the respective Adhikaranas, before taking up their definitions, descriptions or discussions

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The contents of treatise

Taladhari Prakarana

Manjeera

Pundarika Vittala commences his treatise with a prayer to his favorite deity (Ista-Devata) Sri Krishna, the most sublime of the Dancers, sporting the divine Rasa Dance (NN. 1.1.-3. Mangala charanam):

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I bow to that my Lord Sri Krishna, who is the final recourse (Upetu) of all devotees (Yati) for bestowing liberation (Moksha) ; one who is the abode of all classes of mortals; and, one who is immersed in the Rasa Dance  . With that Lord residing in my heart, I shall proceed to narrate the Nartana-nirnaya.

prayer

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At the commencement of his treatise – Chapter One – Taladhari Prakarana – Pundarika Vittala states that the roles assigned to the Taladhari (Cymbal player); the Mrudangi (Mrdamgam player); the Gayaka (singer), the Nartaka (Dancer); as also the substance of the play, form the components of Nartana-nirnaya (NN.1.3)

Then, he says: I shall describes these five elements of Nartana, in an ascending order, starting with the Cymbal player.

nartananirnaya cnotent sloka

The opening Chapter on Taladhari is divided into the following thematic clusters:  the player; his instrument, which is the Cymbal; his stance; performing techniques, varities of the instrumental compositions (Tala- Tala pratyaya tala sadhana) etc. It also lists:

  • The desired qualities of the Cymbal bearer;
  • Paatas (sound syllables) of percussion instruments;
  • Desi Talas
  • Alamkaras, Kavita , likewise the ten sancharas ; performing postures; the method of performing on the Cymbals –Stuti-sabda
  • The composition named Gajara; then Ota; Vakya-sruti bhushana, patachali ; then rudrabhushana , panchadathu
  • Sudakarma (compositions) ; Yati and other Prabandhas , Prahelicas (percussive conundrums), Talas, and other devices ( exact knowledge of them)

As regards the merits (Guna) of the Taladhari, it is said:

  • He should be handsome; having pleasant contours; and, assume an attractive posture while playing.
  • He should be an expert in percussive –instrumental syllables, skilful in string the Cymbals,
  • He should be well conversant with Yati, Prasa, Tala and tempo (Laya). He should have sound knowledge of Graha , such as Sama , specialized in performing soft and harsh ( percussive) syllables; light of hands ( dextrous in playing the Cymbals)
  • He should have adequate skill in picking up in picking up (Graha), in resting (Moksha) during Nattuvanga, corresponding to the vocalized syllables. Similarly, he should be an expert in ten Sancaras, having adequate stamina, and intense attentiveness
  • He should be skilled in Desi Talas; have the capacity to create aesthetic appeal, ability to please and win over the spectators.

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Mrdangi Prakarana

mrdanga Siva

And, the Chapter on Mrdangam is also similarly treated. It enumerates the merits (Guna) and defects (Dosha) of the Mrdangam player; his appropriate stance; techniques in use of fingers, palms; varieties of instrumental compositions; repertoire for accompanying Dance performances ; the merits and defects of his own  performance etc.

The topics described here cover:

  • Varieties of Mrudanga –players called Bharika;
  • Merits and defects of the Mrdangam player;
  • Descriptions of the Mrdanga;
  • Hasta-paatas ; drum syllables;
  • Mrudanga vadana karma – methods of playing the Mrdanga ( concert repertoire); and,
  • performing stance and style of the Mrdangam player

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Gayaka Prakarana

gayaka

The Chapter on Gayaka, the singer, has two segments (Adhikaranas) : one dealing with the melodic aspects (Raga-adhikarana); and, the other with the lyrics and varieties of its compositions (Prabandha-adhikarana).

Gayaka Prakarana – Raga-adhikarana

The first segment (Raga-adhikarana) commences with the definition of the singer;  the role and the importance of the singer in a Dance performance ; his merits and defects; modes of singing; ways of rendering melodic elements in a song – Ragalapa; establishing a Raga.

Here, it is said; the true singer is one who is proficient in Shudda and Chayalaga (Ragas and Prabandhas); one who understands the Murchana, Grama and Tana; and, one who possess profound knowledge of Tala; and , sings with aesthetic delight   – Ranjaka Gitam (NN.2.1).

shuddha

Pundarika lists the merits (Guna) of a singer

  • He should be an expert in Graha and Moksha – competently following and managing  the beginning and end of  the song in Laya and Tala
  • Conversant (Alapti-kovida) is various kinds of Alapti, Sravaka (melodious and heard even from a distance), Sampradayika (traditional);
  • Specialist in bringing out the delicate nuances (Dhvani) of Ragas and Prabandhas , in pleasing and well cultured (Ayatta-kanthavan) sweet and rich voice (Susarira) even while rendering in high( loud) or low ( soft) tone –Savadhanaka; with inflexion curvature  in tone (Kaku); and, skilled in employing
  • Understands and follows closely the Dancer’s movements and the appropriate vocal support the situation needs.
  • Thorough familiarity with both the Marga and Desi Music

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As regards the merits of a song (Gita-guna), they are said to be ten : Vyakta (clarity in the combination of syllables); Purna (complete in all its limbs and Gamaka); Prasanna (readily intelligible); Sukumara (tender , soft); Alamkritam ( endowed with poetic beauty); Sama (evenness in the distribution of the rhythm and pitch); Surakta ( in harmony with the sounds of the Veena); Slakhna (smoothness in the movement from low, middle and high pitches ; and slow and fast tempo);  Vikrasta ( high , distinctly audible); and , Madhura ( sweet, graceful and highly pleasing) – (NN.2.229-230)

vyaktapurna

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The desired qualities of a composer are said to be: through knowledge of Grammar (Vyakarana), figures of speech (Alamkara); prosody (Chhandas); diction, style and a vast and rich vocabulary.

He should have the capacity to compose different varieties of songs; and, have the skill to set the words to match with the music.(NN.2.338)

shabda

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Then, the text moves on to lay down the framework or the structure of the melodic content, the tone-curvatures (Kaku) of the Raga-alapa. That is followed by the varieties of the Alapti, establishing the nature and the mood of the Raga; the lists of the Raga and the descriptions of the Raga, and the descriptions of the Raga-raginis and Ragaputras that are commonly used; their descriptions; appropriate tones and curvatures while rendering the words of the song bringing out its delicate nuances etc.

In this section, Pundarika Vittala largely follows Sarangadeva while enumerating the merits and defects of a Singer , in the matter of presenting various elements  of music and their  facets such as : Nada- Sthana; Sruti; Svara, Grama, Murchana; Tana ; Prastara, Varna; Alamkara; Gamaka; Alapti etc.  That is followed by an exposition on the Ragas; their descriptions and classifications. Here, Pundarika discusses in detail the characteristics of the Raga-families such as: Shudda-bhiravi; Hindola; Desikara; Sriraga; Shuddha-nata; and Nata-narayana;

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Gayaka Prakarana –Prabandha-adhikarana

The segment on Prabandha (Prabandha-adhikarana) – musical compositions following the definitions prescribed for Desi Ragas – deals with two aspects of the song: word (Mathu) and the Music (Dhathu). It is also called as Gana. (NN.3.1)

The segment on Prabandha (Prabandha-adhikarana) – musical compositions following the definitions prescribed for Desi Ragas – deals with two aspects of the song: word (Mathu) and the Music (Dhathu). It is also called as Gana. (NN.3.1)

dhatu matu

Its word-content (Vasthu or Mathu) is analysed into syllabic structures. There is also a mention of the fruits that may accrue to the performer and the patron form their use.

And, the musical content (Dhatu) consists of Raga and Tala. The former is treated in the preceding Raga-Adhikarana; and the latter in the very first Chapter (Taladhari Prakarana); because, it is essential to dance, music and also to song.

That is why Prabandha follows Raga and Tala; and, precedes Nartana

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The Prabandha, here, is first analyzed into melodic and structural elements; and, is classified through them. Pundarika discusses the Six Angas (components) of a Prabandha: Svara (seven musical notes); Birudu (laudatory phrases); Pada (one that expresses meaning); Tenaka (tena-tena sounds); Paata (instrumental sounds); and, Tala (time-units).  It is explained; among these Angas; Tena and Pada are the eyes; Paata and Birudu are the hands; and, Tala and Svara constitute the feet of a Prabandha. The Tena (tena-tena) sounds are the manifestations of auspiciousness (Mangala-kara)- (NN.3.10)

talasvarau

Here, Pundarika Vittala, supplements his explanations with illustrations from the contemporary materials derived from various regions/provinces.

Then, the ancient Prabandhas – textually and orally transmitted – are listed and described. As with the Tala, the Raga, and the Dance forms; the author concludes the topic with the description of the contemporary material taken from different parts of the country. The Chapter concludes with an account of the merits and defects of the song rendering and the music composition.

Here, again, Pundarika Vittala follows Sarangadeva and Kallinatha, while describing the varieties of Prabandhas and their characteristics, in terms of their structure and textual elements. He cites with illustrations, 75 types of Prabandhas spread over:  8 of Shuddha Suda class, 24 of Alikrama, 36 of Viprakirna, and 7 of Salaga Suda variety. Pundarika Vittala provides explanations for their applications in different parts of song –composition.

In the process, he describes eleven Prabandhas that were unique to the traditions of Karnataka:  Chandraprakasha; Suryaprakasha; Navaratna; Vira-srngara; Rudraprakasha; Ranaranga; Dasavatara; Sarabhalila; Caturanga; Rtuprakasha; and, Srngarahara.

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Nartana-prakarana

adavu harini

The Chapter titled Nartana-prakarana is highly relevant to Dancing. And, it is the most important Chapter of the text; and, it is, in fact, the prime factor of the treatise, as it provides the very basis or the cause of its title Nartana-nirnaya.

This Chapter accounts for almost half the size of the text.  And, it is devoted to Nartana, which is presented in two Adhikaranas:  one, dealing with Nartana, the dance form endowed with emotive content, the representational art of dancing, giving expression to emotions through Abhinaya ; and other, with Nrtta which provides aesthetic experience derived from pure form of Dance through disposition, movement and configuration of the various parts of the human body,  employed as a communicative instrument to give a form to its expressions. Here also, Pundarika, largely, follows the explanations provided by previous authorities; such as   Bharata, Abhinavagupta, Kallinatha and Sarangadeva.

Nartaka Prakarana – Nartana_ Adhikarana

This Adhikarana relating to performance of dance – Nartana-prakarana – also deals with the persons involved in the presentation of Dance, such as: Nartaka, Patra, Nartaki, the supporting instrumentalists, the Patron, the audience (Sabha-sada) etc., their merits and defects.

Next, the orchestra in which only the flutist and the flute are discussed, since the other members , viz., Taladhari, Mrdangin, and Gayaka are already discussed in the previous Chapters

Also in the list are the dance-hall, the characteristics of a good dancer, Rekha or the lines created by the movements of the body, the Lasyangas or features of Lasya, Sausthava or standing without any movement, Citrakalasa or concluding movement, Mudra or natural grace, Pramana or harmony, the audience, the person presiding, sitting arrangements, the troupe of musicians, the flute, the entrance of a dancer and various dance-sequences. The actual discussions of these topics are in verses 245 to 656.  Most of the material comes either from the Natyashastra or the Sangita-ratnakara.

While enumerating the desired qualities (Guna) of a Nartaka (Dancer), it is said; he should have a thorough knowledge of all the four forms of Abhinaya;  the requisite skill in maintaining Laya, Tala and Yati; the knowledge of Graha and Moksha; and, above all should have humility, the keen desire to learn and the attractive grace to win the hearts of the spectators.. Besides these, a Dancer of merit should have the capacity to follow vocal and instrumental music; ability to express Rasa and Bhava articulately. (NN.3.325-327)

Then the text goes on to enumerate the items of the dance recital: the opening dance item, entry of the dancer (Mukhacali, including Pushpanjali and various Gatis-strides); Nanadi Slokas invoking the blessings of the gods; the kinds of Urupa, Dhavada, Kvada, Laaga and Bhramari.

Finally the contemporary dance forms from various regions (Desi) are enumerated. These include the dance forms originating from various regions: Sabda, Svarabhinaya, Svaramantha, Gita, Cindu, Dharu, Dhruvapada, Jakkadi and Raasa.

Some of these are classified under Bandhanrtta, the group dances with complex configurations and formations.

These are also of the Anibaddha type, the graceful, simple dances, not restricted by the regimen of the rules etc.

Under Bandha-nrtta, Pundarika includes Mukhacali; Urupa; Dhuvada; Vidulagava; Sabdacali; (also discussed as Sabda-nrtta); Sabda-prabandha; Svara-mantha; Gitapra-bandha; Cindu; Dharu and Dhruv-apada. Their descriptions in verses 668 to 874 show them to be highly structured dance pieces. A group of five Bhramaris is also discussed (in Verses 794 to 98) inserted between the discussions on Vidulagava and Sabda-nrtta.

Next, Anibandha dance is discussed in verses 875 to 898 with its forms given, namely, Namavall; Yati; different Neris; kaivartana; Rnuru, Talariipaka; Gundala; Kamala; Natajanuka; Mandi; Mudupa; Murandari; Kudupa; Tiryakarana; Lavani and Vatu. These have fewer details compared to the discussion of the Bandh-anrttas.

At the end of these descriptions the author refers to these sequences as Anibandha – Urupas, evidently using the term Urupa to denote a broad category of dance. The term Urupa is described in only two works:  in this text; and, in a later work, the Sangita-makaranda of the scholar Vedasuri.

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Abhinaya

Like most works before it, the Nartana-nirnaya also discusses the various types of Abhinaya (that which carries the intent or meaning of the performance to the spectator), namely, Angika-abhinaya, Sattvika-abhinaya and Aharya-abhinaya; and in doing so it follows the Natyashastra as interpreted in the Sangita-ratnakara.

Generally, the representation of meaning – descriptive and representational – is called Abhinaya; and, it is accomplished in four modes: verbal (Vacika), body-movements (Angika), emotional (Sattvika), and costumes as well as make up (Aharya). But in the Nartana-nirnaya, the Vacika, is not discussed; because, it is not much employed in Nartana.  Similarly, there is not much discussion on Aharya.

In verses 11 to 206, Abhinaya is discussed, with the Sattvika, and Angika types of Abhinaya described in detail. The Citrabhinaya is then described in verses 207 to 238.

The Dance is presented through idealistic and dramatized mode of communication (Natya-dharmi) following the theatrical conventions, in preference to the realistic, day-to-day expressions (Loka-dharmi). These two Dharmis together constitute Chitrabhinaya (special representation).

The external objects are suggested through appropriate gestures (Bahya-vastu-anukarani). And, the implicit and symbolic representations are presented through Chitta-vrtti-arpika.

Krishna Holding a Flute and Dancing on a Lotus

Nartaka Prakarana – Nrtta _adhikarana

The segment (Adhikarana) on Nrtta deals with the abstract aesthetic movements and configuration of various body parts. It is virtually about the Grammar of Dance. . It describes the Nrtta element of Dancing with reference to the special configuration of the static and moving elements of the Dance, such as: Sthanaka, Karana, Angahara, Cari, Hasta, Angri, Recaka, Vartana etc., with reference to the appropriate Anga or Pratyanga.

Anga-Pratyanga

According to Natyashastra, for the purpose of Dance, the human body may be divided into six major members or Angas: the head; the trunk; the Arms and the legs together with their respective subdivisions or minor members (Pratyangas). For instance; the Pratyangas of the head are: eyebrows, eyes (eyelashes and eyeballs); nose (nostrils); cheeks, chin, teeth, as also facial colour. Similarly, the Pratyangas of the Arms are: the shoulders; elbows; forearm; wrists; palms (back of the hand); and fingers.

The Nrtta-adhikarana may be treated as the Grammar portion of Nartana-nirnaya where the various movements of the Angas and Pratyangas are comparable to the alphabets, the word formations, phrases, clauses and sentences (in which the conjunctions, prepositions and syntactical rules or conventions are invoked).

However, Pundarika Vittala does not classify the movements of the limbs as those specifically pertaining either to Anga, Upanga or Pratyanga.  But, in verses 239 to 244, where he lists his topics of discussion, he mentions the movements of the parts of the body which, in his view, are of importance. These include the movements of the head, the eyes, the eyebrows, the arms, the hand-gestures and other actions of the hands, the waist and the feet. He also discusses the function of the colour of the face. The list further includes more complicated movements generated from the combination of the movements of the parts of the body, such as the Sthanas or postures; Caris or the movements of one leg; Karanas or dance-units ; and, the  Recakas or oscillating movements.

However, instead of following the usual practice of reproducing the descriptions of the 108 Karanas and the 32 Angaharas details as given in the Natyashastra and the Sangita-ratnakara, the Nartana-nirnaya selects only 16 of the Karanas as those needed in Bandh-anrtya, of which it describes several varieties. The text then proceeds to describe the distinctive features of the various kinds of Anibandha-nrtya. From these descriptions of dance compositions there emerge striking similarities with the classical dance styles of the present time, such as Kathak and Odissi.  Thus, Nartana-nirnaya may thus be regarded as the link between the older and present day traditions of classical Indian dancing

The Nartana-nirnaya is therefore regarded as a major work that throws light on the origins of some of the dance forms – particularly Kathak and Odissi – that are prevalent today.

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Nartana-nirnaya describes in Pratyanga-abhinaya, 19 movements of the head (Shiro-bedha); 36 of eyes (Akshi-bedha); 7 of eyebrows (Bhru-bedha); 4 complexions (Mukha-raga); 16 movements of the arms (Bahu-bedha); 6 of the hips (Kati-bedha); and, 13 of the feet (Anghri-bedha).

These correspond, in name and number, to the enumerations made in Sangita-ratnakara.  But, Pundarika Vittala offers a slightly different set of applications of these Pratyangas.

This is also true of Recaka; Karakarana; Calaka; Hasta-pracara; and, Karakarma.

Nartana-nirnaya has adopted from the Sangita-ratnakara all of the 6 Purusha Sthanakas; but, only 3 of the 7 Stri Sthanakas (excepting the Gatagata, Valita, Motita and Vinivartita)

As regards the Desi-sthanakas, except the Parsni-parsvagata; Eka-prasvagata; Eka-janugata; and, Pravarta are included.

Among the 9 Upavista- sthanakas, the Utkata-sthana has been omitted. It has also omitted all the Supta-stanakas.  Thus, in all, Pundarika selects only 27 among the 51 Sthanakas enumerated in the Sangita-ratnakara.

Again, Sangita-ratnakara describes 86 Caris, classified into 16 Bhumya (touching the ground); 16 Akasha (Aerial); and, 35 Desi Bhumya and 19 Desi Akasha Caris.

But, Nartana-nirnaya gives only 84 of these under Bhumya and Akasha divisions; but , not classified as Marga or Desi Caris.

As regards the Hasthas ( the hands) , as against the 24 single Hasthas (Asamyukta), 13 combined Hasthas (Samyukta) and 30 Nrtta Hasthas ( 67) of Sangita-ratnakara, the Nartana-nirnaya adds 38 more single Hasthas; 17 combined Hasthas; and 32 Nrtta Hasthas

Pundarika Vittala describes only 16 Karanas among the 108 given by Sarangadeva. According to Pundarika, it is only these 16 Karanas that are useful in performing Bhanda-nrtya, structured Dance forms.

Generally, Pundarika follows the descriptions given in the Natyashastra and the Sangita-ratnakara, in regard to the depictions of the Sthanakas, Caris, Hasthas and the Karanas. But, his treatment of these subjects differs, considerably, from that of the others.

Finally, Pundarika Vittala ends the work with two more dance sequences, Jakkadi and Rasa, which he includes under Anibandha dance (875 to 912).

Throughout these descriptions the terms Nrtta and Nrtya are used interchangeably.

*

Rasa-nrtya

krishna dance

Pundarika Vittala had commenced his treatise Nartana-nirnaya with an invocation to his Lord Sri Krishna; and, appropriately, he ends his treatise submitting his prayers to Sri Krishna, the very heart and essence of Rasa Dance.

prayer

And; he concludes the Nartana-nirnaya with a description of Rasa Dance – Rasa-nrtya (NN. verses 664 -672)  that Sri Krishna performed with the Goips amidst the mango and Kadamba groves along the banks of the gentle flowing Yamuna under resplendent full moon of the spring season, celebrating the Vasantha festival.

As the Muraja and other musical instruments play, the pairs of four, eight, sixteen, thirty-two or sixteen pairs of players (Patra) of men young men and women dance in rhythm ; following the Tala and Laya; ; holding in their hand coloured sticks of sixteen Angulas in length, bound with gold and other metals at both ends; perform delightful Caris and Bhramaris; moving around in circles; weaving amazing geometric patterns (mandalibhuya); singing delightfully; then it is called as the most fascinating Dandarasa

And, the same dance performed without sticks is Rasa-nrtya.

flower3

Upasamhara

The last four verses of the Fourth Chapter contain Pundarika’s concluding remarks (Upasamhara) ; his observations on the general state of Dance; his efforts to bring clarity into a rather muddled practices; and, a final prayer. He says:

The theory and practices (Lakshya-Lakshana) Dance which had become ambiguous (Sandignam) and had shrunk (Sangata) because of the blind traditions has been rescued and rendered simpler by the efforts of Pundarika Vittala.

I have composed this treatise (Sangita), which is much varied in both the aspects of theory and practice of Dance; and is much simpler and easy to follow; in order to please (ruchyartham) Emperor Akbar. May this bring great joy to the hearts of you all, my friends (Suhadam Hrdaye Sukham Bhuyath).

By studying (Drstva) this excellent (Lokottara), varied (Bahutara-bhedam) , beautiful (Sundara)  Nartana-nirnaya, composed by Pandari Vitthala; as also by judicious use of the Art of Sangita as prevailing, may the learned scholars (Pandita) become the Gurus of the new-age and guide along the right path the aspirants desirous of learning and become experts  (Chatura, Agrinam)  in the Arts of Tala, Mrdanga, Singing (Gana), flute playing (Vamsa), and Dancing (Nrtya).

Thus ends the Fourth Chapter entitled Nartaka-Prakarana in Nartana-nirnaya composed by Pandarika Vittala of the auspicious Karnataka region (Karnata-jatiya).

upasamhara

krishna-raas-leela-

 

Sources and References

The primary source on which I have depended upon is Nartana-nirnaya (in three volumes) edited and commented upon by the renowned scholar Prof. Dr. R. Satyanarayana. For Volume Three ; please click here

 For Volume One :please click here

For more on Nartana- nirnaya and other texts on Dance forms ; as also  for the details of the few mentioned here , please do read  Dr. Mandakranta Bose’s research  paper ( The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition

Also refer to Pundarika Vittala by Dr. Padma Rajagopal

(https://sg.inflibnet.ac.in/handle/10603/60012);

And to Musicological Literature by Emmie te Nijenhuis

ALL IMAGES ARE FROM INTERNET

 
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The texts of the Indian Dance traditions – Part Seventeen

Lakshana Granthas Continued

Continued from Part Sixteen

12. Nartana-nirnaya of Pundarika Vittala – Part One

dance posedance

Intro…

In the textual traditions of the Indian Dancing, the Natyashastra; the Brihad-desi and the Sangita-ratnakara are regarded as seminal works; both in regard to the theory and to the practice of Dance, in its various forms. The Nartana-nirnaya of Pundarika Vittala, coming almost four hundred years after Sangita-ratnakara, is another major work

The Nartana-nirnaya is considered a highly significant and an influential text of its period (sixteen-seventeenth century); and, is classed along with the Sangita-ratnakara of Sarangadeva in regard to the quality, the range and the depth of its discussion; and, also in regard to the extent of influence it exerted on the theory and practice of Dancing of the later periods.

The Sangita-ratnakara, in a concise form, had earlier summarized the changes that took place in the field of Sangita (Gita, Vadya and Nrtta) between the time of Bharata and the thirteenth century. In the process, it provided a theoretical basis and a textual authority for further discussions on the theories and practice (Lakshana-Lakshya) of Music and Dance.

The Nartana-nirnaya, following the Sangita-ratnakara, laid the foundation for further several interesting and radical changes that later took place in the practice of the Art forms, especially the Dance.  At the same time, it set aside, many theories and practices that had become obsolete. Thus, the Nartana-nirnaya went beyond the Sangita-ratnakara.

In a similar manner, the Nartana-nirnaya went beyond the Natyashastra.  Like most of the works prior to its time, the Nartana-nirnaya too discusses various types of Abhinaya (Angika-abhinaya, Sattvika-abhinaya and, Aharya-abhinaya) according to Natyashastra, as interpreted in the Sangitaratnakara. However, instead of merely following or reproducing the Natyashastra‘s descriptions of the 108 karanas and the 32 Angaharas, the Nartana-nirnaya selects only 16 of the karanas as representing the essential characteristics of a Bandha-nrtya, a well regulated Dance-form.

 In contrast to that, the text then goes on to describe the distinctive features of the various kinds of Anibandha-nrtya , the free flowing , innovative dance sequences. The Nartana-nirnaya thus covers both the pristine (Marga) as also the improvised, spontaneous regional (Desi) dances, which are now a part of the ’classical dances’ of today.

All the types are defined; and, the author reproduces in the first ten verses, the Sangita-ratnakara’s view that Nrtya and Nrtta may both have varieties of Tandava and Lasya.

To sum up; apart from its deep concern for preserving the past traditions, Nartana-nirnaya presents a clear picture of the state of Arts during the contemporary times. It also introduces many new elements, components, techniques and terms into the theory and practice of Dancing. Thus, the Nartana-nirnaya not only encapsulates its past and its contemporary scene; but also serves as a guide and an inspiration for the Dance forms to follow. Therefore, the Nartana-nirnaya could be said to  a path –finder; and a golden link (svarna-setu) that brings together the older and present day traditions of classical Indian dancing.

dance-Collage

Background

The Nartana-nirnaya comes about four hundred years after Sangita-ratnakara. This period between these two texts was marked by several interesting and rather radical changes and transformations that were taking place in India, in the field of Arts.

The Nartana-nirnaya was composed in the sixteenth century, while Pundarika Vitthala (or Pandari Vitthala) was in the service of the Mughal Court.   Pundarika Vitthala, a versatile artist, scholar and an author, had the opportunity to witness and experience the diverse regional traditions of India as also the newer practices derived from Persia. Pundarika Vittala mentions that he wrote the Nartana-nirnaya, concerning music and dance, at the suggestion of Emperor Akbar, to cater to his taste – Akbara-nrupa rucyartham idam krutam (NN.4.2.675)

Akbar nrupae icchartha bhuloke sangitam / krutamidam bahu tara bhedam sah-hrudam hrdaye sukam bhuyath // N N 53 b //.

In the world, this simple Sangita is created with a lot of varieties in order to please the king Akbar. May it please the heart of the goodhearted ones.

Dancers at Akbar's court. (c.1565)

The Royal Courts of Raja Man Singh, Raja Madhav Singh and Akbar provided the forum for interaction between the North and South Indian traditions on one hand; and, between Indian and Persian practices on the other. This surely was an interesting period when diverse streams of Art came together and fused into enterprising new forms; and, therefore, it is aptly termed as the watershed period of Indian Music and Dancing.

life and customs from the sixteenth century.

This was a vibrant period in the development of Music and Dance, in general. It was during this period that the standardization of Ragas, their classification into major groups (Melas) based on the structure of their notes (Svras); theoretical principles interpreted in terms of the position of the frets on the Vina (Vina-mela); ten types of Tala ( time-units)

Thus, the Nartana-nirnaya came into being in a fascinating, invigorating and an altogether different ambiance, providing opportunities and a forum for interaction between the different Schools of the North and the South; as also between the Indian (Desi) and Persian (Yavana) practices.  Each of its Chapters reveals flashes of originality, innovation and ingenuity in adopting the newer, contemporary trends and practices into the traditional formats.

Though it is primarily based in the Natyashastra and the commentaries of Sarangadeva and Kallinatha, it, in essence, is an original treatise on Indian Music and Dancing. The Nartana-nirnaya is, therefore, regarded as an authoritative and a creative text. As regards Music, it set new trends into motion by bringing together the best in the Karnataka Sangita, Hindustani Music and the Persian Music.  And in dance, it brought into the fold of what could be called Classical Dance, the techniques of Persian Dance as also the idioms of folk dancing.

dance_mh39mj84

**

The subject matter central to Nartana-nirnaya is Dancing. The technical details of Dance as detailed in the Nartana-nirnaya are an important source for reconstructing the history of Indian music and dance during the middle period. This was also the time when the old practices were fading out and new concepts were stepping in. For instance, by the time of Pundarika Vittala, the 108 Karanas were reduced to sixteen. At the same time, dance formats such as Jakkini, Raasa nrtya were finding place among traditional type of Dances.

dance shakthidance rasasdance yamini

In his work, Pundarika Vitthala does not confine only to the traditional dances of India and Persia; but, he also describes the various dance traditions of the different regions of India that were practiced during his time. The information he provides on regional dance forms is quite specific, in the sense that he points to the part/s of India from where the particular style originated, the language of the accompanying songs and the modes its presentation. The Nartana-nirnaya is, therefore, an invaluable treasure house on the state of regional dance forms as they existed in the sixteenth century India

dance forms333

NatyaNrtya and Nrtta

While explaining the title of his work (Nartana-nirnaya); and, the use of the term Nartana, generally, to mean ‘Dance’, Pundarika said that by Nartana he meant it to be a general class name for Dance. And, that the term Natrana would cover the three forms of Dance: NatyaNrtya and Nrtta. The last (Nrtta) would again be subdivided into three other types:  visama (acrobatic), vikata (ludicrous) and laghu (light and graceful), identified respectively as rope-dancing, a comic dance, and a dance based on easy karanas.

Thus, it seems, while Nartana stood for the general class name; the other three were its sub-divisions.

As regards the definition of these terms, Pundarika said he would be adopting those offered by Sarangadeva (11th century).

And, Sarangadeva had, in turn, followed the explanations given by the earlier writers like Somesvara, Dhananjaya and such others (perhaps Nadikesvara too?)

According to those explanations, generally (although there were some slight variations among them):

Natya: refers to an Art form that gives forth Rasa (ultimate aesthetic enjoyment); and, is based in Rasa – Natyam rasam-ashrayam (DR.I. 9). It gives expressions to the inner or true meaning of the lyrics through dance gestures – vakyartha-abhinayatmaka.

Nrtya:  is a means of putting forth different aesthetic moods or Bhava (bhavahetu orbhavashraya) or giving expression to individual words of the song through appropriate gestures and/or facial expressions  – pada –artha-abhinayatmaka

Nrtta: is the display of smart looking (shobhahetu) limb movementsin tune with attractive and catchy Taala (rhythm) and Laya (tempo) – Nrttam Taala Laya ashrayam (DR.I. 9). But, in itself, it is devoid of meaningful content; and, is valued for its mere visual beauty of body movements (gatrasya viksepaha).

*

Nandikeshvara (Abhinayadarpana-1. 15-16) had earlier distinguished Nrtya from Nrtta, thus:

Bhavabhinaya-hinam tu nrittamitya-abhidhyate | Rasabhava-vyanjana adi yuktam nrityam ity uchyate

And, Sarangadeva said that Nrtya and Nrtta can both be of two kinds –Tandava and Lasya (SR. 7. 28); and, while Tandava is uddhata (vigorous), the Lasya is of Lalita (delicate) movements (SR. 7. 29- 30).

But, Pundarika, in his Nartana-nirnaya, throughout, uses the terms Nrtta and Nrtya interchangeably, perhaps, because, both those dance forms involved, in some measure, the elements of abhinaya or interpretative movements.

Nrtta Nrtya Natya

Marga-Desi  / BhaddhaAnibhaddha 

But, the more significant theoretical aspect of Nartana-nirnaya is the adoption of the two sets of concepts to classify the Dance forms.

Pundarika adopts Marga and Desi class concepts into the Lakshana and Lakshya   (theory and practice) of Dance, for classifying its forms.  

And then, he introduces a novel feature (hitherto not tried by anyone else); which is the principles of Bhaddha (structured) and Anibhaddha (neither bound nor structured) for stratifying the dance forms into two separate classes.

(1) Marga and Desi

Pundarika carried forward the practice of the earlier scholar-writers who distinguished the dance forms along the lines of Marga and Desi. The term Marga (literally ‘of the way’ or ‘path’) refers to those arts that adhere to codified rules; while Desi is understood as the unregulated regional variations.   

The concepts of Marga and Desi were originally introduced into Music by Matanga in his Brhaddeshi (around seventh or eighth century) to distinguish the pure and well-structured Music (Marga) from the innovative regional melodies (Desi).

As regards the dance forms; by about the eleventh century, Somesvara adopted the Marga-Desi classification to categorize the then existing Dance forms. Later, around the same time, Sarangadeva, in his Sangita-ratnakara, systematically presented the Marga and Desi forms as distinct styles of dance. 

Here, in these texts, the classical style, that is the one codified by Bharata in the Natyashastra; and, acknowledged by tradition   as the core of classical art, was regarded as the Marga.  The Nrtya, for instance, was classified under Marga form of dance.

The regional and popular dance styles, with easy movements, that allowed more freedom, greater improvisation, within the given framework, were classified under Desi. The Nrtta, for instance, was treated as a Desi form of dance.

Pundarika Vitthala, in his Nartana-nirnaya, also adopted the Marga-Desi classification to categorize the different dance forms. Nartana-nirnaya describes several entirely new dance forms that were popular during its time.

*

(2) Bhaddha  and Anibhaddha

The Nartana-nirnaya marks a major conceptual departure, primarily by following the structural principle of classifying Dance forms into two divisions: namely, Bandha, or styles that rigidly adhered to set rules of composition; and Anibandha, styles that did not do so and allowed innovations by the dancer. The texts of the earlier period, including Sangita-ratnakara, followed the approach of the Natyashastra. But, in the post-Nartananirnaya period, the classification of Dance forms along the lines of Bandha and Anibandha became part of their conceptual framework.

*

Matanga had earlier classified Music  into two classes –Nibhadda and Anibhadda –  the one that is regulated and structured with Dhatus (elements) ; and , the other  that is not structured (un-bound).

According to Matanga’s classification:  Anibaddha Gita is free flowing music that is not restricted by Taala; it is also   free from disciplines of Chhandas (meter) and Matra (syllables); and, it does not also need the support of compositions woven with meaningful words (Pada or Sahitya).

In fact, neither Taala, nor Grammar, nor lyrics – has a role to play in the Anibaddha Samgita. Sarangadeva explains Anibaddha as Aalapa, which is not bound or which lacks rules (bandha-hinatva) – Alapir bandha-hinatvad Anibaddham itirita (Sangitaratnakara: 4.5).

And the Nibaddha Gita, in comparison, is a rendering of a pre-composed structured musical composition that is governed by Chhandas and Taala; and has words (meaningful or otherwise); as also has a definite beginning and an end. In short; it is a composition (like Prabandha, Giti, and Kriti etc.)

peacock3

Pundarika was the first scholar to apply the Nibaddha – Anibhaddha type of classification to Dance forms. That is to say; almost 1500 years after these terms came into use in music, Pundarika Vitthala’s work applied them to Dance forms, in order to segregate well-structured dance forms from rather free flowing regional dances.

While both parts followed certain rules of structure and of exposition, Anibaddha was comparatively loose in its construction since it was free of the regimen of Taala.  The Anibandha-nrttas are, thus, flexible in both form and content, within the broadly specified aesthetic frameworks.

Dr. Mandakranta Bose observes:

It would seem that the Anibandha-nrttas were unlike any other dance pieces described in the literature before the Nartana-nirnaya.   The Anibandha-nrttas seemed to be short dance-sequences, using which a dancer could choreograph her own piece. Thus, they have the same function in the dancer’s choreographic design as the karanas of the Marga tradition. But, their structural principle is entirely different from that of karanas, in that they are entirely flexible as to their components and structure while karanas are of course rigidly set structures.

*

Roughly, it would seem the Bandha-nrttas denoted dances for which there already were prescribed formats and rules ; while, the Anibandha-nrttas denoted dances for which there were none or minimal.

A traditional Bhaddha-nrtta was more rigorously constructed, bound as it was by the constraining patterns of Taala; and, was performed by dancers who were appropriately trained; and, who could interpret a composition perfectlyexecuting all the movements in detail and precisely as per the prescribed sequence.

Pundarika grouped under the Bandha-nrtta class, those dances that were characterized by yati, tala, laya, sthana, Cari and hasta etc. as prescribed in the ShastrasHe enumerated twelve varieties; and, described in detail their specific movements, their structured sequences, including karanas (N2V.43a-45b)

*

All the other dance forms were drought under Anibandha Dance form. The principle of Anibaddha allowed the dancer a considerable degree of freedom, encouraging her to search for and to create, through her ingenuity, novel aesthetic expressions. This was a major departure from the regimen that required the dancer to rigorously follow the prescriptions of the texts. The opportunities to come up with artistic innovations, within the framework of the tradition, helped to infuse enterprise and vitality into dance performances. The dance became more alive.

In the Nartana- nirnaya, the Anibandha dances are described in two parts; the first consisting of twenty-one Anibandha-urupas (denoting a broad category of dance sequences formed with the karanas); and, the second, consisting two Anibandha-nrtyas. Of the two, some of the Anibandha-nrtyas come from Persia. And the other is Raasa, which includes the form called Dandarasa, the group dances associated with Lord Krishna and the Gopis (NN. 53a-b). Raasa is the only dance recorded by Pundarika which seems to have continued over centuries and is found even today in at least two regions of India, Gujarat and Manipur.

rasa mandal

*

Fresh perspective

Though the Natyashastra continued to be the authoritative source book, which lays down the basic principles of the performing arts; and, identifies the range of body movements that constitute dancing, in the later times, many works on dancing followed the Nartana-nirnaya’s approach to the categories of dance; and, that eventually became part of their conceptual framework.

The emphasis of the later texts tended to shift away from the Marga of the Natyashastra; but, lean towards the newer forms of Desi Dances with their improvised techniques and structural principles. Apart from increase in the varieties of regional dance forms, a number of manuals in regional languages began to appear. These regional texts provide a glimpse of the state of Dance as was practiced in different regions.

Dr. Mandakranta Bose observes:

Bharata’s account represented only a small part of the total body of dance styles of the time. When new styles became prominent in the medieval period they had to be included in the descriptions of dancing. Such a widening of frontiers meant a great increment of technical description in the texts.

The distinction between the Natyashastra and the later texts is not merely one of detail. Of greater significance is the fact that unlike the Natyashastra, the later texts recognize different styles. These are distinct from the one described by Bharata, the main path or Marga tradition of dancing. The later texts concern themselves more and more with other styles, known, generically, as Desi, whose technique and structural principles are sufficiently different from the style described by Bharata…

Thus, the evolution of Indian Dance system is a dynamic process that absorbed new elements and techniques without compromising its basic tenets. It, thus, demonstrates the time-honored Indian principle of growth: continuity along with change.

peacock3

Historical significance

Now, as regards the historical significance of Nartana-nirnaya; many scholars, after a deep study of the text, have observed that there is enough evidence to conclude that the text marks the origin of two major styles of India today, namely, Kathak and Odissi. 

Dr. Mandakranta Bose, in her very well researched paper (The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition )  stresses the historical importance and relevance of Nartana-nirnaya; and , states   :  This text  offers us a major breakthrough in understanding both the evolution and the continuity of the art of dance;  because , it enables us to reconstruct the styles prevalent at a transitional period in the cultural history of India.

Thus, Nartana-nirnaya serves as a bridge that spans between the older and present-day traditions of classical Indian dancing.

gtsk69h

It was during this period, the Persian influence, through the Mughal Court , entered into Indian dancing, giving rise to a new style of  Dance form, the Kathak.  This period was also marked by the emergence of the Dance forms that were not specifically mentioned in the Natyashastra – the Uparupakas. This genre of musical dance dramas not only came to be admitted into the mainstream of dancing, but also eventually became the dominant type of performing art, giving rise dance forms such as Odissi, Kuchipudi etc.

Dr. Bose also concurs that such connection seems highly plausible. The text, according to her, was part of the cultural world of the Mughal court that nurtured Kathak. She points out that several technical terms used in Nartana-nirnaya match those used in Kathak today. And she goes on to say:

One important contribution of the Nartana-nirnaya is the evidence we may draw from it to establish firmly the time of the origin of two major styles of India today, namely, Kathak and Odissi. There has always been some controversy about the evolution of these two styles. Dance historians in general are agreed that while the roots of Kathak go back to ancient Hindu culture, its present form is derived from dancing styles imported by Mughal rulers. There is no doubt that Kathak did absorb some Persian influence, but the case for that influence is overstated. This can be easily seen by comparing the detailed descriptions found in the Nartana-nirnaya with the movements of Kathak. The style described in the Nartana-nirnaya is, of course, not termed Kathak, a name that came into use much later, but the descriptions clearly show it to be the same as what we know today as Kathak.

Karya tatra dvidha nrttam bhandakam ca nibhandakam / gatyadi niyamayur yuktam bhankam nrtta mucchyate ; anibhaddam tvaniyamaad..

*

When we look closely at the technique of the dance described under the Anibandha category, we begin to see certain striking similarities with the technique of Kathak. One cannot say that the style described in the Nartana-nirnaya matches Kathak in every detail.  But, one may certainly view that style as the precursor to Kathak; because, the descriptions and the similarities in their techniques clearly show it to be the same as what we know today as Kathak.

The Nartana-nirnaya seems, thus, to be the proper textual source for Kathak. This claim becomes stronger still on examining points of technique….

[The renowned Dancer Smt. Maya Rao in her article “The Hastas in Kathak”, observes

In Kathak, the body as a whole is visualized as the prime medium of expression. For instance; if the dancer intends to represent the moon, not only will his hands show the Ardha-chandra Hasta, but his body will also bend in an arch to suggest the idea of a crescent moon.

The same approach to elaborating and dramatizing basic movements is found in the Nartana-nirnaya. The description of a dance called Lavani includes an almost identical movement in which the dancer bends her body from her waist in Ardha-chandra.

*

Two of the most distinctive movements of Kathak are Chakkars and Tatkars. A Chakkar is a rapidly spinning movement while a Tatkar means to stamp on the ground with one foot or both; and, marking the rhythm with ankle bells. Chakkar can be identified as the Chakra-bhramari mentioned in the Nartana-nirnaya, which describes it as a spinning movement (NN. 47b).

It is true that the Bhramaris were known long before the time of the Nartana-nirnaya.  Bharata referred to them; but did not give them the prominence that they later received in the Nartana-nirnaya. The revolving movements are of course integral to all dance styles; but, in classical styles, other than Kathak, the movements are never fast enough, nor sustained enough to achieve the aesthetic form that a Chakkar creates in Kathak. It is the speed of revolution that sets it apart and it is precisely this element of fast spinning, comparable to that of the pirouette that we find in the description of Chakra-bhramaris in the Nartana-nirnaya.

In its discussion of revolving movements the Nartana-nirnaya also describes Tirapa-bhramari. [NN 47b: Revolving obliquely with both the legs after crossing them is Tirapa-bhramari]. A similar movement termed as Tirapa is used in Kathak as well.

*

As for the Tatkar, it clearly corresponds with the Gharghara, of which details are given in both Nartana-nirnaya and Sangita-ratnakara.

