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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.


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. ]



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.



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


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.

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.


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).


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.


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.



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


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).


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).


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.



The Next Part

References and Sources


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Music of India – a brief outline – Part Eleven

Continued from Part Ten – Anibaddha, Nibaddha and Prabandha

Part Eleven (of 22) – Prabandha

As said earlier, the major types of Prabandha were counted as four: Shuddha Suda, Salaga Suda, Alikrama and Viprakirna.


1.1. The two major types of Prabandha – Shudda and Salaga – are usually mentioned with the suffix Suda. However, it appears the term Suda was not in use during the early stages, say in the 5th century. For instance; Matanga in his Brhaddeshi does not employ the term Suda. He merely lists out the phrases: Ela, Karana, Dhenki Vartani, Jhombada, lambaka, Rasaka and Ekatali

But, the term Suda has been in active use since 11-12th century in the works of Somesvara (Ca, 1130), Haripaladeva (Ca.1175), Prasvadeva (Ca.1200) and other writers who preceded Sarangadeva (13th century).

And, Sarangadeva  was the first to present the class of Suda systematically, lending it a theoretical base.  (However, he did not seem to have defined the term Suda). For about 300 years thereafter, the terms and descriptions provided by Sarangadeva were adopted by all the later authors.

2.1. Later in the 15th century, Kallinatha (Ca.1440) in his Sangita kalanidhi explains the term Suda as a Desi shabda (regional or vernacular term) that signifies a particular group of songs (Gita-vishesha-samuha-vachi) –

Suda iti Gita-vishesha-samuha-vachi Desi sabdah.

Venkatamakhin (Ca.1650) also describes Suda in almost similar terms, calling it Deshiya Sabda (vernacular term) which stands for a type of songs –

Suda ityesha desiya-shabdo gitaka vachakah.

There is another explanation where Sudu is said to be a Kannada term meaning ‘ a small bundle of grass’ ; and it signifies knotting together (  ekatra-gumpham ) of different Taalas .

2.2. Mahamhopadyaya Dr. R .Satyanarayana surmises that since both Kallinatha and Vekatamakhin hailed from Kannada country, Suda may have been an Old -Kannada term derived from the root Sul (meaning sound in old Kannada). And, Suda denoted a group of certain type of songs.

The elements of   Prabandha – Anga and Dhatu


prabandha (1)


General features

3.1. Prabandha in the early texts has been explained or identified with reference to its general physical features.

Parshvadeva  (10-11th century) defines Prabandha as the Giti-s (songs) that are made of Six Angas or Avayava (limbs or organs) and four Dhatus (substance or elements) –

chaturbhir- dhatubhih shadbhishcha-angairyah syat prarbandhate tasmat prabandhah”.

3.2. Somesvara (Ca. 1126–1138 CE) in his Manasollasa confirms and expands further. And, Sarangadeva (Ca.1230) in the fourth Canto of Sangita-ratnakara sums up the formal features of Prabandha as: Six Angas (Svara, Birudu, Pada, Tena, Paata, and Taala) which like the limbs of a body are the integral parts of a configuration called Prabandha; and four Dhatus (Udgraha, Melapaka, Dhruva and Abhoga) which are like substances or elements that regulate the proper working of the body.

3.3. Among the Angas: Svara signifies the notes (sol-fa passages); Birudu stands for  words of praise, extolling the subject of the song and also including the name of the singer or the patron;  Pada the meaningful  words; Tena or Tenaka are vocal syllables , meaningless and musical in sound with many repetitions of   the syllables like Te and Tna conveying a sense of  auspiciousness (mangala-artha-prakashaka); Pata vocalized drum syllables  or beats of the percussion and other musical instruments; and,  Taala is musical meter or the cyclic time units.


4.1. The Angas and Dhatus were explained with reference to organs and elements of the human body

Of the  six Angas, it was said :  Tena and Pada, reflecting auspiciousness and meaning respectively are its two eyes; Pata and Birudu are the two hands because they are produced by the hands, the cause being figuratively taken for effect; Taala and Svara are the  be two feet as they cause the movement of the Prabandha.

As regards the Dhatus – Udgraha, Melapaka, Dhruva and Abhoga – were said to be  like the Dhatus ( energies or Doshas) of Vata (wind), Pittha (bile) and Kapha (phlegm) that support (Dharana) and sustain (Bharana)  body functions and the physical constitution; and, Prakriti   which is the basic nature of body.

Thus Prabandha, like a well functioning human body, with its textual, melodic and rhythmic components was conceived as  a well structured musical composition.

5.1. The Prabandha was also classified (Prabandha-Jaati) depending on the number and type of Anga-s that went into its structure. For instance:

  • the Medini Jaati Prabandha has all the six Angas;
  • the Anandini Jaati has only five Angas (in which pada and Taala along with any three other Angas are present);
  • similarly, the Dipani Jaati has four Angas (in which pada and Taala along with any two other Angas are present);
  • the Bhavani Jaati  has three Angas (in which pada and Taala along with any one other Anga are present;  and,
  • the Taravali Jaati has only two Angas ( in which pada and Taala are present) .

No Prabandha could be conceived with only one Anga.

Similarly, Prabandha was also classified according to the number of Dhatu-s : Dvi-dhatu (Udgraha and Dhruva); Tri-dhatu (Udgraha, Dhruva and Abogha);  and Chatur-dhatu (Udgraha , Melapaka, Dhruva and Abogha).


6.1. The term Dhatu has many meanings such as substance (dravya), thing (Vastu) , element , layer, constituent part, ingredient, element etc. In the present context, Dhatu could be taken to mean an element or a  section or sections of a Prabandha composition.

6.2. Somesvara in his Manasollasa explains the four Dhatu-s:

: – Udgraha is the commencing section of the song. Here the song is first grasped (udgrahyate), hence the name Udgraha.

Udgraha is said to consist a pair of rhymed lines, followed by an ornamental passage; and, then by a passage of text describing the subject of the song. Thus there should be pair of lines in the Udgraha and also in the third section.

: – Melapaka is the bridge, the uniting link between the two Udgraha and Dhruva.

The Melapaka should be rendered adorned with ornamentation (Alamkara).

: – Dhruva is the main body of the song and that which is repeated. Dhruva is so called because it is rendered again and again(refrain); and, because it is obligatory or constant (dhruvatvat).  [It is also said ’the Dhruva is in the Udgraha itself – Udgraha eva yatra syad Dhruvah]

: – and, Abhoga is the conclusion of the song. Abhoga gets its name because it completes (Abhoga) the Dhruva. It should mention the name of the singer.

Once the Abhoga has been sung, Dhruva should be repeated.


6.3. Among the four Dhatus, the two – Udgraha and Dhruva – are essential and indispensable. And the other two, Melapaka and Abhoga may or may not be included.

6.5. In addition, there is an optional fifth Dhatu called Antara (or Antara-marga, the intermediate note) which connects Dhruva and Abhoga. (Antara was used exclusively in Salaga Suda).

[Antara-marga is described as an intermediate note which occurs somewhere in the midst of Jaatis. It is not a dominant note; and, it is employed rarely (alpatva) in the middle (madhye-madhye alpatva yujam). And when it is used it is not repeated much (anabhyasa). It brings in variety (vichitratva-kariny). And, as a rule it occurs in the modified (Vikrta) Jaati (krta sa antara-margah syat prayo vikrta Jaatishu).]

Rendering of a Prabandha

7.1. The scholars surmise that a typical Prabandha might have been rendered in the following sequence.

The opening Udgraha will begin with a couplet set to mater (Chhandas), in meaningful words (Pada) setting out the main theme of the song and continuing with elaboration of the melodic syllables (Svaras). Then, in the interlude which functions as the bridge (Melapaka), one may or may not have passages of Tena. Then comes the main section Dhruva set in meaningful words (pada) and meter (Chhandas) with appropriate Taala cycles. Here, the rhythmic element of the song gets more intense. Then, one could have an optional section (Antara) perhaps with rapidly recited Pata syllables – before coming to the concluding section. For the concluding section (Abogha), the Anga Birudu is required as the signature (Mudra) of the composer or singer or as a dedication to the patron. The performance could conclude with repletion (refrain) of main lines from Dhruva.

[Udgraha and Dhruva are taken to be the equivalents of the present-day Pallavi; Dhruva is also be the body of the Kriti. Melapaka is the bridge just as  of Anu-pallavi; and Abhoga as that of the concluding charana (stanza) with the Mudra (signature) of the composer.]

[The Dhrupad (Dhruva-pada) evolved from Salaga Suda Prabandha, which had five Dhatus namely Udgraha, Melapaka, Dhruva, Antara and Abhoga. Of these, the Abhoga, being very long was split into two sub parts the Sanchari and the Abhoga. The Dhruva was also dropped. The Dhatus of the Dhruva-pada-prabandha thus became Udgraha, Melapaka, Antara, Sanchari and Abhoga. Later Udgraha and Melapaka were combined into one division called the Sthayi.  Thus the modern Dhrupad has four divisions: Sthayi, Antara, and Sanchari Abhoga.]

Shuddha Suda

8.1. As mentioned, the ancient Prabandhas were arranged in four classes: (1) Shuddha Suda – the pure or the classic type; (2) Alikrama, the intermediate type to be inserted in Shuddha Suda ; ( 3) Salaga Suda the pseudo-classical  songs of mixed nature intended for art-music,  theatre and dance; (4) Viprakirna, separate or different type of songs.

8.2. Of these, the songs of the Shuddha Suda, governed by strict rules, were regarded as the classical musical suit of the middle ages. They had to conform to the prescribed Raga, Chhandas and Taala in addition to the other criteria as specified- (Ragadi –anyatyad asya shuddhatvam ishyate).

8.3. The Shuddha Suda was divided into eight types: Ela, Karana, Dhenki, Vartani, Jhombada, lambaka, Rasaka and Ekatali. While rendering, it had to consist between four and eight songs from among these eight types.  They were sung in Jaatis and Grama Ragas and their derived archaic Ragas.