 (NN. 50a) Where striking the ground to make the sound of the ankle bells,  it is known as Gharghara.

 (NN.52b-53a) Where the song is sung by the dancer in the language of the Yavana, holding her veil, words uttered with kalla etc. and Gajara etc. ;  and beautified with Ahahga, the dance should be performed being adorned with various three Layas. When this dance is performed with soft movements adorned by Bhramaris , where the Kriya (keeping time with hands) is done with sounded beat in accordance with the difference between Dhruva and Samya, that dance, which is devoid of effort and action, is known as Jakkadi. Thus, the song sung by the experts from Persia using Udgraha, Svaras etc. and in vernacular is known as Jakkadi which is the favourite of the Yavanas.

This Dace sequence is an almost exact description of the Ghungat-gat, one of the best known compositions in Kathak.

The Nartana-nirnaya describes a certain Anibandha-nrtta as follows:

(NN. 52b) Where [the dancer] contracts one of her toes with the big toe extended, shakes her shank after extending it with various quick [movements] and with Gharghar is [that is, tinkling her ankle bells] it is known as Kudupa.

Precisely this action can be recognized today in Kathak when the dancer beats a fast tattoo on the ground to create rhythmic sounds with her ankle-bells.

*

Further, in Kathak ,  Yati or the rhythmic arrangement of the tempo is divided into five categories, sama, srotagata, gopucchika, pipilika and mrdangi. The Nartananirnaya lists the same types of yatis similar in every detail, although it includes a sixth type, kharjurika . Another term, kuvada, used in Kathak to denote the climax of a complex rhythmic pattern is also found in the Nartana-nirnaya.

 *

Such  similarities offer good reason to believe that the style described in the Nartananirnaya was something very much like Kathak, since it required musical elements similar to those needed for Kathak. The argument becomes even more persuasive when we examine the specifics of the dance technique. But first let us briefly consider the typical characteristics of Kathak as known today

The correspondence between Kathak and Anibandha-nrtta is important not only for discovering the roots of Kathak but also for understanding the value that came to be attached to improvisation in medieval times. In contrast with the prescriptive nature of the descriptions found in the earlier texts, those in the Nartana-nirnaya and its contemporaries allow the dancer more structural flexibility while retaining the basic movements described by Bharata and his successors.]

 kathak-classical-festival-1539181385

As regards Odissi, Dr. Bose observes:

The Bandha-nrtta as practiced in the Odissi style is very similar to the descriptions given in the Nartana-nirnaya.  And, the basic standing postures prescribed in the Odissi style: Chauka and Tribhangi. (Chauka and Tribhangi are the two main basic stances in Odissi. Chahka is a stable-wide stance, with weight of the body distributed equally on both the sides; and, the heels facing the centre. It is said to be a masculine posture.  Tribhangi, is a graceful feminine posture, with the body bent in three-ways). These are comparable to vaisakha-sthana and Agra-tala-sanchara-pada of the Nartana-nirnaya. 

Further, some acrobatic postures that are still in use are: danda-paksam, lalata-tilakam and nisumbhitam (the foot raised up to the level of forehead), and several others are found both in Odissi and in Chau dance of Mayurbhanj region of OrissaFurther, there is in the Nartana-nirnaya, the description of a dance called Batu involving difficult poses; and it is very similar to the Batunrtta, a particularly difficult dance in the repertory of Odissi.

(NN. 53a) When the performer revolves touching the ground either with both the knees or with both the legs describing a circle [while her] back is bent [backwards] with her hands in lata then it is known as batu [and its] movement is like [moving] in the orbit of the sun.

This sequence is one of the twelve urupas described in the Nartananirnaya. Urupas are sequences formed with the karanas prescribed for bandhanrtta and are danced to specified varieties of yati, tala and laya. Specific sthana, cari and hand gestures characterize them. Using these twelve urupas a dancer can reconstruct a composition as described in the Nartananirnaya, which will not be far from what we see being performed by artists today. In Odissi we do find similar compositions. Such close correspondences are now proving to be of particular interest to many dancers and teachers who are trying to reconstruct older dance  forms by following the Sanskrit manuals.

*

Again, there is a correspondence between Odissi and the movements described in the Nartana-nirnaya.  The Text  describes the use of hand gestures to express seven principal musical notes (Svaras) . Each note, according to the author, is a correlative of a bird or an animal, which is represented by hand gestures, as the following passage explains:

 (NN. 20b) Peacock, rain bird, goat, heron, cuckoo, frog and elephant are the seven (notes starting with) Shadja etc that should be recited in order. [Sa=Mayura (peacock); Ri = Chatak (rain bird); Ga=Chag (goat); Ma= Krauncha (heron); Pa=Kokila (cuckoo); Dha = Dadur (frog); and , Ni= Gaja; elephant ].

Indiandance_1600x897

 

Pundarika Vittala

Before we move on to a brief discussion on the structure and contents of the Nartana-nirnaya, let’s take a look at its author: Pundarika Vittala, a renowned a musician-scholar.

Pundarika Vittala (16th century) describes himself as a person hailing from Karnataka – Karnata Desiya – born in the village of Sathanur, situated near the Shivaganga Hills (about 50KMs from Bangalore).

Karnate Shivaganga abhidana giri nikate, Satanur-hrudaye yo gramasta janma pravarasunikarath Jamadagni yo asmita vamsa

He refers to his father as Vitthalarya (Vitthalayya) of Jamadagni Gotra – (Tarta Vitthalaryo bhavad amitaya sa sadgunakhya; tat suno ragachandrodaya iti bhaja-SC.3, 57)

He gives his mother’s name as Demaka (RJ.2.77) (Demaka janani-nijasuta Vittalakrta Ragamanjarike yam)

The shrine of Vitthala-raya-swami located about ten KMs from the town of Magadi is believed to be family deity (Kula-devata)

*

Pundarika Vittala was a remarkable link between the Art traditions of the South and of the North. After moving away from his native country, Pundarika Vittala settled down in the North, initially under the patronage of Muslim King Burhan Khan  in Anandavalli  (near Nasik) in the district of Khandesh. He then moved on to other Royal Courts in the Western and North India.

He was an expert in what is today known as Karnataka Sangita, Hindustani Music, Dancing, Lexicography and Dramaturgy. He later got familiar with Persian Music. He describes North Indian Music forms such as Dhrupad, Jakkari and Raasa etc. He wrote a series of books concerning Music of North India. He exhibits a broader view of the contemporary Arts and their practices in various regions of the country.

While in the Court of Burhan Khan of Khandesh, at Anandavalli, during 1560-1570, Pundarika Vittala wrote his famous work – Sad-raga-chandodaya – having three Chapters titled as: Svara-prasada, Svara-mela prasada, and Aalapi-prasada.  It is a very extensive text, covering almost all the aspects of Music. In this work, Pundarika deals with both the Southern and Northern systems of Ragas ; and, classifies them under nineteen Thats or parent scale, viz.: Mukhari, Malava-gaula, Sri, Suddha-natta, Desaki, Karnata-gauda, Kedara, Hijeja, Hamir, Kamode, Todi, Abhiri, Suddha-varati, Suddha-ramakri, Devakri, Saranga, Kalyana, Hindola and Nada-Ramakri.

In this text, Pundarika Vittala introduced; and, almost adopted Ramamatya’s system of 19 Melas (as in his Svara-mela-kalanidhi) to the North Indian Music. He was, perhaps, the first Musicologist to undertake such an exercise. Out of these nineteen original (Mela) Ragas, he attributes five of them to their respective derivative forms (janya-raga). But, he changed the names and scales of several Melas.

Of the 19 Melas listed by Pundarika Vittala, 11 are identical with those mentioned by Ramamatya:  Mukhari, Malavagaula, Sri, Shuddhanata, Desaksi, Karnatagaula, Kedaragaula, Abhiri, Shuddhavarali, Shuddharamakri and Nadanamakri. As regards the other eight Melas either their notes are different or their names as well as their names are different (few of them have only one note different).  For instance; Ramamatya‘s Hejuri becomes Pundarika’s Hijeja. Similarly Vasanthabhairavi becomes Todi; and, Saranganata becomes Saranga.

*

His next treatise named Ragamala, was probably, written under the patronage of the Jaipur princes, Madho Singh and Man Singh Kacchwas. It is believed; Ragamala  was written during 1576 for one Kapila muni (Srimath Kapilamuniyarthe  kriyate Raga –maalikah) ,

Here, Pundarika Vittala classifies the Ragas (Raga-Ragini Parivara) under six male Ragas. And, attributes to each Male raga, five Raginis – ‘spouses’ (bharyyas) and five ‘sons’ (Raga putra) — totalling 66 Ragas. He also gives the details related to their Svaras, such as:  graha, amsa, nyasa etc.  He also explains the Raga structures in terms of:  nada, sruti, svara, sthana, grama, murchana, tana, etc.

In all, he covers six Male Ragas – with five Raginis and five Putra (sons) for each Male Raga- totaling 66 Ragas.

 *

Later, when he moved to the court of the Prince Madhavasimha and Manasimha who ruled from Jaipur as the feudatory of Akbar, Pundarika Vittala wrote his third treatise:  Raga Manjari 

In his writings, Pundarika Vittala carried forward the work of Gopala Nayaka (14th century) of grafting Karnataka music on to the newly evolving North Indian music.  Raga Manjari shows a further leaning towards North Indian Music, although the set of twenty Melas is the same as in his earlier Sad-raga-chandrodaya. He adopts the typical North Indian classification of Ragas as: Male (Purusha), female (Stri) and infant (Putra) Ragas.

But the interesting feature of this work is the recognition of as many as sixteen Persian melodies; and, relating them to the Indian Ragas by their nearest equivalents.

(1) Rahayi – Deva-gandhara (2) Mahur – Saranga (3) Desh – Ahanga (4) Suhaya – Kedara (5) Huseni – Jijavanta (6) Yaman – Kalyana (7) Deshkar – Vakhrej (8) Devangyo – Devagandhara-Mushakakya (9) Kanara – Nishavara (10) Jangula – Bangala (11) Vara – Malhara (12) Danasya – Irak (13) Sarparda – Bilaval (15) Malave – Muslik (16) Asavari – Hijjeja

Most probably, these imported melodies had already secured a place in the then current Indian music of the North; and, the author only confirmed the practice by including them in his work and by indicating their characters by assigning them to their places in relation to the Indian models.

According to the great  Scholar Pundit VN Bhatkhande, it distinctly shows that Pundarika Vittala had come into contact with the music and musicians of North India , perhaps   in  Delhi or Agra, because the names of Ragas  he mentions , like Chanri, Gowdi, Musali, Iraq, Bakharej, Yemen, Husaini,  and  Tirban  distinctly belong to that region.

.**

However, the fame of Pundarika Vitthala rests mainly on Nartana-nirnaya concerning Dance and dramaturgy, composed, in the sixteenth century, while he was in the service of Emperor Akbar.

Posthumous_portrait_of_Mughal_Empreror_Akbar

By the time of Akbar, the Persian art and music had vastly influenced the cultural life of India, particularly the milieu surrounding the Mughal court. Though the regional traditions did exist, the Persian tradition was the dominant one.

Pundarika Vitthala, while in the Mughal Court, had the opportunity to watch, to appreciate and to enjoy excellent presentations of the Persian oriented dances and music. He also had the privilege of discussing varied issues related to Art with the Persian scholars and connoisseurs attached to the Royal Court. 

The Nartana-nirnaya, an authentic text on dance and dramaturgy, written in a variety of metres (chhandas), has four chapters, one each on, rhythm (259 verses); drum (116 verses); vocal music (579 verses); and, on Dance (the largest, with 916 verses).

And, at the outset, Pundarika states that along with the various regional styles of dancing he would be describing the dance of the Yavanas, (meaning, the Persians). Pundarika Vitthala, with great sensitivity, lays down a framework for bringing about structural changes in the fields of Indian Music and dance.

The Nartana-nirnaya is indeed a major work that throws light on the origins of some of the dance forms – particularly Kathak and Oddisi – that are prevalent today. But, it is sad that Nartana-nirnaya has not received the level of attention and depth of study that it rightly deserves.

**

In the next part, let’s take a look at the structure and the contents , in brief, of the Nartana-nirnaya.

theme

Continued

In the

Next Part

 

Sources and References

The primary source on which I have depended upon is Nartana-nirnaya (in three volumes) edited and commented upon by the renowned scholar Prof. Dr. R. Satyanarayana. For Volume One, please click here. For Volume three please click here.

For Volume One :please click here

For more on Nartana- nirnaya and other texts on Dance forms ; as also  for the details of the few mentioned here , please do read  Dr. Mandakranta Bose’s research  paperThe Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition

Also refer to Pundarika Vittala by Dr. Padma Rajagopal

(https://sg.inflibnet.ac.in/handle/10603/60012);

And to Musicological Literature by Emmie te Nijenhuis

ALL IMAGES ARE FROM INTERNET

 

 
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Posted by on May 4, 2019 in Natya, Sangita

 

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The texts of the Indian Dance traditions – Part Sixteen

Continued From Part Fifteen

Lakshana Granthas Continued

11. Sangita-ratnakara of Sarangadeva

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Sarangadeva’s Sangita-ratnakara  (first half of 13th century) is of particular importance; because, it was written just before influence of the Muslim conquest began to assert itself on Indian culture.  The Music and dance discussed in Sangita-ratnakara is free from Persian influence.  The Sangita-ratnakara, therefore, marks the stage at which the ‘integrated’ Music of India was , before it branched into North-South Music traditions.

[Sarangadeva’s Sangita-ratnakara was published by Adyar Library in four volumes. Please click here for : Vol IVol II ; Vol III and Vol IV 

And, please click here for the Sanskrit text of the Nartana-adhyaya]

The Sangita- ratnakara (the ocean of Sangita) describes the varied aspects of Sangita. The Sangita that the text refers to is indeed a composite term. The Sangita, according to Sarangadeva, is a comprehensive Art-form, composed of three elements (taurya-trika): the vocal (Gitam) and instrumental (Vadyam) music; followed by the third, the dance (Nrtyam) – Gitam, Vadyam tatha Nrtyam trayam Samgitam uccyate. 

The last one, the Nrtyam, is comprised of all the three Angas:  the elements: song, instrumental music, and, Dance.

Sangita

Here, the first element (Anga) of Sangita, the Gitam, the song format, is a fusion of Nada (sounds) and Akshara (a composition made of words). Its musical element is named Dhathu; while its lyrics or composition made of words is called Mathu. Locana Pandita, in his Raga-tarangini, explains the term Gitam, as:

Dhatu-matu-samayauktam Gitam iti uccyate budhaih; tatra nadatmako dhatur mathur akshara sambhavah

The Gitam, going by its traditional definition, strictly belongs to the Salaga Suda class of Prabandha, which is composed two Angas (elements) – Pada (words) and Taala (time-beats); and, having three components or Dhatus (Tri-dhatuka Prabandha) :  Udgraha, Dhruva and Abhoga.  For more on that, please click here. But, in common practice, anything that is sung goes by the name of Gita (Giyata iti Gitam).

The next term Vadyam, covers a wide variety of musical instruments, such as: the varied string instruments; different types of Drums; bell-metal cymbals; and a host of wind instruments including flutes, pipes, conch, trumpets etc.

Thus, the Sangita Shastra as envisaged by Sarangadeva was a composite Art consisting Gita (melodic-forms); Vadya (instruments); and, Nrtta (dance or limb movements). 

By the time of Sangita-ratnakara (13th Century), three Angas (limbs) of Sangita were well developed. Of these, the Vocal music was regarded as the essential, fundamental music through which all other forms of music were to be understood and interpreted. Here again, Sarangadeva focuses on Desi Sangita, though he comments on aspects of Marga Sangita as well. On Dance (Nrtya), he offers clear picture of both Marga and Desi traditions, although in a concise manner.

*

In his work Sangita-ratnakaraSarangadeva devotes seven chapters (Sapta-adhyayi) for discussing these three components (Anga-s) of Sangita; but, mainly about the first two. These seven Chapters covering varied aspects of Sangita are:

(1) Svara-gata-adhyaya ; (2) Raga-viveka-adhyaya (3) Prakinaka-adhyaya (4) Prabhandha-adhyaya (5) Tala-adhyaya; (6) Vadya-adhyaya; and,  (7) Nartana-adhyaya

The first six Chapters discuss, what is now known as Music – vocal and instrumental – (Gitam and Vadyam); and, these Chapters, together, are reckoned among the longest works on Music, in Sanskrit, covering all its vital aspects. The First Chapter deals with Nada (the principle of sound);  the Second with Raga (musical modes); the Third with Prakirna (miscellaneous topics relating to music); the Fourth with Prabandha (structured composition); the Fifth with Marga (classical) and Desi (regional) types of Taala (rhythm); and, the Sixth with Vadya (musical instruments).

Apart from these, the Sangita-ratnakara highlighted the ever changing nature of music; the expanding role of regional (Desi) influences on it, and the increasing complexity of musical material that needed to be systemised over a period. Yet; Sarangadeva was rooted in the prevalent musical practices of his time. His stress was consistently on the Lakshya, the music as practiced than on ancient theories (Lakshana), which though he respects them highly.

Thus, Sangita-ratnakara not only provides material for the study of the ancient music, but it also gives an insight into the then current practices. In his writing, Sarangadeva draws a clear distinction between the well established ancient (purva prasiddha) and the contemporary popular (adhuna prasiddha) Ragas. He also gives descriptions of the structures and temperaments of   musical instruments such as Veena and Vamsa (flute) according to the practices of his times. 

Therefore, the Sangita-ratnakara is regarded as a standard work or an authoritative text, on which the later scholars and commentators drew upon copiously.

sangitaratnakara

[There are two well known commentaries on Sangita-ratnakara: the Kalanidhi of Chatura Kallinatha (c.1430); and, the Sangita-sudhakara of Simhabhupala (c.1330). Most of the editions of the Sangita-ratnakara are published along with these two commentaries, with the description:

Sangitaratnakarah, Chatura Kallinathaya virachitaya Kalanidhdya tikaya; Simhabhula virachitaya Sangitasudhakara tikaya cha samethah

Of the two, the Kalanidhi of Kallinatha (c.1430) is considered almost as a supplement to Sangita-ratnakara; as it expands on the text by citing verses of other authorities, and also introducing some new elements. For instance; Kallinatha, while commenting upon the descriptions of the Arm-movements, adds an entire section on the Vartana of which he describes thirty-one varieties (SR.7.270 to 286; Pages 105 to 110). Again, he adds another section on fifty types of Calanas or Calakas, another type of arm movement (pages 111 to 124). Further, Kallinatha quotes from the ancient authority Kohala, on the subject of Caris; and adds a new a new type Cari called Madhupa-cari (SR. pp.313-17)

The King, Simhabhupala, of the Recherla dynasty of Rajachala in Andhra, in his commentary Sangita-sudhakara (c.1330), written about a hundred years earlier to Kallinatha’s Kalanidhi, tried to clarify the topics dealt by Sarangadeva  rather lucidly . It provides some valuable information culled from the older texts. He cites from a certain text named Prayogastabaka, said to be a commentary the Dattilam ascribed to Dattila (Ca. First century); but, its manuscript, so far, has not been found.]

Dances

The Seventh and the last Chapter (Nartana-adhyaya) of the Sangita-ratnakara is about the third component of the Sangita, which is Nartana, the Dance format which includes Nrtta, Natya, and Nrtya. Here, Sarangadeva follows King Someshvara (Manasollasa) who had divided Nartana into three categories: Nrtta, Natya and Nrtya.  Though the Chapter on Dance is titled Nartana, it discusses mainly its Nrtta and Natya aspects.

On the subject of Dance, Sarangadeva has less information to offer than his contemporary Jaya Senapati (Nrtta-ratnavali, 13th century). But, what he offers is concise and systematic, presenting a clear picture of two Dance traditions – Marga and Desi – as were practiced dancing in the author’s time. And, the Seventh Chapter, the Nartana-adhyaya, with 1678 Verses, is the longest Chapter of the text.

And, so far as Dance is considered, Sangita-ratnakara marks the stage when Dance came to be viewed and treated as an independent Art-form; and, not as a mere ingredient adding beauty to a theatrical presentation. And, another significant feature was that the regional, the Desi style of Dance was given due importance, along with the classical Marga. Here, Sarangadeva was following the trend set by King Someshvara, in his Manasollasa.

Now, we are mainly interested in the last and the Seventh Chapter Nartana-adhyaya, dealing with Dance.

Sarangadeva

Sarangadeva / Sharangdeva (1175–1247) gives some information about himself in the beginning of the work. Sarangadeva introduces himself as belonging to a family which hailed from Kashmir. His grandfather Bhaskara, an Ayurveda physician, moved from Kashmir into the newly found Yadava capital at Devagiri (Maharashtra), in the Deccan region, at the invitation of King Bhillanna V (1173-1192). After the death of Bhillanna, his son Jaitrapala or Jaitugi ascended the throne and ruled for a short period. He was succeeded in 1200 by Sevuna (Yadava) King Simhana/Singhana (1200-1247). He was a very powerful king and also a great patron of arts, literature, and science. It was during his reign that Sarangadeva was appointed in his father’s (Sodhala’s) post as the Royal Accountant (Sri-karana-agrani). Along with his work at the King’s offices, Sarangadeva continued to practice the family profession of Ayurveda. He is also said to have written a Vedanta work entitled Adhyatma-viveka. That work is not available now.

During his spare hours, Sarangadeva was busy composing his monumental work on Indian music the Sangita Ratnakara, the Ocean of Sangita. It turned out to be one of the important and comprehensive Sanskrit texts on Music of India.

**

The Nartana-adhyaya opens with the famous verse, which is commonly associated with the Abhinaya Darpana of Nandikeshvara.

Angikam Bhuvanam sloka

Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradi, Tam Namah Saattvikam Shivam 

Whose bodily movements is the entire universe; whose speech is the language and literature of the entire Universe; whose ornaments are the moon and the stars; Him we worship, the serene Lord Shiva. ..!

There is, in fact, a protracted debate about the original authorship of the first forty verses of the Nartana-adhyaya.

Dr. K. Kunjunni Raja, in the introduction to the Fourth Part of the Sangita-ratnakara, edited and translated by him (published by Adyar Library, 1976), observes , it appears that nearly forty-two  verses in the introductory portions of the Seventh Chapter of the  Sangita-ratnakara , are almost the same as the introductory verses found in the Abhinaya-Darpana ascribed to Nandikeshvara.

The question is who borrowed from whom?

At the outset, it appears as though Sarangadeva borrowed these portions from the Abhinaya-Darpana.  However, the commentators, King Simhabhupala (c.1330), author of the Sangitasudhakara; and Kallinatha (c.1430) author of the Kalanidhi assert that the introductory verses of the Nartana-adhyaya are genuinely Sarangadeva’s own verses. If that is so, then the date of the Abhinaya Darpana would be pushed further down.

But, the Abhinaya Darpana mentions that these verses are the teachings of the older authorities – Yetani purva-shastra-anusarena ukthani ve maya (AD.47)

It is also likely that Nandikeshvara and Sarangadeva, both borrowed from a common source.

Yet; the question is still open.

*

In the introductory section of the First Chapter, Sarangadeva lists a number of earlier authorities, the essence of whose views, he states, he is presenting in his work.

Sarangadeva’s Sangita-ratnakara is a great compilation, not an original work, which ably brings together various strands of the past music traditions found in earlier works like Nāţyashastra, Dattilam, Bŗhaddēśī, and Sarasvatī-hŗdayālańkāra-hāra. It is greatly influenced by Abhinavagupta’s Abhinavabharati and Someshvara’s Manasollasa. But for Sangita-ratnakara, it might have been more difficult to understand NatyasastraBrhaddesi and other ancient texts.

Chapter Seven, which is the last Chapter, is in two parts.  The first one deals with Nartana. The term Nartana is a common term representing the arts of Nŗtta, Nŗtya and Nāţya (SR. 7. 3).

In describing the Marga tradition of Dance, Sarangadeva follows Natyashastra. In fact, the whole of the Seventh Chapter draws most of its material from Natyashastra and its commentaries. Many of the passages narrated therein (say, verses 78 to 89) are straightaway taken from the Ninth Chapter of Natyashastra. Even the definitions offered in this Chapter are adopted from other sources.

As regards the Desi class of Dance he improves upon the explanations offered in Manasollasa of King Someshvara and Sangita Samayasara of Parsvadeva.

In the second part of this Chapter, the author describes the Bhavas  (states or moods) and the related Nine Rasa-s, namely, Śrńgāra, Vīra, Hāsya, Raudra, Adbhuta, Karuņā, Bhayānaka, Bībhatsa and Shānta.

*

Sarangadeva commences his exposition on Dance with the statement that the Natya-Veda is, indeed, threefold: Natya, Nrtya and Nrtta (Natya, Nrtya tatha Nrtta tridha tadipi kititam- SR.7.3)

sangitaratnakara2

[Here Sarangadeva is following the classification as given in the Manasollasa; except that he does not use the term Nartana, as Someshvara did to represent the Dance , in general.]

Of these three, Sarangadeva explains the term Natya as that through which Rasa manifests (Natya sabdau Rase mukhyo Rasabhivyaki karanam – SR.17.18) . It connotes Abhinaya, through which the import of the Drama is expressed by the actors, in varied ways, providing uninterrupted joy to the spectators (SR.7.19).

sangitaratnakara3

He explains Nrtya as that which expresses Bhavas (various states and moods) through Angika-abhinaya; and, it is of the Marga class (SR.7.26)

And, Nrtta, he says, is only the movements of the body (gatra-vishepa matra), devoid of Abhinayas (sarva-abhinaya vargitam) SR.7.28.

sangitaratnakara4

Then, Sarangadeva mentions three varieties of Nrtta: Visama (acrobatic, dancing around with ropes etc.,); Vikata (comical or ludicrous in ungainly dress and movements; and, Laghu (of Ancita and other easy Karanas) – SR.7.31.32

sangitaratnakara5

The Natyashastra had earlier described Tandava as the Nrtta performed by Shiva; and Sukumara (Lasya) as Parvati’s dance. And, Bharata had not qualified these dance types as either being aggressive or gentle. There was, of course, mention of Nrtya.

But, here, Sarangadeva differed from Bharata. He classified both the Nrtta and Nrtya into two kinds: Tandava and Lasya (SR.7.28). Further, he said that Tandava requires Uddhata (forceful, aggressive) and Lasya requires Lalita (delicate, gentle)   movements (SR. 7. 29- 30).

sangitaratnakara6

Thus, according to Sarangadeva, the Nrtya covers rhythmic limb movements (Nrtta) as also eloquent gestures expressing emotions through Abhinaya. It is a harmonious combination of facial expressions, various glances, poses and meaningful movements of the hands, fingers and feet. Nrtyam, the dance, delightfully brings together and presents in a very highly expressive, attractive visual and auditory form, the import of the lyrics (sahitya), the nuances of its emotional content to the accompaniment of soulful music and rhythmic patterns (tala-laya). And, Nrtya can portray both the Tandava and the Lasya Dance movements.

As mentioned earlier; with exception of some elements, the treatment of the Angika-Abhinaya in the Sangita-ratnakara, to a large extent, follows the Natyashastra of Bharata. But, Sarangadeva made some changes in the arrangement of the limbs, within the three groups of limbs: Anga, Upanga and Pratyanga. Here, Sarangadeva followed the Manasollasa of Someshvara – (Verses 38 to 42). For instance;

Anga

SR Anga

Bharata, under the category Anga, the major body-parts, had listed six parts as: the head,  the chest, the sides, the hips, the hands and the feet.

Here, Sarangadeva, following the general pattern as laid down by Bharata, adopts, under the Anga, the six body parts: the head; the two hands; the chest; the sides; the hips and two feet. In addition to these Six, he adds the shoulders also.

Here, Sarangadeva differed from both Bharata and Someshvara [who had included shoulders and belly in place of the hands (Hasthas) and the feet (Padas)].

Pratyanga

SR PratyangaBharata, under the Pratyanga, had mentioned six parts as: the neck, the belly, the thighs, the shanks and the arms.

Sarangadeva included all these six parts under the Pratyanga; and, in addition he also counted the knees and wrists. Here, Sarangadeva followed the classification made by Someshvara.

 

 Upanga

And, under Upangas, Bharata had included nine elements , such as : the eyes; the eyebrows; the eyelids; pupils; the nose; the lips; the cheeks; the chin and the mouth; in addition to facial colors.

[Sarangadeva enumerates thirty-six varieties of glances, as did Bharata. And, he remarks: these may be taken only as illustrations; but, in fact, its possibilities are innumerable, depending upon the actions of the brows, pupils and the eyelids.]

SR UpangaSarangadeva, in addition to the nine Upangas in the head, as mentioned by Bharata, brought in the elements of the breath, the teeth and the tongue. However, Bharata had not considered these three as Upangas.

Apart from the twelve Upangas located in the head, Sarangadeva counted the heels; the ankles; the fingers of the hand; the toes; and the soles of the feet. Here he was clearly deviating both from Bharata and Someshvara. Because, Someshvara had included only the tongue and teeth as Upangas, in addition to those mentioned by Bharata; but, he had not included those parts with other limbs as Upangas. Obviously, Sarangadeva adopted these details from some other source.

 

*

As regards, the colours of the Face (Mukha-raga), Sarangadeva adopts the four colours as mentioned in the Natyashastra: Svabhavika (natural); Prasanna (clear); Raktha (red); and, Shyama (dark) Verses 527-528

Asamyuktahastas

As regards the position of the hands (Kara-Pracara), Bharata had classified these into three kinds: Uttana (facing upward); Adhomukha (facing downward); and , Parsvagata (turned to the sides). Sarangadeva , however, adds twelve more  positions of the hands as sub-classification of  the three mentioned by Bharata: Agratastala (palm facing forward); Svasamm-mukhatala (palms turned to oneself); Urdhva-mukha (pointing upward); Adho-vadana (pointing downward); Paran-mukha (pointing outward); Sammukha (pointing toward oneself); Parsvato-mukha (pointing to the sides) ; Urdhvaga (moving up); Adhogata (moving down); Parsva-gata (moving to the side) ; Agraga (moving forward); and, Sammukha-gata (moving toward oneself). (Verses 532-537, Page 182)


flower design

Sarangadeva mentions (in Verses 42 to 48, Pages 16-17) that henceforth, in the Chapters to follow, he would be describing:

Sarangadeva mentions (in Verses 42 to 48, Pages 16-17) that henceforth, in the Chapters to follow, he would be describing:

: – The positions of the hands (Kara-Pracara); the movements of the hands (Kara-Karana); the actions of the hands (Kara-Karma); the places for the hands (Hastha-kshetra);

:- The descriptions of the two-fold Karanas , the Marga and the Desi Nrtta karanas,  those accompanied by jumps (Utpluti); the Angaharas along with their Recakas ; the Caris , with their Marga and Desi variants; the Sthanakas; the Vrttis; the Nyayas , with their Pravicaras , the Mandalas of all kinds;

: – The descriptions of the Lasyangas; the Rcakas;

: – The procedures for practice (Srama) of Dance ; the definition of a person fit for Dancing (Patra); the qualifications of a Nartaki, the qualifications of the Dance-teacher; the merits and de-merits of the Dance troupe;

: – The descriptions of the Acharya, the Nata, the Nartaka, Vaitalika, Carana, and Kolhatika;

: – Particulars of the rules relating to Gundali; the correct description of Peranin and his style;

: – The descriptions of the assembled spectators, the leader of the assembly, and the location of the assembly; and,

: – The descriptions of the Nava Rasa-s and Bhava-s;

Sarangadeva , generally, follows the descriptions provided in the Natyashastra and the  Manasollasa , while enumerating the different  positions and movements of the various elements and components of the body; the Caris, Sthanas,  Karanas and the Angaharas of both the Marga and the Desi types; the Lasyangas; qualities of the Dancers; qualities of the Dance teacher; the Desi Nrtta and its various forms ; and , discussions on the Rasas , Bhavas etc.

**

Sarangadeva’s description of Caris, Sthanas, Karanas and Angaharas of the Marga type are as per the Natyashastra.

[Sarangadeva explains Cari as the combination of the beautiful movements of the feet, shanks, thigh and the hips, performed in coordination. The term Cari, he says, is derived from root Car ( to move); and, by adding the suffix i (n) and ni , at the end.]

But, the Desi styles of Bhumi (36 types) and Akashi Caris (19 types); six Sthanas for men, seven Sthanas for women and twenty-three Desi Sthanas; nine sitting and six reclining Sthanas (altogether fifty-one Sthanas); the four types of Vrittis; the Bhumi and Akashi Mandalas; the Desi Lasyangas; and the 36 Utpluti-karanas from regional traditions, which demand strenuous physical exertion and perfect control of the limbs, are the same as those in the Manasollasa of Someshvara.

Some of the thirty-six Utpluti-karanas in the Sangita-ratnakara are also the same as in the Manasollasa, which lists eighteen karanas of the Desi variety (Manas. 16. 4. 1384-99).

*

As regards Bhramaris, in the Natyashastra, the Bhramari was the name of a Cari; and, it was not a particularly complicated revolving movement.

In the later times, many types of Bhramaris were developed; all of them being variations of the whirling movements. Gradually, as these diversified into more elaborate movements, they came to be recognized as constituting a distinct class. The earliest text to do so was Parsvadeva’s Sangita-samayasara (7.193) a treatise on Desi music and dance prevalent in 13th century; and, it describes eleven Desi karanas; along with five Bhramaris.  

The Abhinaya-Darpana (289- 98) also regards the Bhramaris as a distinct group.

Here, Sarangadeva was following Parsvadeva, who had described Utpluti-karanas needed for the Desi Nrtta along with eleven Desi Karanas with different Desi Sthanas; and, five Bhramaris.

These Bhramaris are included among Utpluti-karanas by Sarangadeva, also. And, it indicates that by his time, the Bhramaris were so developed and so important as to be regarded as a form of Karanas.

karanas_dribbble

After the description of the Sthanas which include sitting and lying postures that are appropriate to drama, the author discusses the four types of vrttis (caturdha Vrtti) , the modes of depiction and styles of presentation : Kaisiki; Sattvati; Arabhati; and, Bharati. Bharata regarded the Vrttis or the Styles as one among the most important constituent elements of the play. In fact, he considered the Vrttis as the mother of all poetic works – sarveāmeva kāvyānāṃ-mātkā vttaya smḥ (NS.18.4).

This is followed by a description of Mandala (combination of Caris); and then of ten Lasyangas of the Desi variety.

Jaya Senapati (Nrtta-ratnavali), who was a contemporary of Sarangadeva, gives a list of forty-six Lasyangas; and, Parsvadeva, who preceded both, had listed twenty Desi Angas.

But it is Sarangadeva’s list of ten Lasyangas that was cited by the  later authors.

**

Next, Sarangadeva describes the Gaundali and the Perani, the two dances commonly performed in the Desi tradition.  Here, Sarangadeva follows Sangita-Samayasara of Parsvadeva.

Parsvadeva, had mentioned Perana, Pekkhana, Gundali and Dandarasa, as forms of the Desi-Nrtya. He had also discussed the Sthanas and Caris needed for these Desi types of dances; and, in particular, the five elements or components (Angas) of Perana Dance: Nrtta, Kaivara, Ghargara, Vagada and Gita.

Parsvadeva had described Nrtta as consisting Lasya and Tandava aspects , which are based rhythm and tempo; Kaivara as praising the king through praising his ancestors; Gharghara as rhythmic stamping of feet , with bells tied to the ankles; Vagada as miming of ludicrous characters; and, Gita as a song sung according to the rules of a pure or mixed raga, complete with Alapa.

In that context, he had given the details of the instrumental music, drumming in particular, needed for four kinds of Desi dances, namely, Perana, Pekkhana, Gundali and Dandarasa. Parsvadeva had also indicated the requirements of a good dancer, her physical appearance; and, the way she should be dressed etc.

Sarangadeva, following Parsvadeva, also talks of the qualities and appearance of the Peranin a male dancer; and, says that the Peranin should : have his body covered with white coloured ash ; have his head shaved, leaving a small tuft of hair (Shikha); wear number of shining anklet-bells (Ghargharika); have a good voice ; be clever; be an expert in Tala and Laya; and, should be an attractive dancer (Verses 1301-3, Pages 384-85)

He also explains the sequential process of a performance, including the musical accompaniment, in the pure mode or Shuddha-paddhati, and the Gaundali of the Desi tradition (Verses 1316-25, Page 389). Here, Sarangadeva follows Manasollasa, entirely

The Gaundali and the Perani  seemed to have been the most common Dance-items in Desi tradition; because, they are mentioned in all the texts from the Sangita-samayasara in the twelfth/thirteenth century down to the Siva-tattva-ratnakara of Basavabhupala of Keladi (1684 A.D.-1710 A.D.)

And, Perani was popular, particularly in the Andhra region. And, Jaya Senapati had discussed it in fair detail. Its popularity is attributed to its fast movements; and, to the use of ankle bells.

Pekkhana or Preksana, a Desi Dance with Lasya and Gaundali are described with accompanying vocal and instrumental music. The Gaundali dance certainly survived till the eighteenth century; but,  later, it seemed to have faded away.

*

After describing these two dance pieces, Sarangadeva enumerates the qualifications of the Acharya (the teacher); the Nata (the actor); the Nartaka (the dancer); the Vaitalika (a common entertainer); the Charana (an expert in understanding Gharghara, a distinctive feature of the Desi dances of the Dravida region); and, the Kolatika (a performer who specializes in Bhramari, rope-walking and dancing with a dagger). Next, he describes the audience and the sitting arrangements.

Then, after describing the Lasyangas, Sarangadeva explains the importance of aesthetic beauty; and,  lays down the rules of exercise, and describes the qualities and faults of a performer (including a description of her make-up and costume), and those of the teacher and the group of supporting performers. Then he describes the sequential process of a performance, including the musical accompaniment, in the pure mode or Shuddha Paddhati.

The Chapter offers guidelines for dance practice; dancer’s merits, credentials and shortcomings; and, the description of the music/performance hall. In doing so he combines the material from the Natyashastra with that from later works; and , presents a coherent view not found in previous works.

rasas

In the second part of this Chapter, the author describes Rasas , the Nine Rasas (Nava-rasa), thirty-three Sthayi-bhavas, eight Sattvika-bhavas , thirty-three Vyabichari  Bhavas; and the definition of Sattva. Sarangadeva largely follows the explanations offered by Abhinavagupta on the theories of Rasa.

Sarangadeva mentions that all the eight kinds of states or Sattvika-bhavas (temperamental states) can appear in any of the Rasas. And, in a Drama one Rasa must be made prominent; and, other Rasas should be supplementary.

**

The Seventh and the Final Chapter concludes with the Verse wherein Sarangadeva avers that he did not compile this work out of pride of his learning or knowledge; but, as a means to reach out and to seek a place in the hearts and minds of the learned.

Na vidya-darpato grantha pravrttirmam kim tvidam / Vidvan manasa –vasaya gantu patheyam asthitam // SR.7.1678 , Page 476 //

sangita-ratnakara-.jpg

lotus333

In the Next Part, we shall move on to another text.

Continued

In

The Next Part

 

References and Sources

  1. Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr Mandakranta Bose
  2. Sangita ratnakara  https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt-
  3. Sangita ratnaj -kars : https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt- https://ia601602.us.archive.org/27/items/Mus-SourceTexts/TxtSkt-
  4. All images are from Internet

 

 
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The texts of the Indian Dance traditions – Part Fifteen

Continued From Part Fourteen

Lakshana Granthas – continued

10.  The Nrttaratnavali of Jaya Senapati

 

satybhama4

Evolution of Dance During the medieval period

The medieval period spanning the Twelfth to the Fifteenth century was a very significant period in the history of Indian Dancing. And, the developments that took place during this period cast their influence on the future course of Indian Dancing. And, they were also instrumental for the emergence of numerous Dance forms, in the different regions of the country.

To start with; it was during this period that Dance along with Music (which were both clubbed under the term Samgita)  emerged out of the shadows of the Drama; and, began to be recognized and discussed in their own right , as independent Art-forms rather than as adjuncts to Drama.

Dance, in the Natyashastra, was an ancillary part (Anga) or one of the ingredients that lent elegance and grace to theatrical performance; and, it was not yet an independent art-form, by itself.  Further, Bharata had discussed Dance, mainly, in terms of Nrtta, pure, abstract and beautiful dance, performed in tune with the rhythm and tempo, to the accompaniment of vocal and instrumental music.

The Nrtta was described in terms of the motion of the limbs (Anga-vikshepa), the graceful composition of the limbs – gatram vilasena kshepaha ; the beauty of its form; the balanced geometrical structure; creative use of space; and rhythm (time). And, therefore, Nrtta was meant to be a beautiful visual presentation, as an auxiliary to Natya (Drama), pleasing the eye (Shobha hetuvena). But, it was not intended to give expression to thoughts, emotions or even to indicate objects.

Bharata, at that stage, is credited with  having devised a more creative Dance-form, which was adorned with elegant, evocative and graceful body-movements of the Nrtta; performed in unison with attractive rhythm and enthralling music; in order to effectively interpret and illustrate the lyrics of a theatrical song; and, also to depict the emotional content of a dramatic sequence. Thus, Bharata, in effect, fused the rhythm and fluidity of Nrtta with the evocative grace and expressions of the Abhinaya. 

But, Bharata had not assigned a name to that resultant new Art-form. It was only after the Eleventh-Twelfth century that this delightful and the most enjoyable of all Art-forms created by Bharata (Bhartopajanaka) came to be celebrated as Nrtya.

Bharata had not also classified what later came to be known as Nrtya into Tandava and Lasya types.  Therefore, the terms Nrtya and Lasya do not appear either in the Natyashastra or in its early commentaries. Even Abhinavagupta (11th century) avoids using the term Nrtya.  It was only during the later times (that is, during the period about which we are talking now) that Nrtya gained an independent recognition as an expressive, eloquent representational Art, which projects human experiences, with amazing fluidity and grace.

 It was beginning with this period that Nrtya, a blend of two well studied, well developed and well codified Art forms – the dance of Nrtta and Abhinayas of Natya –advanced  vibrantly, imbibing on its way, numerous novel features; and, soon became hugely popular among all classes of the society. It gained recognition as the most delightful Art-form; and in particular, as the most admired phrase or form of Dance.

*

It was also during this period that the element of Lasya came into prominence; and, it also developed in different regions assuming varied forms (Desi-Lasyanga).  

*

By this time (say, the 12th century) the influence of the Natyashastra was getting distant and weaker; and, most writers of this period followed the interpretations of Abhinavagupta (11th century).

Further, Natya, the Sanskrit Drama, by then, was beginning to lose its appeal among the common people. 

*

The tradition, techniques and definitions as prescribed and codified in the Natyashastra came to be classified as the Marga, the classic or the pristine form of Dance, as distinct from the innovative regional styles called Desi.

At the same time, those dance forms which adhered to the established regulations and conventions of the Marga; and, which had a definite structure were termed and classified as Nibaddha. And, those free-flowing dance forms, which were spontaneous, unregulated, unstructured and not bound by any rules, were treated as Anibaddha

Anibaddha also meant allowing the dancer considerable latitude in devising body movements that best suited the aesthetic and emotional content of the theme. And, it also made room for enterprise to come up with fresh idioms of expressions.

And, because such spontaneous Desi Dances , unique to each region, were  practiced enthusiastically by the common people ; and, were gaining ascendency,  the writers and commentators of this period, in their texts,   assigned greater importance to the descriptions of the postures, feet positions and movements (Sthanaka, Cari and Karanas) of the regional and popular  Desi styles.

*

Commencing with this period, there began the practice of composing texts and treatise, which were wholly devoted to the discussions on the theory, practice and techniques of Dance, as relevant to the contemporary methods of training, learning and performance. Until then, most of the texts and treatise which dealt with Music, primarily, also talked about dance, in comparatively briefly manner, towards the end.

Such specialized  texts of this period covered not only the well regulated dance forms (Margi), but also  the individual Desi Dances (Desi-Nrtta) and   the group dances (Pindibandhas) of the Desi types like Rasaka, Perani, Carcari, DaṇḍarasRaslīlā , and other folk dances of similar nature, some of which have survived as dramatic group presentations.

Though the texts usually commenced with descriptions of the Marga features, the contemporary Desi dance-forms were given a more detailed treatment, while illustrating various postures and movements.

11e4e6fb8ccd6f3e59cf6151778c16d8 (1)

By about the twelfth century, the differences as also the relationship between the Nrtta (pure dance) and Nrtya (Nrtta with Abhinaya) were clearly established. And, those dance formats, in combination with music, were suitably applied and integrated into the performance of the Dance Dramas.

That marked the emergence of dance-dramas of the Uparupaka class, as a credible format of Dancing. Here, Dance was not a mere ornament as in the age of Bharata; but, it permeated the entire body of presentation. This was an altogether new genre of Dance oriented Dramas.

Such forms of Uparupakas, composed in very attractive and entertaining formats, with the predominance of the elements of the music and dance, accompanied by soulful songs, interpreting the emotional contents of the song through Abhinaya or gestures, soon gained immense popularity.

Such Uparupakas, of the dance-drama type, began to develop in many regional popular styles.  And, each of its derivative forms such as Kathak, Odissi, Manipuri, and Kuchipudi and so on, formulated its own tradition, ethos and idioms of expressions , anchored  in its own regional and cultural background; and rooted  in its own philosophy  and outlook.

The features that were  common to all those diverse types of regional dance forms (Desi Nrtta) could , in short, said to be :

:- the prominence assigned to the narration of the theme; 

:- the dominance of Natya-dharmi mode of presentation;

:-  more space and time given to  dances  depicting Srngara aspects performed to  appropriate music, Laya (tempo) and Taala (time-units, beats);

:- employment of all the four Abhinayas in varying degrees;

:- making a distinction between the Nrtta and the Nrtya, and maintaining  their distinctive features while executing  the respective elements in the performance;

:- taking care to see that the Nrtta aspect, particularly the individual dance movements and postures, are  governed by the special techniques developed by each school of Desi-Dance;

:- and, recognition of both the  Ekaharya (solo-where a single dancer enacts the role of several characters) and Anekaharya (where several actors participate  to enact their respective role)  modes of presentation.

bharata_natyam_999

And, since then, such dance and music oriented Uparupakas have come to stay and flourish both in the solo and in the group dance forms; and, even have come to occupy a central position within the contemporary world of Art. They have also successfully retained their regional and cultural identity, while carrying forward their tradition to the present time.

[The early twentieth century witnessed the revival of the Marga tradition, thanks to the efforts of a group of artists, scholars and art-lovers. That regenerated Art-form, is celebrated by the name of Bharatanatya; and, its scope and content extends beyond Bharata’s concepts and techniques. It has brought within its ambit the formats of NrttaNrtya and Natya, in addition to the Uparupaka class of Dance Dramas. Further, though it is, essentially, rooted in the principles of Natyashastra, it has adopted many features and techniques from the regional dance traditions (Desi Nrtta) ; and, has thus enlarged its repertoire;  and, acquired many dimensions.

Though its teachers  and the learners , alike,  emphasize  the importance of adhering  to and preserving the purity of the Marga tradition; and, its continuation, Bharatanatya, in its practice, has brought within its fold some innovative techniques and refreshing modes of expression, in tune with the advancing times. These could be called as ‘context-sensitive interactions’.]

kuchipudi-dance2

The Nrttaratnavali

The Nrttaratnavali of Jaya Senapati (13th century) epitomizes the characteristic features of the Indian Dance tradition of the medieval period.

The Nrttaratnavali is the first text (perhaps the only text) of this period that is entirely devoted to the discussion on the subject of Dance. All the Eight Chapters of the text discuss Dance in its varied forms; and, the aspects of vocal or instrumental music is mentioned only in the context of Dance.

Though it commences with the discussion on the Angika-Abhinaya as per the norms specified in the Natyashastra (but, actually, as per Abhinavagupta), Nrtta- ratnavali later covers, in detail, the aspects of the Desi Nrtta, on which it lays greater emphasis.  In the process, the focus of the work is more on the Desi Nrtta, than on Nrtya with its Abhinaya aspects. And, that, perhaps, is the reason why the text was named as Nrtta- ratnavali.

It would be fair to say; the Nrttaratnavali went beyond the Natyashastra in its descriptions of the Karanas of the Marga Class. The Nrttaratnavali is perhaps, one of the few texts of its period, which presents graphic details for execution of a Karana along with its associated Caris (feet position), Hasthas (hand-gestures) and Pada-bedha (feet movements) , by following which a Karana could be reproduced successfully.

Apart from that; Jaya Senapati quotes the views of earlier writers on the treatment of Karanas, providing a broader view on the subject of evolution of the Karanas.

Thus, the Nrttaratnavali, apart from its theoretical merit, is also of great practical value.

*

The King Someshvara, (12th century), in his Manasollasa, was the first writer to recognize and to describe the Desi Sthanas, Caris and Karanas.  He was followed by Sarangadeva (first half of 13th century), who in his Sangita-ratnakara, gave the Desi Nrtta a more detailed treatment.  And, Parsvadeva (a Jain Acharya of 12th or early 13thcentury) in his Sangita-samarasya also recorded some Desi Dances.

But, it was indeed  Jaya Senapati (second-half of thirteenth century), who in his Nrttaratnavali, accorded a systematic and an elaborate treatment to all aspects of Desi Nrtta.

Jaya Senapati’s work covers, in main, the Nrtta type of Dance forms and their movements as prevalent during the time of the King Ganapati Deva (13th century). Jaya Sena was the first author and commentator to write, in detail, about the dances prevalent in AndhraPradesh.

He enumerates verities of new forms and techniques of Desi Nrtta; the entire sequence of Desi Sthanakas, Caris and Karanas; how to perform the entire form of dance; and, clarifies the major points of dance and artistic techniques. One could say that the Nrttaratnavali covers all areas of the art of Desi-Dance, its techniques, composition, and aesthetics and so on.

The Nrttaratnavali is one of the early manuals on dancing to describe Lasya, in detail. It makes Lasyanga the very heart of the Uparupakas, the minor type of Dance-dramas, narrating an incident or a segment of a theme, usually, related to the sports of Krishna (Krishna Lila). These Rasaka types of dances depict the graceful, delicate and love-laden-playful (Lalitha) dance movements associated with Srngara Rasa.

Though the text initially enumerates the Lasya elements of Marga Class, as they appear in the Natyashastra, it then goes to elaborate on the Desi-Lasya, listing as many as forty-six regional variations Desi Lasyangas (please check page 17)  of such Lasya type.

Nartananirnaya Desi Lasya 460002

These Desi Lasyangas are presented, mainly, through the Angika (dance movements), with hardly any Vachika Abhinaya (speech). The Nrttaratnavali describes Lasya the graceful delicate dance performed by women; as also the Perani, a form of Tandava the vigorous forceful dance of men.

The Desi-Lasyangas enumerated in the Nrttaratnavali became the core of the Lasya dance tradition of Andhra Pradesh. Many of such Lasyangas can be seen in the performance of Padams, Javalis etc., of Kuchipudi dance form.

Therefore, Nrttaratnavali is said to mark a significant stage in the development of the dance-literature. The Dance-manuals of the later period, following the lead given by Jaya Senapati, accorded greater importance to Desi Dance sequences that were in practice during the contemporary times, instead merely  reiterating the norms  of the Natyashastra.

uparupaka

Jaya Senapati

Jaya Senapati / Jaya Senani / Jaya Sena / Jaya Senadi-natha /Jayana / Jayappa Nayaka / Jaya-charya / Jayappa Nayadu , the author of Nrttaratnavali, was a Commander of the Elephant Forces (Gaja-Sena-pathi) as also a Elephant-trainer (Gaja-sadhanika) in the service of the Kakatiya King Ganapati Deva (1199-1262), considered as the greatest among the Kakatiya Kings,  who ruled from Warangal (Andhra-Maha-Nagara). Jaya Senapati, later served the legendary Queen Maharani Rudrama Devi (ruled 1262-1289), the daughter and the successor of Ganapati Deva.

[The Kakatiyas, who were vassals of the Chalukyas of Kalyani, became independent after the defeat of the Chalukyas at the hands of the Kalachuris, towards the end of the 12th century. Thereafter, the  Kakatiyas rose to power and ruled over a large part of the Deccan for nearly three centuries.]

Gaja shastra

[Gajasiksa or Gaja-sastra or Hasti Sastra, a special branch of study dealing the martial strategy of elephants, was an important component in devising military tactics.  A medieval text Gajasiksa, said to have been composed by an unknown author who went by the name Naradamuni, deals with the subject of capturing wild and robust elephants and training them to take part in battles. In the introduction to Gajasiksa, edited by Dr. E.R. Sreekrishna Sarma, Shri S. Sankaranarayanan mentions:  The elephant-warfare seems to have been well developed in the South, particularly in the Andhra Pradesh, since the sixth century AD. During this period many monarchs styled themselves as having won spectacular victories in the fierce battle of four-tusked elephants.]

gajasiksa 2

It is said; Jayana hailed from a family of Chieftains (Ayya-kula sanjata) who, at one time, were in charge of the Velanadu region, under the Telugu Cholas who ruled from Chandavolu. And, later, Jayana’s father Pinna-Choda Nayaka was in charge of Divi Island (Divi-seema) in the Krishna Delta, under Kakatiya King Ganapati Deva.

The King Ganapati Deva, an enlightened ruler and a patron of Arts,  having noticed  the intelligence , politeness and studiousness  of Jayana, as also  his desire to learn ,  took the boy Jayana under his care; and supervised his education. He arranged for Jayana’s Dance –education under the Natyacharya Gundamatya.

The King Ganapati Deva later appointed Jaya as the Nayaka of the Tamrapuri (said to be in Guntur District); and honoured him with the title ’Vairigodhuma Gharatta’

Jayana though an army commander by profession, was at heart a true Artist; and, was a well qualified Nartaka. He grew to become a Natyacharya, a Master who imparted training to the aspirants desirous of learning Dance. He was also a qualified musician and a composer. He has to his credit the Geeta-ratnavali, a treatise on Music, as a companion volume to his Nrtta- ratnavali, a manual on Dance.

Jaya Sena mentions that the text of the Nrtta-ratnavali was completed during – Vaivasvata Manvantara, Kaliyuga, Prathama Pada, after 4355 years during this period, and in the year named Ananda-nama-Samvathsara – which equates to the year 1253 -54 AD. It is said; by then Jaya Sena had grown into a wise and erudite scholar of about sixty years of age.

He reveals that it was not easy for him to compose Nrtta- ratnavali, a work of a highly technical nature, in Sanskrit verses. He had to study much, work hard and had to consult many experts in various fields.

Jaya Sena mentions that he studied the Natyashastra of Bharta Muni , diligently , spending hours upon hours poring over its tedious text; delving deep into the depths of its numerous commentaries; debating endlessly with the well disposed scholars, each adhering to his tradition; learning from many Gurus the secrets of the Shastra; and, above everything else he had the faith he could successfully accomplish his task, blessed with the infinite mercy and Grace of Lord Shiva , the Supreme Natyacharya. (Nr. Rv. 1.12).

[Abhyasate Bhartokti-bhanghisu, bahau-vyakya patesu sramath, samvadath Guru sampradaya suhrudam, Shambho prasadadapi, jnathava shastra rahasyam,  nirmitamidam maharthanvitam, nasyath kasya hitaya shasvata yashasam rakshanam lakshanam – Nr.Rv. 1.12]

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ramappa-temple

He also studied the Dance sculptures of the Ramappa Devalaya, dedicated to Lord Shiva, as Ramalingeswara, at Warangal, depicting various KaranasIt was built during 1213 AD by a General Recherla Rudra, during the reign of the Kakatiya ruler Ganapati Deva, under whom Jaya Sena served.

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The temple is known for its elaborate carvings that adorn  the walls, pillars and the ceilings of its marvelous edifice. In addition, there are images of Shiva in his various forms; the sculptures of Naginis, musicians; and, the bracket-figures of dancers executing various Karanas.

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[ As regards the bracket-figures (Sala-bhanjika) , some readers have made an interesting observation.

One of the Lady-figures is shown wearing a high-heeled platform-type of footwear, perhaps to make her look taller. Considering that the figures were sculpted in the eleventh century, it is indeed amazing.

Ramappa Devalaya high heels Ramappa Devalaya high heels 2 Ramappa Devalaya high heels 3

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Apart from the study of the traditional texts, Jaya Sena mentions that he learnt much from the practicing Devadasis, the temple-dancers.  And, he put that practical- learning to good use. He cites as many as three hundred dances performed by the Devadasis at the Natya Mantapas of various temples, as illustrations in his text Nrtta- ratnavali.

And, in return, Jaya Sena trained many young Devadasis, along with the Raja-Nartakis who danced at the King’s Court.

The Nrtta-ratnavali is thus the fruit of Jaya Sena’s dedication to his Art, earnestness and long years of learning from various sources. He remarks: Lord Shiva, verily, is formless (amurta); but, since he loved Dancing, he, in his boundless compassion (karunya) and love for the beings, assumed the form (murta) of Nrtta, in order to be accessible to the aspirants. For my humble-self, the Nrtta, indeed, is Shiva incarnated (Shiva-svarupam). 

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Structure of the Nrtta-ratnavali

structure of nartnaratnavali

Ramappa Devalaya 2

The Nrtta-ratnavali is a comprehensive study of dance, structured into Eight Chapters (Asta-adhyayi). It has, in all, about 1700 verses (Slokas).

All the Eight Chapters of the text deal with dance exclusively. The first Four Chapters describe the Angika Abhinaya, generally following the Natyashastra of Bharata (which is the Marga tradition). And, the Four Chapters, in the latter half of the text, are devoted to the Desi Nrtta, keeping in view the contemporary practices , as prevalent during the Kakatiya reign. These include Folk dance forms like Perani, Prenkhana, Suddha Nartana, Carcari, Rasaka, Danda Rasaka, Shiva Priya, Kanduka Nartana, Bhandika Nrityam, Carana Nrityam, Chindu, Gondali and Kolatam. 

The description of the  traditional regional dances differs from that of the Marga tradition in two ways: first, by putting its emphasis on the style of presentation rather than on the content of the composition; and,  second, by concentrating on the use of more acrobatic movements. Their treatment should  be seen as a different stylistic approach that grew through the course of time into a separate branch out of  the same basic  or the main Art form or tradition .

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In short:

The Chapter one , which serves as a sort of introduction, provides  the definition of terms such as Nrtta, Nrtya, Marga, Desi, Tandava and Lasya, as also their different aspects ; and, gives  explanations of  the four types of Abhinayas. The Chapter Two deals with Angika-Abhinaya, giving details of the different body-parts classified under:  Anga, Upanga and Pratyanga. The Chapter Three explains the Dance-elements: Caris, Mandala, Sthanaks, Asana and Shayana; and the importance of physical fitness (Anga saustava). The Chapter Four enumerates the 108 Karanas, the Angaharas and the Recakas. As mentioned; the first four chapters contain material as per the Marga tradition.

In the latter half of the text; the Chapter Five deals with the Desi varieties of Sthanakas, Uupulika-karanas, Caris and Bhramaris. The Chapter Six describes Desi varieties of Pada-bedha, Caris, Lasyangas and Gati-bedha. The Chapter Seven discusses general topics related to dance; and, in main, the fifteen Desi-Nrttas, (Nrtta-bedha), including the Perani type of dance. It also discusses the theatre and its types, training methods, various types of artists involved in the production and presentation of Dance etc. The last Chapter Eight describes the general aspects of presenting dance; and, the administration of the theater. The Chapters Five to Eight are devoted to Desi Nrtta, in the light of the then current practices.

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 Brief Summary of the Contents of the Nrtta-ratnavali – Chapter-wise

As regards the Chapter-wise details:

Chapter One

1.The First Chapter (74 verses) of Nrtta-ratnavali begins with the customary benediction, praising dance as an Art-form par excellence, and, defining Nrtta, Nrtya and Natya. And, it also explains the four modes of Abhinaya, i.e., Angika, Vacika, Aharya and Sattvika; and, describing , in detail , the six forms of Dancing- Nrtta, Nrtya, Marga, Desi, Tandava and Lasya .

Jaya Sena explains, the verbal root ‘Nata’ represents the pulsations that occur when the innermost feelings of a being are stirred, awakened and move up (Uccara) towards awareness

Spandana artha taya dhootornateh Satvika puritam ; Rasa-ashrayam ca jneyam vakhyarta abhinayam atmakamNr.Rv.1.26  

As regards Abhinaya, Jaya Sena says, when the prefix ‘Abhi’ is added to the verbal root ’ni’; and, when it ends in ‘an’, the term Abhinaya is formed. Its purpose is to bring forth and to express thoughts and emotions, as also to indicate objects. Abhinaya, he explains, is the act of experiencing a feeling and expressing its meaning variously  , with clarity, through the postures, gestures and movements  of the parts of the body  , the major and minor limbs (Shakha, Anga and Upangas).

Shakha, Angair Upangai ca prayogena vibhavayan, artan bahau vidhan prapyena va Abhinaya mathah –Nr.Rv.1.28

Jaya Sena defines Nrtta as the movements of the limbs (Anga-vikshepam), in harmony with the rhythm (Laya), the music of the instruments and the song. It is pure Dance, devoid of Abhinaya etc.

Gita-vadyadi militam, laya-matra samashrayam, Anga-vikshepam Nrttam, Bhaved –AbhinayojjitamNr.rv.1.53

And, Nrtta and Nrtya, he says, are of two kinds each: Lasya, the delicate (sukumaram) and graceful; and, Tandava the vigorous (uaddatam).  

Lasyam- Tandava bhedena dvaya metat dvidha punaha, sukumaram, tayo -radhyam bhaved para uaddatam-Nr.rv.1.56

The mutual attraction and love between man and woman, he says, is Laasa. And, that which is meant to express such Laasa is Lasya. The Lasya comprises those delicate and graceful movements of the body, which arouse a pleasant euphoric feeling (manasija ullasa) and erotic desire.  The Lasya is to be performed only be women.

Bhavah Stri-Pumsayor Laasam, tad artam tatra sadhu va Lasyam manasija ullasa hetu mrudvanga horavat Devyai Devo upadistatvat prayaha Stribhi prayujyate –Nr.rv.1.57

Then, Jaya Sena enumerates ten forms of Lasyanga (Lasyangani): Geyapada; Sthitapāhya; Āsīna; Pupagaṇḍikā; Pracchedaka; Trimūhaka; Saindhavaka; Dvimūhaka, Uttamottamaka; and Uktapratyukta (Nr.rv.1.58-59)

 These ten Lasyangas, of Marga Class, mentioned by Jaya Senani are the same as in NatyashastraLāsye daśa-vidha hyetad-aganirdeśa-lakaam.

Geyapadam, Sthitapāhyam, Asīna PupagaṇḍikāPracchedaka Trimūha ca Saindhavākhya Dvimūhakam 119 Uttamottamaka caivam Uktapratyuktam eva ca NS.19. 120

[The Lasyangas, according to Jaya Sena, are the elements of the traditional forms of Dance (Marga). In the first part of his work, Jaya Sena presents the Lasyanga as per Bharata, whose emphasis was on the dramatic nature of Lasya. In the Second half of the work, Jaya Sena deals with the Desi –Lasya, the regional variations of the Lasya. He lists as many as forty-six (on page 17) such Desi-Lasyas, which are entirely rooted in Angika movements, with very little of speech element, the Vacika.]

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Jaya Sena remarks; some authorities include two more types of Lasyangas – Vicitrapada and Bhavika – but, he would not accept them; and, would adhere to the ten, as enumerated by Bharata Muni – Angani Dasa caiveti Munina yat prakirthitam (Nr.rv.1.72).

1 . Geyapada :  The Lasya opens with Geyapada; and, it is accompanied by instrumental music; and, by the singing of the Sushka Aksharas, the rhythmic syllables (Svaras) by the musicians.  Then the heroine enters, in dance-like movements; takes her seat; and, sings a song praising the virtues and merits of her Lover.

2. Sthitapāhya: The love-stricken Nati or heroine (still seated) renders a song composed in a Prakrit language, pining for her lover; and, pouring out her pain and pangs of separation.

3. Āsīna : The heroine continues to sit in a depressed mood, ruminating over her forlorn condition. She expresses her sorrow and misery through her doleful eyes and facial expressions.

4. Pupagaṇḍikā: The sad looking heroine enters the further phase of her love-pangs; and, with her friends by her side, she imitates her Lover, his gestures and his speech. And, the Nati-Nayika, assuming the role of a man dances and sings a song, as her Lover would do.

5. Pracchedaka: This stage depicts the overpowering influence of moonlit-nights over the beloveds. They, still separated, forget and forgive each other’s mistakes; and, long to be together again.

6. Trimūhaka: This is similar to the fourth stage of Lasyanga. Here, the pains of separation experienced by the Lover (male) is conveyed through a song composed in Sanskrit, in which the metre is even, employing words that are neither harsh nor severe; but , is natural. The accompanying Dance too is gentle.

7. Saindhavaka: Here, the heroine is depicted as of a Vipra-labdha, waiting for her Lover who fails to turn up on time at the place of tryst. She is sad, disappointed and restless; and, she sings a plaintive song in Prakrit of the Sindhu region (Saindhavi), arousing pity. Her dance follows her mood.

8. Dvimūhaka: This is a happier dance, celebrating the heroine’s joy. In her Abhinaya, there is a clear portrayal of her Bhava and Rasa. She , in her playful exuberance, makes pretentious gestures, dances delightfully; turning and swinging merrily in circular movements. The accompanying melodious vocal and instrumental music reflect her happiness.

9. Uttamottamaka: This takes the heroine through a more joyous mood. She celebrates her Love through playful, seemingly mischievous and cheerful movements. The songs she sings are composed in verses of striking beauty. And, the instrumental music is lively and uplifting.

10. Uktapratyukta: The two lovers finally meet and come face-to-face. The Lady-Love, in mock anger, blames the erring Lover for the misery he caused her; and, brisk words are exchanged (Uktapratyukta). After due explanations, the two beloveds forgive each other; assert their Love for each other; and, promise never to be apart. The songs depict the moods and the theme of their exchanges. Then, the heroine dances around her Hero, sublimely.

[ Jaya Sena, in the latter part of the text, lists forty-six Desi- Lasyangas.]

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Chapter Two

2.The Chapter Two (437 verses) , which is the longest , having the most number of verses, deals with Angika Abhinaya, the movements of body-parts, which are most relevant to dance. Jaya Sena describes, in detail, the movements of the major and minor limbs – Angikani – (Anga, Pratyanga and Upanga).

He mentions six Angas (head, hands, chest, waist and feet) – Shiro, hastha, Purah, Parshva, Kati, Padau, sat-kramath (Nr.rv.2.1)

The six Pratyangas listed are: the neck, shoulders, stomach, spine, thighs and shanks (Griva, Bhuja, Kushiro, Prusta, Uru, Jamha, Prtyangani sat – Nr.rv.2.2)

And, the six Upangas are: the eyes, eyebrows, nose, lips cheeks, and chin (Vilocana, Bhru, Nasika, Oustya, Kapola, Chabukani, sat UpanganiNr.rv. 2.2.)

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Then he goes on to describe

: – thirteen types of head – movements (Shiro-lakshanam- verses 3 to 29);

:- thirty-six type of eye movements or glances  (Dristi-lakshanam) ; of which eight types of glances are based  in eight Rasas (Rasa-dristi);  eight glances expressing Sthayi-Bhavas (Sthayi-dristi) ; and those expressing the Sancari-Bhavas being twenty – (verses 30 to 72 )

: – Jaya Sena also describes the applications or uses of the glances enumerated by him (Dristinam Viniyogah) – (Verses 73 to 83)

: – Thereafter he moves on to describe nine kinds of the movements of the eyeballs (Tara karma) and its uses (Tara karma Viniyogah) – (verses 84 to 91)

: – Next, eight types of eye-expressions (Darsha Prakara) are described (Verses 92 to 96)

: – The nine types of the movements of the eyelids (Puta Karma) are described next (Verses 97 to 104)

: – The seven types of the movements of the eyebrows (Bru-karma) are described next – (verses 105 to 115)

: – Thereafter, Jaya Sena moves on to Nasika -lakshanam, the six types of movements of the nose (Nasa-karma) – (Verses 116 to 122)

: -The movements of the lips (Oustya or Adhara-lakshanam) are six – (verses 123 to 131)

: – The movements of the cheeks (Kapola-lakshanam) are also six – (Verses 131 to135)

: – The movements of the chin (Chibuka-lakshanam) are seven; these are coordinated with those of the tongue, teeth, lips. These are mentioned as Hanu-lakshanam, Jihva-lakshanam, and Danta-kama (Verses 136 to 151)

: – The movements of the neck (Griva-lakshanam) are of nine types – (verses 152 to 157)

: And, the facial colors (Mukha-ragam) are three- (Verses 158 to 163)

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Hastha –lakshanam

Jaya Sena deals with the gestures and movements of hands (Hastha-lakshanani) in fair detail. Here again, he, generally, follows the enumerations and the descriptions as provided in the Natyashastra. He also explains why he is adhering to the enumerations made by Bharata Muni; and, is not accepting the changes and modifications made by Someshvara and other commentators.

Jaya Sena describes 14 types of the movements of the single hand (Asamyukta-hasta) – (Verses 165-167); 13 types of the movements generated by the combination of both the hands (Samyukta-hastha) – (Verses 168-169); and, 29 types of the Nrtta hastha- (Verses 170 to 175)  . Thus, the Hasthas, in all, add up to sixty-six representations.

Jaya Sena describes each of the elements of the Asamyukta-hasta (Verses 187-263); the Samyukta-hastha (Verses 264-286); and, the Nrtta-hastha (Verses- 326-375), along with their Viniyogas (applications). During the course of presenting his explanations, Jaya Sena quotes the views of other authors, such as Abhinavagupta, Klrtidhara and others.

At the commencement of the discussion on the Hastha-lakshanam, Jaya Sena makes a very interesting observation. He compares the movements and gestures of the hands and fingers to a vast ocean.  He says, the subject is very vast; and is indeed, endless. Just as the ocean contains in itself, varieties of animals, creatures, vegetation etc., the Hasthas have varied and almost countless varieties of expressions.

Vast is indeed the subject of the gestures of the hands, just as the ocean. The waters of the ocean, in their depth, house the wily animals like crocodiles; on its surface are the lovely flowers like lotuses; and, over its surface fly the swarm of bees in graceful abandon. The waters are dotted and decorated by the beautiful wings of the swans; and, by the dancing petals of the lotus. The ocean, of course, is also the home of creatures like crabs etc.

Chatura Makaradi prollasat-padma-kosam, Bhramara-Lalita-Lilam, Hamsa paksha-abhiramam, pravicalad-alapadmam, karkata-dirupetam , jaladi jalami vedam, brumahe hastha-lakshanam (Nr.rv.2.164)

The terms that are cleverly used by Jaya Sena in this verse, also stand for the various types of hand-gestures (Hastha-bedha): Chatura; Macara; Padma-kosa; Bhramara; Lalitha; Hamsa-paksha; Ala-padma; and Karkata.  He has woven these terms, ingeniously, into the descriptive verse.

Referring to the limitless potential of the hand-gestures (Hasthanam ananthathvam) to express various suggestions, thoughts, emotions and objects; Jaya Sena remarks:  the whole universe can be expressed through these gestures. Their ways are truly endless. There are might be many Hasthas that are applicable in a particular context; but, there could be several more such. The skill of the performer lies in exploring; and, in choosing from the vast resources, the one that is most appropriate. The use (Viniyoga) of the Hasthas is, indeed,  infinite –ananta.

Abhijneyam jagat –sarvam ananto abhinayo pyayam, yo eva yujyate hastho tesam api anantataNr.rv. 2.287

Jaya Sena counsels: the truly wise must study deep, exercise their discretion to choose the most suitable Hastha, taking into consideration the context of place, time , performance and its purpose. Its expressions of the Sthayi and Sancari Bhavas must be adequately supported by the suitable meaningful eye- movements.

Desa, Kala, prayogartha vedi, netradi dristi cestitai, anukulai prayanjita sthayi-sancari-suchacaihi – (Nr.rv.2.290)

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Thereafter, Jaya Sena moves on to describe the movements of the other limbs (Pratyangas), such as the arms, shoulders, stomach, spine, thighs and shanks, with particular attention to the feet movement : Bahu Prakara (310-325); Paksha-lakshanam (376-382); Parshva-lakshanam (383-388);  Jatara-lakshanam (389-390); Kati-lakshanam (391-395); Uru-lakshanam (396-400); Janu-karmani (401-404); Jampa-karmani (405-411); Pada-lakshanam (412-426); and, Padanguli-lakshanam (427- 437 ).

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Chapter Three

3. The Chapter Three (198 Verses) is mainly about Caris (movements of one leg), Sthanas (postures); Nyaya (stance to be assumed while wielding a weapon in a fight); Vyayama (exercise); Sausthava (physical fitness); and, more Sthanas and Mandalas (combinations of Caris).

Here, Jaya Sena broadly follows the enumerations and definitions as per Bharata; but, makes certain variations.

He describes 16 types of Bhu Caris – both feet in contact with the ground (Verses 14 to 40) and 16 types of Akasha Caris – one foot in the air or a leap (Verses 41 to 69). Jaya Sena remarks, though for the purposes of the text the Caris are counted as 32 in number; its varieties are truly endless.

He also describes ten earthly (Bhu) Mandalas and ten aerial (Akasha) Mandalas.

As regards the Sthanas, standing-postures, Jaya Sena makes a distinction between the Sthanas meant for men (Purusha-Sthana) and those for women (Stri-Sthana). He reckons the following six Sthanas as being suitable for men: Vaishnava, Sampada, Vaisakha, Mandala, Alidha and Pratya-alida.

He describes, in fair detail, the Nyayas or the positions and postures to be assumed while fighting and wielding weapons.

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Chapter Four

4. The Chapter Four (377 Verses) describes Karanas (dance-units) and Angaharas (sequences of dance-units); and, ends with Recakas (extending movements of the neck, the hands, the waist and the feet), mainly, on the lines of the Natyashastra. In general, Jaya Sena’s treatment of the Marga tradition is faithful to Bharata and Abhinavagupta.

The groups of Karanas as listed in the text are : Valitoru (encircling); Aksipta (embrace); Kranta (anklet movement); Harinapluta (leaping like a deer); Bhujanga-ancita (curving-like-a-snake); Parsva-kranta (moving sideways); Apavidda (entertaining); Vrshabha-krida (like a bull); and, Urdhva-janu (lifting up the knee).

He then provides various combinations of the Stanakas, Nrtta-hasthas and Caris in order to compose varieties of Karanas. He describes several aspects of Angaharas; and, remarks, that by altering the sequence in the combinations of the Karanas, infinite variations of the Angaharas can be produced.

Here, while commenting on the Angaharas, Jaya Sena observes: Generally, a combination of three or four Karanas could be said to compose an Angahara.  But, there is no such strict rule in that regard. Bharata had used the prefix ‘va’ to indicate that there could be more options.  A combination of two Karanas is named Matraka; of three as Kalapa; of four as Khanda; and, of five Karanas as Sanghata. Therefore, the Karanas can be made into sets of six, seven, eight and even nine to form an Angahara. And there is no strict rule; it is left to the imagination and skill of the performer.

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Chapter Five  

5. The Chapter Five (109 Verses) marks the commencement of the Second-half of Nrttaratnavali; and, this latter-half is devoted to discussion on the Desi Nrtta.

The term ‘Desi’ had been in use since the time of Matanga’s Brhad-Desi; and , later it was extensively used by  other authors , such as : King Someshvara (Manasollasa) , Srangadeva (Sangita-ratnakara) and Parsvadeva (Sangita-samaya-sara). All these commentators described the various types of Desi dance-postures, movements and Dances.

As mentioned earlier, Jaya Sena in his Nrttaratnavali deals with the Desi Dances and their elements in Four Chapters (from Chapter 5to 8).  Here again, he discusses the Desi tradition in two parts: in the First Part (Chapters 5 and 6) he describes the Desi types of Sthanakas, Utpluti-karanas, Bhramaris, Pada, Pata, Cari, Lasyanga and Gati-bhedas as being derivatives or supplements  to the Marga -bhedas.

And, in the second Part (particularly the Chapter 7), Jaya Senani focuses on the various types of Desi Dances that were prevalent during the time of his King Ganapati Deva; and, these include Dances forms that were peculiar to the Andhra region  (Desi Nrtta) such as : Perini, Rasakam, Carchari, Bahurumpam, Kanduka , Bhandika , Kollatamu , Chindu and Gondali.

Tandava

Jaya Sena commences the Chapter Five by defining the term ‘Desi’ as that which is innovative, depicting new subjects, in newer forms of Dance movements (Nava Nrttam), that are peculiar to the culture (Desanusara) of each region (Desi); and, that which are devised for the delight of the Kings, who are always interested in newer forms of entertainment; as also for gladdening the hearts of common people of.

Bhavanti Dharanipalah prayena Abhinaya-priyah, atah triptiyedyapi yad utpadyate navam Nrttam tatah smrutam Desi tat Desanusaraha (Nr.rv. 5.3)

He then goes on to describe twenty-three types of Desi Sthanas (Verses 12 to 38); Fourteen types of Utpluti-karanas (Desi Karanas with leaping movements)- (Verses 39- 46) and their thirty-two types of applications (Verses 47 to 81); and, thirteen types  of Bhramaris  (pirouettes, spins and turns) – (Verses 82 10 109)

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Chapter Six

6. The Chapter Six (187 Verses) deals with the movements of the feet. These are described here as Desi-Padas, which are also called as Desi Caris by other authors. But, in the tradition of Bharata, the Caris and Padas are treated as being distinct.

Jaya Senani, following Bharata, treats these separately. He has a separate section for dealing with his Desi-Caris, some of which are not found in the earlier texts. Similarly, the descriptions of the Desi-Patamanis are his own.

Here, the Desi Pada implies merely contact of the feet with the ground; and, Desi -Patamani involves stamping or striking the ground with the feet (Pada-tadana); and, Desi-Caris involve movements of one extended leg.

Matanga, in his Brhad-Desi, had described sixteen verities of foot-positions (Sodasa-DesiPada-bedhah) that add beauty to the Desi Nrtta. Jaya Sena after describing these Desi-Padas (Verses 1 to 12) extends them to twenty-eight foot-movements – Astavimsati-patah (verses 13 to 53).

Jaya Sena recalls the statement made by Matanga that with some enterprise and imagination, one can devise more number of Desi Padas; and, Jaya Sena avers that he would be following Matanga’s advice. Accordingly, Jaya Sena describes forty-two verities of Desi-Caris, of which twenty-six are Bhumi-Caris (with feet in contact with the ground)- (Verses 63 to 88); and, sixteen are Akashi Caris (with at least one leg in the air) – (Verses 89 to 105).

Jaya Sena, in addition, describes four mixed varieties of Caris (Sankirna-Cari) : Talasarpanika (chain-like movements on foot soles), Hamsarutham (swan-like movements gliding back and forth), Tittiri-gati (simulating butterfly movements perched on toes) and Antarapadmasam (squatting in Padmasana and moving up) (verses 106 to 112).

Then Jaya Sena takes up Desi-Lasyanga, describing its forty-six varieties, following, in main, Srangadeva and Parsvadeva- (Verses 118 to 169).

Jaya Senani defines Lasya and Tandava as the two varieties of Nrtta and Nrtya. The Lasya, he says, is a feminine dance style, which arouses the Srngara Rasa with its delicate and graceful movements. Shiva taught this dance style to his consort Parvati.

In contrast, Tandava, a pure Nrtta with no element of Abhinaya, is a vigorous type of dance, performed in various Talas to invigorating music, in brisk and aggressive movements, exuding Veera and Bhayanaka Rasas. In the Desi Nrtta, Tandava is basically the dance of the warriors performed only by men. 

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The Chapter Six concludes with description of the Gatis (gaits), in slow (vilambita), medium (madhyama) and fast tempos (druta) – (Verses 170 to 187). During the sequence of taking such steps, the pace of gaits could vary from slow to fast or medium etc., or the other way; it would then be a Sankirna –Gati. Jaya Sena also indicates the Talas (the time units) that are appropriate for the Gatis of each tempo (Kala). For instance; if the performer takes two, three or more steps within a Time-unit (Tala), then that could be called Druta-Gati (Verse 172).

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Chapter Seven

7. The Seventh Chapter discusses varied subjects such as : auspicious dates for beginning dance lessons (the term that Jaya Sena uses here is Nrtya); the characteristics of the stage and some general discussion on presentation; the time and location of dance performances; the worship of Ganesha; the methods of training and practice; the qualifications desirable in a dancer; the dance costume; the hand-gestures for practice; and, the accompanying vocal and instrumental music. The Chapter then focuses its attention on describing individual dance pieces, calling them Desi Nrtta.

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There is an elaborate description of Perani. It is said; the term Perani was derived from ‘Prerana’ meaning inspiration. And, Perani is one who is inspired by Lord Shiva; or a dance form that invokes (Prerana) and is dedicated to the Supreme Dancer Shiva.

The text carries an elaborate description of Perani, lauding him in choosiest words of praise and attributing to him all the noble virtues.

A Perani , a dancer,  is one who is capable of taking the spectators to the heights of aesthetic delight; an attractive person of great reputation; descending from commendable linage; a sentient connoisseur; and adept in rhythm; expert in music; master of several instruments; devoid of aberrations; learned in several, branches of knowledge ; proficient in many languages; a dancer of great quality, who is well versed in both the Lasya and Tandava Dance forms; one who can execute the Karanas involving leaps , turns and spins; and, an adept in all the Dance techniques.( Nr.rv. 7. 34 to 37)

The text mentions; the Prerana dance has five aspects: Nrttam; Kaivaram; Ghargaram; Vikatam; and, Geetam.

Prerar-angani panchasya Nrtta, kaivarah, Vikatam, Geetam ityesham karma laksham pracakshapa (Nr.rv.7.43)

It is believed that this dance form invokes ‘Prerana‘ (inspiration) and is dedicated to supreme dancer Shiva.

Chhau-Dance

Jaya Sena describes the five parts of the Prerana Dance. And says :

 : –  The Nrtta is that which has both the aspects of Lasya and Tandava- tan Nrttam yat dvidataktam Lasya Tandava bhedah  (Verse 44).

:- The Kaivara is the dance which adulates and celebrates the virtues and valour of the Great kings of the past; and, through the metaphors used for such a great person , the King who is on the throne is lavishly praised (Verse 45).

:- The Gharghara is that war-dance which is enthused by vigorous and rousing beats of the thundering Gargara war-drums; dancing furiously, employing six of the ten Pada-bhedas (other than Parsva, Gattitama, Suci and Anguliprusta) – (Verse 55).

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 :- The Vikata is the grotesque dance  where the dancers wearing the ghastly make up and costumes of the demons and ghouls (Pisaca), covering their faces with masks of ugly faces, frightening eyes and repelling lips ; even turning their shoulders, stomachs and legs into ghastly proportions (Vikruta) , scream , shout most annoyingly ; and, jump, twist, turn in ugly ways. Some call this Dance as Vagada. (Verses 56 and 57)

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: – And, Geetam is that where the performers dance to the melodious and tuneful singing of the songs from the traditional Shuddha Chayalaga Prabandha Music format. (Verse 58).

folk dance

**

The Perani Paddati the ways of performing the Perani Dance are described in Verses 59 to 68. Here, Jaya Sena specifies the types of music, songs and instruments, as also the stage preparations suitable for performing all the five aspects of the Prerana Dances, in their sequence.

[The Perini Tandava is a vigorous Nrtta, usually, performed by warriors (Veerulu) before they leave for to the battlefield. It is therefore called ‘Dance of Warriors’. The Perini Tandava, done to the resounding beats of drums, is indeed believed to be the most invigorating and intoxicating male dance form. While dancing, the warrior invokes Shiva to come into him ; and, to dance through him.  Dancers drive themselves to a state of frenzy, where they feel the power of Siva in their body.

The dance form, Perini, reached its pinnacle during the rule of the Kakatiya Kings, who established their dynasty at Warangal and ruled for almost two centuries. The Perini dance form almost disappeared after the decline of the Kakatiya dynasty.]

perani shiva tandavam

Jaya Sena outlines the Desi Paddathi of presenting a Dance performance.

The performance begins with the auspicious instrumental music; that is followed by Yati-Praharana; and Pushpajali is performed without song or musical accompaniment. Then follow the Jhenkara; Rigavani; Tundaka; and, Camatkara. Thereafter come the Geetanga, the orchestral music, the auspicious songs and finally the Praharana- (Verses 69-70) . Further details are provided in Verses 71 to 77.

[Pardon me; I am not very clear about some of the terms used here to indicate the ingredients of the Desi-Paddathi.]

*

Jaya Sena, following the explanations provided by Matanga for classifying the Prabandhas, says that Nartana can also be classified into two classes: Shuddha Suda and Salaga Suda.

According to Jaya Sena, Nartana that follow the  Shudda Suda type of Prabandha  has nine forms : Ela; Karana; Varnasara; Kaivara; Jhombada; Tribanghi; Vartani, Rasaka; and Ekatali.( Verses 80 and 81)

And, the Salaga Suda has seven types: Dhruva, Mantha, Prati-mantha, Nihsaru, Addatala, Rasaka and Ekatali. (Verse 88)

The following twelve types of Desi Nrttas are described in the Nrttaratnavali:

1. Rasakam; 2. Carcari; 3. Natya-Rasaka; 4. Danda-Rasaka; 5. Sivapriyam; 6. Cinthu-Nrtta; 7. Kanduka-Nrtta; 8. Bhandika-Nrtta; 9. Ghatisani-Nrtta; 10. Carana-Nrtta; 11. Bahurupa-Nrtta; and, 12. Kollata- Nartana.

Rasaka

Jaya Sena, then, takes up the description of the Rasaka, which is a Pindibandha class of Group Dances. The Pindibandhas, or group dances, a form Nrtta, are performed by six, eight, twelve or more pairs of men and women. The Pindibandhas are classified into four types: Pindi (Gulma-lump-like formation); Latha (entwined like creeper or net like formation, where dancers put their arms around each other); Srinkhalika (chain like formation by holding each other’s hands); and, Bhedyaka (where the dancers occasionally break away from the group and perform individual numbers).