9.1. It appears the Shuddha Suda songs were mainly prayers and songs that eulogise various virtues.


For instance; in the Ela the first song of the Shuddha Suda  , which have Chhandas, Alamkara and Rasa etc , praise the virtues of detachment (hana or vairagya), generosity (audarya), benevolence (saubhagya), heroism (shaurya) and courage (dhairya). The Ela songs were said to be blissful to the performer and to the person who figured as the main character in the song. It was said that by singing the Ela with devotion (bhakthi) and sincerity (shraddha) one would be blessed with the grace of the goddess Sarasvathi .And Varahi would increase the passion, Durga the ferocity and Indrani the regal valour.  It appears that Ela was not sung separately but as a part of suit of cycles (Suda) . It is said; Ela in praise of Goddesses Sarasvathi and others were sung in Raga Takka, Sriraga, Vasantha, Hindola, Malavakaisika and Kakubha. But, sadly no example of a suit having at least four songs ahs come down to us.


And, Jhombada compositions were rich in figures of speech (Alamkara). Several types of Jhombada which had ornate similes in which the dispositions and emotions the main character were described in terms of the idioms of experiences of the legendry (Puranic) figures. For instance ; the pains and pangs of separation in love were described through the suffering of Rama and Sita (Rama-jhombada); the joy of the lovers in their meeting as the love of Krishna and Malathi (Madhava jhombada); love in sublime union as of Vishnu and Lakshmi (Purushottama jhombada); , anger and fury of the king destroying enemies as that of the Rudra (Rudra jhombada) ; and,  the victorious  King returning from the battle glowing with  pride as the  glory of Shanmukha the Commander of the Divine forces (Shanmukha jhombada)  and so on

Some jhombada songs were meant for special occasions, such as : Nandi jhombada to please gods at the beginning of a theatrical performance to please gods; Sapeksha jhombada : to seek special favours from  the King  etc


The Rasaka songs under Shuddha Suda were similar in structure to Jhombada song. They also had the first section (Udgraha), bridge phase (Melapaka), refrain (Dhruva), conclusion (Abogha) , and again  refrain– punar-punar-upadana –   (Dhruva) or Udgraha; and in addition it would also have  an improvised introduction Aalap.

Srimad Bhagavatha (Canto 5, Chapter 31) provides rare examples of the Rasaka songs (of both the Shuddha Suda and Salaga Suda cycles) . They celebrate the celestial dance and songs of Krishna and the Gopis.


Karana songs had three Dhatu-s: Udgraha, Dhruva and Abogha (But not the Melapaka) . Dhruva was made of Pata (vocalized sounds or beats of the percussion) ; and auspicious (mangala)  sounding words  or  sounds like tenna-tena-tom . Karana was said to be of nine kinds.


Dhenki songs were set to combination of different Taala-s. In contrast, the stanzas Vartani songs were different Ragas.


The Ekatali songs of the Shuddha Suda consisted of Udgraha , Dhruva ,Abogha and Dhruva again. The first section of the Udgraha could have the structure of an Aalapa.

Salaga Suda

10.1. Salaga is the Apabhramsa (or the localized name) for Chayalaga (suggesting that it is a shadow of the Shuddha variety).  Salaga Suda was Niyukta Prabandha and belonged to Taravali Jaati because it had only two Angas– Pada and Taala. It also had only three Dhatus:  Udgraha, Dhruva and Abhoga (but not Melapaka). Hence, the Salaga Suda came to be known as Tri-dhatuka Prabandha; and, was considered pseudo-classical. And, the Salaga was set to Desi Ragas (Desi-ragadi-samabandat Salagatvam api smrtam). Yet, the Salaga Suda ranks high among the ancient type of refined songs.  Venkatamakhin, in his work, takes up only the Salaga Suda for the discussion on the Prabandha-s.

10.2. The seven types of Salaga Suda songs that Sarangadeva mentions in his Sangita –ratnakara are: Dhruva, Mantha, Prati-mantha, Nihsaru, Addatala, Rasaka and Ekatali. A similar classification is mentioned in Sangita-siromani and in Kumbha’s Sangita-raja

Here, excepting Dhruva, all the other song-types are named after their Taala.

The Rasaka and Ekatali songs of the traditional Shuddha Suda re-appear in the Salaga Suda. Their Taala is still the same. but the musical setting of the main section  has changed.

In the Rasaka of Salaga Suda, the Udgraha (initial) section itself could be rendered as Aalapa or the Aalapa phrases could be used at the beginning , in the middle or  at the end of the Dhruva section.

In the Ekatali of the Salaga Suda, the Antara , which in the other songs of this class functioned as an optional section following the Dhruva, became obligatory and was sometimes performed with Aalapa phrases.

[  It is interesting to see how the Taala of the medieval mixed suit Salaga Suda found their way into the South Indian Music. In his treatise Sangita-sudhakara (Ca.1179) the Gurjara King Haripala describes seventy-six Prabandha songs. Among these songs one may recognize some compositions of the Salaga Suda class: Dhruva, Mantha, Jhampa, Addatala and Ekatala, but also other songs such as Rupaka and Tivida (= Triputa). The names of the seven songs called after their Taala correspond to the names of the seven Taalas of the modern Karnataka system.

In the songs of the medival Salaga Suda each Taala variety is associated with a particular Rasa.]


11.1. Of these seven varieties of the Salaga Suda compositions, the Dhruva type was  the prominent one.  And, the Dhruva was different from the others in its construction. The others also had similar structures but they lacked the invisible-auspicious benefits (adrustaphala).

11.2. Dhruva, in the context of Natyashastra, initially meant stage-songs, which formed an important ingredient of the play. Natyashastra mentions different types of Dhruva-s and their uses in different dramatic sequences. It is said; these were called Dhruva-s because their words, Varnas, Alamkaras and Jaatis were are all regularly (Dhruvam) connected with one another. . Dhruva is also explained as Nityatva and Nischalatva having a character of stability. Natyashastra describes five kinds of Dhruva-s : Praveshika, Nishkamanika, Prasidita , Akshepita , and Antara. They were, of course, employed depending upon the context in dramatic situations.

But, in Prabandha, the Dhruva Prabandha refers to a rigid and tightly knit structure consisting three sections or Dhatus (Udgraha, Dhruva and Abogha) and an additional section Antara, if needed.

Sangitaratnakara lists sixteen types of Dhruva Prabandhas:  1.Jayanta; 2.Shekhara; 3.Utsaha; 4.Madhura; 5.Nirmala; 6.Kuntala; 8.Chara; 9.Nandana; 10.Chandrashekhara; 11.Kamoda; 12.Vijaya; 13.Kandarpa; 14.Jayamangala; 15.Tilaka; and, 16.Lalita. The objectives of these songs were ,generally, the  attainment of auspicious (mangala–prada) things in life, such as : longevity, worthy progeny, progress in life, growth in luster, enhancement of intellect, enjoyment, victory, and securing ones desires etc.

Kallinatha in his commentary suggests a correction to the general rule. He tries to view the virtue of a composition in terms of its ‘meaning-content’- Akshara-artha and Pada-artha. He remarks that a composition which is ‘irregular’ (aniyama) in regard to the number of its syllables (akshara-sankhya) could still be considered as Dhruva Prabandha, if the Pada aspect is according to the rules. And, even otherwise, when the composition is irregular in regard to the number of words in the text (Pada-sankhya) , it can also be considered as Dhruva Prabandha if it is endowed with other virtues (guna) such as Rasa, Taala ,etc.  That perhaps was to suggest that the evaluation or classification of a composition did not entirely depend on the presence/absence of  certain structural components.

11.3. Dr. R. Satyanarayana explains that while rendering a Dhruva Prabandha a particular order was followed: First Udgraha containing only one section (only one Dhatu), then a pause. Thereafter, the melodic element Dhruva is sung twice (refrain). If there is no Antara, Dhruva is followed by the Abhoga, sung once. This is followed by the Dhruva on which the song rests.

If there is an Antara, it is sung in any order at the pleasure of the singer; but, it should be followed by Dhruva, Abogha and Dhruva each rendered once in the same order.

[In the Ekatali song of the Salaga Suda, the Antara (which in other cases was an optional section) became obligatory and was sometimes performed with Aalapa phrase.

In the Rasaka of the Salaga Suda, the Udgraha section itself could be performed as Aalapa or the Aalapa phrases could be used at the beginning, in the middle or at the end of the Dhruva section.]

12..1. Dr. R. Satyanarayana explains that till about the 12th century, a Salaga Prabandha was often named after its Taala, since the Taala provided the rhythmic description of the song. In this manner, he says, we have Varnas which signify the names of a Nrtta, Vrtta, Taala and Prabandha.

Dhruva Prabandha, he explains, was unique in the use of Taala-s in that it employed nine separate Taalas, while they were sung as a series of separate songs. Thereafter, there came into vogue a practice of treating each song as a stanza (or charana as it is now called) of one lengthy song. And, it was sung as one Prabandha called Suladi. Thus, the Suladi was a Taala-malika, the garland of Taalas or a multi-taala structure.

There was also a practice of singing each stanza of a (Suladi) Prabandha in a different Raga. Thus, a Prabandha was a Taala-malika as also a Raga-malika.

12.2. Matanga mentions about Chaturanga Prabandha sung in four charanas (stanzas) each set to a different Raga, Taala and language (basha). Similarly, Sharabha-lila had eight stanzas each sung in a separate Raga and Taala.

12.3. Sarangadeva mentions several types of Prabandhas which were at once Raga- malikas and Taala-malikas: Sriranga, Srivilasa, Pancha-bhangi, Panchanana, Umatilaka, and Raga-kadamba.

12.4. The Raga malika, Taala malika and Raga-Taala- malika concept was adopted and improved upon by the Haridasa (Sripadaraya, Vyasaraya, Vadiraja, Purandaradasa and others) to produce series of Suladi songs.