Of these four types of Pindibandhas, the Rasaka is treated as a Pindibandha of the Latha variety of  Lasya, which is related to Srngara-rasa, portraying love and other softer, graceful aspects.

Jaya Sena describes the Rasaka type of Desi Nrtta in Verses 84 to 99.

According to Jaya Senapati, Rasaka is to be performed by experienced, young, dancers in pairs of 8,12 or 16 , dressed appropriately, exhibiting various Caris , entering from either sides of the stage , in tune with the musical instruments, the Sangita Vadya.  He describes the beauty, youth and alluring qualities of the dancers; and, their flashing movements, comparing them to lightning.

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Carcari

Carcari is described as a springtime-dance performed by a group of female dancers, celebrating the Vasantotsava festival, singing sweet songs in Raga Vasantha; weaving various patterns and designs as they dance; clapping hands; snapping the fingers or striking each other’s palms while they dance around in circles; and form manifold patterns while performing Khanda, mandala, Cari etc., as in the Pindibandhas. Carcari is a kind of ensemble dance, resembling the Rasa-Lila of the Gopis.

Carcari is a jubilant Dance, a festive sport of merriment , singing songs  of Srngara Rasa, where the cheerful women, as they dance, move around in circles,  and sing praise the virtues of the Nayaka , the presiding King (Verses 98 and 99) .

It is said; the Carcari Prabandha is known as Jajara in some Telugu texts. And, Raja Bhoja, in his Srngara Prakasa, uses the term Carcari as an alternate name for Natya-Rasaka.

Maidens Performing The Ecstatic Dance

Natya-Rasaka

Jaya Sena explains Natya-Rasaka as a Dance performed in the spring season (Vasantha) by the women of the Court singing Desi Songs in Hindola Raga, praising the virtues and merits of the King ; and, interpreting the words of the song through Abhinaya (Padartha-abhinaya)- (Verse 100)

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Danda Rasaka

The Danda-Rasaka is Nrtta, a Pindibandha or group dance performed by eight or more pairs of men women, playing with coloured sticks. There is much singing and dancing in rhythmic steps; but, not much speech and Abhinaya. It is similar to the Rasaka. This type is also known as the Krida-Rasaka of the Gopis, where the Gopis play the Rasa with Sri Krishna.

Jaya Sena explains the Danda Rasaka as a form of group performance during spring season. It is performed by even number of pair of dancers, usually in multiples of 4 to 24, with sticks held in both the hands. In some variations, fly-whisks, daggers are held by the dancers in one hand and sticks in the other. The instrumentalists play melodious music to which dancers perform choreographic patterns including Lasyangas, Brahmaris, Caris and Utplavanas (leaps), in circling movements, to the accompaniment of rhythmic striking of sticks. Khandas or dance segments must be continued along with elegant leaps to the left and right hand sides as well as executing the circular movements. Specific strokes of the sticks must create the required beats.

Regarding the mode of the entry of the dancers, Jaya Sena said:  Eight of them may enter first, gradually by addition of batches of four, the number may go up to sixty-four, forming two rows.

Jaya Sena says that the songs are composed in praise of the Kings virtues. Dances are to be performed by experienced dancers. (Verses 101 to 107)

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Shiva Priya

Shiva Priya, is again, a group dance performed by men and women to the accompaniment of the beats of the various types of drums, cymbals, trumpets (Kahala). The participating men and women each holds in his/her left hand a replica of a snake made of brass or copper; and, a sword in the right hand. They all rhythmically make sounds ‘Kirikiti’.

They all wear garlands made of Rudraksha beads; three stripe of Vibuthi across their forehead; and, reverently sing songs in praise of Shiva (Shiva stuti).

The Shiva Priya dance consists in the performers dancing in rhythmic  steps, displaying Lasyanga, singing songs ; and, sometimes facing each other in rows of two ; and, then breaking to form circles in various patterns . This Dance is said to be particularly dear to Shiva (Shiva Priya) – (Verses 108 t0 118)

*

Cintu Nrtta

According to Jaya Sena, Chitu is a type of Desi Nrtta that originated in the Dravida Desa; and, it (Cindu) is very dear to the people of Tamil Nadu. Groups of well dressed young women dance swaying their arms and bodies, rhythmically, to the accompaniment of instrumental music. As they clap their hands and dance in playful steps, displaying the Padas, Caris and Gatis of Lasyanga, they sing songs composed in Dvipadi. The dancers interpret the meaning of the words of the song with predominance of Lasyanga, through Pada-artha-abhinaya.

**

Kanduka-Nrtta

Kanduka is a peculiar kind of a Desi Nrtta and a ball-game as well, played by wide-eyed, young and beautiful women, in the prime of their youth, in a jubilant mood (Vibhrama). As these playful and joyous lovely women play and dance, the songs selected from the Prabahdhas relating to the Desi Nrtta; or the songs meant for the depiction of Bhandas (patterns) such as: Padma, Gomurtica, Naga, and Chakra, are sung and played on musical instruments.

The ball, these women play with, is made either of gold, silver or brass; and, is hallow inside. The ball holds within it number of beads, which rattle and make sounds, as the dancing women jump in the air, run around throwing and catching the ball.

As these beautiful women with mischievous flickering eyes, jump in the air, and, perform various types of Caris, Gatis, Padas of Lasyanga, while they create patterns resembling fish, lotus filled ponds etc. (Verses 118 to 125)

Rasaka designs0002

**

Bhandika Nrtta

The Bhandika Nrtta is comical dance performed by clowns. As they dance around in irregular and difficult steps , mimicking Adavus, the instrumentalists pretend as though they are playing the pipe or beating the drums. The dancing jesters create their own rhythms  by clap of hands; and imitate the movements of hunchbacks, dwarfs and the maimed  and , they also make varieties of sounds of birds and animals such as : peacock, parrot, monkey, donkey, dog, camel etc. While making the sounds of each bird or animal they imitate its movements in exaggerated, funny and mischievous manners. These hilarious dances blow away the sorrows and anxieties of the spectators; and, make them laugh till their sides ache. (Verses 126to 129)

*

Ghatisani-Nrtta

The Ghatisani-Nrtta is a dance that is oriented towards rendering a song with action, in the company of her friends. Here, a beautiful Candala women, dressed in light and modest costume; and, gifted with melodious voice and clear diction; sings songs, while playing on the Panduka Vadya (a kind of hand-held musical instrument). The songs she sings are variously selected from the Desi Suda Prabandha and Carya-Prandha, describing the playful actions of Shiva in his Kirata (hunter) aspect, holding bow and arrows.

As she sings and dances along with other male and female dancers, to accompaniment of the sounds of the drums , cymbals , trumpets (Kahala) and Karata Vadya (?); and to the rendering of Tala-Prabandha, Yati , Praharana etc., she moves along delightfully, in delicate (Sukumara) dance-steps, spreading cheer and happiness. (Jaya Sena mentions that even a male who is endowed with the requisite virtues can perform Ghatisani-Nrtta.)- (Verses 130   to 134)

*

Carana-Nrtta

According to Jaya Sena, the Carana-Nrtta is the dance of the professional nomadic dancers and singers who come from the Saurastra region in the Western India. They travel (Carana) from place to place displaying their artistry.   Their songs composed in Dohas (couplets) or Dohaka, derived from Dohaka metre, laden with Rasas, set to attractive beats, are sung in melodious Ragas, with playful Desi-Kakus (intonations). They sing along merrily, clapping their hands, twisting, spinning (Bhramari) and tumbling somersaults (laghava); moving in swift but not with very aggressive (Lalita-uddhata) footwork (Pada-vinyasa) ;  they , in between, shout in booming voice ‘Bhi- Bhoo’ imitating the sound of instruments. Jaya Sena observes, the Carana women-dancers cover their heads with a part of the sari they are wearing (Pallu). – (Verses 135-138)

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Bahurupa Nrtta

The Bahurupa Nrtta is the display of varied forms of dresses, behaviors, speech etc., of persons coming from different regions and cultural groups.

Describing the qualities of a competent Bahurupa Nrtta performer, Jaya Sena mentions that such a dancer must be: young, agile, learned, clever, witty, fluent in his expressions, proficient in Sanskrit and regional languages; and, should induce happiness. In addition, such a Bahurupi should be a well trained, experienced dancer having a pleasant voice; he should be quick in changing the costumes and make up; he should, preferably have shaved off the beard and the hair on his head. A woman endowed with these qualities can also perform as a Bahurupi.

As regards the performance of the Bahurupi, Jaya Sena mentions, the dancer should adopt the Natyadharmi mode of presentation. And, in his versatility , he should be able to credibly represent the two-footed , the four-footed and even the feet-less living beings . He should, following the instrumental music and the songs, dance according to the situation. And, in between, he should also sing. More importantly, he should never cross the limits of decency.  A Bahurupi would do well to enact the roles of a King or of a renowned person in the history. (Verses 145 to 148)

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Kollata- Nartana

The Kollata – Nartana that Jaya Sena describes is , in fact, the dance of the acrobats who perform at  the street corners. They are also called ‘Dombigas’ or ‘Domburu’.  

Initially the acrobats perform Desi Caris, Karanas and other dance movements. And, then, as the drums, cymbals, bells, blow-horns (Bheri) play vigorously; and with the spectators clapping and cheering loudly, the tempo of the Dance increases. Thereafter, the acrobat climbs on the tripod supporting the leather strap or the rope that stretches across. He then begins to walk along the rope in careful steps. And, while on the rope he does dance movements with a remarkable sense of balance. Then, after reaching the other end of the rope , standing on the tripod, he executes dexterous and risky Bhramaris (Turns), wielding dangerous weapons like swords.

Then, after jumping down from the rope, the Kollatiga, dances around carrying incredibly heavy objects, twirling swords etc. The acrobat performs many types of skillful, swift and attractive dances; leaping, spinning, twisting, turning, tumbling, cart-wheeling etc.- (verses 149-152)

 **

Thereafter, Jaya Sena concludes the Chapter Seven by describing in great detail  the qualities of the female dancer (Nartaki), the male dancer (Nartaka) , the main singer (Mukhya-gayaka),the instrumentalist who plays the pipe (Mukhari) , the orchestra (Vadya-brunda) ; and the stage-manager (Sabhapati) . He also describes the theater (Nrtta-mandala)- (Verses 153 to 288)

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Chapter Eight

8. The Eighth and the Final chapter (84 verses) is the shortest. And, in general, it provides more information regarding presentation; the recital; the appropriate time for its presentation; the arrival of the chief guest ; and, the welcome to be accorded to the king and other important members of the audience; the qualities required in a dancer; her costume and make up; the orchestra; the seating arrangements; the entrance of a dancer; the use of three curtains on the stage and their removal etc.

The chapter also talks about honoring the dancer, the musicians and the poet

*

Jaya Senapati remarks that the spectators are very much a part of the Art-experience; and, even a very good performance would be of no avail unless the spectators are cultured, refined and truly capable of appreciating and enjoying the presentation.

Jaya Sena concludes his work with the Verse, which says: This garland named as Nrttaratnavali was knitted by Jaya Sena-natha, with the aid of Nrtta-angas composed of Sucimukha, Gati, Guna and Shikhara.

Here, he was playing on the words, by comparing the Nrttaratnavali to a garland ; and the various elements of  Nrttanga to sharp needle (Suci), thread(Gati); knitting (Guna) and the successful completion (Shikara).

Sucimukha, Gatisuchya, Guna, Shikara-shobini, Jaya-Senadi-nathena Nrttaratnavali krtah (Verse 81)

Eti Sriman Maharajadhi Raja Ganapathi Deva Gaja-sadhanica Jaya Senapati virachitam Nrtta-ratnavali Sampurnam

lotus-flower-and-bud

In the Next Part, we shall move on to another text.

Continued

In

The Next Part

References and Sources

  1. Nrttaratnavali (Translated into Telugu) by Prof. Rallapalli Ananata Sharma – published by Andhra Pradesh Sangita Nataka Academy –1969
  2. Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr Mandakranta Bose
  3. http://www.andhraportal.org/literature-nrtta-ratnavali/
  4. http://shodhganga.inflibnet.ac.in/bitstream/10603/25592/9/09_chapter%201.pdf
  5. Bharatanatya: a paper presented by Dr.V Raghavan at the Dance Seminar held Sangita Natak Academy
  6. All PICTURES ARE FROM INTERNET

 

 

 

 
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Posted by on December 4, 2018 in Art, Natya

 

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The texts of the Indian Dance traditions – Part Fourteen

Continued From Part Thirteen

Lakshana Granthas – continued

 9. Manasollasa / Abhilasita-artha-cintamani of King Somesvara

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Manasollasa (मानसोल्लासthat which delights Manas-heart and mind), also called Abhjilashitarta-Chintamani (the wish-fulfilling precious gem)  ascribed to the Kalyana Chalukya King Someshwara III (ruled 1126-1138 AD) is an encyclopaedic work, written in Sanskrit, covering wide ranging varieties of subjects.

Someshvara III was the third in the line of the Kings of the Kalyani Chalukyas (also known as Western Chalukyas). He was the son of the renowned King Vikramaditya VI (1076-1126) and Queen Chandaladevi. King Someshvara, celebrated variously as Tribhuvana-malla, Bhuloka-malla and Sarvanjya-bhupa, was a remarkable combination of an enlightened Ruler and an erudite scholar.  Someshvara was a noted historian, scholar and poet; and, his fame as an author, rests on his monumental compilation Manasollasa.  He is also said to have attempted to script a biography of his father VikramadityaVI, narrating his exploits, titled Vikramanka-abhyudaya; but, the work remained incomplete.

King Someshwara was also an accomplished musician and a gifted composer.  He is said to have composed in varied song-formats such as: Vrtta, Tripadi, Jayamalika, Swaraartha, Raga Kadambaka, Stava Manjari-, Charya and so on. He composed Varnas, Satpadis and Kandas   in Kannada language. In addition, he compiled Kannada folk songs relating to harvest –husking season, love, separation (in Tripadi); marriage-songs (in Dhavala); festival and celebration songs (Mangala);  songs for joys dance with brisk movements (Caccari);  songs for marching-soldiers (Raahadi); Sheppard-songs (Dandi) ; and, sombre songs for contemplation (Charya).

Someshvara is said to be the earliest to codify the tradition of allocating the six Ragas to the six seasons: (1) Sri-raga is the melody of the Winter (2) Vasanta of the Spring season (3) Bhairava of the Summer season (4) Pancama of the Autumn (5) Megha of the Rainy season and (6) Nata-narayana of the early Winter.

Prince Someswara was regarded by the later authors as an authority on Music and Dance. And, Basavabhupala of Keladi (1684 A.D.-1710 A.D.) composed his Shiva-tattva-ratnakara modelled on Somesvara’s Manasollasa.  The noted musicologists Parsvadeva and Sarangadeva quote from Manasollasa quite often.  Further,   Sarangadeva in his work mentions Someswara along with other past-masters of music theory (Rudrato, Nanya-bhupalo, Bhoja-bhu-vallabhas tatha, Paramardi ca Someso, Jagadeka-mahipatih).

Someswara describes two schools of music – Karnata and Andhra; and, remarks that Karnata is the older form. This, perhaps, is the earliest work where the name Karnataka Sangita first appears (Musical Musings: Selected Essays – Page 46 )

Manasollasa defines chaste Music as that which educates (Shikshartham), entertains (Vinodartham), delights (Moda-Sadanam) and liberates (Moksha Sadanam)   –

 Shikshartham Vinodartham Cha, Moda Sadanam, Moksha Sadanam Cha.

This, I reckon, by any standard, is a great definition of Classical Music. And, this is how the chaste and classical music is defined even today.

Such Music, he says, should be a spontaneous source of pleasure (nirantara rasodaram), presenting varied Bhavas or modes of expressions (nana-bhaava vibhaavitam) ; and , should be pleasant on the ears (shravyam) .

Someshwara classified the composers (Vak-geya-kara) into three classes: the lowest is the lyricist; the second is one who sets to tune songs of others; and, the highest is one who is a Dhatu Mathu Kriyakari – one who writes the lyrics (Mathu), sets them to music (Dhatu); and, ably presents (Kriyakari)  his composition.

 someshvara 03

Someshvara III was succeeded by his son Jagadeka-malla II (r.1138–1151 CE), also known as Pratapa Prithvi Bhuja. He was also a merited scholar, who wrote Sangitha-chudamani, a work on music. He was the patron of the scholar and Grammarian NagavarmaII, the author of famous works, in Kannada, such as:  Kavya-avalokana and Karnataka Bhasha-bhushana.

The Sangita-Cudamani of Jagadeka-malla covers many topics related to music, such as: Alapana and Gamaka;   the desired qualities of a singer, of a composer; the voice culture; design of the auditorium, and so on.  The later scholar Parsva Deva (12th century), the author of Sangita Samayasara, followed the work of Jagadeka-malla on subjects like Ragas, Prabandhas, etc. Sarangadeva’s Sangita-ratnakara (first half of 13th century) also mentions Jagadeka-malla (Jagadeka-mahipatih) , with respect.

someshvara 02

It is said; Someshvara commenced compiling the Manasollasa, while he was a Prince; and completed it during 1129 (1051 Saka Samvatsara), which is about two-three years after he ascended the throne.

The Manasollasa  covering a wide variety of subjects ranging from the means of acquiring a kingdom, methods of establishing it, to medicine, magic, veterinary science, valuation of precious stones , fortifications, painting , art, games ,  amusements , culinary art , dance , music and so on , is a monumental work of encyclopedic nature. The text, in general, provides valuable information on the life of those times. It is also of historical importance as it gives the geographical description of Karnataka of 12th century; as also of the contemporary socio-cultural and economic conditions; and of the varied occupations its people.

The entire work of the Manasollasa extends to about 8000 Granthas or verse-stanzas; and, it is composed in the Anustubh Chhandas (metre), with few prose passages interspersed in between. Its Sanskrit is simple and graceful; making it one among the elegant works of Sanskrit literature that reflect the life and culture of mediaeval India.

The treatment of the subjects is sophisticated, cultured, suiting the elite atmosphere of a King’s court. The style of presentation is lucid; and, is yet concise.

*

The Manasollasa, virtually, is a guide to royal pastimes; and, is divided into five sections, each containing descriptions of twenty types of Vinodas or pastimes. The reason, each section is called a Vimsathi (विंशति), is because; each contains twenty Adhyayas (chapters).  The book is thus a tome of 100 Chapters, which are grouped into five Viśathis (twenties). But, since the Chapters are of unequal length, the Vimsathis also vary in size.

Each Section (Vimsathi) is dedicated to specific sets of topics. The five Vimsathis are:

  Rajya Prakarana; Prapta-Rajya SthairikaranaUpabhogaVinoda and Kreeda

vimsathi table

:- The First Vimsathi, the Rajya Prakarana, describes the means of obtaining a kingdom and governing it efficiently; the required qualifications for a king who desires to extend his kingdom; as also the qualifications of the ministers, their duties and code of conduct  that enable the King to rule a stable, prosperous kingdom. It recommends delegation of powers to various authorities at different levels, with a limited degree of autonomy, under the overall supervision of the ministers.

:- The Second Vimsathi, the Prapta Rajya Sthairikarana describes the ways of maintaining a king’s position strong and stable; retaining it securely; and, ways  of governance of the State, its economics, infrastructure, architecture etc. It also talks about maintenance and training of a standing army, the required capabilities and responsibilities of its commander (Senapathi). This sub-book includes chapters on veterinarycare, nourishment and training of animals such as horses and elephants that serve the army.

As regards economy, it mentions about the administration of the Treasury and taxation; of levying and collection of taxes (Shulka).

:- The Third Vimsathi, the Upabhogasya Vimsathi details twenty kinds of Upabhogas or enjoyments; and, describes how a king must enjoy a comfortable life, including cuisine, ornaments, perfumery and love-games.  

It also speaks of other pleasures of sumptuous living, such as: living in a beautiful palace; enjoying bathing, body-massage, anointing, gorgeous clothing, attractive flower garlands, stylish footwear, rich ornaments; having elaborate royal seat, trendy chariot, colorful umbrella, luxurious bed, enchanting incense; and , enjoyable company of beautiful and witty women etc.

In this section, two chapters are dedicated to Annabhoga or enjoyment of food, describing how various recipes are to be prepared as well as how they should be served to the king. Manasollasa is a treasure trove of ancient recipes. And Jala or Paniyabhoga, talks about the enjoyment of drinking water and juices (Panakas).

The text cautions that fresh and clean water is Amrita (nectar); else, it cautions, if it is sullied, it would turn to Visha (poison).  Someshvara recommends that water collected from rains (autumn), springs (summer), rivers and lakes (winter) for daily use, be first boiled and be treated with Triphala, along with  piece of mango, patala or champaka flower or powder of camphor for health,  flavour and delight.

:- The Fourth Vimsathi of Manasollasa, the Vinoda Vimsathi, deals with entertainment such as music, dance, songs and competitive sports. It speaks of diversions like: elephant riding, horse riding, archery, fighting, wrestling, athletics, cockfights, quail fights, goat fights, buffalo  fights, pigeon fights, dog games, falcon games, fish games and deer hunting etc.

It also mentions the cerebral pleasures such as: rhetoric, scholarly discussions, vocal music, instrumental music, dancing, storytelling and magic art.

The Vinoda-Vimsathi also describes how a king should amuse himself, with painting, music and dance.   The subjects of Music and dance are covered under Chapters sixteen to eighteen of the Vinoda Vimsathi. The vocal and instrumental Music is covered in two sections: Geeta Vinoda and Vadya Vinoda; and, dances are covered under Nrtya Vinoda.

 : – The Fifth and the last Vimsathi, the Krida-Vimsathi describe various recreations. The last two sections, in particular, are virtually the guides to Royal pastime (Vinoda). These include sports like: garden sports, water sports, hill sports and sporting with women; and, games like gambling and chess.

[Please check here for a detailed  article about the significance of Manasollasa]

The text is notable for its extensive discussion of arts, particularly music and dance. A major part of Manasollasa is devoted to music and musical instruments, with about 2500 verses describing various aspects of it. Thus, the two exclusive chapters concerning music and dance have more number of verses than the first two sub-books put together. That might, perhaps, reflect the importance assigned to performance arts during the 12th-century India.  And, Someshvara III’s son and successor king Jagadeka-malla II also wrote a famed treatise on music, Sangita-Cudamani.

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As regards Dance, the Manasollasa deals with the subject in the Sixteenth chapter, having  457 verses (from 16.04. 949 to 16.04.1406), titled Nrtya-Vinoda, coming under the Fourth Vimsathi of the text – the Vinoda Vimsathi – dealing with various types of amusements.

Manasollasa is the earliest extant work presenting a thorough and sustained discussion on dancing. It not only recapitulates the accumulated knowledge on dancing, inherited from the previous authorities; but also gives a graphic account of the contemporary practices. Someshvara, sums up the views of the earlier writers, which continue to have a bearing on the dance scene of his time (12th century); and, lucidly puts forth his own comments and observations. Here, Someshvara, retained, in his work, only those ancient dance-features (Lakshanas) that were relevant to his time; and, eliminated those Lakshanas which were no longer in practice.

And, another important factor is that Someshvara introduces many terms, concepts and techniques of dancing that were not mentioned by any of the previous dance practitioners and commentators. He mentions new developments and creations that were taking place, as noticed by him.

The Manasollasa is, thus, a valuable treasure house of information on the state of dancing during the ancient times. Another important contribution of Nrtya Vinoda is that it serves as a reliable source material for reconstruction of the dance styles that were prevalent in medieval India.

It is also the earliest work, which laid emphasis on the Desi aspect for which the later writers on this subject are indebted.

The notable features of the Nrtya Vinoda are: the orderly presentation of topics; concise rendition facilitating easy reference; and, the prominence assigned to current practices that are alive than to the ancient theories.

For these and other reasons, the Nrtya Vinoda of Manasollasa, occupies a significant place in the body of dance literature. 

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Someshvara introduces the subject of dancing by saying that dances should be performed at every festive occasion (Utsava), to celebrate conquests (Vijaya), success in competitions and examinations (Pariksha) and in debate (Vivada); as well as on occasions of joy (Harsha), passion (Kama), pleasure or merriment (Vilasa), marriage (Vivaha), birth of an offspring (putra-janma) and renouncement (Thyaga)- Manas.950-51

He then names six varieties of dancing; and, six types of Nartakas. The term Nartaka, here, stands for performers in general; and, includes Nartaki (danseuse), Nata (actor), Nartaka (dancer), Vaitalika (bard), Carana (wandering performer) and kollatika (acrobat).

Someshwara uses the term Nartana to denote Dancing, in general, covering six types:  Natya (dance with Abhinaya), Lasya (graceful and gentle), Tandava (vigorous), Visama (acrobatic), Vikata (comical) and Laghu (light and graceful).

The other authors, such as Sarangadeva, Pundarika Vittala and others followed the classifications given Manasollasa.

[Someshvara cautions that Kings would do well to avoid performing dance items like Visama (acrobatic) and Vikata (comic); perhaps because, they were rather inappropriate for a King.]

Manasollasa is also significant to the theory of Dance, because it caused classifying the whole of dancing into two major classes:  the Marga (that which adheres to codified rules) and Desi (types of unregulated dance forms with their regional variations).  

Manasollasa also introduced four-fold categories of dance forms: Nrtya, Lasya, Marga and Desi.

In regard to Dance-movements, Someshwara classifies them into six Angas, eight Upangas and six Pratyanga; with some variations, as compared to the scheme devised by Bharata.

The other important contribution of Someshvara is the introduction of eighteen Desi karanas, (dance poses and movements) that were not mentioned in other texts. However, the Desi aspects are discussed without mention of the word.

*

Somesvara’s exposition of Dance techniques could be, broadly, classified under  two groups: (1) body movements relating to Anga, Upanga and Pratyanga; and, (2) the other relating to Sthanas, Caris and Karanas etc.

In regard to the former category, relating to the Angika-Abhinaya, Someshvara, in his Nrtya Vinoda, generally, follows the enumerations and descriptions as detailed in the Natyashastra of Bharata (Marga tradition) , with a few variations and modifications. And, the discussion on Angika Abhinaya occupies a considerable portion of the Nrtya Vinoda.

The Sthanakas, Caris and Karanas enumerated and described by Someshvara under the Nrtya Vinoda were classified by the later scholars as belonging to the Desi tradition. That was because they differed from the ‘Margi’ Sthanakas, Caris and Karanas of Bharata‘s tradition. However, Someshvara had not specifically employed the term ‘Desi’ while describing those dance-phrases. He had merely stated in the Gita-Vinoda section that he will be discarding the Lakshanas, as enunciated by Bharata; and, that he will only deal with the techniques that are developed and are in practice (Lakshya) during the current times. The scholars surmise that might be the reason why he does not specify the Sthanakas, Caris and Karanas described by him as belonging  to the Desi Class.

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Angika Abhinaya

As mentioned earlier; with exception of a some elements, the treatment of the Angika Abhinaya in the Nrtya Vinoda, to a large extent, follows the Natyashastra of Bharata. But, Someshvara made some changes in the arrangement of the limbs, within the three groups of limbs.

For instance; Bharata, under the category Anga had listed the head, the hips, the chest, the sides and the feet. And, under the Pratyanga, he had mentioned: the neck, the belly, the thighs, the shanks and the arms. And, under Upangas, Bharata had included the eyes, the eyebrows, the nose, the lips, the cheeks and the chin.

Someshvara, under the Angas followed the general pattern of classification as laid down by Bharata; but, included shoulders and belly in place of the hands (Hasthas) and feet (Padas). His Pratyanga includes the arms, the wrists, the palms, the knees, the shanks and the feet. And, under the Upanga, Someshvara included teeth and tongue (Bharata had not reckoned either of these under his scheme.)

Almost all writers follow the classification made by Bharata; and, not that of Somesvara. And, that doesn’t seem surprising; because, the hands (Hasthas) and feet (Pada-bedha) are the most essential elements of any dance-form.  They surely are indeed one among the major-limbs (Anga) so far as the dance is concerned; and, it may not be right to treat these as minor-limbs (Pratyanga) as Someshvara did.

But, some justify Someshvara’s position, saying that he was mainly concerned with the Desi-Dance form where the emphasis was more on the agile, rhythmic and attractive feet and body movements than on the Abhinaya or expressions put out through eyes, facial expressions and palms.

At the same time; it is said that Someshvara was not wrong in classifying shoulders and belly under the major-limbs (Anga); since, anatomically they indeed are large.

As regards the thighs, they are not included by Someshvara in all the three categories; perhaps because the movements of the shanks also account for that of the thighs.

Bharata had not mentioned either the teeth or the tongue in his classifications; but, these are included by Someshvara under Upangas.

**

The elements covered under Anga, Upanga and Pratyanga  in both the texts are as follows:

Angas (major limbs)

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Under the Angas (major limbs), Someshvara enumerates the movements of the: Head (13 types); Shoulder (5); Chest (5); Belly (4); Sides (Parshva); and Waist (5).

(1) The Thirteen types of head movements (Shiro-bheda)  comprised : Akampita (slow up and down movement); Kampita (quick up and down movement); Dhuta (slow side to side movement); Vidhuta (quick side to side movement); Ayadhuta (bringing the head down once); Adhuta (lifting obliquely); Ancita (bending sidewise); Nyancita (shoulders raised to touch the head); Parivahita (circular movement); Paravrtta (turned away); Utksipta (turned upwards); Adhogata (turned downwards); and , Lolita (turned in all directions).

[All the thirteen head movements laid down by Bharata have been included by Somesvara, along with their explanations and uses.]

(2) Five shoulder (Bhuja) movements are: Ucchrita (raised); Srasta (relaxed); Ekanta (raising only one shoulder); Samlagna (clinging to the ears); and, Lola (rotating).

[Bharata had not discussed the shoulder movements.]

(3) Five chest (Urah or Vakasthalam) movements are: Abhugna (sunken); Nirbhugna (elevated), Vyakampita (shaking); Utprasarita (stretched); and, Sama (natural).

[It is the same as in Bharata’s text.]

(4) Four belly (Jatara) movements are: Ksama (sagging); Khalla (hollow); Purnarikta (bulging and then emaciated); and, Purna (bulging).

[Bharata had mentioned only three; the Purnarikta is added by Someshvara.]

(5) Five side (Parshva) movements of sides are:  Nata (bent forwards); Samunnata (bent backwards); Prasarita (stretched); Vivartita (turning aside); and, Apasrata (reverting back to the front).

[It is the same as in Bharata’s text; only, the definition of Prasarita is missing.]

(6) Five movements of the waist (Kati) are:  Chinna (turned obliquely); Vivrtta (turned aside); Recita (moving round quickly); Andolita (moving to and fro); and Udvahita (raising)

[The names and descriptions of a couple of waist movements are changed.]

**

Upangas (features)

upanga table

Under the Upangas (features) the following types of movements are listed:  Eyebrows (7); Eyes (3); Nose (7); Cheeks (5); Lips (8); Jaws (8); Teeth (5) ; Tongue (5) and facial colours ( 4)

(1) Seven varieties of eyebrow movements (Bhru-lakshanam)Utksipta (raised); Patita (lowered); Bhrukuti (knitted; Catura (pleasing); Kuncita (bent); Sphurita (quivering); and, Sahaja (natural).

[They are almost the same as in Natyashastra. The Sphurita, here is the same as Recita of Bharata; and, its description is also slightly different. But the movements of the eyeballs, eyelids, are not mentioned in the Nrtya Vinoda.]

(2) Three groups of eye movements (Dṛṣṭī-lakaam) are based upon Rasa; Sthayi-bhava and Sancari-bhava.

The first group covers eight Rasas; the second eight Sthayi-bhavas; and the third has twenty Sancari-bhavas. The total number of glances is Thirty-six, the same as in the Natyashastra.

[As regards the use of the glances, Someshvara gives, in addition, the uses of the Sancari-bhava- glances, which were not  in the Natyashastra.]

(3) Six kinds of nose (Nasika) movements – Nata (closed); Manda (slightly pressed); Vikrata (fully blown); Suchavas (breathing out); Vaikunita (compressed) and Svabhaviki (natural).

[It is the same as in Bharata’s text. Only the description of Suchavas varies slightly. ]

(4) Six types of cheek (Ganda) movements are:  Ksama (diminished); Utphulla (blooming); Purna (fully blown); Kampita(tremulous); Kunchitaka (contracted);  and, Sama (natural).

[It is the same as in Bharata’s text. Only the description of Purna and its uses varies slightly.

The Nrtya Vinoda does not discuss the movements of the neck.]

(5) Ten varieties of lip (Adhara) movements are : Mukula (bud-like); Kunita (compressed); Udvrtta (raised); Recita (circular); Kampita (tremulous); Ayata (stretched); Samdasta (bitten); Vikasi (displaying); Prasarita (spread out); and , Vighuna (concealing).

[Of the ten varieties of lip-movements mentioned by Someshvara, only three of them (Kampita, Samdasta and Vighuna) are from the six listed by Bharata. The other seven lip movements described by Somesvara are taken from other texts.]

(6) Eight kinds of chin (Chibukam) movements are: Vyadhir (opened); Sithila (slackened); Vakra (crooked); Samhata (joined); Calasamhata (joined and moving); Pracala (opening and closing); Prasphura (tremulous); and, Lola (to and fro).

[Bharata had mentioned seven kinds of gestures of the chin (Cibuka) ; and, these were combined with the actions of the teeth, lips and the tongue . In the list of Someshvara, except Vyadhir and Samhata, none of the other movements is mentioned by Bharata]

(7) Five types of teeth (Danta) movements are: Mardana (grinding); Khandana (breaking); Kartana (cutting); Dharana (holding); and, Niskarsana (drawing out).

(8) Five varieties of tongue (Jihva) movements are:  Rijvi (straight); Vakra (crooked); Nata (lowered); Lola (swinging); and, Pronnata (raised).

[Bharata had not discussed teeth and tongue movements. Instead, he had mentioned six movements of the mouth (Mukha). ]

(9) Lastly, the four facial colors described are: Sahaja (natural), Prasanna (clear), Raktha (red); and, Shyama (dark).

[It is the same as in Bharata’s text.]

**

Pratyangas (minor limbs)

pratyang table

Under the Pratyangas (minor limbs) the following limbs are listed:  Arms –Bahau (8); wrists (4); Hands-Hasthas (27 single hand, 13 both hands combined, Nrtta-hasthas 24); Hastha –Karanas (4); Knees (7); Shanks (5); and, feet (9);

Further, under the Nrtta (pure-dance movements), thirty types of Nrtta-hasthas (movements of wrist and fingers) are described.

(1) Eight movements of the arms (Bahu) are: Sarala (simple);Pronnata (raised); Nyanca (lowered); Kuncita (bent); Lalita (graceful); Lolita (swinging); Calita (shaken); and, Paravrtta (turned back).

[Bharata mentioned ten movements of the arms; but had not described them.]

(2) Four movements of the wrists – Akuncita (moving out); Nikuncita (moving in); Bhramita (circular); and, Sama (natural).

[Bharata had not mentioned wrist positions and movements separately; but had dealt with them under Nrtta-hasthas.]

(3) Three groups of hand (Hastha-bheda) gestures are: twenty seven single hand gestures (Asamyuta-hastas); thirteen gestures of both the hands combined (Samyuta-hastas); and twenty four Nrtta –hasthas.  The three together make sixty-four hand gestures.

[The movements of the hands (Hastha) are discussed in detail both in the Natyashastra and in the Nrtya-Vinoda. Bharata had included the hand-gestures under the category of Anga (major limbs); while Someshvara brought them under Pratyanga (minor limbs). The number of hand-gestures and the composition each of the three varieties does vary; but, the total number of hand-gestures, in either of the texts, is sixty four.

However, the names and uses of many Hasthas of Nrtya Vinoda differ from those listed in the Natyashastra.

For instance; Someshvara does not mention the single-hand gestures Lalita and Valita; as also the Nrtta-hastha Arala. He substitutes them by other Hasthas. And, in the case of Musti, he includes an additional type of Musti, where the thumb is beneath the other fingers. And, in certain instances, Somesvara goes further than Bharata, by giving the exact positions of the fingers, while describing a hand-gesture; as in Ardhacandra, Mrgasira and Padmakosa.

Bharata had stated that the hand-gestures and their use, as mentioned by him, are merely indicative; and, it is left to the ingenuity of the performer to improvise, to convey the intended meaning. Such possibilities, he said, are endless. Someshvara also made a similar remark.]

Both the authors – Bharata and Someshvara- describe four categories of the Karanas of the hand: Avestita, Udvestita, Vyavartita and Parivartita.

These gestures also associated with Nrtta-hasthas, in their various movements, when applied either in Dance or Drama, should be followed by Karanas having appropriate expression of the face, the eyebrows and the eyes.

(4) Seven movements of the knees (Janu) are – Unnata (raised); Nata (lowered); Kuncita (bent); Ardha-kuncita (half bent); Samhata (joined); Vistrtta (spread out; and Sama (natural).

 [Natyashastra doesn’t analyze movements of the knee (janu), the anklets (gulpha) and the toes of the feet; as is done by other texts. But, it described the five shank-movements, as arising out of the manipulation of the knees.]

(5) Five movements of the shanks (Jangha) are – Nihasrta (stretched forward); Paravrtta (kept backwards), Tirascina (side touching the ground), Kampita (tremulous) and Bahikranta (moving outwards).

[But these do not resemble any of the shank movements found in the Natyashastra. Someshvara might have taken these movements from some other text. The five movements of the shanks (Jangha) as mentioned in the Natyashastra are:  Avartita (turned, left foot turning to the right and the right turning to the left); Nata (knees bent); Ksipta (knees thrown out); Udvahita (raising the shank up); and, Parivrtta (turning back of a shank)]

(6) Nine movements of the feet (Pada-bheda) are:  Ghatita (striking with the heel); Ghatitotsedha (striking with the toe and heel); Mardita (sole rubbing the ground; Tadita (striking with toes); Agraga (slipping the foot forward), Parsniga (moving backwards on the heels); Parsvaga (moving with the sides of the feet); Suci (standing on the toes) ; and Nija (natural).

Along with the movements of the feet five movements of the toes are described namely – Avaksipta (lowered); Utksipta (raised), Kuncita (contracted); Prasarita (stretched); and, Samlagna (joined).

The Natyashastra does not specifically discuss the toe movements.

[Natyashastra had described five kinds of feet positions: Udghattita; Sama; Agratala-sancara; Ancita; and, Kuncita.

Agraga and Parsvaga, the two feet movements indicated by Someshvara were not mentioned by Bharata.

There is one major difference between these two sets of feet movements. In the Natyashastra the feet movements indicate floor contacts and placing the feet in a particular position. But in the Nrtya-Vinoda, except for Suci and Nija, all other feet movements, consist of actual movements, which arise out of the combinations of the basic feet positions, as mentioned by Bharata.

For example, Ghatita, Ghatitotsedha, Tadita and Parsniga are all combinations of Ancita and Kuncita feet positions. And, Suci and Nija are only static positions. They correspond to the descriptions of Samapada and Sama respectively, as given by Bharata.]

Shirobhedas or Head movments

Sthanakas, Caris and Karanas

After an analysis of Angika Abhinaya, the Nrtya Vinoda takes up the discussion of Sthanakas, Caris and Karanas.

The Nrtya Vinoda discusses in all, Twenty one Sthanakas; Twenty six earthly (BhumaCaris and Sixteen aerial  (AkasakiCaris; and Eighteen Karanas.

Sthanaka is a motionless posture; a Cari is the movement of the lower limbs, which starts from one Sthanaka position and ends in another. A  Karana, on the other hand, relates to the sequence of static postures and dynamic movements. Thus, the Sthanaka and the Karana are associated with the movements of the entire body; and, the two are interrelated.

The Sthanakas, Caris and Karanas were also discussed by Bharata in his Natyashastra. But, the Sthanakas, Caris and Karanas as enumerated by Someshvara differ from those described by Bharata. Those

Since the two sets of Dance-features differed significantly, the later writers, in order to distinguish the two, classified the ones described in Natyashastra under the Marga class; and, those in the Nrtya Vinoda under the Desi class.

But, Somesvara had not qualified such dance features enumerated by him in the Nrtya Vinoda with the suffix ‘Desi’. He had merely stated that he will disregard the features (Lakshanas) as defined by Bharata; and will deal only with those that were developed during the current times and those that are still in practice (Lakshya).

Some scholars opine that the Desi Sthanakas, Caris and Karanas of Someshvara could very well be treated as additions or supplements to the Sthanakas, Caris and Karanas defined by Bharata.

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The term Desi, in the context of dance, stands for all those Dance techniques, postures and movements that were not mentioned in the Natyashastra, the seminal work of Bharata. Desi was used in contrast to the Marga or the classic tradition of Bharata.

And, Desi also meant those Dance-forms and movements that were created in various regions of the country for the pleasure and entertainment of the common folks. They even varied from region to region; and, in that sense the Desi could even be called ‘local-styles’. In the post-Bharata times, many other movements were created and were codified as Desi varieties.

folk dance desi tradition

Such Desi Dances were, usually, spontaneous and free-flowing, not restricted by the regimen of strict rules of a particular tradition. Further, the rhythmic, agile feet and body movements, innovative gestures; and entertaining dance sequences performed with joy and jubilation characterize the Desi Dance. And, there is not much emphasis on Abhinaya through eyes or facial expressions.

Over a period of time, say by the time of Somehsvara (12th century) the Desi styles gained more ground and popularity. And, that is reflected by the number of works of the medieval times that gave greater prominence to Desi elements. The Nrtya Vinoda of King Someshvara also could be placed in that context.

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As mentioned, a Sthanaka is a static posture, in which greater importance is assigned to the position of the legs.  Here, the limbs are at a state of rest and harmony. Perfect and balanced disposition of the body is an essential feature of the Sthanaka. In dance, it is employed to precede and succeed any flow of the sequence of movement; as well as to portray an attitude. The dancer starts from one position to make a sequence of movements which end, in the same, position with which the dancer started, or in some other position. When the sequences are many and at a fast pace the postures may however get eclipsed.

The definitions of the Sthanakas as rendered by Someshvara relate exclusively to the position of the lower limbs; and, they do not describe the carriage or the relative disposition of the upper limbs.  This signifies that the upper limbs including the hands could be used in any manner that is appropriate. Further, unlike Bharata, Someshvara does not categorize the Sthanakas into Purusha (male) and Stri (female) Sthanakas.

Of the twenty one Sthanakas described in the Nrtya Vinoda, only two bear the same names of two Margi Sthanakas. They are Samapada and Vaisnava Sthanakas.

The Vaisnava Sthanakas in both the traditions are similar. But, the Samapada Sthanaka of the Desi style differs from the Samhata Sthanaka of the Margi tradition.

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The Cari constitutes the simultaneous movement of the feet, shanks, thighs and hips. They are classified into two groups: one in which feet do not loose contact with the floor; and, the other in which the feet are taken off the ground.

The Nrtya Vinoda mentions Twenty six earthly  (BhumaCaris and Sixteen aerial (Akasaki) Caris

The earthly Caris consist of movements of the 1eg as a whole, in which the feet are normally close to the ground. There are however two exceptions to this rule found in the Harinatrasika and the Sanghattita Cari, which replicate the leaping movements of a deer.