13.1. It is said; the term Ali denotes a line or a row; Krama indicates the ordered sequence. It appears, the Ali when rendered along with or inserted into the Shudda was called Alikrama. The Alikrama Prabandha is, thus, a series of systematically arranged Prabandhas, perhaps ordered according to syllables (Varna) or Matraka (Akshara). It was believed such singing was equivalent to chanting the Mantras. The origin of such practice must have served a ritual as well as an artistic purpose. Manasollasa provides instances of the arranged Ali Prabandhas.

13.2. The Ali Prabandhas were twenty-four in number (Varna, Varnasvara, Gadya, Kaivada, Angacharini, Danda, Turangalila, Gajalila, Dvipadi etc. and when the Ali Prabandhas were combined with Suda they were said to be thirty-two. Several Ali Prabandhas were fused together to form a single Prabandha (in contrast to Viprakirna which were scattered and rendered individually).

13.4. Many songs of the Ali Krama were named after their Chhandas. In the Ali Krama songs some well known types of Chhandas from classical Sanskrit poetry, such as Arya, Totaka and Dvipatha as well as their Prakrit equivalents (Gatha, Dodhaka etc) were employed.

14.1. Some instances of Ali Prabandha are mentioned.

: – Krauncha-pada was a type that opened with Svaras (sol-fa syllables) in its Udgraha section followed by words in the Dhruva section. The Abhoga section carried words conveying the Prabandha name and the two signatures (Mudra).

: – The Svara-artha Prabandha of Alikrama had the seven Svaras arranged in such a manner that it would form a meaningful sentence in which the Prakrita words were also, often, used.

:- The Dhvani-kuttanl was a type of Ali Prabandha, in which two different Taalas were used in its two sections (Dhatu) , as a result the Laya also varied in its tempo. The sections were separated by a brief pause.

: – The Pancha-Tala -Svara Prabandha s of Alikrama class used to commence with an Aalapa. Five Padas out of all the Padas were repeated twice. The instruments such as Mujara-vadya ( a type of percussion) were used along with Pata (vocalized drum beats) . After each Khanda (section) of singing a different instrument was used.

: – The Raga-kadamba  Prabandha of the Alikrama class employed different types of Taalas with different Chhandas ( meter) while presenting a series (garland ) of Ragas.



15.1. Viprakirna conveys the sense of being scattered, disbursed, dishevelled or extended. The Viprakirna or the mixed class of Prabandhas were separate pieces of songs set in simple Chhandas and in simple words. Many Viprakirna songs were in the regional languages.

In the Viprakirna Manthaka songs, particular variety of Mantha Taala was used in combination with other musical metres or other varieties of the same Taala in each of the sections. The names of the songs indicate their subject: Lakshni-kirti, Hara-smaraka, Gauri-priya, Madana-vallabha .etc. There were also other   popular types of songs praying: for fortune (Sriprada, Srikara, and Sampathkara); for begetting sons (Putra-prada), for begetting daughters (Tanaya-prada), for mental peace (Mati-vilasa), for good for destruction of enemies (Shatru-mardana).

Several of the of the above mentioned auspicious Manthaka songs were performed in special Ragas. For instance ; Lakshmi-kirti in Raga Mallara; Hara-smaraka  and Gauri-priya  in Raga Kedara; Putra-prada in Panchama; Satpitaputra in Gurjari; Srikara in Sri Raga ; Tanaya-prada in Vasantha or Lalitha ; Rati-lila in Saurastra Raga and Shatru-mardana in Varali raga.

In due course, the Viprakirna replaced ancient complex songs of Shuddha Suda and Alikrama suits.

15.2. It is said; the North Indian poetical pieces such as Doha (Dohada) couplets and Caupai (Chatus-padi) the four lined songs were derived from the Viprakirna Prabandha. Similarly, in the South the devotional poetry of Kannada adopted meters of Tripadi and Shatpadi. In a like manner, each linguistic region of India developed its own types and forms of poetry, especially in devotional music.

16.1. The Viprakirna Prabandhas were said to be of thirty-six types, such as shrirariga, tripadi, chatushpadi, shatpadi, vastu, vijaya, Tripatha, Rahadi, Virasri, Srivilasa   etc.

Some instances of the Viprakirna Prabandha are mentioned.

: – Rahadi songs of the Viprakirna class were composed describing battle sequences in Vira Rasa.

:-In the Virasri of Viprakirna one stanza was composed in the spoken language (Basha pada) and the next was made of Birudu , the epithets or expressions of admiration.

: – Srivilasa songs of the Viprakirna employed five Ragas and five Taalas; while the Saranga songs were set in four Ragas and four Taalas.

:- Tripatliaka had three Dhatus (sections) composed of syllables of Vadya (Pata), words of praise (Birudu) and Svaras, in a serial order (karma).

: – Chaturanga was composed of four Dhatus (sections) each section was in different language, different Chhandas,  different Raga, different Taala .

:- Caccari songs were sung during the spring festival (Vasanthotsava) composed rhyming couplets in regional languages (Prakrit), set to Hindola Raga and Caccari –Taala or Krida-Taala. The rhythm was  of importance in these songs that were sung  with group dances.


Gita Govinda

TOP_EventCategory_Gita Govinda topband121214105922 (1)

17.1. While on the subject of Prabandha, I cannot resist talking about the most enchanting Gita-Govinda of Sri Jayadeva Goswami (about 1150 A.D) who was a court poet of the King Lakshmana  of the Bengal region ( 12th century ) . It is the most celebrated and the best loved among the Prabandha class.

It is a semi-dramatic  composition of twelve episodes (Adhyayas ) consisting monologues in sixty slokas and twenty-four songs of eight lines (Astapadi).   

17.2. Though it is recognized today as the sublime Shringara-mahakavya that lovingly describes the emotive sports of Sri Radha the Mahabhava highly idealized personification  Love and Beauty; and  Krishna the eternal lover (Sri Radha-Krishna lila) , it is basically a Prabandha composed of Anga, Dhatu, Sahitya, Raga, Taala, Murchana, Rasa and Bhava.

Sri Jayadeva at the commencement of his Khandakavya states that he is composing a Prabandha Kavya (Etam karoti Jayadeva kavih prabandham). The Ashtapadi (eight footed) is a Dvi-dhatu Prabandha, i.e. consisting two sections (Dhatu):  Udgraha and Dhruva.

The Gita Govinda abounds in a large number of song-sequences; and, each is titled as Prabandha viz. Prabandha-I, Prabandha-II etc. Yet; it is nearer to the Prabandha songs than to a Kavya (classic poetry).

Gita Govinda is the most enchanting collection of twelve chapters (Sarga). And, each Sarga commences with soulful a Sloka followed by one or two songs arranged in couplets. These songs are known as Giti, Prabhanda or Ashtapadi, since twenty-four of such  (but not all) employ eight couplets. Sri Jayadeva himself calls them as sweet and delicate Padavali-s (Madhura komala padavalim).

17.3. Gita Govinda in simple, delightfully lucid Sanskrit is one of the finest Khandakavya-s that is classified as a Prabandha.  At the same time, it is permeated with intensely devotional and delicate Madhura Bhakthi. The Gita Govinda was one of the inspirations of Sri Chaitanya Mahaprbhu who was steeped in Krishna-bhakthi; and, it  is the primary text of the Gaudiya Vaishnava School of Bengal.

The Gita Govinda one of the principle texts of the Bhakthi movement has also been a unique phenomenon in Indian music. This evergreen lyric sequence is set to music and rhythm by the poet himself. And, musically, each of the twenty-four songs or Prabandhas in Gita Govinda is set to a Desi Raga and a Taala. His Ragas were : Malava, Gurjari, Vasantha, Ramakari, Malavagowda, Karnata, Desakya, Desivaradi, Gowdakari, Bhairavi and Vibhasa. And his Taalas were: Yathi, Rupaka, Eka, Nissara and Ashta.

Sadly, we, now, do not know how the Raga mentioned therein actually sounded or what their scales were. Therefore, their correct interpretation and rendering are lost to us.   The Astapadis in the modern days are rendered in Karnataka and Hindustani Ragas currently in use  . 

There are many legends associated with Gita Govinda. For instance; in the nineteenth Ashtapadi, Krishna requests Sri Radha: The poison of love has gone to my head, Place your tender rose-colored feet on it to let the poison recede (Smara garala khandanam, Mama sirasi mandanam, Dehi pada pallava mudaaram).

After he wrote these lines, Sri Jayadeva wondered whether it was appropriate for Sri Radha to place her foot on the head of the Lord. Then, he promptly scored out those lines. And, next morning to his wonder and amazement those very lines appeared again in his script. Sri Jayadeva took that as the Lord’s blessing and approval of his Prabandha.

Jayadeva Goswami

17.4. The immense popularity of Gita Govinda is phenomenal . Each region and each language of India embraced with love and devotion; adopted it as its own; sang in its own chosen Raga; and, interpreted it in its own dance form.

Several poets , inspired by the Gita Govinda, have created lyrical poems in Sanskrit and in the regional languages, elaborating on parallel themes.

The most noted of such delicately beautiful poems (Madhura komala padavalim) are; Sri Krishna Lila Tarangini of Narayana Thirtha (Ca.16th century); Mahakavi Vidyapati Thakur’s (15th century) love-poems in Sanskrit and in Maithili; and, hundreds of Padavali-s in regional dialects by Vaishnava saint-poets.



Prabandha in Historical perspective

18.1. The Prabandha served as an extremely versatile, resourceful and ever changing musical format allowing scope for many of regional variations.  Prabandha as a class of Music had a very long and useful life spread over centuries. It was the dominant form of Music, Dance and other poetical works for more than a thousand years ending by 1700 AD or a little later.