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The aerial (AkasakiCaris comprise of the movements of the legs which are lifted or stretched up in the air. Some of the names of the DesiAkasaki Caris are to be found in the Margi tradition as well. They are Urdhva-janu (uplifted knees); Suci (pointed); Vidhyut-bhranta, (alarmed by lightning); Alata (square position); and, Danda-pada (as if punishing).

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Towards the end, the Nrtya Vinoda describes Eighteen Karanas. Such Desi Karanas, as described by Someshvara, are merely agile movements involving Jumps and leaps. Therefore, the later writers designated such Desi Karanas as Utpluti Karanas.

Since, Someshvara focused on the Dance-forms that were alive and in practice during his time, he made no effort to restore the 108 Karanas, most of which had gone out of use by then. Similar was the case with the Angaharas, Recakas and Margi-Caris, which perhaps were rather distant from the people of his time; and, not in active practice.

The use of these leaping Karanas are said to employed, especially, in the Laghu or Laghava and Visama Nrtya, which involve acrobatics . They range from the simple and ordinary jumps like the Ancita Karanas to very dextrous and nimble foot-movement like the Kapala-sparsana (bringing a foot very close to or touching the cheek)

Chhau-Dance

To sum up

The Nrtya Vinoda soon gained the status of an authoritative text; and, esteem scholars and commentators – especially Sarangadeva and Jaya Senapathi- quoted from it extensively.

To sum up, the significant features of the Nrtya Vinoda are:

(1) Importance assigned to Desi forms of Dance, which were in active use, and their techniques; and, introducing Desi Sthanakas, Caris and Karanas.

(2) Bringing together various dance forms under the common term Nartana; and, coining the descriptive terms Laghava, Visama and Vikata.

(3) Re-classification of the body-parts: Anga, Upanga and Pratyanga. And , including the descriptions and uses of additional limbs such as shoulders, wrists, knees, teeth and tongue.

(3) The descriptions of certain types of movements that were not mentioned in the Natyashastra. These include, belly-movements (Riktapurna); Lip-movements (Mukula, Kunita, Ayata, Recita and Vikasi); Arm –movements (Sarala, Pronnata, Nyanca, Kuncita, Lalita, Lolita, Calita and Paravrtta); Leg-movements (Ghattita, Ghatitosedtaa, Tadita, Mardita, Parsniga, Parsvaga, and. Agraga); and, five movements of the toes.

(4) Coordinating eye-glances with the transitory states (Sanchari-bhavas)

(5) And, suggesting variations in the execution on and uses of Nrtta-hasthas.

**

For these and other reasons, the scholars recommend that the Nrtya Vinoda could be gainfully used as a supplement to the study of Natyashastra and of the Sangita-ratnakara. The Nrtya Vinoda could also serve as a link that bridges the scholarship of the ancients and the practices prevalent among common people of the medieval times. That would help to gain an overall view of the progress and development of the Dance traditions of India, over the centuries.

desi dances

 In the Next Part , we shall move on to another text.

Continued

In

The Next Part

 

References and Sources

  1. Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr Mandakranta Bose
  2. https://archive.org/details/TxtSkt-mAnasOllAsa-Somesvara-Vol3-1961-0024b/page/n128
  3. A critical study of nrtya vinoda of manasollasa      V,Usha Srinivasan
  4. http://shodhganga.inflibnet.ac.in/bitstream/10603/59351/9/09_chapter%203.pdf
  5. http://shodhganga.inflibnet.ac.in/bitstream/10603/59351/10/10_chapter%204.pdf
  6. http://shodhganga.inflibnet.ac.in/bitstream/10603/59351/11/11_chapter%205.pdf
  7. http://shodhganga.inflibnet.ac.in/bitstream/10603/59351/12/12_conclusion.pdf
  8. http://shodhganga.inflibnet.ac.in/bitstream/10603/59351/6/06_synopsis.pdf
  9. https://nartanam.in/wp-content/uploads/2018/02/vol-xvii-no-iv-final.pdf
  10. http://www.worldlibrary.org/articles/someshwara_iii
  11. ALL IMAGES ARE FROM INTERNET
 
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The texts of the Indian Dance traditions – Part Thirteen

Continued From Part Twelve

 Lakshana Granthas – continued

8. Srngaraprakasa of Raja Bhoja

rajabhoj

The Srngaraprakasa of Raja Bhoja (10-11th century) is a work; spread over thirty-six chapters, which deals, principally, with poetics (Alamkara shastra) and dramaturgy. Insofar as Dance is concerned, it is relevant for the discussions carried out in its Eleventh Chapter,  dealing with various types of minor plays (Uparupakas) or musical Dance-dramas.

Raja Bhoja or Raja Bhoja-deva Paramara was a king from the Paramara dynasty, who ruled between 1010–1055 CE. His kingdom comprised the Malwa region in Central India and parts of Gujarat. His capital was located at Dhara-nagara (modern Dhar, in the Malwa region of western MadhyaPradesh). It is said; the city of Bhopal is named after Raja Bhoja.

Bhoja was a warrior, a capable military commander; and, was also politically very active. He had a vast kingdom in the Central/ Western India. He had a strong alliance with the powerful King of South – Rajendra Chola; and, had even helped the Shahi Kings to resist the attacks of Mohammad of Ghazni. Bhoja fought many battles, with varying degrees of success.

Though Raja Bhoja reigned gloriously for more than forty years; the battles he fought are mostly forgotten. But, his fame as the greatest scholar-king of medieval India; an enlightened patron of learning; and, an accomplished erudite author remains undimmed.

As a ruler, he is said to have emphasised the importance of education in ones’ life; and, in his capital city Dhara-nagari, he set up a center for learning Sanskrit at Sarasvatisadana or Bhartibhavana, over which he presided.

Raja Bhoja is credited with the authorship of numerous books, covering an enormous range of topics. But, literary criticism, poetics, aesthetics; and particularly the Rasa doctrine in its various forms seemed to be his favourite subjects. And his fame as an author with refined tastes rests mainly on his two major works: Sriranga-prakasa and Sarasvathi-kanta-abharana.

The Sarasvathi-kanta-abharana (ornament in the neck of goddess Sarasvathi), is a treatise on Sanskrit grammar and Alankara-shastra (Poetics); an elaborate text of 643 verses, enriched by as many as 1,563 examples (or illustrations), spread over five chapters.

[The Sarasvathi-kanta-abharana edited by KN Sharma and VL Pansikar (1934); and Sarasvatikanthabharana of Bhojadeva: With the commentary Hrdayaharini of Narayana Dandanatha; edited by V.A. Ramaswami Śastri; Trivandrum Government Press 1948.]

And, Raja Bhoja’s other work Sriranga-prakasa, a treatise in 36 chapters dealing with both poetics and dramaturgy, is more widely known. The noted scholar Dr. V. Raghavan, who edited Raja Bhoja’s monumental work ‘ भोज गश्रांगार प्रकाश (1962)’, described it as the largest known work in the field of literary criticism and aesthetics  in the whole range of classical Sanskrit literature. While illustrating the encyclopedic nature of the text, Dr. Raghavan called it as the richest Indian text in Sanskrit poetics; and remarked; ‘Whatever is found in Srngara Prakasa is found elsewhere; and, that which is not found in this work cannot be found elsewhere.’ 

Dr. Raghavan points out, “Bhoja seems to be the first writer, whose work is available to us now, who embraced both branches  (poetics and dramaturgy); and , wrote in the same work on both. .. It seems from the treatment of the subject that Bhoja wanted to write a work similar to the Natyasastra. Like Bharata, Bhoja discusses the characteristics of the Sanskrit language; but, does so even more elaborately than Bharata, although-surprisingly-Bhoja omits prosody, which is closely related to poetics. However, he discusses dramaturgy in detail and his analysis of Srngara is unique, covering as it does the types of Srngara and its expression in dramatic presentation. The range and depth of the work is quite appreciable.

[Despite all its stated virtues, Bhoja’s Srngara Prakasa did not , for a long-time, receive  the attention it deserved ; mainly because of its inordinate length (more than twice that of Bharata’s Natyashastra); and, its manuscript was  recovered late and published only  in 1955  by Sri C. R. Josyer  of  Mysore. It was brought to the attention of the scholars worldwide in 1963 , by Dr. V. Raghavan; and, later published by Harvard University, under its Oriental Series.

The renowned scholar Sheldon Pollock observes:

History has been unfair to Srngara Prakasa.. Despite the fact that it is the most comprehensive and sustained body of literary analysis in pre-modern India, in some ways the most germane – in view of the range of issues treated that are pertinent to reading actually existing Sanskrit literature – and, in its organization, style and plethora of citations and analysis perhaps the most fascinating.

Bhoja’s discourse on Rasa is the most detailed and provocative we have; and the most unusual, often differing from Bharata and those who follow him]

radha_krishnakrishna radha

The main topic of the Srngara Prakasa is Rasa, the aesthetic delight, a pleasurable sensation; and, its manifestation (Rasanispatti) in varied forms. And, the text is, therefore, regarded as an important watershed in the evolution of Rasa-theory (Rasa-siddantha). Bhoja Deva’s work is particularly focused on Srngara-rasa. He accorded a very elaborate and exhaustive treatment to the subject of Srngara-rasa; devoting as many as twenty-two Chapters, discussing sixty-four stages of Srngara, each divided into eight categories; and, each of that again subdivided into eight types. He also quoted hundreds of verses and passages from literary works in Sanskrit as also in Prakrit languages.

The Srngara, one of the eight Rasas categorized by Bharata, is ordinarily taken to mean a state of erotic or love. But, Raja Bhoja elevated Srngara to a sublime level, as the King of all Rasas (Rasa-raja); the Rasa of all Rasas; the Rasa in which myriads of other Rasas reside ;and the mother of all Rasas , giving scope for a countless other emotions including jealousy, fear, anger, compassion, and of course for the expression of physical intimacy.

‘Krishna and the Gopis on the Bank of the Yamuna River’; miniature painting from the ‘Tehri Garwhal’ <i>Gita Govinda</i>, circa 1775–1780

No other Rasa has a vast scope; and, Srngara, he said, towers over all the other feelings and sensations, as it is the most important emotion in human beings. It is very endearing; and, it appeals to human mind; present in every segment of life, since life is a never ending quest for love and affection. It is the sweetest of all (Madhu-rati madhura). The enchanting Srngara is portrayed through rich imagery and there are different aspects (Bhavas) of Srngara e.g. love between a mother and a child; love between siblings; love between friends; love between a man and a woman; love between the Almighty and devotee; and, so on.

In regards to Poetics (Alankara Shastra), Raja Bhoja assigned highest importance to Srngara-rasa, placing it on the throne as the king of Rasas. Srngara, according to him, denotes the supreme phase of bliss; and, it is the highest aesthetic principle. He said, the Srngara assumes the form of Rasa when it is enjoyed by the Sahrudaya the cultured, well-informed spectator/ reader, gifted with empathy. Such a Sahrudaya, who is blessed with a refined sense of Srngara, is indeed the Rasika (the connoisseur); and, one lacking that virtue is Nirasa. According to Bhoja, the Kavya-rasa is universal, enjoyed by all in the world; and, it makes is no sense in calling at Alaukika (otherworldly).

krishna dance

Srngara Prakasa and Dance

The Srngara Prakasa is of relevance to Dance, because of the discussions it carries out regarding the minor types of plays, the Upa-rupakas.

The types of Uparupakas that Raja Bhoja was particularly interested were the Dance-dramas, which are adorned with rich music, melodious songs, as also with graceful and delicate dance movements. These, technically, could be called Nrtya-bhedas, the minor dramatic presentations. But, such musical plays were fondly addressed by varieties of names.

Abhinavagupta, in his commentary, had called such Uparupakas as Nrtta-kavya (dance-drama); Raga-kavya (musical-play); Raga-darshaniya (musical presentation to be viewed with delight); Geyam-anurupakam (a sort of play that is sung); and; Nrtta-prabandha-raga-kavya (musical play presented mainly through dance). And, Raja Bhoja gave these musical plays a rather grandiose name: Pada-arth-aabhinaya-atmaka preksya-prabandhas (the visual presentation of literary works, where the meanings of the words are illustrated with expressive gestures).

In short; such type of Uparupakas could be said to be minor dramatic works that were of the nature of Dance-drama, which are rendered through song, dance; and, interpreted through Abhinaya. And, in such presentations, the elements of song, music and dance (Gita-Geya-Nrtya) are dominant.  

[Dr.Bose relates Bhoja’s discussion on Padarta-abhinaya to  Nrtya ( pure Dance) and to the  minor types of plays (Uparupakas); and,  says : If we equate Padartha-abhinaya with Nrtya, which seems plausible, then we can say that Bhoja viewed it as varieties of Nrtya , the dramatic types that require Padartha-abhinaya. Dhanika in his Avaloka on the Dasarupaka and Saradatanaya in his Bhavaprakasana view these minor dramas as Nrtyabhedas, that is, as various types of Nrtya. Later, Subhankara refers to these varieties as “nrtye ratna-naksatra-maala.” All these references show, these minor dramatic types were known under many names. Later, however, they were categorized as Uparupakas by Visvanatha in the  Sahityadarpana  (fourteenth century A.D.)]

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It may be mentioned here; Bharata, in his Natyashastra, had discussed, in main, the Rupakas, the major forms of the Drama. His concern seemed to be, primarily, with those types of plays that had the potential to display various modes of representations; and, to evoke verity of Rasas. For him, the aspect of Rasa was central to the Drama. He had remarked: no sense proceeds without Rasa – Na hi rasadrte kascid-arthah pravartate.

In the process, Bharata had not discussed the minor forms of the drama, the Uparupakas or Natyabhedas, a minor class of dramatic works, distinct from the major works; and, which did not satisfy all the classic, dramatic requirements prescribed for a Rupaka or Nataka proper. Such minor class of plays (Uparupakas) handled only a segment of a theme or an event in a story (Vastu); and, not its full extent. It did not also, perhaps, employ all the eight Rasas and all the four Abhinayas, in their entirety.

By the time of Abhinavagupta (Ca.11th century), the Dance had diversified into many more forms than were known during the time of Bharata. Commencing with the 11th -12th century, the minor or one-act plays, Uparupakas, the forms of dance-dramas, with a major input of dance and songs; but, with just an adequate stress on Abhinaya (acting) and Sahitya (script) became increasingly popular.  During the time of Abhinavagupta, those minor classes of plays – Uparupakas, par excellence, had grown into becoming the main stay of the contemporary dance- scene.

Nayaka ko prakasa biyoga sringara

Raja Bhoja in the Eleventh Chapter of his Srngara Prakasa discusses twenty-four types of drama and their structure. He terms these as Preksya-prabandhas, visual or the poetic compositions to be seen; and, divides them into two categories: one, requiring Vakya-artha-abhinaya and the other Pada-artha-abhinaya.

These terms relate to the acting techniques employed by the performer  in a play or in a dance,  for portraying  various states of emotion (Bhavas) with the help of speech (Vachika); gestures (Hastha-abhinaya)  and actions (Angika), and costumes (Aharya) etc.

The Āngika-abhinaya (facial expressions, gestures / movement of the limbs) is of great importance, particularly in the dance and drama.  There are two types of basic Abhinayas:  Padārtha-abhinaya (when the artist delineates each word of the lyrics with gestures and expressions); and, the Vākyārtha-abhinaya (where the dancer acts out an entire stanza or sentence). Bhoja does not name the class of drama that requires Padartha-abhinaya; however, he names and describes the twelve varieties within that class. These descriptions show that these varieties are full of delicate and expressive movements .

In either case, though the hands (hastha) play an important part, the Āngika-abhinaya involves other body-parts, as well, to express meaning of the lyrics, in full.

Dhananjaya in his Dasarupa had earlier mentioned two broad categories of Dance-forms as: the Marga (the pure or pristine); and, the Desi (the regional or improvised) – ādya padārthā-abhinayo Margo Deśo tathā param // DhDaś_1.9 //

According to Dhananjaya, the Nrtya, which principally, is the display of various emotional states (bhava-asrayam Nrtyam), is a representation of the traditional Marga class.  While, the Nrtta, with emphasis on limb-movements, in tune with rhythm and timing (nrttam tala-laya-asrayam), belongs to the popular Desi style (Desi-nrtta).

According to Abhinavagupta, the depiction of Srngara essentially requires Nrtta; as it provides ValanaVartana and other movements or stances.

Raja Bhoja does not name the class of drama that requires Padartha-abhinaya; however, he lists and describes the twelve varieties within that class. These, it is said, belong to the Nrtya class which require delicate and meaningful expressions, along with limb movements. Bhoja called them Padartha-abhinayatmaka Preksya-prabandhas.

design rangoli

As mentioned earlier; the types of such minor dramas, Nrtya-bhedas which provide visual delight (Preksya-prabandhas) with the use of Padartha-abhinaya were categorized as Uparupakas.

Such a Uparupaka is more concerned with Angika Abhinaya, with larger elements of dance, song and music; and, is more connected with the performing and stage arts; whereas the Rupaka makes use of all four kinds of Abhinaya, with a greater emphasis on dialogues.

And between Nrtta, Nrtya and Uparupaka: the Nrtta is abstract, beautiful and attractive body movements; the Nrtya, in addition to that, has elements of Abhinaya, but no speech. And the Uparupaka (also named as Nrtya-bheda) uses the body movements of Nrtta, the Abhinaya of the Nrtya; and, speech as in drama proper (Natya), but to a limited extent.

An Uparupaka, thus, was a happy invention, structured as a narrative dance-drama, depicting a theme or a segment of a theme, with abundant use of music, songs and dance (Nrtta and Nrtya); but, with just the required quantity of speech.

*

Many scholars have written in detail about the Uparupakas. The more prominent ones among these are : Abhinavagupta (Abhinavabharati); Dhananjaya (Dasrupaka);  Saradatanaya (Bhavaprakasana); Raja Bhoja (Srngara Prakasa);  Hemachandra (Kavyanusasana); Sagaranandin (Nataka-laksana-ratna-kosa);  Bhavamisra (Bhavaprakasa); and Vishwanatha (Sahitya Darpana). Here, in this post, for a limited purpose, we shall discuss mainly about Raja Bhoja’s treatment of the Uparupakas.

Among the authors who succeeded Abhinavagupta, Raja Bhoja in his Srngara Prakasa was one of the few who dealt with the subject of Uparupakas, at length. Bhoja was also the first to include and describe twelve varieties of such Uparupaka, the minor dramas, giving details; and, later he was followed by Ramacandra and Gunacandra in their Natyadarpana.

Krishna Adorns Radha with a Tilak

Since these types of Uparupakas predominantly portray various phases of Srngara Rasa, the Kaisiki Vrtti, which is the graceful style of depiction, is considered most appropriate for the enactment of such Uparupakas. The Kaisiki-Vrtti, the gentle, graceful style, which characterizes the tender Lasyanga associated with expressions of love, dance, and song as also with charming costumes and delicate actions portrayed with care, mostly by women,   is most suited to Srngara-rasa (tatra kaisiki gita-nrtya-vilasadyair mrduh srngara- cestitaih). And, as said, the Srngara Rasa permeates the theme of the Uparupakas, Dance-dramas, which are largely composed of dance (Nrtta and the Nrtya) and songs. It increasingly resorts to the stylized Natyadharmi mode of presentation.

Kaisiki has four varieties (Bhedas): Narma (good-natured-small-talk); Narma-spinja (the pleasure blooms at the first meeting of lovers); Narma-sphota (the lovers delighting in each other company); and, Narma-garbha (covert pleasure; incognito). The prefix Narma indicates cheer or laughter.  Kaisiki is the most charming and delightful combination of Srngara and Hasya, playful expressions, one’s affection or longing for union with the lover.

krishna-radha

The twelve varieties of Uparupakas that Raja Bhoja discussed in his Srngara Prakasa were: Srigadita; Durmalika (or Burmilita); Prasthana; Kavya (Chitrakavya), Bhana (Suddha, Citra and Samkirna); Bhanika; Gosthi; Hallisaka; Martanaka; Preksanaka; Rasaka; and, Natyarasaka (also called Carcari).

Many scholars have written extensively describing as many as thirty forms Uparupakas, their themes and the modes of depiction. But, here, we shall just take a glimpse of those twelve Uparupakas that were listed by Raja Bhoja in his text

vishnu lakshmi

  1. Srigadita

The Srigadita depicts Vipralambha type Srngara. It is the Geya (song) rendered by a virtuous woman (Kulangana), describing to her friend, the virtues of her Lover. It is a one-Act play , rendered in Bharati Vrtti (eloquent verbal form) . Bhoja explains that it is called Srigadita; because the heroine here describes (gadita) her Lord’s qualities, just as the Goddess Sri describes her Lord Narayana. Bhoja states that it is through such songs and recitations, the state of separation (viraha) in love is depicted in this form.

[There is a variation of this mode; and, is called Vipralabdha, where the Lady Love feels deceived and is deeply hurt (vipralabdha) when her lover fails to show up on-time at the rendezvous agreed upon; and, finds fault with him.]

kulangana

  1. Durmallika (Durmilita)

In contrast to Srigadita, the Durmallika  (also known as Matallika) involves a ‘stolen love’ or a love-intrigue, where a deceitful female messenger (Ceti) , in an aside, takes the audience into her confidence; narrates rustic ribald stories; and, reveals  all the details of secret love between the two Lovers . The Ceti then sets forth, in mock villainy, her plans to make demands, bordering on extortion. Durmallika, according to Dr. Raghavan is a sort of blackmail. This is depicted in Kaisiki-Vrtti, laced with humor (Hasya). According to Raghavan this is a vulgar performance (Kshudra-katha). No author has cited any example. The reason, he says, might be that this kind of performance did not attract scholarly attention.

  1. Prasthanaka

This type is characterized by descriptive gestures. Prasthana depicts all the phases of love in separation, including occasions when the Lover is away journeying to distant places (Pravasa Vipralambha). It also, at times, includes other aspects of Srngara; such as: the first meeting in the earlier stages of love (prathama-anuraga); misunderstanding (Anumana); and, the course of development of love through spring and winter. The descriptions of these seasons also form the theme of Prasthana.

The performance enlivens itself towards the end through the introduction of the heroic sentiment (Vira- rasa), on the triumphant return of the hero and the description of his exploits.

Thus, the Prasthanaka has two Acts, divided into four scenes. It mainly uses delicate movements, with occasional vigorous passages, such as the gait of an elephant, which stands for the idea of journeying abroad.

The exit after each scene is named as an Apasara. Raja Bhoja explanation is marked by four Apasaras.

*Ragini Patamanjari

  1. Kavya

The Uparupakas are also described as Raga-kavya or Kavya, the narrative depictions with predominance of Music; and, are thus, distinguished from other minor plays. Apart from that, it should also have a well constructed plot, which exemplifies a brilliant hero and a young heroine, employing joyful speeches.

Raja Bhoja refers to an Uparupaka set to a single Raga as Kavya; and, the one which is set to several Ragas as Chitra-kavya, employing varieties of Tala and Laya. He also provides the technical details regarding Matra (notes) of the Ragas that are involved, as also of the Tala and Laya (time units, rhythm). The Raga-Kavyas, which essentially depict various modes and phases of Srngara, Hasya and Lasya, adopt the Kaisiki Vrtti in their presentation.

Raga Deepak

  1. Bhana (Suddha, Citra and Samkirna

There is much confusion about the term Bhana. It might mean a major type of Drama (Rupaka), which is a sort of satirical monologue; else, it might be a minor type of drama (Uparupaka) that employs bold, vigorous body movements and loud instrumental music, with irregular beats.

The Uparupaka Bhana is not a purely musical composition; and, not a pure Nrtya-prabandha (dance sequence), either. Raja Bhoja observes that it is chiefly characterized by a feature borrowed from the Bhana of the Dasarupaka class viz. Akasa-bhasita, where the sole actor on the stage assumes the roles of many characters; and, carries on conversation with himself, as if he is talking to the air.  It is a type of monologue; an imaginary conversation. It has also elements of song and music; but the person who sings mixes the songs with speech (gayana-saha-uktika). And, he also dances.

Thus, the Uparupaka Bhana is a mixture dance and speech. Raja Bhoja regards the Bhana- Uparupaka as a difficult type of Dance; and, classifies it into three categories: Shuddha (pure); Sankirna (mixed); and, Chitra.

 It is Shuddha when the language used in the Bhana is Sanskrit; it is Sankirna when Sanskrit is mixed with Prakrit; and, it is Chitra when many languages are used.

A Shuddha Bhana is interspersed by seven Visramas, interludes; and, each Visrama has a distinct type of music.

There are other three varieties of Bhana: It is Uddhata when the plot deals with violence and the depiction is noisy, and dance is vigorous (uddhata-karana-prayah). It is Lalita when the plot is charming; and, Lalito-ddhata when the plot shows action mixed with elements of Srngara.

  1. Bhanika

After the time of Bharata, there developed two minor dramatic types, Bhana and Bhanika. The latter was distinguished with style of rendering in Kaisiki Vrtti, associated with Srngara Rasa.

Raja Bhoja also says that the Uparupaka Bhanika is similar to Bhana; but, its movements are delicate, with Lasyanga, rendered in eloquent Bharati Vrtti and in graceful Kaisiki Vrtti. Here the swift movements like jumps, twists and swaying of limbs above the knee level (Divya-caris) are not to be used. Only the Lalita-Karanas, the gentle, delicate and graceful movements are to be used. Unlike in the Bhana, the women can participate, sing and dance in the Bhanika. And, sometimes, the musicians speak and sing alternatively (gayana-saha-vacana).

Regarding the plot of the Bhanika, it is concerned mostly with the pious Hari-charitra (the Krishna lore), set to traditional meters (Varna, Matra etc). Its heroine is noble; and, the hero is calm and collected (Manda). The plot is structured as having an introductory part (Mukha), interludes (Sandhi) and conclusion (Nirvaha). And, its rendering style is Bharati and Kaisiki Vrttis.

goshti

  1. Gosthi

Raja Bhoja was the first writer to include Gosthi in his list of Uparupakas. According to him, the purpose of Gosthi is to show the young Krishna sporting with cowherds and milkmaids. The Gosthi, therefore, involves a number of performers, both male and female; and, is full of songs and dances. It is performed in the Kaisiki Vrtti, with a predominance of Srngara.

The theme or story is imaginatively conceived and developed. It is a small story, structured in three segments: Mukha (opening); Pratimukha (follow up); and Nirvaha (conclusion).

*

  1. Hallisaka

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The Uparupakas were broadly classified according to the dance-situations that were involved; and, the Rasas, the emotions, they projected. Among the Uparupakas, the RasakaHallisakaNarttanaka, Chalika and Samyalasya gave importance to Nrtta, the pure dance movements, in their performance. And, Natika, Sattaka, Prakaranika and Trotaka (Totaka) gave prominence to emotional aspects and to Abhinaya.

Accordingly, the Hallisaka is a type of group dance with rhythmic movements; and, it seems to be the earlier form of the Maharas or Rasa-Lila, which the Srimamad Bhagavatha celebrates with love and divine ecstasy, in five Chapters from 29 to 33 of its Tenth Canto (Dashama-skanda) titled as ‘Rasa-panca-adhyayi’. The Natyashastra classifies such group dances under the Pindibandhas,

Hallisaka is basically, a Nrtta, in which eight or sixteen dancers participate. There is rhythmic movement with Dance-like steps, performed to the tune and beats of a song. There is not much scope for Abhinaya in such type of dances.

Vatsyayana (earlier to second century BCE), motions Hallisaka as one of the Uparupakas which, which were watched by men and women of taste.

Abhinavagupta describes Hallisaka as a dance; and, places it under the category of minor musical or dance dramas, characterized by Vachica-bhinaya (verbal acting) that mainly employs singing and dancing.

During the later times, the Hallisaka came to be regarded not merely as a dance-form, but also as a Uparupaka, a minor type of dance Drama, with emphasis on rhythm and music.

Bhavaprakasana treats Hallisaka as a play of one or two acts, which employs Geya-Lasya (charming songs) in Kaisiki Vrtti rhythm; and, also using some of the technical features of drama.

Hallisaka is said to be similar to Rasaka. And, Raja Bhoja mentions that Hallisaka becomes Rasaka, when danced to a definite Tala, which implies that Rasaka was primarily a type of pure Dance (Nrtta).   The Nataka-lakshana-kosa of Sagaranandin also describes Rasaka as a one-act play, using a variety of languages and five characters. It calls for delicate movements and forceful emotions (masrno-udatta-bhava-bhusitam).

Raja Bhoja equates Hallisaka with Rasa-Lila dance performed by Gopis to different Talas – the Krida-rasaka of the Gopis. He mentions Pindibandhas or group dances as a necessary feature of this type.

Bhoja seems to take Hallisaka primarily as a dance; although he places it under Padartha-abhinaya-atmaka-preksya-prabandhas, the Uparupaka as dance presentations, where the meanings of the words are illustrated with expressive gestures.

Maidens Performing The Ecstatic Dance

  1. Nartananka

Nartananka is an Uparupaka which uses delicate and graceful movements to express Bhava (emotions); and, in which the dancer articulates the meaning of the words of the lyrics of the song through expressive gestures. The Nartananka is said to have four varieties: Samya, Lasya, Chalika and Dvipadi.

Raja Bhoja mentions: where in an assembly, a female dancer performs in a relaxed graceful tempo to act out the meaning of the word, it is Nartananka , which comprises Samya, Lasya, Chalika and Dvipadi .

Samya is understood as Lasya-Nrtta, a delightful dance; and also as Tala (time-unit)- Sangita-samya, that is central to dance of the semi-divine beings, the Kinnaras and Gandharvas.

Lasya is the gentle and lovely graceful aspect. And, as per Bhoja, the graceful quality of Lasya is inherent in Srngara Rasa.

Chalika or Chalita is described as a dance form, which creates Vira (Heroic) and Srngara Rasas, through the use of Tandava and Lasya movements

Dvipadi is taken as a musical composition; and, also as metre or tempo (Laya) of a character’s gait (Gati).  

*

  1. Preksanaka, Prenkhanaka:

Preksanaka, literally ‘a play to be seen’, refers to an Uparupaka or a one-act play. Preksanaka is mainly of the Padartha-abhinaya variety, with predominance of vigorous display through gestures and movements Angika-abhinaya (Nrtta).

Raja Bhoja says that spectacles such as the Kama-dahana (immolation of Kama, the Eros) are characteristic of the Preksanaka presentations. And, he illustrates the Preksanaka by giving example of Kama-dahana. The language used in this variety of Uparupaka would usually be Prakrit, preferably the Suraseni.

Kama_Shiva

  1. Rasaka

Rasaka is mentioned in almost every early text. It is treated both as a Dance- drama; and, also as a mere Dance. Raja Bhoja treats it, primarily, as a form of Dance of the Nrtta type, presenting attractive brisk rhythmic limb movements (Padartha-abhinayatmaka-Preksya-prabandha).

The Pindibandhas, or group dances performed by eight or more pairs of men women, playing with colored sticks (Danda-rasaka) are said a feature of this type of Uparupakas. There is much sing and dancing in rhythmic steps; but not much speech and Abhinaya. This type is also known as the Krida-rasaka of the Gopis, where the Gopis play the Rasa with Sri Krishna.

Technically, Rasaka is treated as a Pindibandha of the Latha variety of Lasya, which is related to Srngara-rasa, portraying love and other softer, graceful aspects; and, is divided into three classes: Danda-rasaka; Mandala-rasaka; and, Natya-rasaka. It is predominated by rhythmic limb movements to the beat of drums (Tala-vadya) and songs. Here, Danda-rasaka is said to a type of group dance performed with coloured sticks (as in the Dandiaras of the present-day); the Mandala-rasaka, involves formation of clusters or patterns; and, the Natya-rasaka is pure dance performed to a song.

[The term Pindibandha is no longer in use either in dance literature or in dance performances. And, Sukumara-prayoga (for Lasya) is not a category of dance but merely a mode of presentation]

 All the three are described as Desi Nrttas, the dances of regional type, that are free flowing and spontaneous; not regulated by strict set of rules (Anibaddha) .

*rasa mandal

  1. Natya-rasaka

Natya-rasaka, to which Raja Bhoja gives Carcari as its alternative name, is described as a springtime-dance performed by a group of female dancers, singing sweet songs in Raga Vasantha, weaving various patterns and designs, clapping hands,  while they dance around in circles, as in the Pindibandhas.  It is a kind of ensemble dance, resembling the Rasa-Lila of the Gopis. 

[The Sanskrit dictionary describes the term Carcari as festive sports, merriment with singing.]

Natya-rasaka employs number of graceful, fluid and charming movements, the Lasyanga (according to some as many as ten), and a variety of rhythms and tempo (Laya).

The term Natyarasaka suggests some kind of dramatic content; but, the description shows it as a dance form. In a similar manner, Rasaka and Hallisaka, which are actually dance types of the Nrtta class, are described as dramas.

Vasant raga

 In the Next Part , we shall move on to another text.

vishnu with lakshmi

Continued

In

The Next Part

References and Sources

ALL IMAGES ARE FROM INTERNET

 
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The texts of the Indian Dance traditions – Part Twelve

Continued From Part Eleven

Lakshana Granthas – continued

 7. Bharatarnava

shiva dancing333

There is a School of thought, which holds the view that the two texts relating to the practice of Dancing – Abhinaya Darpana and Bharatarnava – were both composed by Nandikesvara. It also asserts that the Abhinaya Darpana is, in fact, an abridged edition or a summary of the Bharatarnava; literally, the Ocean of Bharata’s Art.

But, that proposition is hotly debated; because, it is riddled with too many problems.

embroidery

The Author.. ?

To start with, it is not clear who this Nandikesvara, said to be the author of Bharatarnava, really was. The identity of this Nandikeshvara; his period; and, the other works associated with him are much debated. There have been, in the past, many scholars, who went by the name of Nandikeshvara; and, some of them were well versed in the theoretical principles of Dance, Music and other branches of knowledge.

For instance;

:- Tandu mentioned in the Natyashastra, after whom the Tandava Nrtta was named , is also identified with Nandikesvara;

:- Matanga in his Brhaddeshi (dated around the eighth century) mentions a Nandikesvara along with ancient authorities like : Kasyapa, Kohala, Dattiia Durgasakti and Narada and others ;

:-Rajasekhara (8th-9thcentury), in his Kavya Mimamsa,  credits  Nandikesvara  as being a pioneer in the subject of poetics ‘ Sahitya Shastra’; and , as ‘the first writer on Rasa’.

:- Abbinavagupta (11th century) reproduces  lengthy passages attributed to a certain Nandikesvara, as quoted by Kirtidharacharya; and, remarks that he is merely summarizing  the views of Nandikesvara on the authority of Kirtidhara though he himself had not seen  the work of Nandikesvara;

Yat Kirtidharena Nandikeshvaramatham alragamitvena darsitam tadsmabhih seksan na drstam tatpratyayat tu likhyate samskshepatah

:- Sagītaśiromai , a standard work on Music,  was a compilation made by a group of scholars during the year 1428 , at the instance of Sultan Malika Sahi (a Muslim convert , who ruled the region to the west of Allahabad) refers to the views of Nandikesvara  at several places ( e.g. verses 150-151;268-271);

: – Bharatarnava , a text on Dancing, is attributed to Nandikesvara;

: – And, we have the Abhimaya Darpana, also ascribed to Nandikesvara.

All these scholars, each named as Nandikesvara, may not refer to one and the same person.

*

The identity of Nandikesvara who is said to have authored the Abhinaya Darpana is not, therefore, clearly established; and, his time is also uncertain, ranging anywhere between second century BCE to the Sixteenth century CE. And, there is no means to establish which Nandikesvara authored the Abhinaya Darpana and the Bharatarnava.

The two works could have been written by the same author; or, were written by different authors carrying the same name. To say the least, it is confusing.

But, Prof. Manmohan Ghosh, the scholar who has translated the Natyashastra of Bharata and the Abhinaya Darpana ascribed to Nandikesvara , mentions that he did study closely the manuscript of the so-called Bharatarnava that was preserved the Bhandarkar Oriental Research Institute at Pune. According to him, the work he examined was NOT the work of Nandikesvara.

 In any case, the scholarly opinion deems it prudent to assume that the Abhinaya Darpana and the Bharatarnava were authored by two different persons who, perhaps, lived during different periods.

*

[There are two publications of Bharatarnava. Sadly, they do not seem to be available either in print or on the net.

Nandikesvara, Bharatarnava, ed. Vachaspati Gairola, Chowkhamba Amarabharati Prakashan, (Varanasi, 1978).

Nandikesvara, Bharatarnava, with translation into English and Tamil, edited by S. K. Vasudeva Sastri, Tanjore Sarasvati Mahal Series no. 74, Tanjore 1957. ]

danceshantala

Period

As regards the period of Nandikesvara, some have opined that he might even predate Bharata the author of Natyashastra. But, such speculations have, largely, been put to rest.

The noted scholar Emmie Te Nijenhuis, in her Indian Music: History and Structure, writes: the dating of Nandikesvara’s two works Bharatarnava and Abhinaya Darpana still remains undecided. A certain Nandikesvara is quoted by Matanga in connection with the Murchanas of twelve notes. But, I doubt whether the author mentioned by Matanga is the same person as our dance expert. According to Ramakrishna Kavi, the Bharatarnava was written after the eleventh century. Personally, I would date this work even later; that is to say, after the twelfth century, since it often cites the twelfth century author Haripala.

Dr. Mandakranta Bose also states:  though the manuscript – fragment bears the title Bharatarnava, there is no internal evidence supporting this identification; and, the material comes from a different school of dancing; and, does not belong to the school which is represented in the Abhinaya Darpana. She dates Bharatarnava as belonging to the Sixteenth century.

According to her, the Abhinaya Darpana and the Bharatarnava seem unquestionably by two different authors; and, from two different periods. The material in the Bharatarnava, she opines, comes from a different School of dancing; and, it does not belong to the School which is represented in the Abhinaya-Darpana.

 Dr. Bose places the Abhinaya Darpana in or close to medieval period; and, says, on the basis of its treatment of several topics, the Bharatarnava seems to be of a later date than the Abhinaya Darpana. And, the Appendix (Parisista) to the Bharatarnava, according to her, belongs to a much later date. Thus, the three works were composed during three different periods; and, by three different authors.

The Bharatarnava which appeared later, Dr. Bose says, deals with the same subject as the Abhinaya Darpana, though differ in the treatment of its details or in their emphases. And, therefore, it gives an impression as if the two texts complement each other.  And, such proximity might have given room for airing unfounded explanations speculating that the two works might have been written by the same author.

The reasons she adduces for treating Abhinaya Darpana and Bharatarnava as texts of the medieval times, as she points out, are:

: –   Here, the Dance is divided into three branches: Natya, Nrtta and Nrtya. But, such distinctions did not come about until about the twelfth century, just prior to the time of Sangita-ratnakara (13th century). Even as late as in the eleventh century, Abhinavagupta avoided using the term Natya; and, restricted himself to using the term Nrtta, presumably because such a term as Natya did not appear in the Natyashastra.

: – Also, the Abhinaya-Darpana views Tandava and Lasya as forms of masculine and feminine dancing, which again was an approach that was adopted during the medieval times.

:- The Bharatarnava follows the practice of describing individual dance pieces along with the specific recommended / prescribed dance-movements – Caris, Sthanas, Karanas and Tala – for each of them, which is typical of texts that appeared later than the Sangita-ratnakara and the Nrttaratnavali of Jaya Senapati (13th century). And, such a practice became more common in the works produced during the sixteenth century and onwards. Some of these texts, therefore, came to be treated almost as Dance-manuals.

:- Certain technical terms derived from regional (Desi) languages, used in the Bharatarnava, as well as in its Appendix, such as: Udupa, Dhuvada, Kuvada and Sulu, came to be used in the Sanskrit works on dancing only after the sixteenth century; and not earlier.

:- Further, the Bharatarnava gives more prominence to the Desi Tandava and Angaharas or basic-dance sequences of the Desi variety, rather than to the Marga types described in the Natyashastra. The practice of encouraging and developing Desi traditions in Dance came into being only during or after the medieval times, lending a new sense of direction to the regional Dances. Following that, the approach to Dance and its descriptions changed significantly during the later periods.

Damayanti_Joshi_dancer

Comparison

The Bharatarnava, as compared to Abhinaya Darpana, is larger in size, scope and in description of details.

Abhinaya Darpana is a comprehensive text (laghu grantha) with only 324 verses.  It is confined mainly the categorization of several elements of the Angika-abhinaya; and, suggesting their applications, without getting into theoretical discussions.  As compared to the Natyashastra, the Abhinaya Darpana is written in a much simpler style; and, presents its subject in an orderly fashion.

In contrast; the edition of Bharatarnava, which is available in the Bhandarkar Oriental Research Institute–Pune, is said to be a larger work, having 996 verses spread over 15 Chapters. And, in addition, it has an Appendix (Parisista) consisting of 251 verses.  

As regards its scope, the Bharatarnava includes descriptions of different varieties of Pure (Marga) as also the Tandava and Lasya dance forms of the Desi traditions, along with the descriptions of specific Sthanas, Caris, Karanas and Talas suitable for each of them; as also detailed instructions on the execution of various movements in each dance sequence.  It devotes an entire Chapter (Seven) for a discussion on Talas; prescribing how the Talas are to be used in various dance sequences.

Unlike the Abhinaya Darpana, which just lists the individual dance-gestures and postures, the Bharatarnava describes various Angaharas (combinations of the Karanas); seven of which are new, not described in other texts.

Here, the author takes up the components of dance-units (the Sthanas, Caris and Karanas), which make up a total composition (Angahara); and analyzes them systematically by giving their definitions, their divisions, and the Tala required. He introduces a new set of Angaharas, nine in all.

Further, the Bharatarnava describes in detail, with definitions and examples, the nine types of Srnganatya, a dance form derived from the combinations of the various types of Caris, Sthanas and Angaharas. The Srnganatya described here, is said to be a new form of dance that was not mentioned in any of the earlier texts. The author describes the specific Talas, gestures (Hasthas) and postures (Sthana) suitable for each type of Srnganatya.

dance padma

Angika

Thus, though the two texts deal with the same subject, they differ substantially in matters of detail, enumeration, descriptions and on emphasis of the various elements of the Angika-abhinaya , such as : the gestures (Hasthas),  postures (Sthana) , gaits (Gati) , movements of the feet (Pada-bedha) , feet position (Cari) and even the  eye-glances (Dristi-bedha). These differ not only in their numbers and names, but also in their descriptions and applications. All these, again, go to strengthen the argument against   the assumption of the single authorship of the two works.

Further, the numbers, the actions and their application of the various elements of the Angas, Upangas and the Prtyangas vary significantly from the descriptions given in the Natyashastra. Obviously, both Abhinaya Darpana and Bharatarnava sourced their material from other texts.

For instance:

Hasthas (Hastha-bedha)

The Abhinaya Darpana lists 28 Asamyukta-hasthas (single-hand gestures); while there are 27 in the Bharatarnava. The Natyashastra had enumerated 24 Asamyukta-hasthas.

As against 13 Samyukta-hasthas (both hands combined) in the Abhinaya Darpana; the Bharatarnava mentions 16. The Natyashastra had named 13 Samyukta-hasthas.

The Nrtta-hasthas (abstract-dance gestures) in the Abhinaya Darpana are only 13; while there are as many as 22 in the Bharatarnava, which follows, in this case, the Natyashastra. Not only are there differences in numbers, but are also in the names, definitions and applications of the movements.

Besides such Dance-gestures, the Abhinaya Darpana describes Hasthas to denote Devas (gods-Devahastha); Avatars (ten Avatars of Vishnu – Dashavatara hastha); relatives and members in a family (Bandhava-hastha); persons of different social groups (Chaturjatiya-hastha); and the nine planets (Navagraha-hastha). The Natyashastra had not mentioned these types of hand-gestures (Hasthas) ; the  Abhinaya Darpana might have adopted these from some other source.

Mudras

The Bharatarnava does not mention any of such Hasthas; instead, it names an altogether a different set of Hasthas – Nanana-artha-dyotaka hastha- the hand-gestures, which convey an assortment of meanings. Such types of Hasthas were not mentioned in any of the earlier texts.

[In describing the hand gestures meant to denote the planet Sani, one of the Nava-graha-hastas, the Abhinayadarpana prescribes the Sikhara and Trisula hand-gestures for the two hands, while the Bharatarnava prescribes Sandarhsa and Alapadma. And for indicating the Budhagraha, the Abhinayadarpana mentions Musti and Pataka, while in the Bharatarnava mentions Mukula and Sandarhsa. Such discrepancies seem rather common in regard to the other gestures (such as Dristi, Gati , Cari etc.) as well.]

embroidery

Dristi-bedha, eye-glances

The treatment of the Drstis also varies. The Abhinaya Darpana adopts only eight Darshana-karmas (eye-glances) from among those mentioned in the Natyashastra; and, describes them as eight Drstis. Whereas, the Bharatarnava follows the Natyashastra’s enumeration of the Drstis; and, describes thirty-six Drstis that express aesthetic pleasure and emotions (Rasa and Bhava).

embroidery

Gatipracāra –walking styles

The Abhinaya Darpana mentions eight kinds Gati, the gaits or the walking styles. But, it does not indicate their applications (viniyoga). In contrast, the Bharatarnava focuses on how those gaits could be employed in different kinds of Tandavas dances, of both the Marga and the Desi class. 

The treatment of the Gatis (gatipracāra) in the Natyashastra is much more elaborate. It describes Gatis or gaits, suitable for different types of characters, such as the Kings and superior characters as also for middling characters. The walking styles for women of various classes are also described.  Natyashastra mentions that the gaits are to be executed in – slow, medium and quick – tempos (Kaalas), according to the nature of 45 different characters.

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Pada bedha and Cari

The Abhinaya Darpana does not specifically discuss movements of the feet. It utilizes the various positions of the feet, as described in the Natyashastra. The Abhinaya Darpana mentions four types of movements of the feet:  Mandala  (postures);  Utplavana  (leaps);  Bhramari  (flights or turns) and  Cari  or  Padacari  (gait)  as postures and movements related to feet. But, in this text, the descriptions of the feet movements are not accompanied by their Viniyogas.

The Bharatarnava describes twenty-two types of the movements of the feet, which are a mixture of Bharata’s Pada-bheda (feet movements of five kinds) and Cari (movements using one foot of thirty-two kinds).

Thus, the Caris of the Abhinaya Darpana and the Bharatarnava differ not only in their names but in their definitions as well

The Bharatarnava describes nine types of Srnganatya, a dance form derived from the combinations of the various types of Caris, Sthanas and Angaharas. It is said; the Nrttaratnavali and the Nrtyadhyaya are the only two other texts that talk about Srngabhinaya. But, they do not describe them. The Bharatarnava gives detailed descriptions of the nine types of Srnganatya, along the composition of each of them.

text and structure

The Text –its structure

Dr. Bose mentions that the edition of the Bharatarnava, which is at present available, has fifteen Chapters, with 996 verses. And, that is followed by an Appendix (Parisista) consisting of 251 verses.

:- The beginning of the main text of the Bharatarnava is missing and the text commences with the descriptions of single hand-gestures.

:- The Second Chapter describes double hand-gestures

:- The Third Chapter names the hand-gestures used specially in dancing (Nrtta).

:- The Fourth Chapter gives other varieties of single hand-gestures as taught by Brhaspati. It also describes glances and movements of the head and the feet, citing the views of other authorities as well.

:- The Fifth Chapter describes different postures.

:- The Sixth Chapter deals with the application of the postures and the applications of combinations of hand gestures.

:- The Seventh Chapter deals with Tala and rhythm.

:- The Eighth Chapter deals with Caris.

:-  The Ninth Chapter describes a new kind of Angahara, of seven types, which is not described in other texts.

:- The Tenth Chapter again deals with more hand-gestures that express a variety of meanings (Nana-artha-dyotaka).

:-  The Eleventh and Twelfth Chapters deal with yet another new form, Srnganatya of which nine types are mentioned. This form, again, was not described in any other text.

:- The Thirteenth Chapter describes seven types of Lasyas and seven types of Tandavas, The names of the seven Lasyas given here are the same as the Desi dance pieces described in the Sangita-ratnakara and the It also describes five types of Desi Tandavas.

:- The Fourteenth Chapter describes the use of Tala, Gati, Karana and Cari, in delineating Suddha (Marga) and Desi Tandava, a type of Tandava found only in this text. The treatment of Tala is also entirely new; instead of merely naming the Talas required in dancing, it instructs how the prescribed Talas are to be used in actual dance sequences.

:- The Fifteenth Chapter is entirely on Pushpanjali, the right manner of flower offerings, and other such matters relating to presentation. The descriptions of all the movements include their meaning and application, except for the Nrtta-hasthas, which are not meant for representational performance.

The text refers to two types of Pushpanjali, one meant for the gods (Daivika); and the other for human beings (Manusa). In the former type, traditional dancing follows the Pushpanjali; and in the latter the Mukhacali follows Pushpanjali. The worshipping of different gods and semi-divine beings are prescribed for this presentation. It goes on to describe specific Sthanas, specific flowers and specific Karanas meant for each god; the procedures of invoking gods, of offering flowers; of specific sides for offering flowers to each god.

Then the main presentation follows. Caccatputa or Dhruva Tala is prescribed. The dance starts with the recitation of the syllables: Ta Tai to Nam, which is called Alpa-riti when done in its shorter form. This is the most detailed description of a Pushpanjali found in any of the texts

dance rasas

The Appendix to the Bharatarnava is almost an independent work. It opens with prescribing the details of the preliminaries to a performance. Then it goes on to instruct  the appropriate arrangements for holding a performance; the manner in which singers should make their entrances; how the opening music should be played to Tala; and the kind of competence and training required in the musicians.

Then it offers general instructions concerning movements. That is followed by instructions on how the actual performance should begin, with citations from Kohala. The rest of this section deals with more hand-gestures, many of them new and not found either in the Abhinaya Darpana or in other texts.

embroidery

Angaharas

The Bharatarnava introduces certain concepts that were not mentioned in other texts. The more important among them were the Desi-Angaharas and Srnganatya, a dance form derived from the combinations of the various types of Caris, Sthanas and Angaharas.

*

It is said; until then, the Angahars (basic dance-sequences) of the Desi variety had not been discussed by any of the authors.  The Bharatarnava seemed to the first text to do so.  It seems that the regional (Desi) dances, during the medieval times, depended less on the dance-movements prescribed by Bharata.

The Bharatarnava introduces a new set of Angaharas, of the Desi variety, nine in all: Lalita; Vikrama; Karunika; Vicitra; Vikala; Bhima; Vikrta; Ugratara and Santija. But, Nandikesvara claims these Angaharas, which are derived from the combinations of the Karanas, were formulated by him based on the principles stated by Bharata.

At another place, he explains Angahara as a dance performed in the morning.

*

Each of these nine Angaharas has several sub-varieties: Lalita of five kinds; Vikrama of three; Karunika of four; and, Vicitra, Vikala, Bhima, Vikrta, Ugratara and Santija, each of two kinds.

The five varieties of Lalita use different types of postures; and three verities of Vikrama use a swaying movement termed Sulu.

Specific hand-gestures (Hasthas), glances (Dristibedha), feet-movements (Padabedha) and Mandalas (standing posture) are prescribed for each sub-variety of Angaharas.

But, each of those sub variety has its own characteristics. For instance; Vikrama (swaying or movements, Sulu); Karunika (facial expression of Karuna or compassion); the second variety of Karunika (also by swaying, Sulu); and Vicitra and others have their own set of hand-gestures, glances and feet movements (but nothing is said about facial expression).

But, it is not clear how these Angahara were executed; and, in what manner they differed from the Angaharas derived from the Natyashastra.

dance yamini

Srnganatya

The Srnganatya is said to be a sequence of Dance movements that is composed by the combination of Two Caris; One Angahara; and, Three Sthanas. The Caris are selected from among the sixteen aerial (Akasiki) and the sixteen ground (Bhuma) Caris, as described in the Natyashastra.

The Srnganatya are believed to be some type of dances that were suggested in the Natyashastra, formed by the combination of different kind of Caris. The Caris are movements using one foot; and, are used both in Dance and Drama. And, are regarded as the most important single unit of movement in the Nrtta technique, as enunciated by Bharata (Chapter 11, verses 7 to 9 ; page 197)

piṇḍīnā vidhayaścaiva catvāra samprakīrtitā 287 piṇḍī śṛṅkhalikā caiva latābandho’tha bhedyaka

*

The Bharatarnava describes nine verities of Srnganatya, each comprised by the combination of Two Caris; One Angahara; and, Three Sthanas. As you can see, it does sound very complicated. And, it is not clear how these were actually executed; and, what they were intended to convey. I do not pretend that I understand all that has been said in the Text regarding the Srnganatya.

 The Angaharas named in this section do not seem to come from Bharata’s tradition.

:- In the First Srnganatya, the movements are outlined in the following order: Samapreksana-Cari is performed, followed by Lalita Angahara and Samapada –bhumi-Cari. As regards the Sthanas: the Samapreksana-Cari is followed by Ayata-Sthana; Lalita-Angahara by Avahittha-Sthana; and Samapada-bhumi-Cari by Asvakranta- Sthana (Bh. Ar. 11. 643-45).

:- The Second Srnganatya begins with Sarika-Cari, followed by Vikrama-Angahara and Casagati-Cari. As regards the Sthanas: the Sarika-Cari is followed by Motita Sthana; the Vikrama-Angahara by Vinivrtta-Sthana; and, the Casagati-Cari by Aindra-Sthana (Bh. Ar. 11. 645-47).

:- The Third Srnganatya is constituted by Agrapluta-Cari, KarunikaAngahara and Sthitavarta-Cari. The Candika-Sthana follows Agrapluta-Cari; the Vaisnava-Sthana follows Karunika-Angahara; and, the Samapada-Sthana follows Sthitavarta-bhumi-Cari (Bh. Ar. 11. 648-49).

:- The Fourth Srnganatya starts with Vidyudllila-Cari, followed by Vicitra-Angahara and Vicyava-bhumi-Cari. And, the Vaisakha-Sthana follows Vidyudllila-Cari; the Mandala-Sthana follows Vicitra-Angahara; and Alidha-Sthana follows Vicyava –bhumi-Cari (Bh. Ar.11. 650-52).

:- The Fifth Srnganatya is characterized by Khadga-bandha-Cari, Vikala-Angahara and Urdva-vrtta-bhumi-Cari. The Khadga-bandha-Cari requires Pratyalidha -Sthana, Samapada-Sthana in Vikala-Angahara, and Svastika-Sthana in Urdva-vrtta-Cari (Bh. Ar.11. 652-54).

:- The Sixth Srnganatya is constituted of Rekha-bandha-Cari, Bhima-Angahara and Addita-bhumi-Cari. The Rekha-bandha-Cari requires Vardhamana-Sthana; the Bhima-Angahara requires Nandiya-Sthana; and, the Addita-Cari requires Parsnipida-Sthana (. (Bh. Ar.11. 655-56).

:- The Seventh Srnganatya is characterized by Luthitollalita-Cari, Vikrta-Angahara and Vakra-bandha-bhumi-Cari. The Eka-parsva-Sthana is done in Luthitollalita –Cari; the Eka-januka-Sthana is done in Vikrta-Angahara; and, Parivrtta-Sthana is done in Vakra-bandha -bhumi-Cari (Bh. Ar.11. 657-59).

:- The Eighth Srnganatya is characterized by Kundala-vartaka-Cari, Ugratara-Angahara and Janita-bhumi-Cari. The Prsthottanatala-Sthanaka follows Kundala-vartaka-Cari; the Ekapada-Sthana follows Ugra-Angahara; and, Brahma-Sthana follows Janita-Cari (Bh. Ar.11. 660-62).

:- The Ninth and the Final Srnganatya requires Vicitra-Cari, Shantaja-Angahara and Utsandita-bhumi-Cari. The Vicitra-Cari is followed by Vaisnava-Sthana; Shantaja-Angahara is followed by Shaiva-Sthana; and, Utsandita-bhumi-Cari is followed by Garuda-Sthana (Bh. Ar.11. 662-64).

In the next Chapter of this text, the author describes, in detail, the specific Talas required for these Srnganatyas, as well as the specific hand-gestures used in each particular Sthana. (Bh. Ar. 12).

karanaposture

Tandava and Lasya

The Bharatarnava, in its Chapter Thirteen, describes seven verities of Tandava and seven verities Lasya. The names of some of the Lasya described here are also mentioned in other texts, such as: Sangita-ratnakara and Nrtta-ratnavali. But, the Tandavas mentioned here are not found in any other text.

The seven Tandavas of the Nrtta class mentioned in Bharatarnava are: Dakshina-bhramana; Vama-bhramana; Lila-bhramana; Bhujanga-bhramana; Vidyud-bhramana; Lata-bhramana; and Urdhva-Tandava.

These are Pure (Marga) Nrtta-dance movements, which use six different Gatis (gaits) such as: Mayura; Rajahamsa; Krsnasara; Gaja; Simha; and, Suka. These are the gaits of birds (peacock, swan and parrot) ; and, of animals (elephant, lion and blackbuck).

In these Tandavas, the Karanas and Caris are performed after the Gatis. These seven Tandava Dance movements are used in the Nrtya (Dance) and also in Natya (Drama).

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The Desi Tandava described in this text has five different varieties, namely: Nikuncita; Kuncita; Akuncita, Parsva-kuncita and Ardha-kuncita; and, they use five specific Gatis, five specific Caris and five specific Karanas.

Thereafter, the specific Gatis, Caris, Karanas and Talas applicable to the seven varieties of pure (Marga) Tandavas and five varieties of Desi Tandavas are dealt with in Chapter  Fourteen (Bh. Ar. 14.770-870).

*

The text also talks about seven types of Lasyas, which are meant to enhance the beauty of the Caris. They can be either pure (Marga) or Desi.  They are named as Suddha, Desi, Prerana; Prenkhana, Kundali (or Gundali); Dandika (or Dana-lasya) and Kalasa (Bh. Ar. 13. 732-33). The author then discusses the specific Caris, Sthanas, Karanas and Talas applicable to these Lasya-Dances; and the gods associated each of them (Bh.Ar.14.871-93).

desi tradition

Desi tradition

Towards the end of the early medieval period and in the late medieval period the approach to describing the dances changed. With the growing popularity of the regional dances, the scholars, by around the twelfth century, began to include, in their manuals on dancing, the dance-forms of the Desi tradition along with those of the older Marga tradition, initiated by Bharata. And, that trend continued through the succeeding centuries, into the nineteenth.

The treatment of the Desi type of Dances seemed to differ from the Marga types in two major ways :  first, by emphasizing on the style of presentation rather than on the content of the composition; and, secondly, by encouraging  natural, more attractive and  swift movements.

Yet, the Desi Dances described in the medieval texts were not completely different from those of the Marga class. They were, in fact, based on the framework of the tradition of Bharata. The Desi format continued to follow the Marga method of constructing a composition by forming small units consisting of individual movements and moving on to the large units of a composition. In Desi, this basic method of constructing a composition did not change. But, it brought in more varieties of limb movements that were rather acrobatic and brisk.

The Bharatarnava is, in a way, a very significant text of the medieval period. It contributes to enrich the Desi tradition by providing the details, in specific terms, of the movements needed for each dance-sequence, along with its accompanying music and rhythm. Nandikesvara introduces new sets of Angaharas with their sub-divisions; along with the Sthanas, Caris, Karanas and Tala they need. The Bharatarnava also introduced the Srnganatya with its nine verities, each composed by a set of Caris, Angaharas and Sthanas.

dance shakthi

Dr. Mandakranta Bose sums up saying:

The Bharatarnava is as important as the Abhinaya Darpana as an instruction-manual, although it is not so used now; nor do we know if it was ever so used. Nonetheless, its importance as an excellent practical guide cannot be denied. If the Abhinaya Darpana trains a dancer in the basic movements, the Bharatarnava teaches a dancer to compose a dance piece. Both pursue the same purpose of instructing practising artists and not merely of recording the Art form of their times. The Bharatarnava may be regarded as being complementary to the Abhinaya Darpana; and, put to better use.

dance odissi

In the next part, we shall move on to other texts.

Continued

In

The Next Part

References and Sources

ALL IMAGES ARE FROM INTERNET

 
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The texts of the Indian Dance traditions – Part Eleven

Continued From Part Ten

Lakshana Granthas – continued

6.Abhinaya Darpana

abhinaya555

The Abhinaya Darpana, a comprehensive text describing various gestures, postures and movements in Dance is ascribed to Nandikeshvara. However, the identity of this Nandikeshvara; his period; and, the other works associated with him are much debated. It is very likely that were many persons during the ancient periods that went by the name of Nandikeshvara. And, quite a few of them seemed to have been scholars, who were well versed in the theoretical principles of Dance, Music and other branches of knowledge.

Two works on dancing are traditionally attributed to Nandikesvara: the Abhinaya Darpana and the Bharatarnava. But, the question whether they were written by the same Nandikesvara is again debated. It, however, looks doubtful; because, the contents of the two texts differ a great deal. Further, the date of the Bharatarnava is also not decided.

The edition of Bharatarnava, available in the Bhandarkar Oriental Research InstitutePune, is said to be a larger work, having 998 verses spread over 15 Chapters. And, in addition, it has an Appendix (Parisista) consisting of 251 verses. The scholarly opinion deems it prudent to assume that the Abhinaya Darpana and the Bharatarnava were authored by two different persons who, perhaps, lived during different periods. We shall briefly talk about Bharatarnava in the next part.

**

The date of the Abhinaya Darpana of Nandikeshvara is rather uncertain. The scholars tend to place it in or close to the medieval period; because, it divides dance into three branches: Natya, Nrtta and Nrtya. But, such distinctions did not come about until about the twelfth century, just prior to the time of Sangita-ratnakara  (13th century). Also, the Abhinay Darpana views Tandava and Lasya as forms of masculine and feminine dancing, which again was an approach that was adopted during the medieval times.

Though Nandikesvara acknowledges the importance of all four kinds of Abhinayas, in his work Abhinaya Darpana, he focuses, almost exclusively, on the Angika-abhinaya – gestures, postures and movements of the hands, feet and other limbs, in Dance.

Abhinaya literally means carrying forward towards the spectator. The Angika-abhinaya or gestures is an essential part of the dance-language. It is that which expresses Bhavas (states) by means of bodily gestures and movements (Angika), in Nrtya.

Abhinaya also includes elements of Vachika and Sattvika, which are meant for suggesting actions thoughts and emotional states of the character (Bhaved abhinayo vasthanukarana).

And, the other element of the Abhinaya is Aharya, the costumes, makeup of the performers as also other accessories on the stage.

*

Angika-abhinaya, in Drama and Dance, uses artistic gestures, regulated by the character’s bearing, walk and movements of features and limbs. It follows the stylized Natyadharmi mode of depiction.

Nandikesvara’s primary concern in his work is Angika-abhinaya; and, he presents a detailed analysis of various kinds of gestures, postures, movements, their symbolic meanings and their applications in Dance. In addition, he also cautions which of the gestures or movements may not be used in a given context. But, at the same time, Nandikesvara takes care to ensure that the Abhinaya aspect is not entirely overlooked.

The Abhinaya-Darpana deals, predominantly, with the Angikabhinaya (body movements) or Gesture-language of the Nrtta class; and, is a text that is used extensively by the Bharatanatya dancers. It describes Angikabhinaya, composed by the combination of the movements of the Angas (major limbs- the head, neck, torso and the waist); the Upangas (minor limbs – the eyes, the eyebrows, the nose, the lower lip, the cheeks and the chin); the Pratayangas  (neck, stomach, thighs, knees back and shoulders, etc) ; and, the expressions on the countenance. The text specifies, when the Anga moves, Pratyanga and Upanga also move accordingly. The text also suggests how such movements and expressions should be put to use in a dance sequence.

[Abhinayadarpanam- A Manual of Gesture and Posture used in Hindu Dance and Drama by Nandikeshvara , is translated into English by Manmohan Ghosh (Firma K.L. Mukhopadhyay, Calcutta – 1957)

The Abhinaya Darpana  has been translated into English , under the title ‘The Mirror of Gesture – Being the Abhinaya Darpana of Nandikesvara  by  Ananda Kentish Coomaraswamy and Gopala Kristnayya Duggirala (Harvard University Press – 1917)

*

The Abhinaya Darpana is widely used as a practical reliable guide by the performing artists, the teachers and the learners alike, in order to hone and refine the technique of Angika- abhinaya. The Bharatanatya, as it is taught and practiced today, is closely associated with Abhinava Darpana, which it regards as a sort of comprehensive training manual or a part of the curriculum on the techniques of dance, body movements, postures etc., especially related to the Nrtta aspects of Dance performance.

Nrtta is Angikabhinaya, which is pure and abstract dance, with stylized beautiful movements of limbs, neck, head, hands; feet etc., performed to music and especially to rhythm. Here, the Hastas (Nrtta-hastas) are not intended to convey any particular meaning; and, they do not also communicate a Bhava or a Rasa; but, they do contribute to the grace and beauty that the Dance offers. Nrtta, as Angikabhinaya, is much more than a decorative element; it, indeed, is a specific and technical aspect of a perfect dance performance.

Nrtya signifies an Art that combines in itself the beautiful movements of Nrtta (Angikabhinaya) with meaningful expressive eloquent gestures of Hastas, to convey thoughts, emotions and also to indicate objects (Abhinaya).

Though the gestures of the Abhinaya Darpana are primarily related to Nrtta, its repertoire of Hasta, Mukhaja, and Caris etc can very well be adopted (Viniyoga) to the Abhinaya aspects in narrative depiction of a theme through dance movements, providing expressive interpretations of the various shades of the meaning of the words, sentences of the song (Sahitya), bringing out its emotional content. The Nrtya, in the present day, is the very epitome, symbol and the soul of chaste classical Dance. And, Nrtta plays a very large part in that aesthetic Art expression.

The emphasis on Angikabhinaya in Nrtta requires the dancer to be in a fit physical condition, in order to be able to execute all the dance movements with grace and agility; especially during the sparkling Nrtta items according to the Laya (tempo) and Taala (beat).

According to the text, the perfect posture that is, Anga-sausthava, which helps in balancing the inter relationship between the body and the mind, is the central component for dance; and, is most important for ease in the execution and carriage. For instance; the Anga-sausthava awareness demands that the performer hold her head steady; look straight ahead with a level gaze; with shoulders pushed back (not raised artificially); and, to open out the chest so that back is erect. The arms are spread out parallel to the ground; and, the stomach with the pelvic bone is pushed in.

**

Nandikeshvara’s Abhinaya Darpana is a comprehensive text (laghu grantha) with only 324 verses. As compared to the Natyashastra, the Abhinaya Darpana is written in a much simpler style. It focuses mainly on the Angika Abhinaya aspect; and, presents its subject in an orderly fashion. Here, Nandikesvara enumerates the various gestures, postures and movements related to the different limbs, separately, under three broad categories; Anga, Pratyanga and Upanga. He merely catalogues these independent gestures movements etc., with a brief note on their possible applications. The Natyashastra, on the other hand, follows the synthetic as also the analytical method. It not only enumerates different limb-movements, but also suggests their combinations in the form of Karanas, Recakas and Angaharas.

The Abhinaya Darpana often refers to Bharata-shastra (not the Natyashastra); and also to the Chapters Eight and Nine of the Natyashastra, dealing with Angika Abhinaya (gestures)

Shiva tandava -Shri SRajam

After submitting a prayer to Lord Shiva through the famous prayer-verse (Dhyana-sloka), the introductory part (verses 1-48), moves onto other subjects:

Angikam Bhuvanam sloka

Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradi, Tam Namah Saattvikam Shivam 

Whose bodily movements is the entire universe; whose speech is the language and literature of the entire Universe; whose ornaments are the moon and the stars; Him we worship, the serene Lord Shiva. ..!

At the outset, the author establishes the importance of Abhinaya; and briefly discusses the characteristics of its four kinds. This whole opening section takes up only forty verses; and, the rest are devoted to describing the movements of the individual parts of the body, which, according to the author, are of vital importance for a performance. Then the author instructs the performer to begin the performance with various stylized body movements.

The introductory portion (1-48)  covers such matters as :  the origin of NatyaNatyopatti (1-7); tribute to lore and knowledge of NatyaNatya Prashamsha (7-11); the variety of Dances (Natana); the occasions for performing dances ; and the definitions of terms Nrtta, Natya and Nrtya – Natana-bedha (11-16); required qualifications of various persons involved with dance performance, including the audience  (17-23); the desired qualifications and virtues of the dancer (23-30); and, the details of the preliminaries, Purvaranga (31-37)

[The text explains the term Natya or Nataka as an adorable Art, having some traditional story as its theme (Natyam tannatakam caiva purva-katha yutam); Nrtta, the pure dance as that which  is void of  Bhava (moods) and  Abhinaya (representations)- Bhava-Abhinaya-hinam tu Nrtta ity abhijayate ; and, Natya  as dance which  suggests Bhava and Rasa, and, fit for a King’s Court (yetan Nrtyam Maharaja-sabhayam kalpayet sada.

Natyam tannatakam caiva purva-katha yutam; Bhava-Abhinaya-hinam tu Nrttam-abhijayate; Rasa-Bhava vyanjanadi yukta Nrtyam itiryate; Ye tan Nrtyam Maharaja-sabhayam kalpayet sada . Ab.D.verse 15-16 ]

Describing the desired attributes of a dancer (Patra) the text mentions (AD.23-25): she, Nartaki,  should be slender; neither stout nor very thin; be neither very tall nor short; very lovely, beautiful, young, having beautiful large eyes, possessing a happy countenance, and round breasts; self-confident, witty, pleasing and splendidly dressed; dexterous in handling the critical passages  ; knowing well when to begin a dance and when to end it; able to perform to the accompaniment of vocal and instrumental music, properly  keeping with the Tala (beats and rhythm).

Tanvi rupavathi shyama peenonnata-payodhara / pragalbha sarasa kantha Kushala graham-mokshayo /vishala-locana gita-vadya-tala anuvartani // paradarya-bhusha samapanna prasanna-mukha –pankaja / yevam vidha gunopeta Nartaki samudirita // AD.23-25 //

And, again, the Abhinaya Darpana describing the essential inner virtues (Antah-prana) of a good dancer says: A dancer must have the inherent sensibility which can be enhanced by training. Agility, steadiness, sense of line, practice in circular movement, a sharp and steady eye, effortlessness, memory, devotion, clarity of speech, sense of music –  these ten are the essential qualities of a dancer.

Javaha Sthiratwam Rekha cha /27/ Bhramari Drishti Shramaha; Medha Shraddha Vacho Geetham; Paatra pranaa Dasa Smruthaha/Ab. Da.28/

[A version of the Abhinaya Darpana makes a mention of the ‘outer-life of a dancer’ (Patrasya bahir pranah): : the drum; cymbals of a good tone; the flute; the chorus; the drone (Sruti); the lute (Veena); the bells, and a male singer (Gayaka) of renown.]

gejjeAs a part of her preparation, the dancer should offer her respects to the well-shaped dainty (Surupa) little (Sukshma) ankle-bells (Kinkini) made of bronze (Kamsya-racita), giving pleasant sounds (Susvara), with insignia of the presiding star-deities (Nakshatra-devata), and tied together with an indigo string (Nila-sutrena). Before wearing the anklet-bells, the dancer should reverently touch her forehead and eyes with them; and repeat a brief prayer (AD. Kinkini-lakshanam, 29-30)

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As regards the positioning of the dancer on the stage, the Abhinaya Darpana (AD.21-22) specifies : the dancer (Patra) should place herself at the centre of the stage; next to her should be the best male-dancer (Nata); on to her right should stand the cymbalist (Taladhari); she should be flanked on either side by the drummers (Mrdanga-players); between them and behind stand the group of chorus-singers (Gitakarah) ; and , the one who keeps the Sruti (drone) a little behind them. Each of those, thus well ordered, should take their positions on the stage.

Ranga-madhya sthithe Patre , tat sameepe Natottamah / Dakshine Taladhari cha, parshva dvandve  Mrudangakau / tayor-madhye Gitakari, Sruti-kara stahdintake// Yevam thistetah kramernava natyadau Ranga-mandale/

After having completed the Purvaranga and offering flowers (Pushpanjali) the Dancer should commence her performance of the Nrtya. The Abhinaya Darpana etches a lovely picture of the Dancer as she commences her performance with a soulful, melodious song. It says: Her throat full of song; her hands expressing the meaning of the lyrics; her eyes and glances full of expression (Bhava); and, her feet dancing to the rhythm (Taala), thus she enters the stage.

Khantaanyat Lambayat Geetam; Hastena Artha Pradarshayet; Chakshubhyam Darshayat Bhavam; Padabhyam Tala Acherait ॥ AD. 36 

That is followed by the famous verse that instructs: ‘Where the hand goes, there the eyes should follow; where the eyes are, there the mind should follow; where the mind is, there the expression should be brought out; where there is expression, there the Rasa will manifest.’

Yato Hasta tato Drushti; Yato Drushti tato Manaha; Yato Manaha tato Bhavaha; Yato Bhava tato Rasaha  AD.37

This famous dictum is followed in all the Schools of dancing, while performing Abhinaya.

[The Natyashastra also includes a similar verse. It instructs that even when there is verbal acting (Vacica-abhinaya) the gaze (Dristi) should be directed to points at which the hand gestures are moving (tattad dṛṣṭi vilokanai); and, there should be proper punctuation  so that the meaning may be clearly expressed. The intention is to enhance the appeal and total effect so that the language and the hand gestures support each other; and, become more eloquent.

yatra vyagrāvubhau hastau tattad dṛṣṭivilokanai   vācakābhinaya kuryādvirāmairtha darśakai  NS.9. 181 ]

**

The text then briefly describes (in verses 38-42) the four kinds of Abhinayas: Angika (of various body-parts); Vachika (of speech), Aharya (of costumes, makeup etc); and, Sattvika (involuntary bodily reactions)

[ Vachika-abhinaya is the expression of thoughts and emotions through words. In classical dance, though the dancer might sing; she does not speak, as in a Drama. But, she does interpret the words/sentences of the song rendered by the main singer (Gayaka) , through her facial and body expression , and the lucid movement of the limbs.  As regards the singer, she/he should be endowed with a beauty of voice; clarity in utterances and expressions; and,  should synchronize with the time-beats (Taala) of the accompanying drum or the cymbals . Here, a perfect coordination between the Gayaka and the Nartaki is highly essential.

Aharya concerns makeup, ornamentation and costumes suitable for the character that is being depicted.

Sarangadeva in the Sangeeta Ratnakara describes the dancer as having well-dressed and oiled hair worn in a plait decorated with flowers or with pearls. Necklaces of pearls, golden bracelets, studded with jewels and rings are the ornaments to be worn.  The tilak mark in the centre of the forehead is artistic, done with kasturi and chandana (sandal paste), and flower patterns are / painted above the eye brows, the eyes are lined with collyrium and ears decorated with ear-rings. The cheeks are decorated with intricate designs (Patralekha). Bharata had suggested   the four types of facial colours:  Svabhavika (natural); Prasanna (pleasant); Rakta (red); and, Shyama (dark) , depending upon the context and the nature of the character.

And, the Sattvika, the involuntary body-reactions, are enumerated in eight in ways: (1) Stambha – motionlessness, numbness out of emotional shock ; (2) Sveda – perspiration; (3) Romanca -thrilled, with the hair standing erect ; (4) Svarabhanga – loss or change of voice; (5) Vepathu- trembling; (6) Vaivarnya – change of facial colour , going pale; (7) Ashru – swelling tears ; and, (8) Pralaya – swoon, faint. ]

bar3

Then in verses 42-49, it describes the three broad elements of the Angika. Here, it mentions that it is called Angika because it is expressed through the segments categorized in three ways: Anga, Pratyanga and Upanga.

The text mentions (42-43); the Angas are six: head, hands, chest, sides, waist and feet. It says, some others include neck in this category

And, it says (42-45) the Pratyangas are also six; and, these include shoulder-blades; arms; back; belly, thigh; and shanks. It is also mentioned that some other include three more under this category: wrists, elbow and knees; and, sometimes also the neck

The Upangas , the minor limbs are said to include (verses 45-49) eyes, eyebrows; eyeballs; cheeks; nose; jaw; lips; teeth; tongue; chin and face. And, sometimes shoulder is as also considered as a Upanga. Thus, the Upangas in the head are twelve in number.

And, when an Anga (major limb) moves, the Pratyanga and Upanga also move, in coordination.

[The classifications of the Angas, Pratyangas and Upangas in the Abhinaya Darpana, broadly follow that in the Natyashastra. But, the numbers of elements in each category, as listed in either text, vary.

According to Natyashastra:

1) Anga: The main parts of the body are known as Anga. The Natyashastra identifies them as the following six: head, hands, feet, Vaksha or the chest region, Kati or the waist and Parshava or the sides. Some experts add Griva (neck) to this as well.

2) Pratyanga: The parts that connect the main parts of the body are Pratyanga. These too are of six types: the shoulders, the arms, the spine, the midriff, the thighs and the abdomen. Some experts also consider the neck, knees and elbows in this

3) Upanga: Smaller constituent parts of the body are called Upanga. They are different according to each body part. Mainly the Upanga exist on the head/ face, hands and legs, because the waist, chest and sides are complete on their own. There cannot be an Upanga for these.]

*

The text then goes into the enumeration of the Gestures, Postures and Gaits. Along with that, it also provides the description of each feature and its applications (Viniyoga).

The Abhinaya Darpana lists nine gestures of the head; eight of the eyes; four of the neck; twenty-eight of one hand plus four additional gestures; twenty-three of both hands; gestures to represent gods; the ten Avatars of Vishnu; the different classes of people; the various relations; gestures of hands for dance in general; and, the method of moving hands in dance, and the nine planetary deities.

The Abhinaya Darpana also describes, in detail, the postures and gaits, as the body moves in dance, especially on the feet. The carriage of the dancer’s body with the different movements as codified is presented as Mandalas or Sthanakas which are sixteen modes of standing and resting, Utplavanas are the leaps, the Bhramaris or pirouettes, and finally, the Caris and the Gatis.

*

Gestures

 The Abhinaya Darpana details the following kinds of gestures

  1. Nine kinds of gestures of head- Shirobedha (49-65)
  2. Eight gestures (glances) of the eyes –Dristibedha (66-79)
  3. Four gestures of the neck- Grivabedha (79-87)
  4. Twenty-eight gesture by one hand – Asamyukta-hastha (87-165) and four additional gestures (166-172)
  5. Twenty-three gestures by combination of both the hands-Samyukta-hastha (172-203)
  6. Gestures representing gods – Devahastha (204-215)
  7. Gestures representing Avatars of Vishnu- Dashavatara hastha (216-225)
  8. Gestures representing different class of people – Chaturjatiya-hastha (226-231)
  9. Gestures for representing various relations- Bandhava-hastha (231-244)
  10. Gestures of hand for dance in general; and the method of moving hands in dance –Nrttahastha (244-249)
  11. Gestures for representing nine planetary deities-Navagraha-hastha (250-258)

*

Postures and Gaits:

After treating the gestures, the Abhinaya Darpana deals with the   postures and various movements of the body (259-332)

Depending on the carriage of the body and its various movements that characterize a person, the following postures, and movements of the body in relation to feet (Padabedha – 259) are indicated;

  1. Mandala and Sthanakas or sixteen modes of standing and resting (260-282)
  2. Utplavanas or leaping movements of five kinds (282-289)
  3. Bhramaris or flight movements of seven kinds (298-332)
  4. Caris (Caribedha) and Gatis (Gatibedha) or eighteen kinds of gaits (298-332)

*

As regards the application (viniyoga) of these gestures it is said:

Mandalas, Utplavanas, Bhramaris, Caris and Gatis according to their relation to one another are, indeed, endless in their number and variety. Their uses in Dance and Drama are to be learnt from Shastras, the tradition of the School and through the favor of good people and not otherwise (322-324)

**

Gestures of the head – Shirobedha

Head and neck 1

According to Natyashastra (Ch.8) there are thirteen gestures of the head (Shirobedha); while Abhinaya Darpana has only nine: Sama; Udvahita; Adhomukha; Alolita; Dhuta; Kampita; Paravrtta; Utksipta and Parivahita.

Among these, five gestures carry the same names in both the works (Dhuta, Kampita, Parivahita, Paravrtta and Utksipta); besides, the names of two gestures agree partially (Udvahita and Alolita)

As regards the head-gestures: Adhomukha, Alolita (or Lolita), Dhuta, Kampita, Paravrtta and Parivahita, they are defined in both the works in a similar manner. As regards their applications also, the two works offer similar explanations.

Besides, the definition of Udvahita in Angika Abhinaya is similar to that of Utkispta of Natyashastra.

Head and neck 2

[The Abhinaya Darpana does not discuss actions related to certain Anga– features, such as: Chest; sides; and, Waist.]

Angas

Gestures of the Eyes (Glances) – Dristibedha

eyes 01

According to Natyashastra (Ch.8. 101 onward), there are three classes of Eye-gestures (Dristibedha) : (1) Glances for expressing eight Rasas; (2) Glances for expressing Sthayi bhavas ; and, (3) the Glances for expressing Sanchari-bhavas.

Each of these of the categories in (1) and (2) have in turn eight varieties each; while (3) has twenty varieties. Thus, in all, the Natyashastra describes thirty-six types of eye-glances (Dristibedha), along with their applications (Viniyoga).

But, in Abhinaya Darpana (Dristibedha66-79) the treatment of the Eye-gestures is not so elaborate. It only enumerates only eight of eye-gestures; Sama; Alokita; Saci; Pralokita; Nimilita; Ullokita; Anuvrtta and Avalokita.

But, in fact, these eight are listed in the Natyashastra as eight additional types of eyeball positions (Taraka karma)

Samam Alokitam Saachi pralokita Nimility Ullokita-anuvritte cha tatha chaiva-avalokitam  Ithyashtho drishthi bhedaha syu kirtitah purvasuribhi

Apart from this, the Abhinaya Darpana does not mention other Eye-gestures.

eyes02

[The Abhinaya Darpana does not also discuss actions related to certain Upanga-features, such as: eye-brows; eye-lids; pupils; cheeks; nose (nostrils); lips; cheeks; chin; mouth; and facial colors.]

Upanga

Neck gestures (Grivabedha)

The neck-movement is very important in Dance; because the movements of the head and the face pivot around it.

Gestures of the neck are all to follow the gestures of the head; and, the head gestures are also reflected in those of the neck. And, in this manner, Bharata enumerates and describes the gestures of the head and the connected minor limbs (Upanga) and their uses.

 The Natyashastra (Ch.8.164) enumerates nine kinds of neck-gestures- Grivabedha: Sama, Nata, Unnata, Tryasra, Recita, Kuncita, Ancita, Vahita and Vivarta.

While the Abhinaya Darpana (Grivabedha79-87) gives only four kinds: Sundari, Tirascina, Parivartita and Prakampita.

And, the two enumerations do not have common names.

[The Abhinaya Darpana does not discuss actions related to certain Prtyanga –elements such as: Thighs; Shanks; Belly; and Back (spine).]

Pratyanga.jpg

Hand- gestures (Hastha-bedha)

It is said; the Indian classical dance the joints, rather than the muscles, play an important role.  The Hastha (hand-gestures) generated through the movement of the wrists and the fingers are a portal of an entire language system articulated through animated gestures. They are like the words in a poem. It is around such Hasthas verities denoting suggestive Dance-expressions; the appropriate gestures are composed to covey thoughts and emotions, and to indicate objects.

Though both the Natyashastra and the Abhinaya Darpana classify the hand-gestures into three categories, they differ in regard to the number in each class; as well as in their definition; and, also in their uses.

In fact, Bharata devotes the entire Chapter Nine  to Hasthas and their uses in the Natya (hastā-dīnāpravakyāmi karma Nātya-prayojakam – NS.9.3)

 

Asamyuktahastas

Single-hand gestures (Asamyukta-hastha):

For illustrations of the Hasthas –Please click here

single-hand gestures0001

 

According to Natyashastra (Ch.9), there are twenty-four gestures in this class, while in Abhinaya Darpana; their number is twenty-eight. In both the works, twenty-two gestures have common names. Their descriptions are also similar.

On a review, one finds that the definitions of the following thirteen gestures are similar, in both the works:

Pathaka; Tripathaka; Ardhachandra; Arala; Sukatunda; Musti; Shikara; Padmakosa; Sarpasiras; Mrigasira;  Catura; Bhramara and Mukula

The following gestures have certain common aspects in their application. The number of such common aspects differs from one gesture to another;

Pathaka (2); Tripathaka (2); Ardhachandra; Musti (1); Katakamukha (4); Padmakosa (3); Sarpasiras (5) and Mukula (2)

Except in these cases, the Viniyoga, the applications of the other gestures vary.

 

The definitions of the following gestures differ in both the works:

Kartarimukha; Katamukha; Kapitta; Suci; Kangula; Alapadma (Alapallava); Hamsapaksa;   Sadamsa; and Tamracuda

 

The following hand-gestures of the Natyashastra are subdivided according to their Viniyoga; and special instructions are given on how such subdivisions are to be used in different groups: Pathaka, Tripathaka, Arala, Sucimukha,Catura and Sadamsa

 

samyuktahastas

Combined- hand-gestures (Samyukta-hastha):

For illustrations of the Hasthas – please click here

Double-handgestures

 

 

 

 

The Natyashastra (Ch.9) names thirteen gestures;

while Abhinaya Darpana gives twenty-three

On a comparison of the two sets of combined-hand-gestures given both the texts, one finds:

The following gestures in both the works have almost the same descriptions and uses: Anjali; Kapota; Karkata; and ushpaputa

 

 

 

 

 

 

 

 

 

Other Hasthas not mentioned in the Natyashastra:

The Abhinaya Darpana mentions certain classes of Hand-gestures (Hasthas) that were not mentioned in the Natyashastra. It is said; these are meant aid dramatic representations and sculpting the images of the deities

:- Hasthas representing deities – Devahastha (204-215) – lists sixteen gods and goddesses-(Brahma; Shiva; Vishnu; Sarasvathi; Parvathi; Lakshmi; Ganesha; Kartikeya;  Manmatha; Indra; Agni ; Yama; Nirrti; Varuna; Vayu and Kubera)

:- Hasthas representing  ten Avatars of Vishnu- Dashavatara hastha  (216-225) – (Matsya; Kurma; Varaha; Nrsimha; Vamana; Parasurama; Ramachandra; Balarama; Krishna  and Kalki)

:-Hasthas representing different class of people – Chaturjatiya-hastha (226-231)

:-Hasthas representing various relatives – Bandhava-hastha (231-244 ); and

: – Hasthas representing nine planetary deities –Navagraha-hastha (250-258)

**

Nrtta-hastha:

According to Natyashastra (Ch.9.173) there are twenty-seven Nrtta-hasthas; and, they are not the same as the single-hand or the combined-hand gestures.(Another version lists thirty Nrtta-hasthas).