The term Prabandha almost went out of use after the 17th century. And, in its later stages, Prabandha came to be understood as the final component of a four-fold system (Chatur-dandi) devised by Venkatamakhin: Raga; Thaya; Gita; and Prabandha.

[Strangely, it appears that while the Chatur-dandi was being written, Prabandha as a class of Music was almost on its way out.]

18.2. Although, Prabandha, as a genre, has disappeared, its influence has been long-lasting, pervading most parts, elements and idioms of Indian Music – both of the North and of the South. The structures, internal divisions, the elements of Meter (Chhandas), Raga, Taala and Rasa , as also the musical terms that are prevalent in the Music of today are all derived from Prabandha and its traditions. Many well-known musical forms have emerged from Prabandha.  Thus, Prabandha is, truly, the ancestor of the entire gamut of varieties of patterns of sacred-songs, art-songs, Dance-songs and other musical forms created since 17-18th century till this day.

18.3. For instance; the Dhrupad (Dhruva-pada) of the Hindustani Sangita Paddathi, which insists on maintaining purity of the Ragas and the Svaras, evolved from Salaga Suda Prabandha, which had five Dhatus namely Udgraha, Melapaka, Dhruva, Antara (optional) and Abhoga. Of these, the Abhoga, being very long was split into two sub parts the Sanchari and the Abhoga. The Dhruva was also dropped. The Dhatus of the Dhruva-pada-prabandha thus became Udgraha, Melapaka, Antara, Sanchari and Abhoga. Later Udgraha and Melapaka were combined into one division called the Sthayi. Thus the modern Dhrupad , rooted in Prabandha, has four divisions: Sthayi, Antara, and Sanchari Abhoga.

Dhrupad retained the essential nature of the Prabandha tradition of deep introspection in elaboration of the Raga and in expanding the rhythmic patterns.  Accordingly, the Dhrupad has continued to maintain the distinctions of Anibaddha (un-structured) and Nibaddha (structured) Gana through its Aalap and Bandish sections.

In the Prabandha, Tena or Tenaka , one of its  Six Angas, described as vocal syllables, meaningless and musical in sound with many repetitions of   the syllables or sounds like tenna-tena-tom, conveying a sense of auspiciousness(mangala-artha-prakashaka), was sung after rendering Ragalapti; but, before the main section of the Prabandha i.e. the Dhruva which was set in meaningful words (pada) and meter (Chhandas) with appropriate Taala cycles.

A similar practice was adopted in Dhrupad.  The Tena of Prabandha became the Nom tom of Dhrupad. It was elaborated after rendering the Alap but before taking up the Bandish.  The latter part of Alap slides into the more rhythmic nom-tom section, where the Raga develops with a steady pulse employing meaningless syllables such as nom tom dir tana etc, but without the binding of the Taala.

The counterpart of Nom tom in the instrumental music is the Jor –Jhala of Sitar.

Now, the term Bandish meaning the structure of the song is the re-formed name for Bandha of the Prabandha Music.  And, similarly, Vastu of Sangita-ratnakara took on the Persian name Chiz to denote either a text, or a text and its melodic setting.

The latter part of Bandish is the series of Improvisations executed mainly through playing on the words of the text by breaking it up, but keeping  the group of words , so formed distinct. This division of words synchronized with the beats and cross rhythms is called Bol- Bant. In addition, melodic ornamentations, such as meend and Gamaka are also employed for improvisation. And , with Pakhawaj  , Laya –bamt , an improvised and playful rhythmic patterns are woven in an enterprising manner.

18.4. In a similar manner , in the Karnataka Sangita , the Udgraha and Dhruva of the Prabandhas took on the name of Pallavi , while Melapaka , the bridge, came to be known as Anu-pallavi (that which follows the Pallavi).  The length of Dhatus (sections of the song) was extended by introducing the Antara as the second theme into Anu-pallavi. At the same time, the large number of sections (stanzas) was reduced. And, Abhoga the concluding section of the Prabandha became the last charana (stanza) of the Kirtana or Kriti accommodating the Mudra (signature) of the composer.

Tena that were originally used in the Tena-karana of the Prabandha lost their mystique nature and became meaningless musical syllables- Taana-s.

In the Ragam-Tanam-Pallavi , particularly in Veena , the Tanam , was derived from the Tena-karana  which was meant to be played on the Veena in the Nanda type of songs of the Viprakirna class of Prabandha. The  Taanam (played soon after the latter part of the Alapana)  is a particularly endearing segment of the Veena play of the Karnataka Sangita.

Svaras which had been prominent in the ancient Vartani and Svara –karana songs of the Shuddha Suda  and in Ali Krama  song Svarartha  re-appeared as Chitte Svara in Karnataka  Kritis;  and asSapta tan in Khyal of Hindustani Music.

The Neraval of Karnataka Sangita is similar to Bol- Bant of Dhrupad.

The application of the Drum syllables (Pata) once the a characteristic feature of the Paata and Bandha–karana of the ancient Shuddha Suda and of the vernacular Sukanku song of the Viprakirna led to the creation of new forms such as Hindustani Tarana and the Karnataka Tillana.

The simple devotional form Viprakirna type of Prabandha served as the model for various types of Padas, songs etc. In addition to the regular words (Pada) , the tone-syllables (Svara) , drum-syllables(Pata) , epithets (Birudu) , invocatory syllables (Tena) and musical meter (Taala) were used again for composing many song-forms in regional languages .

The Suladi and Ugabhoga songs of the Haridasa-s were derived from Salaga Suda Prabandha. And, Suladi Taala-s were also derived from the Prabandha practices.

The epithets Birudu which once had been the important element in the Birudu Karana of the Shuddha Suda and which mainly constituted the famous lauds (Namavali stotra) of Sanskrit literature (in the musical treatise called Stavana manjari) became the basic element of the Namavali and Divya nama Kirtanas of the Karnataka sangita.

As regards the Taala of the ancient Shuddha Suda, they found their way to the Karnataka Kirtana and Hindustani Dhrupad through the mixed forms of Salaga Suda, perhaps during the second half of the 12th century.

Thus, almost all musical forms in the realm of Karnataka sangita owe their origin to one or other types of Prabandhas. Many elements of the Prabandha found their re-birth in various musical forms such as Kriti, Kirtana, Varnam, Padam, Daru, Javali, Tillana etc.

19.1. By about the end of 17th century a realisation dawned on the musicologists and composers that Prabandha format had grown very rigid, laying more emphasis on the text than on the musical content; and, that the faithfulness to the form was, at times, carried to its limits.

19.2. And, Prabandha, naturally, had to give place to improvised, easier and innovative (manodharma samgita) forms of music having distinctive features of their own. Yet; here too, it is the basic elements of Prabandha that provided guidelines to modern composers of classical music.

19.3. Most of the medieval Prabandha-s eventually disappeared because of the stiffness of their musical construction. Yet; it should also be mentioned that Prabandha helped the Karnataka Sangita, enormously, in defining its  concepts and terms, specifying the structures of its songs , refining its Grammar  and in ensuring continuity of our ancient tradition.

In the next segment lets talk about the Desi Sangita and the Ragas.


Continued in Part Eleven

Desi Sangita



Sources and References

Indian Music: History and Structure by Emmie Te Nijenhuis

A History of Indian music by Swami Prajnanananda

Sagītaśiromai: A Medieval Handbook of Indian Music edited by Emmie Te Nijenhuis

Dattilam: A Compendium of Ancient Indian Music edited by Emmie te Nijenhuis

The Traditional Indian Theory and Practice of Music and Dance edited by Jonathan Katz

Music and Musical Thought in Early India by Lewis Eugene Rowe

Kalātattvakośa: by Ramesh Chandra Sharma

Sangiti Sabda Kosa by Bimal Roy

Suladis and Ugabhogas  by  Mahamahopadyaya Dr. R .Sathyanarayana

Prathamopalabda Swarasahita Samkeerthana Sila Lekhanamu by I.V Subba Rao

Darus in Carnatic Music by Dr. Gowri Kuppuswami and Dr. M Hariharan; Published in ‘Shanmukha’, October 1986 (Vol.XII; No.4)


Posted by on May 10, 2015 in Music, Sangita


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Music of India – a brief outline – Part seven

Continued from Part six – Gandharva

Part Seven ( of 22 ) – Music in Natyashastra

music in natya

Gandharva and Gana

1.1. Gandharva and Gana were two major Musical genres of the ancient times.  The Gandharva, as we saw in the previous segment, was the type of songs that was sung during the worship of gods. And, the music performed in the course of play (Natya) was termed as Gana by Abhinavagupta. In the Natyashastra, the term Gana is employed to denote any song; but, in particular to Dhruva songs performed during the play. In other words, broadly, Gitikas were considered Gandharva and Dhruva as Gana.

1.2. Abhinavagupta said; Gandharva and Gana flourished side by side even during later times. And he also pointed out that during the time of Bharatha, the Gana adopted regional tunes for its Dhruva songs. In support of his argument, Abhinavagupta quotes another authority Vriddha (Senior) Kashyapa to show that changes in the Sruti scheme of Bharatha were freely made in Desi ragas.

(kiyad vā rāga-bhāā-deśī-mārgādi-gatānā svarāā śruti vaicitrya brūmah |)

1.3. In the later times, Sarangadeva (13th century) classified Parbandha and other Musical forms of Desi–samgita also under Gana. He speaks of Gana as being of two kinds: Nibaddha (structured) and A-nibaddha (unstructured). Nibaddha refers to compositions governed by rules, say as in a Prabandha. And, the A-nibaddha is free flowing improvised music, say as in Aalapti (Aalap). But, both the modes had to work within the accepted ambit of Music (Samgita).

[Let’s talk of Prabandha in the next segment of this series.]

2.1. The Gana of Natyashastra had its roots in Gandharva. And Gandharva songs were also used before the play proper. For instance; in the Purvanga, that is during the preliminaries before the commencement of the Drama per se, the Gandharva songs of the type Nirgita were sung, to the accompaniment of instruments, offering prayers to Shiva. This was followed by a song in Gitaka format; and by a Tandava dance of Shiva or a Lasya of Shiva and Devi to another Gitaka-song. Thereafter, the Sutradhara (a sort of compère) and his troupe enter the stage, move in a rhythmic dance like steps   and sing Gandharva-songs ( Gitikas)  to delight the gods; bowing to Sakra i.e. Indra (in the East), Yama in the South, Varuna in the West, and to Kubera in the North ; and  praying to gods for successful enactment and completion of the play. However, during the course of the play the Gana was used.

2.2. Though Gana owed much to the Gandharva, the two differed in a number of ways. The Gandharva was regulated Music (niyata), while Gana was relatively free, improvised or incidental Music. Gandharva songs were sung to invite the blessing of gods before the commencement of the play. And, Gana music was tailored to the various dramatic requirements of the performance. And, since Gana was meant for entertainment, it was moulded, largely, by the taste of the spectators at the play.

2.3. In his commentary on the 33rd chapter of Natyashastra, Abhinavagupta draws a four-fold distinction between Gandharva and Gana Music-s. According to Abhinavagupta , the two differ in their : in Svarupa –  structure and ways of employing Svara, Taala and Pada; in Phala –  the  benefits or the objectives ;  the one is in praise of Shiva and pleasing gods  while the other strives to gladden the hearts of  the audience in a theatrical performance;  in Kaala – the context or the occasions of their rendering , one is for worship and the other is for entertainment; and , in Dharma – in their distinctive nature and functions.

Let see this in a little more detail:

Svara, Taala, Pada and Phala


3.1. As regards the Musical aspects, in Gandharva the Svaras were employed at fixed intervals (Sruti); and the Sruti intervals were well defined. For instance; in the Shadja Grama, Ri was on the third Sruti above Sa; Ga was on the second Sruti above Ri and so on. Such rigidity was not needed in Gana (Kim ca antarāla-niyamo….gāndharve’vaśya-samvedha | na tv eva gāne).  Abhinavagupta while explaining this aspect says that he is elaborating what was in actual practice (pratita) during those times (uktam api pratītam anucitrīyate).


3.2. In Gāndharva, the Taala, which measured time through a fixed number of demarcations, was also governed by rigid rules. Its main aim was to establish Saamya or equipoise. Taala occupied a secondary position (angāngibhāva) to Svara.  In the case of Gana, the Taala enjoyed more flexibility. The Taala in a play could aesthetically be improvised to suit the dramatic situations and also to provide entertainment through colourful rhythmic play.


3.3. The importance of Pada also varied in the two types of Music. In Gandharva, the Svara and Taala had predominance over Pada. In Gana, the text of the songs, the Pada, needed much attention as its words were of importance. The role of Pada is, thus, different in Gana and Gāndharva.


3.4. The Gandharva is pleasant and it also bestows merit (punya). But Gana is used only for its effect and not for its intrinsic merit. ‘It is, therefore, unjust to identify the two.’

(anāditvād dṛṣṭādṛṣṭa-phalatvāc ca pradhāna gāndharvam… | gāna hi prīti-kārye vartate | tena tādātmya tāvad ayuktam)

3.4. As regards the context (Kaala) in which Gandharva and Gana are used , Gandharva could be used only in the Purvanga (ritual prologue to the play) . But , during the course of the play Dhruva songs were sung in Grama-jaatis .

Thus, the function or the nature (Dharma) of the Gandharva and Gana differed: Gandharva to please the gods and Gana to entertain humans.



Before we speak of its Samgita a few words about Natyashastra

4.1. Natya-Shastra is a detailed compendium of more than about five thousand verses spread over thirty-six chapters dealing with all aspects of play production. The text was meant as practical manual imparting technical instructions about the performing arts; and, for production of   successful theatrical performances. It is said that the text which we now know as Natya-Shastra was based on an earlier text that was much larger (Adi-Bharata or Dwadasha-sahasri, because it contained twelve thousand verses). There are also frequent references to the writers of the earlier time and other views.

4.2. Natya-Shastra describes itself as Natyaveda, the fifth Veda that would be accessible to all the four castes (1:12). It claims that the text imbibes in itself the articulated – spoken word or text (patya) from Rig-Veda; the ritual and the body-language (abhinaya) from Yajur Veda; musical sound, the song-notes from Sama Veda; and, Sattvika (understanding of the relation between mind and body-expressions) – for conveying various bhavas through expressions exuding grace and charm – from Atharva Veda (Natya-Shastra – 1:17-19) .

4.3. The text is permeated with the Vedic symbolism and the imagery. The theatrical production is compared to Yajna; with the stage being the vedika,   the altar. The dramatic spectacle, just as Yajna, is said to have a moral and ethical purpose.  The object of the drama was to show men the proper way, a way in which one could live and behave, so that one might become a better ‘man’.

4.4. The text reveres and worships Vedic gods such as Indra, Varuna and Vayu (not the gods celebrated in Puranas); talks mainly in terms of the symbolism and imagery of the Vedic Yajna following the Vedic ethos; and it consistently projects the world-view cherished by the Rig-Veda: of the one formless or unformed (Arupa) evolving in to multiple forms (rupa prati rupa) and then on to the form beyond (Para rupa),

4.5. It is, therefore, generally believed that the text was articulated at a time when the Vedic life-style tempered by the sombre contemplative speculation of the Upanishad, was still alive.

The mention of the Buddhist Bhiksus and Jain Samanas indicate that Natya-Shastra was of post – Buddha and Mahavira period.  And, its Dhruva songs are in a form of Prakrit, which predates the great poet Ashvaghosha’s play (first century).

For these reasons, the scholars generally believe that Natya-Shastra might have been composed sometime around the first or second century BCE, but not later.

5.1. The compiler of Natya-Shastra calls it a prayoga Shastra – a framework of principles of praxis or practice. Bharata makes a significant opening statement: “I am creating a theory and text of performance; of practice and experimentation” . He also underlines the fact that the efficacy of its formulation lies in practice (prayoga).

5.2. There is a certain flexibility built in to the structure of the text. It provides for varied interpretations and readings. The author himself encourages innovations and experimentations in production and presentation of plays. He even permits modification of his injunctions; and states the rules “can be changed according to the needs of time (kaala) and place (desha)” .The text accordingly makes room for fluidity of interpretation and multiple ways of understanding it. The intellectual freedom that Bharata provided to his readers/listeners ensured both continuity and change in Indian arts over the centuries.

6.1. The term Natya is derived from the root Nat (= to act); and the one who acts is a Nata. And, Natya is the art of the Nata, which is the dramatic art. The actor re-lives the ‘life’ of the character he plays, and presents before the spectators his interpretation of that character, by means of dramatic-art.

Bharatha explains: when the nature of the world possessing pleasure and pain both is depicted by means of representations through speech, songs, gestures , music and other (such as, costume, makeup, ornaments etc ) it is called Natya. (NS 1.119)

Yo’yaṃ svabhāvo lokasya sukha dukha samanvita som gādya abhinaya ityopeto nātyam ity abhidhīyate 119

Natyashastra (6.10) provides a comprehensive framework of the Natya-veda, in a pellet form, as the harmonious  combination  (sagraha) of the  various essential components that contribute towards the  successful production of a play.

Rasā bhāvāhya abhinayā dharmī vtti pravttaya siddhi svarās tathā atodya gāna ragaśca sagraha 6.10

The successful production (Siddhi) of a play enacted on the stage (Ranga) with the object of arousing joy (Rasa) in the hearts of the spectators involves various  elements of the components of  the actors’ gestures, actions (bhava) and speech ;  bringing forth (abhinaya) their intent, through the medium of theatrical ( natya dharmi) and common (Loka dharmi) practices; in four styles of representations (Vritti-s) in their four regional variations (pravrttis) ; with the aid of  melodious songs  accompanied by  instrumental music (svara-gana-adyota).

6.2. The text employs Natya as a generic term, which broadly covers drama, dance and music. At the time the NatayaShastra was compiled, the arts of poetry, dance, music and drama; and even painting, and sculpture were not viewed as separate and individualized streams of art forms. It was an integral vision of art, which blossomed in multiplicity. All art expressions were viewed as vehicles of beauty providing both pleasure and education, through refinement of senses and sense perceptions. The reason that theatre-arts were discussed specifically was that, in the ancient Indian context, drama was considered the most comprehensive form of art-expressions.

7.1. The compiler of the Natyashastra, whoever he might be, comes across as a person of great learning, culture and rooted in good tradition (sampradaya, parampara). He was well grounded not merely in Vedic learning and its ethos  , but also  in  kavya (literature) , fine arts,  Ayurveda (medicine),  jyothisha  (astrology), ganitha  (mathematics),  vastu- shilpa (architecture) and hathayoga,  His understanding of the human anatomy- particularly the motor and sensory systems and the joints; the relation between the physical stimulus and psychic response; as also the relation between psychic states and expressions through physical movements ; were truly remarkable.

7.2. Natya-Shastra has provided a sustainable foundation and framework for development of theory and practice of arts in India. It also touches on the related areas of cultural life of India. It is the foundation on which Indian philosophical thinking squarely rests.  Just as Panini standardized the classical form of Sanskrit, Bharata standardized the classical form of drama. He gave it status and dignity; a form and an objective; a vision and finally a technique. His brilliant intuition and intellect has inspired generations of artists over several centuries.

[The attempt to explain Bharata as an acronym for three syllables Bha (Bhava), Ra (Raga) and Ta (Taala) somehow does not seem convincing. At the time Natya-Shastra was composed, music was discussed in terms of pada (words), svara (notes) and tala (time-unit) which formed the components of Gandharva music. The term Raga (in the sense we understand it now) did not come into circulation until Matanga’s Brihaddesi,   (about sixth century).]

[For more on Natyashastra please click here.]