But the number of Nrtta-hastha in Abhinaya Darpana is thirteen; and, they are not different from the single-hand or the combined-hand gestures. Those names are repeated here.

Among the thirteen listed in the Abhinaya Darpana, six single-hand-gestures (Pathaka, Tripathaka, Shikara, Kapitta, Alapadma and Hamsasya) are the same as the single-hand gestures carrying the same name in the Natyashastra. And, the other seven combined-hand gestures (Anjali, Svastika, Dola, Kataka-vardhana, Sakara, Pasa and Kilaka) are the same as the combined –hand gestures of the same name in the Natyashastra.

Thus, overall, the total number of hand-gestures related to Dance in Natyashastra is sixty-four; and, that in Abhinaya Darpana is fifty-one.

And, one version of the Abhinaya Darpana  (page 47) states: there are as many meanings as there are hand-gestures (Hasthas). Their usage is to be regulated by their literal meaning, category, gender, and suitability. Only so much can be said in an abridged form. Those following careful research; and, those who are acquainted with the ways of displaying the Bhavas in various should use the hands with due care, after consulting the texts, as may be required, and the teachers.

**

Feet in Dance

Padabhedha2

The Abhinaya Darpana in its verses 259-260, mentions Mandala (postures); Utplavana (leaps); Bhramari (flights or turns) and Cari or Padacari (gait) as postures and movements related to feet.

These refer to the carriage of the dancer’s body with the different movements codified, that is presented as Mandalas or Sthanakas which are sixteen modes of standing and resting. The Utplavanas are the leaps; the Bhramaris or pirouettes; and finally, the Caris and the Gatis.

But, in this text, the descriptions of the feet movements are not accompanied by their Viniyogas. The explanation provided by the scholars is that the Mandalas, Utplavanas, Bhramaris etc., are to be applied according to their relation to one another; and, these are, indeed, endless in number and variety.

Another feature of this text is that in describing the basic hand-gestures and the eye-movements, the author follows the Natyashastra. But, his treatment of the movements of the feet is his own. He also includes some new gestures, not found in other texts.

*

The Abhinaya Darpana does not specifically discuss movements of the feet. It factors the whole leg, from thighs to toes, as a single Pada-bheda outlining the actions like standing, walking, roaming, and jumping. In its discussion of the jumps (utplavanas), spiral movements or turns (Bhramaris) and the different types of walking Caris and Padacari, it utilizes the various positions of the feet, as described in the Natyashastra.

In contrast, the Chapter Eleven of the shorter version (from pages 197 to 206) of the Natyashastra is devoted to Cari, the most important single unit of movement in the Nrtta technique as enunciated by Bharata. The Caris are movements using one foot; and, are used both in Dance and Drama. Thirty two kinds of Caris are defined; of these sixteen are termed Bhaumi (ground) – verses 13 to 28; and, the other sixteen are called Akasiki (aerial) – verses 29 to 49.

One of the explanations adduced justifying the brief treatment of Caris in the Abhinaya Darpana (verses 323-324) is:  the mutual relations of the Caris, Mandalas, Utplavanas, Brhramaris etc., are endless in number and variety. Their uses in dance and drama are to be learnt from the practices and tradition of the School, under the guidance of a wise teacher.

A similar advice is tendered with regard to the applications of the Hasthas (on page 47).

mandal-collage

Mandala

Mandalas are complicated movements of the legs involving combinations of Caris. According to NatyashastraChapter Twelve , see pages 207 to 212)), Mandalas are twenty in number; and, are again divided into two classes: Bhuma (earthly, ground) and Akasika (aerial).

The Abhinaya Darpana, however, names only ten Mandalas (Mandala-bedha); and, all are of the same class (260-261) : Sthanaka ; Ayata ; Alidha ; Pratyalidha ; Prenkhana ; Prerita ; Svastika; Motita ; Samasuci ; and , Parsvasuci

The names of the Mandalas in the two works differ.

*

Any special position of the body which is motionless is called Sthana, stance. The Abhinaya Darpana lists six such Stanakas (274-275): Sampada; Ekapada; Nagabandha; Aindra; Garuda; and, Brahma. The Natyashastra treats the subject of Sthanas in greater detail. It mentions as many as forty Sthanas or standing postures, under six categories of static postures along with their applications.

Utplavana (leaps) are of five kinds (282-283): Alaga; Kartari; Asva; Motita; and, Krpalga.

Bhramari (flights or turns) are seven (289-291); and are the same as in the Natyashastra: Utpluta; Cakra; Garuda; Ekapada; Kuncita; Akasha; and Anga.

Gati (gaits): the gaits or the walking styles (Gati) are said to be of eight kinds: Calana; Sankramana; Sarana; Vegini; Kuttana; Luhita; Lolita; and Visrama.

The treatment of the Gatis (gatipracāra) in the Natyashastra is much more elaborate. It describes Gatis or gaits, suitable for different types of characters, such as the Kings and superior characters as also for middling characters. Walking styles for women of various classes are also described.  Natyashastra mentions that the gaits are to be executed in – slow, medium and quick – tempos (Kaalas), according to the nature of 45 different characters.

**

Cari

The Abhinaya Darpana (298-308) treats Caris and Gatis alike. They are not differentiated, as in the Natyashastra.

The Caris are movements using one foot; and, are used both in Dance and Drama. The Natyashastra (Ch.9.10) lists thirty-two Caris, divided into two groups of sixteen each: the Bhuma (earthly, ground) and Akasika (aerial). Cari is that activity where in the various beautiful movements of the hands, feet calves, thighs and the hip are kept in mutual concordance, in a single flow.

The Abhinaya Darpana, however, gives eight kinds of Cari; and they all are of the same class. There are no divisions here.  And, the listing of the feet movements is not accompanied by their Viniyoga-s: Calana; Sankramana; Sarana; Vegini; Kuttana; Luthita; Lolita; Visrama.

The names of the Caris in Abhinaya Darpana are the same as that of the Gatis (gaits) it enumerates.

The names of the Caris in the two texts- Abhinaya Darpana and Natyashastra- also differ.

[Nyayas: The Natyashastra makes a mention of four types of Nyayas   (Bharata, Sattvata, Varsaganya and Kaisika). These are the ways regulating (niyante)  how the various  weapons are to be handled while staging a fight on the stage; and, how the actors move about on the stage using various Caris and Angaharas (combinations of Caris and Karanas).

The Abhinaya Darpana does not, however, mention Nyayas.]

dance images22

Obviously, there is vast difference between the Natyashastra and the Abhinaya Darpana in their approach to and in the treatment of Angika-abhinaya.

The Natyashastra is the primary text. It lays down the theoretical principles; enumerates the gestures and postures to give a form to its concepts; and, also provides practical examples of their applications. The explanations in the Natyashastra seem to be based on a study of actual performances; and, on a detailed analysis of the actual dance movements.

It not merely enumerates the individual dance-gestures, but also suggests how those elements could be combined to form graceful and meaningful dance movements like Karanas and Angaharas, forming a sequence of completed action. Since the entire process was involved with production of Drama; and, its presentation before enlightened spectators, it appears the complete sequences of movements were carefully studied, structurally analyzed to ensure a correct presentation finally  emerged , as envisaged by the choreographer.

Thus the approach of the Natyashastra was broad based, covering the theoretical, analytical and practical aspects of Dance and its varied gestures, stances and movements.

The Abhinaya Darpana, in contrast, does not delve much into the theoretical aspects of Dance movements. Its focus is mainly on Angika-abhinaya, the gestures, postures and movements of the limbs and parts of the three major segments of the body. It enumerates in a comprehensive, codified and systematic manner the actions of a limb, in isolation; and, suggests the means to its application. The Abhinaya Darpana trains a dancer in the basic movements.

It does not try to combine those various dance-elements, in order to present a seamless, graceful and meaningful sequence of actions. It is said; the Abhinaya Darpana is like a practical, working manual, a tool of communication. It is up to the teachers and learners to make a good use of the material it provides to choreograph charming, enjoyable and expressive dance sequences. The various individual gestures, stances and movements that the text catalogs are like words (Padas); and, they have to be employed with skill and imagination to form countless verities of meaningful sentences (Vakya). The uses of the Dance-elements that the text provides have to be studied diligently and practiced earnestly under the guidance of a well informed and experienced teacher.

There are elaborate descriptions of movements  that are neatly categorized and presented. For example; ten movements of the head, fifteen ways to move the eyeballs and two ways to turn the knee-joint indicate the several combinations available to the conscious and imaginative dancer and teacher to create their dance sequences.

*

The scholar Raghavabhatta, in his Arthadyotanika (1886), a commentary on the play Abhijanana Sakuntala of the poet Kalidasa, compares the Abhinaya Darpana to Grammar of dance movements. The text suggests various hand and body gestures. But, the skill, he says, resides in combining those elements to compose a beautiful and graceful, meaningful presentation. Raghavabhatta, in his commentary, suggests choreographic patterns (on page 12 of the Book / page 26 of the pdf doc) for depicting certain actions that take place in the play. For instance:

:- Watering the plants (Vrksha sincana) : first show Nalina and padmakosa hands, palms downwards, then raise them to the shoulder; slightly bend the body with Avadhuta head position and Adhomukha face looking down; with Padmakosa hands downwards to suggest ‘ pouring out’.

In the Nalina-padmakosa, the dancer’s hands are crossed; the palms turned down; but not touching, but not touching; turned a little backward, and made to resemble Padmakosa (lotus bud). To move the Nalina-padmakosa hands downwards is said to be ‘ pouring out

: – Plucking the flower (pushpa-vachayana): hold the left hand horizontally in Uttana Arala; the right hand taken side-ways in Hamsasya extended forward at the side. The left hand here represents a basket; and, the imaginary flowers are plucked with the right hand and transferred to the left.

:- Make up (Prasadana) : putting Tilaka mark on the forehead with ring finger of the Tripathaka hand; wearing the garland with Paranmukha and Sandasmsa (right and left) hands; putting on Tatakas (ornaments of upper arms) and earrings with two Bhramara hands ; painting lac-dye on the feet with Kartari-mukha hands ; and, wearing a ring with Hamsasya and Cyuta-sadamsa hands.

:- Attack by the bee (Bhrama badha): move the head quickly to and fro  (Vidhulam) with the Viduta head; the Kampita lips are quivering and turned down; while the Tripathaka hands are held unsteadily against the face, palms inward.

: – Despair (Visada): with the Dhuta head and the Vinasana eye.

: – Avoiding an attempt to raise one’s chin (mukhonnayana parihara) with the Paravtta head and Viniguhita lips.

: – Obstacles in walking (Gati-bhanga) with Urudhrta Cari

: – Coming down from a high place (Avatarana); with Gangavatarana

: – Mounting a Chariot (Rathadi-rohana) with Urdhvajanu Cari; “the knees are to be raised, the leg being bent and lifted, so that the knee is level with the chest, and there held; and then the same is done with the other foot.”

*

Similarly, the classic dance forms of India developed various dance movements by adopting the idioms and phrases from the basic ‘Grammar’ of the Abhinaya Darpana. For instance; the Bharatanatya derived the Araimandi as the basic dance position from the Ardha-mandala or Ayata, which is defined in the Abhinaya Darpana as: “standing in Chaturasra, bending the knees slightly and obliquely and keeping a distance of Vitasati between the two feet “(A.D 263).

Vitastrya antaritau paadau  krutva tu chatursrakau . Tiryak kunchita janubhyam sthithirayath mandalam //AD.263 //

On the same principle, the Kathak developed Sampada; in Odissi it was Chauk; and, in Manipuri the Agratala.

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The Abhinaya Darpana occupies a unique position in the literature of classical Indian dance. Unlike in the case of other ancient texts ,  the Abhinaya Darpana is a text that is regularly consulted , even in the present-day,  by the practicing artists and the students, regularly, as a part of the learning process.  It is a practical text that is very much alive.

It not only has helped to preserve the Art of Dancing by imparting instructions to the learners (siyebhyaśca tadanyebhya); but, has also helped in spreading the performing Art through its practice (prayacchāma  prayogata). It is a framework of principles of praxis or practice. Its efficacy lies in the practice of Dance; and, in providing inspiration for reconstructing innovative Dance-expressions by experimentation (prayoga); and, by combining, with skill and imagination, the varieties of gestures, stances and movements of Angikabhinaya that it has enumerated so systematically. Thus, the Abhinaya Darpana is at once, a Sadhana shastra and a Prayoga shastra.

Nirgita

 

In the next part, we shall briefly talk about Bharatarnava; and, then move on to other texts.

Continued

In

The Next Part

 

References and Sources

  1. Nandikesvara’s Abhinayadarpanam by Prof. Manmohan Ghosh
  2. The Mirror of Gesture by Ananda Coomaraswamy and Gopala Kristnayya Duggirala
  3. Natyashastra and Abhinaya Darpana
  4. Nritta in Bharatanatyam
  5. The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition by Dr. Mandakranta Bose
  6. Dance imagery in South Indian temples: study by Dr. Bindu S. Shankar

ALL IMAGES AND TABLES ARE FROM INTERNET

 
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Posted by on November 7, 2018 in Art, Natya

 

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The texts of the Indian Dance traditions – Part Ten

Continued from Part Nine

Lakshana Granthas – continued

5, Abhinavabharati

 

Illustration of Abhinava Gupta by Elke Avis

The Natyaveda-Vivritti, more famously celebrated as Abhinava-bharati is the most well known commentary by Abhinavagupta on the Natyashastra of Bharata.  It is one among the handful of commentaries that are as renowned, if not more, as the texts on which they commented upon. Abhinavagupta illumines and interprets the text of Bharata at many levels: conceptual, structural and technical. He comments, practically, on its every aspect; and his commentary is a companion volume to Bharata’s text.

The earliest surviving commentary on the Natyashastra is the Abhinavabharati by Abhinavagupta. It was followed by the works of commentators like Saradatanaya (12th century), Sarangadeva (13th century) and Kallinatha (16th century). However, Abhinavabharati is regarded as the most authoritative commentary on Natyashastra ; because, Abhinavagupta provides not only his own illuminating observations and interpretations, but also gives wide range of information about the works of the scholars earlier to his period , most of which are now lost.

Abhinavagupta, who lived in Kashmir by about the late tenth and early eleventh century, was a visionary endowed with incisive intellectual powers of a philosopher who combined in himself the experiences of a mystic and a Tantric. He was equipped with extraordinary skills of a commentator and an art critic

Abhinavagupta dealt with almost every important aspect of Indian aesthetics in his two commentaries – Kavya-loka-locana (called, in short, as Locana, a commentary on the Dhvanyaloka of Anandavardhana); and, the Abhinavabharati (a detailed commentary on the Natyashastra of Bharata).

These are the two well known aesthetic works of Abhinavagupta; for which he is celebrated as the principal exponent of aesthetic theory (Rasa-vada). In his Locana, he firmly established the concept of Vyanjana -Vritti or Dhvani or the suggestive power of the words as the best form of poetic expression. And, the Abhinavabharati is the best guide to understand Bharata

These two commentaries influenced and guided the subsequent generations of authors and critics; especially in regard to the aesthetic experience (Rasanubhava). No succeeding writer or commentator could ignore Abhinavagupta’s commentary; and his discussions on two crucial chapters of the Natyashastra namely, the Sixth and the Seventh on Rasa and Bhava.

His work came to be recognized as a text of indisputable authority (Pramana grantha); and, was regarded as the standard work, not only on Music and Dance, but also on poetics (Almkara shastra) as well. Hemachandra in his Kavyanusasana; Ramachandra and Gunachandra in their Natyadarpana; Kallinatha in his commentary on the Sangita-ratnakara; and, Saradatanaya in his Bhava-prakasana, very often refer to Abhinavagupta.  The chapter on Dance in Sarangadeva’s Sangita-ratnakara is almost entirely based on Abhinava’s work. And, similar is the case with Jaya Senapati’s Nrttaratnavalli. The noted scholar Dr. V Raghavan, therefore, remarked: ‘So what is often taken today as the influence of the Natyashastra in these texts is in reality the influence of Abhinavagupta.’

*

Between the time of Bharata and the Eleventh century , many commentaries on Natyashastra were written ; and, many other independent treatise on dramatics were composed by several authors such as Kohala, Rahula, Dattila, Harsha, Nandikesvara , Varattikakara and others . But, those works are no longer extant, except for a few verses cited in the later texts on Drama, Dancing and Music.

And, many scholars who hailed from the region of Kashmir; and, who preceded Abhinavagupta, had also produced brilliant commentaries on Poetics , Music and Dramaturgy , with special reference to Rasa, Bhava, Abhinaya, Nayika Nayaka’s and construction and presentation of drama with its varieties. Among those scholars were Bhattalollata, Udbhata, Shankuka, Bhattanayaka and Kirtidhara, as mentioned in Sangita-ratnakara.

 But, sadly, all those works are no longer extant; except for a few verses cited in the later texts on Drama, Dancing and Music.

It is only through the efforts of Abhinavagupta that the works of all those masters can only be partially reconstructed through references to them in his Abhinavabharati. Further, Abhinavagupta also brought to light and breathed life into ancient and forgotten scholarship of fine rhetoricians Bhamaha, Dandin and Rajashekhara.

It is through Abhinavagupta’s quotations from Kohala, whose work is occasionally referred to in the Natyashastra, that one can reconstruct some of the changes that took place in the intervening period between his time and that of Bharata’s.

And, in regard to Dance, since a number of works on dancing that were  known to have been written after Bharata are now lost, it is difficult to follow the discussions  concerning the developments in the field  of Dancing that took place during the early period of its evolution , without the aid of Abhinavabharati.

Abhinavagupta also drew upon the later authors to explain the application of the rules and principles of Natya. For instance; he quotes from Ratnavali of Sri Harsha (7th century); Venisamhara of Bhatta Narayana (8th century); as also cites examples from Tapaas-vatsa-rajam of Ananga Harsa Amataraja  (8th century) and Krtyaravanam .

In addition, Abhinavagupta introduced many improvements and new thoughts into the system of Sanskrit literary criticism, which have been accepted by all the later writes and commentators, beginning with Mammata Bhatta in the eleventh century and ending with Jagannatha Pandita in the 17th century

The  Abhinavabharati thus serves as a bridge between the world of the ancient and forgotten wisdom and the scholarship of the succeeding generations. And, Abhinavagupta himself said that he wrote the commentary in order to save and perpetuate the ancient tradition.

Evam anyad api ūhyam iti an-upayogyāt samasta na likhitam āgama-bhrasa-rakanāya tu di nirupitā

abhinavabharati

The Abhinavabharati, though basically a commentary on and a companion volume to Bharata’s Natyashastra, is, for all purposes, an independent work in its own right. It, again, is a detailed exposition on various subjects such as: drama, dance, poetry, music, art, prosody and also aesthetics with reference to Anandavardhana’s Dhvanyaloka (820-890). Abhinavagupta comments on a range of subjects, at different levels. He cites and discusses the views of many ancient authorities who wrote on drama, dance, music etc. He illustrates the principles and its application in Natya, through examples taken from well-known Dramatic works.

Abhinavagupta not only expands on Bharata, but also interprets him in the light of his own experience and knowledge; and, also with references to the then current practices. And, at many places, he differs from Bharata; and, introduces concepts and practices that were not present during Bharata’s time. For instance; the concept of minor dramas was absent in the Natyashastra. But, Abhinavagupta, in his commentary, speaks of minor categories of drama (Uparupakas); and calls them as Nrtta-kavya and Raga-kavya. These were the type of plays where the narration through Dance and Music is prominent.  

Similarly, Abhinavagupta provides the details of several dance forms that are mentioned but not described in the Natyashastra. For instance; he describes Bhadrasana, one of the group dances termed Pindibandha by Bharata but not described by him- piṇḍīnā vividhā yoniryantra bhadrāsana tathā NS.4. 290

Abhinavagupta, thus, comments, practically, on every aspect of Natyashastra. Further, he brings in the concepts of his School pratyabhijna, while interpreting Bharata’s text.

The works of the later writers (such as: Mammata, Hemachandra, Saradatanaya and others) clearly bear the influence of Abhinavagupta.

[Dr. Mandakranta Bose, who examined the text critically, observes: Even though his commentary is illuminating in general, there are places where his explanations are not enough to visualize the movements he describes. Since the edited text is often corrupt, the task of understanding is even harder. The movements are sometimes unclear and impossible to reproduce. However, as the single extant commentary on Bharata’s seminal text, Abhinavagupta’s work has exerted great influence on subsequent writers on dance, drama and on Alamkara as well.]

*

The importance of Abhinavagupta’s work can hardly be overstated. And, Abhinavabharati is the best guide to understand Bharata. The learned scholar Dr. K Krishnamoorthy in his Indian Literary Theories (1985) writes:

If Bharata is the father figure hallowed by the tradition, and revered by all the later writers; Abhinavagupta is the sole interpreter to us of not only Bharata’s thoughts, but also of the writers of those authors over several centuries ,  between the time of Bharata and Abhinavagupta, since he sums up all the traditions of various Schools and enlivens it by his own illuminating and original thinking.

His work is the only source for all the accumulated knowledge of on the subject in the golden age of Indian history. There is perhaps no other single work in the wide range of literary, technical and philosophical treatise that matches the Abhinavabharati. Such is the incandescent lustre of the far- flung genius of Abhinavagupta.

If Bharata is the Panini of the Indian theatrical lore, then Abhinavagupta is his Patanjali. His work is not a mere commentary; but, often an original dissertation.

Abinavagupta - Version 3

The Abhinava-bharati follows the Natyashastra, chapter by chapter, except for the Seventh, the Eighth, and the Thirty-third to Thirty-seventh.

Abhinavagupta’s text ends with Chapter Thirty-seven while most of the other versions of the text end with the Thirty-sixth. At the commencement of his commentary, Abhinavagupta mentions that the Natyashastra of Bharata consists Thirty-six Chapters. Thereafter, at the beginning of each successive Chapter of his commentary, he praises the deity representing the corresponding Tattva, beginning with Bhumi or Prithi, the principle of Earth. And, the last Chapter of his commentary, that is the Thirty-seventh, commences with salutations to Anuttara, the Supreme Reality beyond which there is nothing, therefore, free from all limitations – Na vidyate uttaram prana prati vacorupam yatra. And, Anuttara is Parama Shiva, the Absolute, the primal source of all existence.

[The 36 Tattvas as per Kashmir Shaiva philosophy are : Five Physical Elements or Mahabhuta (Prithvi, Jala, Agni, Vayu and Akasha); Five sensations or Tanmatras (Rupa, Sparsha , Rasa, Gandha, and Sabda); Five sense organs or Jnanedriyas (Upastha, Payu, Pada, Pani and Vac); Five Sense experiences (Grahana, Tvacha, Rasana, Chakshu, and Srotra); Three mental functions (Manas, Ahamkara and Buddhi); Prakrti; Purusha; Six limited individual experiences (Niyati, Kala, Raga, Vidya, Kala and Maya); Five Tattvas of Universal experience (Shudda vidya, Isvara, Sadashiva , Shakthi and Shiva)- please check here  and then go to page 25 of the Book (page 36  of PDF document).]

The reason for the extension of the number in Abhinava-bharati seems to be that the Shaiva Siddantha recognizes Thirty-six Tattvas (principles); and  when that is extended, the  Thirty-seventh  is said to represent the concept of Anuttara (the ultimate or nothing beyond) a doctrine of the Pratyabhijna System of philosophy propounded by Utpaladeva the Parama-guru (the teacher’s teacher) of Abhinavagupta

Of the thirty-seven Chapters in the Natyashastra; about twelve Chapters are related to Dance. They are the Chapter numbers: 4, 5, 8-13, 19, 21, 22, 25 and 31.

[Please click here for volumes of Natyashastra with commentary of Abhinavabharati: For Volume One by Dr. K .Krishnamoorthy; For Volume Two by Pandit M. Ramakrishna Kavi; and, Volume Three by Pandit M. Ramakrishna Kavi.]

Umasadashivamurti

As regards the Angikabhinaya, Abhinavagupta, generally, follows Bharata, rather closely.

In the Fourth Chapter of his commentary, Abhinavagupta deals with the definition and the division of 108 Karanas which constitute the fundamental dancing poses.

Abhinavagupta explains: Karana is indeed the harmonious combination (sam-militam) of Gati (movement of feet), Sthanaka (stance), Cari (foot position) and Nrtta-hastha (hand-gestures)

Gatau tu Caryah / purvakaye tu Gatau Nrttahastha drusta-yashcha / sthithau pathakadyaha tena Gati-Sthithi – sam-militam Karanam

As regards Gati (gait) , Abhinavagupta also mentions that in the Nrtta though the Gati could generally follow the Natyadharmi, one should also keep in view the context of the times, the situation (desham, kalam) and the prevalent practices

Cari, Mandala prasangasya chitta-vrttitvad Gati viniyoga meva pratijanite/ Gatisha prakrutim rasa-avastham desham kalam cha apekshya vakthavya prati purusha abhidanath

According to Abhinavagupta, Karaa is action (Kriyā Karaam); and, as the very life (jivitam) of Ntta, the pure dance movements. It is a Kriya, an act which starts from a given place and terminates after reaching the proper one. It involves both the static and dynamic aspects: pose (Sthiti) and movement (Gati).

And that is why, he says, Karaa is called as ‘Ntta Karaa’. Such throws (kepa) of the limbs must be guided by a sense of beauty and grace (vilasa-ksepasya). A Karana has to be intellectually and spiritually satisfying. The word nttasya in Bharata’s definition is meant to emphasize this aspect of dance.

Kriya karanam. Kasya kriya. nrttasya gatranam vilasakhepasya heyopadeya visaya kriya adibhyaf; vyatirikta ya tatkriya karanam itya artha.

According to him, the Sthanaka (posture), Cari (foot-position) and Nrtta-hastha (hand-movements) can be compared to subject (kartru-pada), object (Karma-pada) and verb (Kriya-pada) in a meaningful sentence; while the resultant Karana could be compared to a sentence.

As regards Recakas (circular movement of a limb), Abhinavagupta says: it is through the Recakas that the Karanas and the Angaharas derive their beauty and grace. He gives some guidelines to be observed while performing a Recaka of the foot (Pada-recaka) , neck (Griva-recaka) and the hands (Hastha-recaka) .

According to him; while performing the Recaka of the foot one should pay attention to the movements of the big toe; in the Recaka of the hands one should perform Hamsa-paksha Hastha in quick circular movements; and, in the Recaka of the neck one should execute it with slow graceful movements.

Padayoreva chalanam na cha parnir bhutayor antar bahisha sannatam namanonna manavyamsitam gamanam Angustasya cha /Hasthareva chalanam Hamsapakshayo paryayena dhruta bramanam/ Grivayastu Recitatvam vidhuta brantata//

After the discussion of Karanas, Abhinavagupta deals with the definition and division of Angaharas, which are made of Karanas – Nānā Karaa sayuktair Agahārair vibhūitam (NS.4.13). Abhinavagupta explains Agahāra as the process of ‘sending the limbs of the body from a given position to the other proper one (Angavikshepa). And, such Angavikshepa is said to be a dominant feature of the Nrtta. And, that term stands for graceful composition of limbs (gatram vilasena-kshepaha). Thus, the Angaharas, basicallyare Nrtta movements, the Angika-abhinaya, involving six Angas or segments of the body.

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Abhinavagupta comments on seven divisions of Nrtta. The first three are to be used in independent Laukika dance, for the satisfaction of the deities. The last four are employed in the preliminaries.

Abhinavagupta classifies Nrtta into two broad Groups; the first group having three types; and, the second having four types.  Thus, the Nrtta, in all, is classified by Abhinavagupta into seven types.

The First Group belongs to the pure Nrtta type; whereas, the Second Group relates to of what came to be known as Nrtya, which involves Abhinaya. Abhinavagupta, in his explanations, did not, however, use the term Nrtya.

The First Group of Nrtta that Abhinavagupta formulated has the three types: (1) Shuddha-Nrtta; (2) Gitakad-abhinayao-nmukha-Nrtta; and, (3) Vadya –Talanusari Nrtta.

Here, Shuddha, that is, pure or abstract dance; the Gitakad-abhinay-onmukha is a dance that expresses the meaning of a song; and, the Vadya-talanusari is a dance that follows instrumental music and rhythm.

The Second Group of Nrtta has four types: (1) Uddhata Nrtta ;(2) Masrana-Nrtta; (3) Misra Uddhata Nrtta; and,(4)  Misar-Masarna Nrtta.

And, here, the Uddhata is a vigorous dance; the Masrana is a dance with delicate and graceful movements (Sukumara); the Misra Uddhata Nrtta is a vigorous dance mixed with delicate movements; and, the Misar-Masarna Nrtta is a delicate dance mixed with vigorous movements.

Since many of these dances in the Second group were expressive, they required Abhinaya or interpretative movements. Such dances, then, fall into the category that later became known as Nrtya. Abhinavagupta, however, does not use the term Nrtya, perhaps because Bharata spoke only of Nrtta; and, had not used the term Nrtya.

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The commentary on the Fifth Chapter expands on Bharata’s description of the preliminaries of the performance of the play and remarks on theatrical terms like Purvaranga, Naandi, and Dhruva etc.

The subject of Dhruva, which is the song to be sung in the course of the play, is discussed in detail.  Natyashastra (NS: 32.32) explained the Dhruva Gana as the well composed songs that are steadfast (Dhruva) in  the principles of Pada  (words),  Varna  (syllables) and Chhandas (meter)

Natyashastra had devoted one entire and a lengthy chapter (Chapter 32) to discuss the Dhruva songs. That was because; the songs formed an essential ingredient of the play. And, Bharata said:  without songs, the Drama is incapable of providing joy (NS. 32. 482): Just as a well-built dwelling house (citraniveśana) does not become beautiful and provide a pleasant ambiance without any colour; so also a Drama without any songs does not provide much joy.

Abhinavagupta, accordingly, deals with the Dhruva songs, in fair detail. He explains that the Dhruva songs help to enhance the artistic sense of the important themes that occur in various situations in a play.

 While commenting on the term Dhruva, Abhinavagupta  explains that these types of songs were called Dhruva ( = standpoint; locus of reference)  because in it, the Vakya (sentence), Varna (syllables) , Alamkara (grace notes), Yatis (succession of rhythm patterns) , Panyah (use or non-use of drums) and Laya (beats) were  harmoniously fixed ( Dhruvam) in relation to each other – (anyonya sambandha) .

Vakya –Varna–Alamkara yatyaha -panayo-layah I   Dhruvam-anyonya sambandha yasmath smada Dhruva smrutah II

He further says, the composition (pada samuha) structured as per a rule (niyatah) and that which supports (adhara) singing could be called Dhruva (Dhruvah- Gitya-adhara niyatah pada –samuha).

At another place, Abhinavagupta explains Dhruva as the basis or the support (adhara) on which the song rests. Abhinavagupta says: just as the painting is supported by wall, the Dhruva song is supported by Pada (word). And, Pada in turn is supported by, the Chhandas (meter) – (Abhinavagupta: NS.32.8).

Thus, in the Dhruva Gana, the words of the song are regulated by Chhandas. And, the words are then set to appropriate tunes and Taala-s.

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The Sixth Chapter is described as Rasadhyaya; because it mainly deals with concept and the theories of Rasa, the aesthetic pleasure, the essence of all Art experience. Though this Chapter is not directly related to Dance, we may take a brief look at it; because, this Chapter is considered as one of the very important Chapters in the Natyashastra ; and also because , Abhinavagupta discussed the various aspects of the Rasa-doctrine (Rasa-siddantha) in great detail.  And, in the process, he dealt with almost every important facet of Indian aesthetics. Abhinavagupta’s contribution to the revision of Indian aesthetics is truly outstanding.

In this Chapter, Abhinavagupta interprets, mainly, eleven elements of the Natya. They are: Rasa, Bhava, Abhinaya, Dharmi, Vrtti, Pravrtti, Siddhi, Svara, Atodya, Gana and Ranga. Among these, the Rasa is regarded as one of the most important theoretical aspects of the Natyashastra. According to Bharata, Rasa is the sum and substance of all Art- expressions; and, no sense proceeds without RasaNa hi rasādte kaścid artha pravartate (prose passage after verse 31, in Chapter Six).

The Natyashastra asserts that the goal of any Art form is to invoke Rasa, the aesthetic enjoyment in the mind and heart of the cultured spectator (sumanasa prekakā or Sahrudaya). And, such enjoyment is an emotional or an intellectual experienceāsvādayanti manasā tasman nāya- rasā sm (N.S.6.33).

The Chapters Six and Seven in the Natyashastra have been the mainstay of the Rasa concept in all traditional literature, dance and theatre arts in India. Bharata says that which can be relished – like the taste of food – is RasaRasyate anena iti rasaha (asvadayatva). Though the term Rasa is associated with palate, it is equally well applicable to the delight afforded by all forms of Art; and, the pleasure that people derive from their art experience. It is literally the activity of savouring an emotion in its full flavour. The term might also be taken to mean the essence of human feelings.

[The Rasa-doctrine is also relevant to classical dance, particularly since its performance is pervaded by emotion; and, its presentation, in varied graceful and meaningful forms (Abhinaya), attempts to express those emotions. Further, the Rasa-principle also provides a philosophical framework for explaining the fundamentals of an aesthetic experience; and, how it relates to the human psychological processes.]

The famous Rasa sutra or the basic formula to invoke Rasa, as stated in the Nātyashāstra, is: vibhāva anubhāva vyabbhicāri samyogāt rasa nispattih (prose passage after verse 31, in Chapter Six).

Here, the Vibhāva represents the causes, while Anubhāva is the manifestation or the performance of its effect communicated through the Abhinaya.  The more important Vibhāva and Anubhāva are those that invoke the Sthāyi-bhāva, or the principle emotion at the moment of the performance. The Sthayi-bhava combines and transforms all other Bhavas; and, integrates them with itself.

Thus, the Rasa-sutra states that the Vibhāva, Anubhāva, and Sanchari or the Vyabhicāri-bhāvas coming together (samyogād) with the Sthayi-bhava result in Rasa (rasa nispattih).

Abhinavagupta, in his commentary, initially takes a review of the explanations given by the previous authorities and scholars; then sums them up; and, later provides his own comments and explanations. He remarks that he is formulating his own theories on the foundation laid by others; and, his views are only an improvement on what has been said by the earlier interpreters.

Abhinavagupta begins by explaining his view of aesthetics and its nature. Then goes on to state how that aesthetic experience is created. During the process, he comments on Bharata’s concepts and categories of Rasa and Sthayi-bhava, the dominant emotive states, and of Sattvika, the involuntary bodily reflexesHe also examines Bharata’s other concepts of Vibhava, Anubhava and vyabhichari (Sanchari) bhavas and their subcategories Uddipana (stimulantand Aalambana (ancillaries).

Abhinavagupta comments on these concepts in the light of Shaiva Pratyabhijna philosophyand explains the process of One becoming many and returning to the state of repose (vishranthi)). He also brings in the elements of Abhivyakti (an expression that suggests release from ignorance, resulting in Camatkara); and Dhvani (aesthetic-suggestions) as expounded by Anandavardhana (820-890) in his Dhvanyaloka.

 [At places, Abhinavagupta uses the term Samvitti, in place of Rasa, as a synonym. He also uses the term Visranti to denote the state of aesthetic experience, which is a state of complete repose. These terms (Samvitti and vishranthi) are used in the Shaiva Pratyabhijna philosophy to represent Ananda, the absolute bliss. And, Abhivyakti is also a term of that branch of philosophy.]

For Abhinavagupta, soaked in sublime principles of Shaiva Siddantha, the aesthetic experience is Ananda, the unique bliss. He regards such aesthetic experience as different from any ordinary experience; and, as a subjective realization. It is Alukika (out of the ordinary world), he said, and is akin to mystic experience. That experience occurs in a flash as of a lightening; it is a Chamatkara, the state of blissful aesthetic experience. It is free from earthly limitations; and, is self luminous (svaprakasha). It is Ananda; a direct experience; a state of pure and undefiled joy. This Rasa-ananda, he says, is almost to be equivalent to the philosophic bliss (Brahma-ananda)

Abhinavagupta interpreted Rasa as a ‘stream of consciousness’ (Caitanya-Vahini) that is not restricted by time and place.

Sa ca rasana na pramanya vyaparo na kara kavya aparah svayam tu na apramanikah /

As regards poetic experience, according to Abhinavagupta, its Rasa is in understanding (rasana ca bodha-rupaiva) the essential inner meaning of Kavyatatkavyartho rasah. It is realized by the cultured reader with empathy (Sahrdaya) who has a clear perspective – Adhikari catra vimala pratibhana sahrdayah. He states that the poet’s experience is the seed of poetry; the poem he composes is the tree; and, the reader’s experience is the fruit of the tree

Tadevam mulam bijasthaniyat kavigatah rasah; Kavirhi samajikatulya eva tatah vrksa sthaniyam kavyam tatra puspadi-sthaniyo abhinayadinata-vyaparah; tatra phala-sthaniyah; samajika-rasa-asvadah tena rasa-maya-meva visvam.

According to Abhinavagupta, a real work of art, in addition to possessing emotive charge carries a strong sense of suggestion (Dhvani) and the potential to produce various meanings (Artha). It can communicate through suggestions and evoke layers of meanings and emotions.

A true aesthetic object, Abhinavagupta declares, not merely stimulates the senses but also ignites the imagination of the viewer. With that, the spectator is transported to a world of his own creation. That experience sets the individual free from the confines of place, time and ego (self); and elevates him to the level of universal experience.  It is liberating experience. Thus art is not mundane; it is Alaukika in its nature.

Abhinavagupta also talks about Sadharanikarana, the generalization. He points out that while enjoying the aesthetic experience, the mind of the spectator is liberated from the obstacles caused by the ego and other disturbances. Thus transported from the limited to the realm of the general and universal, we are capable of experiencing Nirvada, or blissfulness. In such aesthetic process, we are transported to a trans-personal level. This is a process of de-individual or universal – the Sadharanikarana.

*

 He then goes on to expand the scope and content of the Rasa spectrum by adding the ninth Rasa to the eight enumerated by Bharata: and, to establish the Shantha-rasa, the Rasa of tranquility and peace, as the most significant Rasa.

Abhinavagupta considered Shantha Rasa (peace, tranquillity) – where there is no duality of sorrow or happiness; or of hatred or envy; and, where there is equanimity towards all beings – as being not merely an additional Rasa; but, as the highest virtue of all Rasas. It is one attribute, he said, that permeates everything else; and, in to which everything moves back to reside (hridaya_vishranthi). 

na yatra dukha na sukha na dveo nāpi matsara sama sarveu bhūteu sa śānta prathito rasa

Following Abhinavagupta, the theory of Nine-Rasas, the Navarasa, became universally acceptable in all branches of Indian aesthetics. And, Shantha Rasa has come to be regarded as the Rasa of Rasas.

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The Eighth Chapter discusses the detailed description of the fourfold Abhinaya (Angika, Satvika, Vachika and Aaharya). These relate to physical representations through the use of various gestures and postures. That is followed by the descriptions of the expressions the movements of the head, glances, action with pupils, the eye-lids, the eyebrows, the nose and Nostrils, cheeks, lower-lip, neck; and through the colours of the face.

It also deals with two types of Angika-abhinaya. The first one analyses the movement of the principal and subsidiary limbs (Anga, Pratyanga and Upanga); and, the second deals with the combination of these primary movements such as Caris and Mandala. The topics in Chapter Eight are directly connected with the general discussions in the first five Chapters and therefore, the eighth Chapter could be considered as the continuation of the first five Chapters

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The commentaries on Chapter Nine to Twelve of the Natyashastra provide abundant details on the Angikabhinaya. But, Abhinavagupta does not offer any fresh or additional information on the subject; although his comments help us to visualize the required body movements.

In Chapter Nine, the Angikabhinaya, various expressions produced by the gestures and movements of the hands (Hastha) and the limbs are discussed. Here, he details 24 kinds of single-hand gestures (Asamyukta-hasta-bheda); 13 kinds of gestures devised by the combination of both the hands (Samyukta hasta bheda); and, 27 kinds of Nrtta-hasthas, gestures in pure Dance movements.

He explains the Abhinaya-hasthas (expressive gestures through hands) as the indicators of the inner thoughts and emotions. He says; while inner feelings, thoughts etc., are the causes (Vibhava), their manifestations through Abhinaya, the expressions through hand-gestures (Abhinaya-hasthas) is Anubhāva. The two together, in combination with the Sthayi-bhava (dominant mood or sentiment) produce Rasa.

As regards the movements of the arms (Bahu), Abhinavagupta says, with the numerous circular movements (vaichitrena bahu paryayayena) of the arms in different speeds, combined with various hand and wrist positions, can generate innumerable Hastha gestures:

Yetheshu karaneshu chatushra drutha Madhya vilambitadi vaichitrena bahu paryayayena cha samasthani yojina yada niyujyante tada patha vartanadi shatasaharenyvam ta brthani

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The tenth Chapter of the commentary deals with the actions and movements of actions related with chest, sides, belly, waist, thighs, shanks and feet. In all these descriptions, Abhinavagupta, generally, follows Bharata.

Here, while dealing with Angika-abhinaya related to the actions of the feet (Cari-vidhana), Abhinavagupta enumerates and defines thirty-two kinds of Caris, of which sixteen are termed Bhaumi (ground) and the other sixteen are called Akasiki (aerial).The Caris are considered as the most important single unit of movement in the Nrtta technique.

Further, as many as forty Sthanas or standing postures are discussed under six category of static postures along with their applications. They are: Vaisnava, Samapada, Vaisakha, Mandala, Alidha and Pratyalidha, which are used variously.

There are also the descriptions of four types of Nyayas   (Bharata, Sattvata, Varsaganya and Kaisika). These are the ways of regulating (niyante)  how the various  weapons are to be handled while staging a fight on the stage; and, how the actors move about on the stage using various Caris and Angaharas (combinations of Caris and Karanas)

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The Eleventh Chapter of Abhinavabharati interprets Mandala-vikalpanam, which are more complicated movements of the legs involving combinations of Caris. These Mandals are again classified into two categories:  Akasa-mandala (aerial, having ten varieties); and,   Bhu-mamandala (ground, having eight varieties).

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The Chapter Twelve of the commentary describes different types of gaits (Gati) to be adopted by various types of characters in different contexts and in different states (Bhavas). It mentions the different gaits for men, women, the stout, the intoxicated, the Jester etc. It also enumerates the Gatis or gaits suitable for Kings and superior characters as also for middling characters. The walking styles for women of various classes are also described.