8.1. Natyashastra is composed in a cryptic Sutra form; and is not easy to read or to understand. As Shri Adya Rangacharya remarked, the text is rather rambling and repetitive; and the word-to-word translation would not be of much use since its terms could be interpreted in more than one way. One does, therefore, need the guidance of a commentary to wade through Natyashastra. The earliest commentary on Natyashastra that has survived and that which is most celebrated is the Abhinavabharati of Abhinavagupta (11th century).

8.2. Abhinavagupta was a visionary and a philosopher who combined in himself the experiences of a mystic and a Tantric. He was gifted with extraordinary incisive intellectual powers of a logician, as also the skills of a commentator and an art critic. He illumines and interprets the text of the Bharata at many levels: conceptual, structural and technical. In addition, he summed up the views of his predecessors (that is, the scholars who earlier commented on Natyashastra), before presenting his own arguments. Abhinavagupta brought fresh perspectives to the concepts of Bharata, particularly on aesthetic experience (Rasa) and art creation. Although Abhinavabharati is a commentary, it is for all purposes an independent treatise on aesthetics in Indian dance, poetry, music and art.

[For more on Abhinavabharati please click here.]



9.1. Natyashastra was mainly concerned with Drama. And, the role of Music in it, in conjunction with other components, was primarily to heighten the dramatic effects of the acts and scenes in the play. Music, in that context, was another beautiful, artistic, effective device to articulate the moods of various theatrical situations through appropriate thematic tunes and songs. Therefore, Natyashastra was more interested in applied-music than in Music per se (Samgita-shastra).

9.2. The ‘Music’ that the Natyashastra talks about is indeed the Samgita. The term Samgita in the early Indian context denoted a composite art-form comprising vocal (Gitam) and instrumental (Vadyam) music; as also Nrtyam the dance movements or dance (Gitam, Vadyam tatha Nrtyam trayam Samgitam uccyate)The last one, Nrtyam, the dance, is composed of all those three elements.

[The Gitam, the song format, is a fusion of Nada (sounds) and Akshara (composition made of words). Its musical element is named Dhathu; while its composition made of words is called Mathu. Lohana Pandita, in his Raga-tarangini, says: – Dhatu-matu-samayauktam Gitam iti uccyate budhaih; tatra nadatmako dhatur matur akshara sambhavah’.

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 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.

The third component of Samgita involves three forms

Nrtta: the display of smart looking (shobhahetu) limb movements in  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).

Nrtya: the means of putting forth different aesthetic moods or bhava (bhavahetu orbhavashraya) or giving expression to individual words of the song through appropriate gestures, facial expressions,expressing emotions through Abhinaya-pada-artha-abhinayatmaka. The key ingredient in this is the elaborate gesture-language. Abhinaya (lit. To bring near, that is to present before the eyes), is a harmonious combination of striking pose, eloquent gestures, lucid facial expressions, various glances,  and meaningful movements of the feet, hands, fingers and feet.

Thus, Nrtta is pure dance movements, without emotions; Nrtya is that which brings forth the emotional content of the song or the dance theme.

Nandikeshvara (Abhinayadarpana. 1. 15-16) distinguished Nrtya from Nritta, 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).


And, the third, the Natya: the art form 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.

Thus, Natya, 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).


Later, Pundarika Vittala  his work (Nartana-nirnaya), uses 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, in the later times, while Nartana stood for the general class name; the other three were its sub-divisions.

Please also read the highly educative introduction written by the renowned scholar Pandit Sri S .Subrahmanya Sastry to his edition of Sangraha Chudamani of Govinda, published by Adyar Library, 1938.]

In the latter times, the scope of the term Samgita narrowed down to what we now call ‘music’. Dance became a separate art form. And, within Music the vocal remained the more dominant aspect. The instrumental music follows what is rendered vocally.


10.1. Natyashastra pays considerable importance to aspects of Music. It devotes eight of its (chapters 27-34) to Music in the play and Music in general. In fact, chapters 28-36 offer one of the earliest sources of Indian music theory.

10.2. The chapter twenty seven deals with music employed in theatre. The next five Chapters 28-33 are devoted to Gandharva Music and its applications. Of these:

:- Chapter twenty eight covers Jaati (melodic types), Sruti (micro-intervals), Svara (notes), Grama (scales), Murcchana (arrangement of the Svaras) and Sthanas (registers).

:-  Chapter twenty nine describes the techniques of plying stringed instruments like the Veena; and distinctions between vocal and instrumental music, further dividing vocal into two types, Varna (colour or syllables) and Giti (‘song’ with lyrics).

:-  Chapter thirty which has only thirteen verses describes wind instruments like the Vamsa (flute) and ways of playing it.

:-  Chapter thirty-one deals with Taala (time-units or rhythm), Laya (three types of tempo), Yati (three types of movements), Pani (three ways of beginning), Ghana (cymbals),  and Chhandas (metrical cycles).

:-  Chapter thirty two   ( which pertains directly to this  post) defines Dhruva songs, their specific employment, forms, and illustrations; definition of song form (Gana); qualities of singer (guna); defects (dosha) of a singer; qualities of a Veena player; qualities of a flute player; qualities of male and female voices; and, qualities of teacher and pupil.

: – Chapter thirty-three deals with Avanaddha – various types of rhythmic instruments – Mrdanga, Pavana and Dardura – their techniques and their application in Drama. Its next, the Chapter thirty-four relates the origin and nature of drums.

: – And, the last three chapters of the treatise, 34 ; 35 ; and 36 (as also  37) provide details regarding the different characters, varieties of costumes and popularization of the art of histrionics. The concluding two chapters lay down the principles for distributing roles and the qualifications for members of the troupe.

[Natyashastra provided rules not merely for singing but also for speech delivery (Vachika) . It mentions that in order to bring out the right effects the speech should be well articulated and should respect the virtues (Dharma) of: Svara (notes), Sthana (voice registers), Varna (pitch of the vowel), Kaku (intonation), and Laya (tempo) – NS.19.43-59.

It specifies that the scenes involving humour (Hasya) and erotic or love (Srungara) the speech should be modulated by Madhyama and Panchama Svaras (notes); acute pitch (Udatta and Svarita); and , medium tempo (Madhya Laya). Where as in the scenes depicting heroics (Vira) and wonder (Adbhuta ) the speech should be in Shadja and Rishabha Svaras; acute and trembling pitch (Udatta and Kampita) ; and , quick tempo (Druta Laya). And, in the scenes of pathos (Karuna) the speech should in slow tempo (vilamba).

As regards the voice registers (Sthana), they vary according to the space (distance) on the stage between the characters.  It is said:  to call a character that is at a distance, the voice should proceed from the top register (Siras); to call one who is a short distance the voice register should emanate from chest (Uras); and, to speak to one who is standing next the voice register should be from the throat (Kanta). ]



11.1. For the limited purpose of this article, let’s assume that Music here refers to singing and the playing of wind and stringed instruments that produce a melody; and to the percussion instruments.

11.2. Music was an essential part of the Indian dramatic art. Natyashastra mentions groups of music-makers or Kutapa-s who brighten (ujjvala-yati) the stage (ranga). These were: Tata, the singers and players of stringed instruments; Susira players of wind-blown instruments; Avadhana, players of percussion instruments such as Mrudanga, Pavana, Dardura and Ghana (cymbals); and the Natyakrta, the group of actors who took part in the play.  During the play, Dhruva songs were sung by the actors on the stage as also the singers in the wings, to the accompaniment of musical instruments.

The Gita (song), Vadya (instruments) and Natya (enactment of play) should, ideally, coordinate and perform harmoniously – supporting and strengthening each other with great relish. And, the three Kutapa-s, in combination should suggest a seamless movement like a circle of fire (Alaata chakra); and should brighten (Ujjvalayati) the stage.

Let’s talk about Dhruva Gana in the next Part.


Continued in Part Eight

Dhruva Gana

Sources and References

Studies in the Nāyaśāstra: With Special Reference to the Sanskrit Drama…

By Ganesh Hari Tarlekar

Sonic Liturgy: Ritual and Music in Hindu Tradition

By Guy L. Beck

Poetics of performance by TM Krishna

Language of Sanskrit Drama Language of Sanskrit Drama by Saroja Bhate

Dattilam: A Compendium of Ancient Indian Music edited by Emmie te Nijenhuis

Pictures are from Internet


Posted by on April 24, 2015 in Music, Sangita


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Music of India – a brief outline – Part Three

Continued from Part Two – Overview (2) North – South branches


Part Three (of 22) –  Overview (3)


Karnataka samgita

1.1. The Music of South India was referred to as Karnataka Sangita, perhaps, even  slightly prior to 12th century. King Nanyadeva, a prince of a later branch of the Rastrakuta (Karnataka) dynasty who reigned in Mithtili (Nepal) between 1097 and 1133 A.D. in his Sarasvathi-hrdaya-alamkara-hara mentions Karnata-pata tanas. Further, the Kalyana Chalukya King Someshwara III (1127-1139 AD) in his Manasollasa (also called Abhjilashitarta Chintamani) calls the Music of his times as Karnata Sangita . This, perhaps, is the earliest work where the name Karnataka Sangita is specifically mentioned . Later, Thulaja the Nayak ruler of Tanjavuru in his ‘Sangita saramruta’ (1729 – 1735) calls the Music that was in vogue at his time as Karnataka Samgita. That was, perhaps, because the authorities and the Lakshana-granthas he quoted in his work were authored by Kannada-speaking scholars.  Later, Sri Subbarama Dikshitar in his ‘Sangita-sampradaya-pradarshini’ (1904) refers to Sri Purandaradasa as ‘Karnataka Sangita Pitamaha’ (father of Karnataka Music).

The contributions of the Kannada scholars in terms of –  the Lakshna-grathas that articulated the theoretical aspects of the Music; defining the concept of classifying the Ragas under various Mela-s; refining the elements of Music such as Taala; coining fresh Music terms; and, systematizing the teaching methods , particularly in the early stages of learning  – had been truly enormous.


1.2. One of the reasons for naming the Dakshinadi as Karnataka Samgita could be that in the initial stages of its development and even in later times up to the 18th century the texts delineating the Grammar (Lakshana –grantha) of Music were authored mostly by Kannada speaking Music-scholars (Lakshanika). The texts were, however, written in Sanskrit and not in Kannada.

The notable among such texts (Lakshana–grantha) in question, mention could be made of 

: – Manasollasa ( also called Abhjilashitarta Chintamani ) ascribed to Kalyana Chalukya King Someshwara III (12th century) ;

: – Sangita-Cudamani of Jagadekamalla (1138 to 1150 AD ) –   son of king Someshwara , author of Manasollasa;

:- Sangita-sara of  Sage Sri Vidyaranya  (1320 – 1380)  which perhaps was the first text to  group (Mela ) Ragas according to their  parent scale;

: – Sad-raga-chandrodaya of Pundarika Vittala (1583 approx);

 :- Kalanidhi of Catura Kallinatha (Ca,1430),  a reputed commentary on on Sarangadeva’s Sangita-ratnakara ; he was in the court of Immadi  Devaraya ( aka Mallikarjuna) the King of Vijayanagar (1446-65);

: – Swaramela-Kalanidhi  by Ramamatya (Ca.1550) a poet-scholar in the court of Vijayanagar ;

: – Sangita Sudha, attributed to Govindacharya (aka. Govinda Dikshita, Ca 1630) ;

: – Chaturdandi-Prakasika (a landmark text in Karnataka Sangita) by Venkatamakhin, son of Govinda Dikshita (ca. 1635);

: –  Sangraha Chudamani by Govindacharya (late 17th – early 18th century), which expanded on Venkatamakhi’s work;

:- and,

the Ragalakshanam  ( early 18th century) of Muddu Venkatamakhin (maternal grandson of Venkatamakhin) which makes a drastic shift in the concept of Mela , identifies the Raga by the position of its notes (Svara-sthana) and characterizes a Raga by its Aroha and Avaroha ( ascending and descending notes).


1.3. The practice of grouping (Mela) the Ragas according to their parent scale, it said, was initiated by Sage Vidyaranya in his Sangita-sara (14th century). Govinda Dikshita (who reverently addresses Sri Vidyarana as: Sri Charana)   confirms this in his Sangita-sudha (1614).  Sri Vidyaranya classified about 50 Ragas into 15 groups (Mela). Mela is a Kannada term meaning collection or group; and it is still in use ( eg. sammelana- is meeting or conference).Sri Vidyaranya ‘s  work on Melakarta system was followed up and improved upon in later times by other Kannada–speaking scholars. For instance; Ramamatya, following Sri Vidyaranya, in his Svara-mela-kalanidhi classified the then known Ragas into 20 Melas. His classification of Melas was based on five criteria (Lakshana): Amsa (predominant note); Graha (initial note); Nyasa (final note); Shadava (sixth note); and, Audava (pentatonic structure). Ramamatya was thereafter followed by:  Pundarika Vittala (16th century); Venkatamakhin (17th century); and his grandson Muddu Venkatamakhin (18th century).



1.4. Sri Sripadaraja (1406-1504) who presided over the Matta at Mulbagal in Kolar District, Karnataka, is credited with reorganizing the Taala system from out of the numerous Desi Taalas (rhythmic patterns) that were in use. He categorized the Taala under seven categories (Suladi sapta taala), each with a fixed number of counts: dhruva (14), matya (10), rupaka (6), jampa (10), triputa (7), ata (14), and eka (4). The counts were measured in terms of Laghu (of one matra duration- notionally to utter four short syllables) and Dhruta (half that of Laghu). He also provided scope for extending these counts (virama) by adding a quarter duration of a Laghu.

It appears; two other Taalas (jhompata, a Desi Taala and Raganamatya from folk traditions) were also in use.

Of course, today, the Taala regimen has completely been overhauled.

Music Terms

1.5 . Many of the Music-terms that are in use today were derived from Kannada. For instance: while the music-content of a song is called Dhatu, its lyrics are Mathu (meaning spoken word in Kannada). Similarly, the terms Sarale and Janti-varase are derived from Kannada. Sarale is, in fact, said to be the local (prakrta) version of the Sanskrit term Svaravali (string of Svaras). And, Varase (meaning style in Kannada) refers to ways of rendering the Svaras in high (melu-sthayi) and low (taggu-sthayi) pitch.

Further, the terms to denote ten modes of ornamentation (Dasha-vidha-Gamaka) were also said to be derived from Kannada: Hommu; Jaaru; Rave; and Orike etc.

Teaching Methods

1.6. Apart from charting the path for development of Music in South India, the teaching methods were systematized by Sri Purandaradasa through framing a series of graded lessons. Sri Purandaradasa is credited with devising a set of initial lessons starting with Maya-malava-gaula Raga and later in other Ragas. The Svaravalis, Janti varse, the Suladi Sapta taala alankaras and Gitams, composed by Sri Purandaradasa, form a part of Music-learning. He has also to his credit numerous lakshya and lakshna Gitams; Suladis, Ugabhogas, Devara Nama and kirtanas.

His compositions served as a model for Sri Tyagaraja. The other composers of the 18th century also followed the song-format devised by Sri Purandaradasa which coordinated the aspects of Raga, Bhava and Taala.

kanaka-vyasa-vadi ed

Contribution of Haridasas

2.1. As regards the Haridasas, their contributions to Karnataka Samgita, spread over six hundred years, have been immense, both in terms of the sheer volume and the varieties of their works.

Haridasas were proficient singers and composers; and, spread their message – of devotion, wisdom, ethics in life and social values- through songs and Music. They composed their songs in Kannada, the spoken language of the common people;  not in Sanskrit as was the practice until then. Their songs were accessible even to the not-so-literate masses; and, soon became hugely popular.

2.2. The range of Haridasa Music is indeed very wide. It spread from songs derived from folk traditions (lullaby (laali), koluhadu, udayaraga, suvvake, sobane, gundakriya etc) to Prabandha forms (gadya, churnika, dandaka, shukasarita, umatilaka and sudarshana), to musical opera and to the classic poetry.

But, the bulk of the Haridasa songs were in the format of: Pada; Suladi; and, Ugabhoga. When put together, their numbers run into thousands

2.3. As regards the Music, they seemed to have re-organised Ragas starting with malavagaula, malahari under 32 (battisa) Raga-groups.

[Incidentally, it is said, it was Sri Sripadaraya who first mentioned and introduced into Haridasa-music the stringed drone instrument Tamburi (Tanpura). And, later it came to be identified with the Haridasas in Karnataka music.]


3.1. Sri Naraharithirtha (13th century), a direct disciple of Sri Madhvacharya, was perhaps the first to compose Kannada songs in Pada- format. (His Ankita or Nama-mudra was Raghupathi.) The model he offered was fully developed and expanded by generations of Haridasa composers. That in turn led to evolution of other song-forms in Karnataka Samgita: Kriti, Kirtana, Javali etc.

3.2. Sri Naraharithirtha, after a considerable gap, was followed by Sri Sripadaraja (Ankita: Rangavittala) who lived for almost a hundred years from 1406-1504. He wrote a good number of Padas as also a long poem in Sanskrit (Bramara-geetha). He also introduced many innovations into Karnataka Music.

3.3. The later set of Haridasas, mostly, lived around the Vijayanagar times. The prominent among them was the most honoured Sri Vyasaraya (1447-1539), a disciple of Sri Sripadaraja. He composed many Padas (Ankita: Sri Krishna).  He enjoyed the patronage of the Vijayanagar King Sri Krishnadevaraya; and, also had a large following of disciples. During the time of Sri Vyasaraya the Haridasa movement (Daasa-kuta) reached its heights. Sri Purandaradasa and Sri Kanakadasa were prominent members of the Daasa-kuta.

3.4. During the same time, Sri Vadiraja (Ankita: Hayavadana) who had his seat in Sode (North Kanara District) composed varieties of Padas, popular songs and lengthy poems in classic style.

3.5. Among the Daasa-kuta , Sri Purandaradasa ( 1484-1564) a disciple of Sri Vyasaraya was  , of course,  the most well known of all. He composed countless Padas (Ankita: Purandara Vittala). Though he is said to have composed gita, thaya, padya-vrata (vrittanama) and prabandha (much of which is lost), he is today known mainly by his Padas, Suladis and Ugabhogas.  His songs cover a range of subjects such as: honesty and purity in ones conduct and thoughts; wholesome   family life; social consciousness and ones responsibility to society; philosophical songs; futility of fake rituals; songs preaching importance of devotion and surrender to God; prayers; narrative songs etc. He systematized the methods of teaching Music; and blended lyrics (Mathu), Music (Dhatuu) and Dance (Nrtya) delightfully. He is credited with introducing early-music lessons such as: sarale (svarali), janti (varase), tala- alankaras as well as the group of songs called pillari gitas.  These form the first lessons in learning Karnataka music even today. Sri Purandaradasa was later revered as Karnataka Samgita Pitamaha (father of Karnataka Music).


It is said; Sri Tyagaraja (1767-1847) derived inspiration from Sri Purandaradasa whom he regarded as one among his Gurus. Sri Tyagaraja, in his dance-drama Prahlada Bhakthi Vijayam pays his tribute to Sri Purandaradasa – వెలయు పురందరదాసుని మహిమలను దలచెద మదిలోన్ (I ponder, in my mind, on the greatness of Purandaradasa who shines in a state of ecstasy, always singing the virtues of Lord Hari which rescues from bad fates). Sri Tyagaraja brought into some of his Kritis the thoughts, emotions and concepts of Sri Purandaradasa.