Abhinavagupta quotes the ancient authority Kohala while discussing the Gatis; and suggests specific Taalas and Layas (beats and tempo) that are suitable for each type of character depending upon the context.

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Chapters Twenty-one and Twenty-two provide detailed descriptions of Aharya-bhinaya (use of costumes, stage properties and other external aids which are essential both to dance and drama); Samanyabhinaya and Chitrabhinaya (general and special histrionic expressions).

While dealing with Aharya-bhinaya, Abhinavagupta stresses the importance of Aharya among other Abhinayas. He details the different types of costumes of various characters of different classes; the various types of dresses which should be used in dramatic representation; the makeup of different characters ; and , the stage settings (Nepathya). He also mentions the details of the ornaments suitable for men and women; making up the face and other limbs with grease paints etc; the use of natural and subsidiary colours; appliance of false hair; wearing of masks etc. These details help us to understand the technicalities of stage presentation as practiced in the Eleventh century.

*

Then Abhinavagupta describes the physical, natural, involuntary graces in women, men; twelve forms of voice expression; eight varieties of heroines in love (Astavidha Nayikas); ten kinds of Kama-avasthas (states of being in love) ; the acting of various types of women in love ; and, the general exclusions on the stage

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At the beginning of twenty-fifth chapter of Abhinavagupta’s commentary, there is the explanation of Citra-abhinaya.

While the Samanya-abhinaya is the harmonious use of four kinds of Abhinayas; the Citra-abhinaya applies only to the special representation of various objects and ideas. The latter is employed for indicating morning, sunset etc. Seasons, birds, animals, demons, celestials, expression in soliloquies, aside etc. In addition, Abhinavagupta mentions the representation of some other objects and ideas like God Skanda, Goddess Sarasvati etc. according to the view of Kohala and others.

Abhinavagupta remarks; whether it is Samanya-abhinaya or Chitra-abhinaya, what is more important is the ardent practice (Shikshitum abhyasitam) and the state of mind of the performer (Chitt-vrtti pradanam).

Shikshitum abhyasitam va prayoktam drustam va, chitta-vrtti pradanam chedam natyamiti tadeva vakyum nyayam

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In Chapter Thirty-one, Abhinavagupta discusses Taala (time units); Laya (rhythm or tempo); the qualities of singer and instrumentalists; and delicate, graceful dance (Lasya)

According to him, Taala is the foundation of music and also of dance. He says the Taalas are of two types, Tryasra and Caturasra.  He explains three kinds of Laya (tempo) – Druta (slow), Madhya (medium) and Vilambita (fast).  He also explains Kala as the measure of time in the musical sphere. He interprets the Margas of rhythm which are of three kinds – Citra, Vrtti and Daksina.

Abhinavagupta interprets Lasya as a form of graceful dance. Lasya is the term that Abhinavagupta uses to indicate the Sukumara-prayoga of the Natyashastra. There, the Sukumara-prayoga meant a graceful dance with delicate movements (Angaharas). And, Sukumara-prayoga did not mean a feminine style of dancing, as was interpreted later. Such distinctions, as between masculine and feminine dances, were not made in the Natyashastra.

Abhinavagupta seemed to be following the contemporary usage of the term Lasya to mean a feminine style of dancing.

 He also used the term Masrana-Nrtta to indicate the softer type of dance (Lasya) aligned with Srngara, Karuna Rasas and so on. This, he described, as the feminine type of dance.

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Abhinavagupta’s commentary ends with chapter Thirty-seven. There is a narration (Guhya-tattva-kathana) of the mythical account of how King Nahusha encouraged Bharata to promulgate Natyaveda on the earth.  

This final Chapter praises the Anuttara-marga (or Anupaya-marga) as the highest and the best method (upaya) to attain liberation – tato pi paramam jnanam upayadi-vivarjitam…Anuttaram.

Bharata also concluded his work with the Benediction:

What more should I say? Let there be  peace and plenty  on this Earth ; and let it be free from famine and diseases, for all times. Let there be peace and prosperity among all beings and humans; and, let the Ruler protect thus the entire earth.

ki cānyat samprapūrā bhavatu vasumatī, naṣṭa-durbhika-rogā śāntir go brāhmaānā bhavatu , narapati pātu pthvī samagrām NS.37.31

Nātyaśāstram sampūram

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storehouse-consciousness

In the next part we shall move on to other texts dealing with Dance and its several aspects

 

Continued

In

Part Eleven

References and Sources

  1. Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr Mandakranta Bose
  2. Abhinavabharati – Chapter Three
  3. The Natyashastra
  4. Natyashastra and Rasa
  5. Abhinavagupta’s philosophy of Rasa
  6. Abhinavagupta 
  7. Abhinavabharati

ALL IMAGES ARE FROM INTERNET

 

 

 
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The texts of the Indian Dance traditions – Part Nine

Continued from Part Eight

Lakshana Granthas – continued

2. Tamil Traditions

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The ancient Tamil classics , such as  Silappadikaram (dated around the second century) attributed to Prince Ilango Adigal; and the Manimekalai  composed by the Poet Chithalai Chathanar (around the fifth century) have abundant references to Dance. The Silappadikaram also refers to another text on Dance: Jayantam, which prescribed the rules for the dance. These were said to be part of the Tamil Art traditions, the Muthamizh.

There are two existing commentaries on Silappadikaram; one of which is ancient – the Arumpadavuri; and the other is from the fifteenth century by Adiyarkunallar.

The Silappadikaram mentions many technical terms related to Dance. Some of those terms are similar to the ones that figure in the Natyashastra; such as: Natya, Ranga (Arangam, Aadukalam), Pindi, Karana and Mandala (Mandila) etc. There are also many Tamil technical terms; such as: elir kai, tolir kai, arangu, izzippu and such others.

And many concepts and techniques of the Natyashastra are adopted into the Tamil texts. For instance; Nilai, meaning stance, are the six Sthanas as in the Natyashastra; and, Padam the feet variations and the sixteen Angakriyas are also the same.

In its Third Chapter Arangetrakadai, the Silappadikaram mentions how a dancer should have mastery in ‘Pindiyum Pinayalum Ezhirkaiyum Tozhirkaiyum’. Dr. Padma Subrahmanyam explains how these are related to the terms in Bharata’s Natyashastra: ‘Pindi’ denotes group dance; ‘Pinayal’ means chain-formation, i.e., the dance where dancers form links; ‘Ezhir kai’ meant Nrtta hastas; and, ‘Tozhir kai’ meant Abhinaya hasta.

The scholars regard Silappadikaram as a Lakshya- Grantha, a text for practice of dance, based on Natyashastra, a Lakshana Grantha, a text which provides theoretical principles.

[ Shri V R Ramachandra Dikshitar in his Silappadikaram (Humpry Milford , Oxford University Press, 1939) mentions on page 65: the general descriptions of Dancing and Music, and the dance of Madhavi , in particular, before the Cola king; and the very names Madavi, Cirapati and Madari , lead us to infer that the author is influenced by Aryan ideas. ]

Silappadikaram refers to the contemporary streams of classical and folk dances. The Dance was known as Aadal or Arangetru Kadai; but more popularly as Kuttu. The folk dances were known as Archiyar Kuravai-kuttu. And Music was: Kadaladu Kadai, Konalvari and Venir Kadai. The folk- Kuttu tradition flourished under the patronage of temples. And, even today the Teukuttu dance troupes perform mythological dance dramas during festivals.

The text also explains the classification of two distinct dance types, prevalent in that era, the Aham (Ahakuttu) and Puram (Purakuttu).

Under the Ahakuttu, twin concepts are explained; such as, Aryam and Tamil; and Lyalpu and Desi.

Further Santi Kuttu, representing classical form of dance was divided into four types, namely Chokkam; Mey kuttu; Avinaya kuttu and Natakam. Of these, the Chokkam or Suddha Nrttam (pure dance, Nrtta) was having the 108 Karanas.

The other was Vinoda Kuttu or Metu Kuttu (also called Ahamargam) for entertain­ment, depicting love themes. It was of three kinds, viz., Desi, Vadagu and Singalam.

It again had three divisions – Sama Kuttu, Vanmai Kuttu (Tandava) and Menmai Kuttu (Lasya).

Under the other category, Purakuttu, three modes of dances were mentioned as: Perunatai, Charyay, and Bhramari.

*

As regards the Dancers, apart from the Devadasis-the temple dancers – the Silappadikaram mentions other classes of female dancers. It appears during the time of the Silappadikaram a three-fold classification of female dancers existed as: ganikas, kuttis and adal siladi – corresponding to the later classification tahyilar, patiyilar and devaradiyal.

The text, in that connection, names these other classes of dancers as: kaval ganika (women guards); kalattiladum kutti (dancers in the military camp); adal kuttis (dancers who performed ahakkuttu or srngara dances like padams), and so on.

Women musicians and dancers were known in the Tamil country from the Sangam Age. The daughter of the Chola King, Karikal Chola, Adi Mandi was an acclaimed dancer. She danced with bells around her waist to the sweet sound of the golden symbols, a kind of musical instrument. The Sangam literature refers to Panar and Viraliyar, the musicians and dancers. Both formed into a troupe and travelled together to perform in front of patrons.  They played on the Yal (a kind of lute); Maddala, Kudamula (drums); and, on the Amantirikai i.e., Edakkai, all of which blended in unison beautifully.

In one of the verses in Ahananuru, the dance of the girl Virali is compared to the movement of the peacock with spread out plumes.

peacock2

Madhavi, the most beautiful accomplished dancer by profession (Parathiyar), described as Vanavamakal (divine woman), is one of the three leading ladies in the Silappadikaram.

It is said; Madhavi’s training began when she was a young girl of just five years; and, it lasted rigorously for seven years

From the early age of five, for seven years, Madhavi had been put through a course of rigorous training. Every single day her teachers would arrive in Morning and evening; and, she sang scales and practiced dance movements. More masters came. She learnt to accompany herself on the Yal. She learnt the fine points of the flute and drum. Later still, came the composers, insisting that she should bring out all possible shades of meaning from every song she sang or danced to. And, till the day of her first performance she kept practicing, rehearsing strenuously and planning out every detail.

**

Madhavi was described in the ‘Ararigetru kaathai’ Chapter of Silappadikaram, as a woman (matantai), having broad shoulders (perun tol) and curly hair (puri kuzhal) adorned with pollen (taatu avizh) of flowers. Madhavi studied dancing (aatal), paatal (singing) and the art of enhancing beauty (azhaku). She was capable of singing without even one (onru) defect (kurai) in three (muunru) modes (kuur) ; and, was an authority (pataam) in her field. She studied these skills with great effort (iyatti) for seven years (eezh aantu). After twelve (eer aaru) years (antu), she wished to show (kaattal) her performance before the king (mannar) of Pukar, who has the surrounding (chuul) sea (katal) as the boundary of his kingdom.

arangetram55

And Madhavi’s Arangetram (Talai Arangerai) took place in the presence of the Chola King Karikala Peruvalathin, in his Royal court, located in the famous city of Kaveri poom-pattinam.

[Shri T. S Parthasarathy, in his article Bharathanatyam in History, writes: Arangetram was called Talai Arangeral. As soon as the dancer got on to the stage two songs were sung and they were called daiva-padal or prayer. After this, all the instruments on the stage were played together; and, this was called as Antarak-kottu. The dance started after this; and, the girl first danced desi-koothu. This would start with Matta-talam and end with Eka-talam. The next item was Margam for which a Prabandham was sung in the Pancha-talam]

arangetram3

The Chapter Arangerrukadai (on page 97)  opens with a description of Madhavi and then her troupe, consisting of a very learned Natyacharya or Nattuvan (Adal Asiriyan), a Sangitacharya or musician (Isai Asiriyan), the player on the drum (Tannumai Asiriyan), and an accompanying orchestra of a flutist and a lute-player (Kuzhalon and Yal Asiriyan). 

The Chapter on dance, Arangerrukadai, elucidates, in great detail, the proficiency of the dance teacher and his skill as a choreographer and musician, and tie principles of stage management.

This chapter also gives a detailed account of the rules and principles pertaining to the dance music i.e. vocal as well as instrumental dance musical accompaniments. The importance of the proper instrumentation i.e., tuning and playing of different instruments such as Yal, flute and drum and the manner in which the combination of these instruments should exist and be executed which ultimately facilitate in heightening the aesthetic pleasure of the dance have been mentioned in elaborate measure.

In addition to this, Silappadikaram states the qualifications of a good dance teacher, known as ‘Adal asiriyan’, vocalist and other members of the orchestral troupe.

As regards the dance teacher, it mentions that the adal asiriyan should be proficient not only in the eleven types of dances, but also should be well versed in its music ; and, must have thorough knowledge in the allied arts such as music, literature and should be capable of playing on different musical instruments too.

It is said; the Dance-Master knew the characteristics of the two Schools of Dancing  art (Kuttu) – Desi and Marga. He could effectively combine the different dancing poses with the Vilakku song, such as Venduvilakka, Pataivilakku ,Urvilakku and others. He had the clear knowledge of the eleven modes of body-movements and limb-movements (Aadal) ; of the songs (Pattu) ; of resounding instruments (Kottu) ; as also of the dance (Adal) of gestures (Padal) ; of the measured beats (Pani); and, of the time-beats (Takku). 

He knew when only one hand had to be used for gestures (Pindi) ; and , when both the hands had to be used (Pinaiyal). He knew when the hands had to be used for indicating action (Tolirkai) ; and, for expressing graceful movements (Elirkai). In the movements of the feet , he did not mix up the Kuravai-kuttu  with Vari-kuttu. He was such an expert Dance-Master.

Madhavi’s Music teacher who played , in the like manner, was an adept in his field of art; and in playing on the four varieties of Yal (string instruments – Periyal, Makarayal, Sakotayal and  Sengottiyal , of 21, 19, 14 and 7 strings , respectively);  and on   Kulul (flute). He was also well versed in the techniques of keeping time-units (Taalam) and in the production of soft notes on the MrdangamHe could  harmoniously synchronize all those sounds with the Vari and the dancing (Aadal). He had the flawless knowledge of Desikam music. 

As regards the composer of songs, he was very well learned in Tamil language. He was an acknowledged expert in Dramaturgy; and, was well versed in the two branches of dramatic compositions – Vettiyal  (relating to Aham) and Poduviyal (relating to Puram). 

The Mrdangam player knew very well how to accompany various modes of rendering of speech, songs and different situations . In maintaining the appropriate Taalam , he knew how to combine beats of varied speeds ; and, to melodiously merge with the notes of the lute, flute as also with the evenly drawn out notes of the vocal rendering. With dexterity, he could, whenever necessary, subdue the sound of his playing , so that other instruments and the singing could be properly heard.  

The flute-player was a master in the traditional rules of his art.  He knew the combinations  of  the Cittira-punarappu (hard consonants in rendering a song)  and the Vanjanaipunarappu  (soft consonants in singing) , whereby harsh syllables could be rendered soft and sweet. He knew four types of Vartanam (finger-skills) . And, with his knowledge of the Palai music (Kural and Ili) , he adjusted the sound of the flute with the sounds of the Mulavu  and to the beats of the Mrdangam . At the same time, he followed the notes voiced by the singer ; and, elaborated upon it. 

Then there was the player on the lute of fourteen strings  (Sakotayai) . In order to play the seven Palai notes, he would tune the strings of the lute , such as the Taram and the Kural; and, bring them to the central part of the lute; and then tune the Kaikkilai  part of the instrument. Similarly, he would tune the two other softer strings of the instruments on the Kural side;  bring them also to the central part of the lute; and, tune the Vilari part of the instrument. 

Thereafter , starting with the Ulai, the most slender string , and proceeding up to the Kaikkilai,  he would play on all the fourteen strings producing Samapalai notes, in a definite order. 

talaikol2

After describing the qualities of these accompaniments, the poem describes the stage on which Madhavi gave her performance.

The debut of Madhavi is said to have commenced by rendering the innovatory songs called the ‘Varam’ or ‘Tevara padal’ collectively sung by a group of songsters including the old dancers.

After the rendering of the Antarakkottu involving  two kinds of Varams, the  four parts of the auspicious Palaippan was sung with precision ; beginning with three Mandilams  and ending with a Ottu (eka-talam).

Madhavi, of long, black-flower-like eyes, adorned with rich ornaments, performed Cittira Karanam (perhaps similar to the Purvaranga or invocation, as mentioned in Natyashastra).

She performed , as explained by  Sri Santanam Swaminathan , as many as eleven types of Kuttus or dances (Mandalas – combination of 8-10 Caris), in all the tempos, in accordance with the dancing conventions; and thus, completing Antarakottu.

    1. Alliam: This is a dance about Lord Krishna’s victory over the mad elephant.
    2. Kodukotti : This is the dance Lord Shiva performed after burning the triple cities of Asuras/demons
    3. Kudai: This is about Lord Skanda’s victory over the demons
    4. Kudam : Kannan performed this after winning the release of his grandson Anirudh from the prison of Banasura.
    5. Pandarangam:  Brahma was entertained by Shiva with  this dance after Shiva’s win over the Triple Cities of demons.
    6. Mal: This describes the wrestling contest between Bana and Lord Krishna
    7. Thudi : This is Skanda’s dance after defeating the demon Suran
    8. Kadayam : This is the dance performed by Indrani at the north gate of palace of Banasura.
    9. Pedu : Manmathan’s dance dressed as a eunuch to secure the release of his son Anirudh.
    10. Marakkal: When demons sent poisonous creatures like snakes and scorpions against Goddess Durga she danced with stints (Stick dance). This is known as Marakkal literally “wooden legs”.
    11. Pavai :  Goddess Lakshmi’s dance against the warring demons.

And, then she demonstrated all the four parts of the auspicious Palai song, displayed in the Desi dance. She began with the Mandalam having three beats; and ended with ‘Eka talam‘ having one beat. In the same manner, she danced the Vaduhu dance. Madhavi, in her performance, effortlessly followed the prescriptions of the Dance-scriptures.

Her performance revealed that she knew (purintu) all the divisions (vakut) of Nrtta and Nrtya (naattiya nannuul); and, the authentic text on dancing (Natyashastra).

It is believed; unlike the present day practice, where the dancer enacts different characters by wearing same costume (Ekaharya), Madhavi is said to have adorned different costumes, suggestive of the character portrayed by her in all the eleven dances.

The fawn eyed Madhavi, strikingly beautiful with perfect features, lit with vivacity and laughter, in her quick movements dazzled like a golden creeper (pon iyal) throbbing with vitality, adorned with flowers (puun koti).

The king (ventan) awarded her with a garland of leaves and flowers (ilai puun kotai), in accordance with (vazham ait) the established custom (iyalp-p-inil).  He also rewarded her with one thousand and eight (aayirattu en) Kazhanchu (pieces of pure Gold) as per the tradition (viti murai). She was awarded the title of  Talaik-koli, in recognition of her skill and her achievement. She was also presented with the sacred-staff Talai-kol, a traditional gift given to first-time-performers (talai-arangu-eri).

Talaikol3

[As regards Talai-kol, it was a sort of staff wielded by the dance-master to regulate the dance. It was conceived as a symbol of Indra’s son.  It was crafted out of the handle (kaampu) of a white umbrella (ven kutai) that belonged to noble person (per icai) or a king (mannar) or a great sage (periyar).

Its middle (itai nilam) was decorated with the best Navalam; covered with plates of purest jambunada gold (polam} ; and, adorned with  nine kinds of gems (nava Mani), studded (ozhukki) in its joints (kan itai), forming a beautiful pattern. It had an emblem of Jayanta (cayantan}, the son (ciruvan) of Indra (Intira). The finished rod was offered worship (vantanai) in the palace (koyil) of the Chola king (mannavan), who sits under a white Umbrella (ven kutai).

Talaikol

On an auspicious day (nalam taru naal),  Madhavi washed (manni) the rod (kol) with holy waters of the Cauvery (punniya nan neer) in a golden pot (por kutam) and adorned (anintu) it with a garland (malai) . It was then publicly (paracinar) placed on the head (tatakkai) of the sixty year old royal-elephant (aracu-uvaa), along with a beautiful (puun) golden (polam) vessel (otai) containing sandal (Cantaam) and other auspicious things.]

ramya

[ After winning the very prestigious award and gaining widespread fame, Madhavi’s life takes a bizarre turn:

The large lotus-eyed Madhavi  gave  the garland , which was  presented to her by the king, to her  hunch- backed maid, instructing  her to stand out in the street where the rich citizens of the city moved about; and, to announce that  ‘this garland is worth a sum of 1008 kalanjus of very excellent gold (jambunada) . He who buys this garland becomes the husband of our  Lady, glowing like a lustrous golden creeper  ’.

The garland was purchased by Kovalan, a wealthy merchant hailing from the city of Kaveripattinam. And, thereafter, accompanied by the hunchback, he entered Madhavi’s bridal chamber; and, was so much captivated by her charms as he forgot himself and took an oath that he would never ever be away from this divine looking damsel. In sooth, he forgot his own unsullied home and wife, Kannagi.

The Love struck Kovalan married Madhavi; and, the couple thereafter lived happily for about three or more years. A lovely looking daughter Manimekhalai was born to them. During the intervening period many weird and disturbing incidents take place; following which, Kovalan, in a huff, walks away from Madhavi and returns forever to his earlier wife Kannagi.

Thereafter, Madhavi gifts away her wealth and other possessions; renounces the worldly life; and, enters into the Buddhist Sangha as a nun.

Madhavi with Kovalan

In another epic Manimekhalai, of the later Sangam age , composed by the Buddhist poet Seethalai Sattanar or Chithalai Satthanar (2nd Century CE), the lovely daughter of Madhavi and Kovalan – Manimekhalai – is the principal character. Like her mother, Manimekhalai is also an accomplished dancer and a courtesan. Later, upon hearing doctrinal expositions from the Buddhist teacher Bhikshu Aravana Adigal, she  enters the Sangha and becomes a  Bhikshuni or Buddhist nun; and, dedicates the rest of her life to Dharma.

[ please also read : Manimekalai the Dancer with Magic Bowl – The Second Century Tamil Epic Legend  by Arputharani Sengupta.]

The most beautiful, golden-hearted Manimekalai, causes to build a delightful garden  in the graceful city of Kanchi, in honour of the Buddha; places the Amuda Surabhi at  the lotus seat of the Buddha ; and,  welcomes all living beings, including the lonely, the neglected, the hungry, the defeated, and the maimed to gather and partake food offered by her and bless her.

Even though Manimekalai was a Buddhist, she went to Jain monks at Vengi, the Chera capital; and, learnt about the Jain concepts of morality (Manimekalai 27:167-201).

It is said; Manimekhalai ardently practiced the Buddha’s teachings and attained the highest stage of Buddhist spiritual attainment, an Arhant.

Manimekhalai

References and Sources

  1. http://shodhganga.inflibnet.ac.in/bitstream/10603/71949/8/08_chapter%203.pdf
  2. https://joss.tcnj.edu/wp-content/uploads/sites/176/2017/04/2017Ruhl.pdf
  3. https://www.scribd.com/document/234378951/Arangetram-History
  4. http://shodhganga.inflibnet.ac.in/bitstream/10603/71949/8/08_chapter%203.pdf
  5. http://www.yabaluri.org/Web%20(1978%20%-202008)/theatrearchitectureinancientindiaoct98.htm

agni purana

3.Agni Purana

Agni Purana is one of the eighteen Puranas. It usually figures eighth in the list of eighteen. It is a medieval Purana that was, perhaps, compiled in stages during the Seventh and the Eleventh centuries. It is a voluminous work having as many as about 15, 000 or more verses , spread over 382 or 385 Chapters.

In its nature and content, the Agni Purana is a sort of an encyclopedia that covers ‘anything and everything’. It deals with wide-ranging subjects, such as: geography; cultural history; politics; education system; iconography; taxation theories; organization of army; theories on proper causes for war; diplomacy; local laws; building public projects; water distribution methods; trees and plants; medicine, Vastu Shastra (architecture); gemology; language; grammar; poetry; Alamkara, Chhandas; Rasa ; Riti; Yoga; food,; rituals and numerous other topics.

Just to gain a familiarity with the coverage of the Agni Purana, please click on HERE and on HERE.  

The initial Chapters of the Agni Purana describe about various incarnations of Lord, including Rama and Krishna. Other chapters describe about religious rituals especially those related to the worship of Lord Shiva. Many chapters have description about the earth, stars and constellations as well as the duties of the kings. The Agni Purana, generally,  is full of rituals

All this leads to the fact the Agni Purana was composed at a much later period , attempting to bring together , in a summary form, the stories, the rituals, and the details of various subjects that were described in the earlier Epics and the Puranas.

Therefore, none of the material in the Agni Purana is new or original. Its aim, perhaps, was to supplement the branches of traditional knowledge contained in the earlier texts; and, to collect and to preserve the core-topics of the important subjects, which were of current interest during the period of its compilation.

Thus, the Agni Purana, by its very nature is a summary. Therefore, its chapters are generally not long, they are very brief. And even when the stories, rituals and other information are given, they are in greatly summarized form.

Following that type of presentation, the Agni Purana, in its Chapters 340 and 34i , gives some information about Dance, particularly relating to Anga-karma Abhinaya (actions, gestures and movements) , largely taken from the ancient Nrttasutra and the Natyashastra.

[Please click HERE for the text of the Agni Purana; and, refer to the portion commencing with the title Ntyādāv-aga-karma-nirūpaa; and, here for  Abhinayādi-nirūpaa ]

In Chapter 340 (Aga-karma-nirūpaa) , the Agni Purana mentions the actions of the Angas and Pratyangas; thirteen actions of head (Shirobedha); which are the same as given In the Natyashastra.

Thirty-six movements of eyes (Dṛṣṭī-lakaam) are mentioned, among which, eight are the Rasa-drstis, related to the expressions of the various emotions and sentiments.

The Purana refers to nine actions of the eyeballs (Tara) (as compared to eight by the Natyashastra); but mentions by name only the twoBhramari and Calana.

Agni Purana mentions just four types of actions of the eyebrows (Bhru) – (Patana, Bhrukutimukha, Sthayi and Sanchari). However, the last two were not included among the seven types of eyebrow movements enumerated in the Natyashastra.

Agni Purana refers to six different actions of the nose (Nasika), without enumerating them by name. The Purana refers to nine actions of respiration (Nisvasa) . But, these were not mentioned In the Natyashastra.

The Purana refers to six actions of the lower lips (Adhara);  seven actions of the chin (Cibuca); six actions of the face (Mukha); and, nine actions of the neck (Griva) ; without , however ,  naming them .

The Agni Purana also refers to there are various actions of the hands (Hasthas) – single and combined (Asamykuta and Samyukta). It mentions the twenty-four Asamyukta-hasthas in the same order, with slight variation, as mentioned in the Natyashastra. As regards the Samyukta-hasthas, they are twelve in number (not thirteen as in Natyashastra). The Pushpaputa is omitted here.

[Similarly, the other Puranas, such as , the Vishnu Purana, the Bhagavata Purana and the Harivamsha  provide some general information of the Hastas.]

The Purana also refers to five actions of the chest (Urah) ;  five actions of the sides (Parsva) ; and, to  five actions of the thighs (Uru) . But, these are neither specifically named nor discussed.

Agni Purana names the three actions of the belly (Udara) as: Duratiksama, Khanda and Purna. The first one is mentioned in the Natyashastra, merely, as Ksama.

The movements of the feet (Pada-bedha) are mentioned as being various;  but without  mentioning  their specific numbers.

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Thus, the Nrtyadi-ranga-karma, information about the bodily actions in Dance, is very brief. And, in certain cases, it slightly differs from the Natyashastra. Obviously, the Agni Purana obtained its information about Dance from another source also; perhaps from Nrtta-sutra, which is no longer extant.

*

The Agni Purana , in its Chapter 341, describes the importance of the four types of Abhinayas ; and , remarks that the four factors viz., Sattva, Vac, Anga and Aharya  play a dominant role in bringing out the best that exists in a dramatic composition and In the heart of  the dramatic personae.

Ābhimukhyan nayann arthān vijñeyo a’bhinayo budhai / caturdhā sambhava sattva vāg agā ahara rāśraya //AP_341.001//

stambhādi sāttviko vāgārambho vācika āgika / śarīrārambha āhāryo buddhyārambhapravttaya // AP_341.002//

Skanda

References and Sources

  1. http://shodhganga.inflibnet.ac.in/bitstream/10603/164285/8/07_chapter%202.pdf
  2. https://www.kamakoti.org/kamakoti/agni/bookindex.php
  3. http://www.bharatadesam.com/spiritual/agni_purana.php
  4. http://www.aa.tufs.ac.jp/~tjun/data/gicas/ap3_tr_frame.html

 

natya

 

  1. Vishnudharmottara

The Visnudharmottara Purana  (Ca. fifth or sixth century) is a   text that is Encyclopedic in its nature.  Apart from painting, image-making, Dancing and dramaturgy, it also deals with varied subjects such as astronomy, astrology, politics, war strategies, treatment of diseases etc.

The author asserts that the Vishnudharmottara  is but a compilation; and, is an attempt to preserve the knowledge that was hidden in older sources. Sadly, all those older texts are lost to us. Vishnudharmottara is thus the earliest exhaustive treatise available to us on the theory and practice of temple construction, painting,  Dancing and image making in ancient India.

The text, which is divided into three khandas (parts), has in all 570  Adhyayas  (chapters).  It deals with dance, in its third segment – chapters Twenty to Thirty-four.

The author follows the Natyashastra in describing the abstract dance form, Nrtta; and, in defining its function as one of beautifying a dramatic presentation. There are, however, slight variations in the enumeration of the Karanas, Angaharas and Hastas.

The focus of the text is on Nrtta, defining its vital elements such as Karanas, Cari etc., required in dancing. In addition, the author briefly touches upon the Pindibandhas or group dances mentioned by Bharata; and, goes on to describe VrttiPravrtti and Siddhi; that is – the style, the means of application and the nature of competence.

swans

As regards its  structure and the contents of the Parts dealing with Dance:

:- In Chapter Twenty (the first chapter of the section), the author follows the Natyashastra in describing the abstract dance form, Nrtta; and, in defining its function as one of factors beautifying a dramatic presentation.

The Chapter Twenty deals with the appropriate places for the performance of Nrtta. It also discusses the aspects of the stage and the presentation of the preliminaries. The discussion includes the characteristics of actors; the four different types of Abhinayas, namely – Angika, VacikaSattvika and Aharya; and the names of all the complicated movements necessary for the composition of a dance sequence. In addition, the author briefly touches upon the Pindibandhas or group dances mentioned by Bharata; and goes on to describe  Vrtti,  Pravrtti and Siddhi, ; that is – the style, the means of application and the nature of competence.

:- The Twenty-first Chapter discusses Sthanas or postures while lying down (Shayana);,while the Twenty-second deals with the Sthanas to be assumed by persons of  different status , while sitting. The focus of these two chapters seems to be on dramatic presentation.

:- The twenty-third chapter is devoted to postures meant for both men and women.

:- The Twenty-fourth Chapter lists the movements of the major limbs, the Angas, along with the meaning attached to each of those movements. The major limbs, according to this text, are the head, the neck, the chest, the sides, the waist, the thighs, the shanks and the feet. In conclusion, the Chapter defines the Cari and the Karana, the two vital and complicated movements required in Dancing.

:- In the Twenty-fifth Chapter, the movements of the Upangas or minor limbs are discussed, including the glances of the eyes (Dristi bedha) that express the   Sthayi and Vyabhicari- bhavas; the movements of the pupils; the eyebrows; the nose (nostrils), chin and lips, as well as the application of these movements.

:- The Twenty-sixth chapter describes three types of hand-gestures (Hasthas), those made with one hand (Asamyukta), those made with both (Samyukta) – along with the meanings they can convey – and hand-gestures meant for dancing (Abhinaya), which convey no meaning (Nrtta-hastha).

:- The twenty-seventh chapter is devoted to the explanation of different kinds of Abhinaya and the costumes and decorations (Aharya) necessary for a performance.

:- The twenty-eighth chapter deals with Samanya-abhinaya, giving general directions for expressing different moods and responses to seeing, touching and smelling objects. Although the author designates this chapter as a discussion of Samanya-abhinaya, he includes Citra-abhinaya, that is, special presentations. In fact, this Chapter is a conflation of the contents of Chapters twenty-two and twenty-five of the Natyashastra; and, contains extensive quotations from it.

:- The Twenty-ninth chapter describes the Gatis, that is, gaits; while the Thirtieth discusses the nine Rasas; and the Thirty-first Chapter discusses  the Bhavas.

A new feature of the treatment of body movements that is added to the discussion of body movements appears in the Thirty-second Chapter, which deals with what is termed Rahasya-mudras, that is, hand-gestures meant for mystical and ritualistic purposes.

:- Continuing the discussion in the Thirty-third Chapter, the author lists more Mudras all meant for religious purposes, and calls them Mudra-hastas, and associates them with hymns to the gods and goddesses.

:- The Thirty-fourth and the final Chapter on dancing is devoted to the legend of the origin of dancing. Since the work is devoted to the worship of Vishnu, it is not surprising that its author should view Vishnu as the originator of the art of dancing.

vishnu

The Vishnudharmottara is Vasihnava text, affiliated to the Pancharatra Agama, which is associated with the Vyuha doctrine. Here, Adi-Vishnu or Para–Vasudeva represents the Pancharatra ideology of the transcendental form (Para) of Vishnu the Supreme principle abiding in the highest realm Paramapada. Vishnu the Absolute, the Brahman, out of loving- compassion, voluntary assumed bodily forms so that the devotees may gain access to his subtle form.

According to Vishnudharmottara, it was Lord Vishnu who created the sublime Art of Dancing, which represents the three levels of existence in all the three worlds (Trai-lokasya-anukaranam).

vishnu dancingHari Hara Bapu

The Nrtta created by Vishnu was composed of Angaharas and Karanas. The text considers Nrtta as the pure, absolute form of Dance; Natya as the depiction of the ways of the world (jagato-anukriya); and Nrtya as the factor that lends beauty to Natya- (VDP. 3.20.1)

The text declares that Dancing in the presence of the Lord is the true worship; it is the adoration of the divinity with one’s body, mind and soul. And, performing Dance as a spiritual discipline (Sadhana) is superior to offering flowers (pushpam, naivedyam) etc. It leads the way to liberation. Thus, the Art of Dancing, Nrtta, is regarded as Mangalya, auspicious and sacred devotional submission to Lord Vishnu.(VDP. 3.34 – 25,26,27 )

dancing in temple

The Vishnudharmottara emphasizes the inter relation, or rather the inter-dependence between the various art forms.  Sage Markandeya instructs : One who does not know the laws of painting (Chitra) can never understand the laws of image-making (Shilpa); and, it is difficult to understand the laws of painting (Chitra) without any knowledge of the technique of dancing (Nrtya); and, that, in turn, is difficult to understand without a thorough knowledge of the laws of instrumental music (vadya); But, the laws of instrumental music cannot be learnt without a deep knowledge of the art of vocal music (gana).

Whatever is prescribed for Nrtta is equally applicable to Chitra as both imitate the rhythm or Chhandas or the subtle aspect of the phenomenal world. Movements of eyes, lips and limbs, depiction of Bhava and Rasa (sentiments) and the various Mudra-s (postures), prescribed .for Dance are also followed in Chitra ; and, the same principles govern the practice of these two sets of Fine Arts, one performing and the other synthetic.

The main difference between the Dance and painting is that the former has Tala or Laya; because, it is related to Kaala (Time). And, the latter has Rupa (form) and Mana-Pramana (measures and proportions) ; because, it is related to Dik (Space) .

And between Dance and sculpture, , the human form is the instrument of expression; and, everything in the figure, the face, the hands, the posture of the limbs, the pose and turn of the body, each accessory has to be imbued with an inner meaning.  It manifests, on the  one hand, the basic idea;  and, on the other, suppresses anything which would mean an emphasis on the merely physical or sensuous.

lasya

The dance-posture gives each sculpture a rhythm which is its soul or spirit. Because of the fact that the rhythm arising out of dance-postures instils life into its form, the stone-mass seems to breathe and pulsate like a living organism. Dance (Nrtta) endows life to sculpture (Shilpa).  

Hence, the Sage Markandeya declared Nrtta and Chitra, to be art-forms par excellence  : ta eva chitre vijneya nrittam chitram param matam

Yatha nritte , tatha chitre  trailokya-anukritis smrita / drishtayas cha tatha bhava angopangani sarvasah / karas cha ye maya nritte purvokta nripasattama / ta eva chitre vijneya nrittam chitram param matam // 3.35.5-7//

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Angikabhinaya

As said earlier; the Vishnudharmottara generally follows the descriptions and technical details as given in the Natyashastra; but, with slight variations. For instance; it describes Tandava as a form of dance that is characterized by intense excitement and ferocious mood; and, it is to be performed by males. And, it describes Lasya as show of amorous expressions and graceful movements of limbs; and, it is performed by women. There also some other minor variations in the enumeration of movements of certain Angas, Pratyanga and Upangas.

It devotes more space to Nrtta and Angikabhinaya. It mentions that the ideal Nrtta is full of Rasa and Bhava. It follows Tala (rhythm), Kavya-rasa (meaning) and Gita (song and lyrics). It gives happiness; and increases the Dharma.

Rasena Bhavena samanvitan ca talanugam kavya rasanugam ca/ gitanugam Nrtta mukati dha Sukhapradam dharma vivardhanam (VDP. 3.20.1)

The Vishnudharmottara devotes three Chapters (24, 25 and 26) of its Third Khanda to discuss, in detail, the various aspects of the Angikabhinaya, which portrays actions; and, also reflects emotions through movement of the various parts of the body.

The Chapter Twenty four enumerates the movements of the major limbs, the Angas, along with the uses of each of those movements. The Chapter defines the Cari and the Karana, the two vital and complicated movements required in Dancing.

In the Twenty-fifth Chapter, the movements of the Upangas or minor limbs are discussed, including the glances of the eyes (Dristi bedha) that express the   Sthayi and Vyabhicari- bhavas; the movements of the pupils; the eyebrows; the nose (nostrils), chin and lips, as well as the application of these movements.

The Chapter Twenty-six  on the Hasthas (Hastha-adyaya) gives the descriptions of the three types of the arrangement of the Hasthas (Asamyukta, Samyukta and Nrtta-hastas)

As regards the Nrtta-hastas, The Vishnudharmottara emphasised that all the Nrtta hastas should be delicate, beautiful and charming. The main characteristic of Nrtya is Lalitya, delicately graceful.

The sage Markandeya remarks: The learned should make graceful movements of the Nrtta-hasthas; because, it is the grace and beauty that differentiates Nrtta from other movements (VDP. 3.26.95).

Karya lalita sancara nrttahasta para vidhau / lalityameva viterya pratibhodanam (3.26.95)

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Pindibandha

There is also a brief description of the Pindi or Pindibandha performed by groups of dancers; which is the technique of group formations, and, weaving patterns. Pindi is described in the Vishnudharmottara as having the shape of the symbol of a particular deity. In the Natyashastra, Bharata mentions several such Pindis; and, says that the Pindis of the presiding gods and goddesses will be marked with their own banners. Thus, the Īśvara piṇḍī  is for Īśvara; Sihavāhinī for Caṇḍikā; Śikhī piṇḍī for Kumar and so on.

dance costume

Aharya

The whole of  27th Chapter is devoted to Aharyabhinaya, which deals with costume, ornaments, makeup , stage props etc. The Aharya has to be particularly suited to each type of character; and, has also to be relevant to the situation. The appropriate Aharya for each character is essential for bringing out the dramatic effect; and, often, the entire production depends on it.

The Aharyabhinaya is said to be of four kinds: Pusta; Alamkara; Angarachana; and, Sanjiva.

The Pusta refers to imitative forms made of clay, wood, cloth, leather or metal. These are the masks (Pratisirsani) of gods, demons, Yakshas, elephants, horses and birds, made by use of the Pusta techniques. Pusta might also refer to the background or the props.

The Alamkara is adornment or decoration by means of costumes, garlands and ornaments etc.

The Angarachana (lit. Painting of limbs) is makeup by application of creams, colours, paints etc on the person of the actor.

And, Sanjiva is the use of living creatures, animals and birds.

For the Angarachana, the Vishnudharmottara mentions the rules that should be followed for gods, other beings and humans.  These have to be in accordance with the types of masks (Pratikira) and head gears or crests (Makuta or Kirita), beards, moustaches etc., of those characters.  

Three kinds of costumes are mentioned:  White, Variegated and according to male or female characters, as per the common practice.

The actors should wear the masks of various animals, and, similarly the symbols of various gods carrying their weapons should be represented by masks.

Bharata says that such different modes of dress, makeup and ornamentation should help the actors and actresses to enact their roles in a more credible manner, to bring out the right sentiment of the scene.

As regards colors with which the actors or dancers are to be painted, the Vishnudharmottara mentions five basic colors: white, red, yellow, black and green (blue?). It then enumerates five kinds of white and twelve kinds of black colors. And, by mixing one, two or three colors, with imagination, innumerable skin colors could be derived (VDP.3.27.8-9). It says, when the beauty of the limbs is increased with these colors, the presentation becomes more effective.

That is followed by specifying which characters among the gods, demons, serpents and humans should be painted with which colors. And it says, when no particular color is mentioned for a god, then it should be given Gaura (white) color.

Similarly, the text then specifies the colors of the costumes of different types of characters. It also mentions the various types of head gears, crests, masks, wigs and mustaches etc.

In short, it says, various accessories should be used , with intelligence, in accordance with the customs prevailing in the society.

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Samanya-abhinaya

The Chapter Twenty-eight is named Samanya-abhinaya. The Samanya-abhinaya is the harmonious use of four kinds of Abhinayas; and, Citra-abhinaya applies only to the special representation of various objects and ideas.

At first, the instructions are given about the representation of five qualities of senses viz. sound (sabda), touch (sparsa), form (rupa), taste (rasa) and smell (gandha) , through gestures according to their experiences (Anubhavas) and natural expressions. Then come the representation of particular objects. The various gestures and expressions are prescribed for the representation of Bhavas including Sthayi-bhavas occurring in different Rasas. The Abhinaya to show sky, morning, night, evening, day, deep darkness, the moon-light, the smoke, the fire and different seasons follow.

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Abhinaya

Chapters Thirty and Thirty-one give a very detailed description about the Abhinaya of the various Rasas and Bhavas by appropriate gestures. Here, the text discusses nine Rasas, including the Shanta-rasa, as compared to eight Rasas mentioned in the Natyashastra.

It also discusses forty-nine kinds of Bhavas, beginning with Hasa, the mirth; and, they should be skilfully combined with the Rasas.

The forty-nine Bhavas or psychological states, include:  the eight Sthāyi-bhavās; thirty-three Vyabhicāri-bhāvās; and, eight Sātvika-bhāvas – (excluding Vibhava   and Anubhava).

References and sources

  1. Shri Vishnudharmottara by Dr. Priyabala Shah
  2. Arts in the PuranasChapter Two- Dance by Dr. Meena Devadatta Jeste

All images are from internet

peacock3

In the next part we shall move on to other texts dealing with Dance and its several aspects

Continued

In

Part Ten

 
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Posted by on October 26, 2018 in Art, Natya

 

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