3.6. A contemporary of Sri Purandaradasa was the equally renowned Sri Kanakadasa (1508-1606). He is remarkable for the range and depth of his works (Ankita: Nele-Adikeshava). He, like the other Haridasas, was driven by the urge to bring about reforms in personal and social lives of people around him. He wrote soulful songs full of devotion (Bhakthi), knowledge (jnana) and dispassion (Vairagya), besides composing classic epic-like poetry in chaste Kannada. His Kavyas: Mohana-tarangini (in Sangatya meter); Nalacharitre, Haribhakthisara and Ramadhyana-charite (in Saptapadi meter) are popular even today.


3.7. Following Sri Kanakadasa there were generations of Haridasas who continued to compose Padas, Devara Namas Ugabhoga, Suladi, Vruttanama, Dandaka, Tripadi and Ragale (blank verse) etc as per their tradition. Among them  the prominent were : Mahipathidasa(1611-1681) ;  Vijayadasa (1682-1755) ; Prasanna Venkatadasa  (1680-1752) ; Gopaladasa (1722-1762) ; Helavanakatte Giriyamma  (18th century) ; Venugopaladasa (18th century) ; Mohanadasa (1728-1751) ; Krishnadasa (18th century) and Jayesha Vittaladasa (1850-1932).

They all have contributed immensely to the development of Karnataka Samgita. Be bow to them with reverence and gratitude


Pada, Suladi, and, Ugabhoga

4.1. As said earlier; the bulk of Haridasa music can broadly be grouped under three categories: Pada; Suladi; and, Ugabhoga.

4.2. The Padas are structured into Pallavi which gives the gist, followed by Anu-pallavi and Charana (stanzas) which elaborates the substance of the Pallavi. Pada is set to a Raga and a Taala. The Pada-format is closer to that of a Kriti. The term Pada is again derived from Kannada, where it stands for spoken-word or a song.

4.3. Suladi ( some say that it could suggest Sulaba-hadi , the easy way) is a delightfully enterprising  graded and a gliding succession of different Taalas (Tala-malika) and Ragas (Raga-malika). Some others  say, the name Suladi also means Su-haadi (meaning a good path, in Kannada).

The Suladi is a unique musical form that evolved from the Salaga Suda class of Prabandha . It is made up of 5 to 7 stanzas ; and does not, generally, have Pallavi or Anu-pallavi. Each stanza explains one aspect of the central theme of the song. And,   each of its stanzas is set to a different Taala (Taala–malika) chosen from among the nine Suladi Taalas (They in their modern form are: dhruva, mathya, rupaka, jhampa, triputa, atta and eka; in addition to two others   jhompata and raganamathya. ) And, at least five Taalas are to be employed in a Suladi.  Occasionally, the folk rhythm Raganmatya Taala is also used.

Therefore, in Suladi, particular attention is paid to the Taala aspect. Sometimes Ragas are not prescribed for rendering a Suladi. Towards the end of the Suladi there is a couplet called Jothe (meaning ‘a pair ‘in Kannada). 

Mahamahopadyaya Dr. R. Satyanarayana explains that the Dhruva Prabandha after which Suladi  was patterned employed nine different types of Taalas, while they were sung as a series of separate songs. Thereafter, there came into vogue a practice of treating each song as a stanza or Dhatu (or charana as it is now called) of one lengthy song. And, it was sung as one Prabandha called Suladi. Thus, the Suladi was a Taala-malika, the garland of Taalas or a multi-taala structure.

He mentions that there was also a practice of singing each stanza of a (Suladi) Prabandha in a different Raga. Thus, a Suladi type of Prabandha was a Taala-malika as also a Raga-malika.

Earlier to that,  Matanga had  mentioned  about Chaturanga Prabandha sung in four charanas (stanzas) each set to a different Raga, different Taala , different language (basha) and different metre (Chhandas) . Similarly, another type of Prabandha called Sharabha-lila had eight stanzas each sung in a separate Raga and Taala.

Sarangadeva also mentioned several types of Prabandha-s which were at once Raga- malikas and Taala-malikas such as : Sriranga, Srivilasa, Pancha-bhangi, Panchanana, Umatilaka, and Raga-kadamba.

Thus , the Raga malika, Taala malika and Raga-Taala- malika concept  which was described in the old texts was adopted and improved upon by the Haridasa (Sripadaraya, Vyasaraya, Vadiraja, Purandaradasa and others) to produce series of Suladi songs.

4.4. Ugabhoga is a piece of single stanza, sung in a Raga of performer’s choice.  They are similar to Vrittams which evolved from the Prabandhas of Desi music.  But, they are free from restrictions of meter or the length of the line. Most Ugabhogas don’t have prescribed ragas. It is a form of free rendering where Taala is absent or is not of much importance.  Ugabhoga attempts to convey a message in a nutshell. Therefore, rendering of the theme is more important here. Ugabhoga is characterised by the dominance of Raga- ‘Svara Raga Pradhana’.

Some say; the name Uga-bhoga is related to elements (Dhatu) of Prabandha Music, called Udgraha and A-bogha.  In the song set in Prabandha format, the element Udgraha consisting a pair of lines grasps (udgrahyate) the substance of poem; and, the element A-bogha completes the poem.

Baliya manege vaamana bandante | BhagIrathage sri  Gange bandante | Mucukundage shrI Mukunda bandante | Vidurana manege shrI Krishna bandante | Vibhishanana manege shrI Raama bandante | Ninna naamavu enna naaligeli nindu | Sthalnali srI Purandaravittala ||

As can be seen, there is the opening section (Udgraha) and the last line (Abogha) with the signature (Birudu, Ankita or or Mudra) of the composer. The Ugabhoga is not structured into sections.

There is no prescribed Raga; and there is no Taala either. This Ugabhoga was rendered famous by Smt. ML .Vasantha Kumari who sang the first part in Hamsanandi and the rest in Maand

4.5. The Haridasas through their Padas, Ugabhogas, Suladis and Geetas set to attractive Ragas and Taalas carried to the doors of the common people the message of Bhakthi as also of worldly wisdom.

Trinity of Music


5.1. The contributions of the celebrated Musical Trinity- Sri Tyagaraja, Sri Mutthuswami Dikshitar and Sri Shyama Shastri – are enormous. Their period could doubtless be called the golden age of Karnataka Samgita. Though the three did not meet together, they seemed to have complemented each other wonderfully well.  The approach of each was different from the other. And yet; their combined influences has bound the Music of South India into an integrated system and has given it an identity. For instance; of the three, Shyama Shastri seemed to favour tradition, as most of his compositions are in Ragas mentioned in older treatises. Sri Dikshitar was open to influences from the Music of the West (Nottu sahitya) as also that of the North (Drupad music of North India). Some of his compositions in Vilamba-kaala are set in Ragas derived from North Indian Music. Yet; Sri Dikshitar was authentically original; and was also rooted in tradition, following Mela-Ragas classification of Venkatamakhin and that of Muddu Venkatamakhin’s Ragalakshana.

5.2. Sri Tyagaraja seemed to be more innovative. He brought to life some rare Ragas that were long forgotten and had gone out of use. He also created some new ragas. He perfected the Kriti format of Musical compositions that are in vogue today; introduced the practice of Sangathi elaboration of the Pallavi; and built in Svaras into Sahitya. And, he was also  a prolific composer, having produced large numbers of Kritis/Kirtanas, Utsava-sampradaya kirtanas, Divya nama samkirtanas and Geya Natakas (dance dramas).

5.3. The post-Trinity period saw an explosion of light musical forms, such as: Varnas, Thillanas, Swarajathis, Jathiswarams, Shabdams and Javali. The composers of these musical pieces were mostly the disciples of the Trinity and their subsequent generation of disciples and their followers.


Today and tomorrow

6.1. As you look back, you find that the Music of India developed and changed, over the centuries, at multiple layers due to multiple influences. The Indian classical music as we know today is the harmonious blending of varieties of musical traditions such as sacred music, art music ,  folk music and other musical expressions of India’s extended neighbourhood.  And, yet the Music of India has a unique characteristic and an identity of its own.

6.2. The Music of India has travelled a long way. The modern day Music scene is markedly different from its earlier Avatar, in its practice and in its attitude. The traditional system of patronage vanished long back. Now, the professional musicians have to earn their livelihood by public performance, recoded discs, radio /TV channels, teaching in schools or at home. The relation between the teacher and student , the ways of teaching as also the attitudes of either teaching or learning have all  undergone a sea change; almost a complete departure from the past practices and approaches .   New technology and accessories are brought in to enhance the quality and volume of sound output. Many new instruments, starting with violin and Harmonium, are being adopted for rendering traditional music (saxophone, mandolin etc). The styles of rendering the Alap or the song or even selection of Ragas/kritis are all hugely different. Many musicians have been experimenting with fusion music of various sorts. And above all, there is the overbearing influence of film music.

6.3.  But, at the same time, I believe the fundamental basics of Indian music are not yet distorted. It is, as ever, growing with change, adapting to varying contexts and environments.  This, once again, is a period of exploration and change. It surely is the harbinger of the Music to come in the next decades.

Lotus Blossom_

 In the coming instalments of the series, we will take a look at the various stages in the evolution of the Music of India, separately, each at a time :the  Music of Sama Veda; the  Music in Ramayana; Gandharva or Marga Music; the Music of Dhruvas in Natyashastra ; the Desi Music of Ragas; the Prabandhas along with Daru and other forms  ; various types of song- formats; the best of all formats – the Kritis also ; and at the end , the Lakshana Granthas composed over the centuries, in a bit more detail.


In the next part of the series we shall try to catch a glimpse of the Music of Sama Veda.

power of Music

Continued in Part Four

Music of Sama Veda

Sources and References

ಕರ್ನಾಟಕ ಸಂಗೀತ’ದಲ್ಲಿ  ಕನ್ನಡ’

Important Treatises on Carnatic Music by Harini Raghavan

Haridasa s’ contribution towards Music


Posted by on April 22, 2015 in Music, Sangita


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