Krishnattam

Since the 17th century, an unusual form of sacred dance-drama called Krishnattam has existed in southwestern India. It is performed by a single company, originally attached to the court of Calicut and now under the sponsorship of the temple of Guruvayurappan, and the entire repertory is limited to eight plays, all concerning the god Krishna. Until the group visited Paris in 1980, few Westerners had ever seen any of these plays, for only Hindus are allowed inside the temple.

Therefore, a performance by the Krishnattam company on Thursday night at the Asia Society - its second appearance outside India - was a special occasion.

The all-male troupe of seven dancers, two singers and four drummers, directed by A. C. G. Raja, established the religious nature of their offering at the outset when attendants held a curtain in front of the audience while, behind it, the performers danced steps intended only for the eyes of the gods. At last, the curtain was dropped and what was revealed dazzled these mortal eyes.

Masked dancers were clad in elaborate costumes of almost blinding shades of red, black and gold. Their tiered headdresses rose like frosted layer cakes. Male and female characters alike wore wide and bulky bell-shaped skirts encrusted with decorations. Everything about Krishnattam looked both larger and stiffer than life. This became especially evident when the dancers posed beside the musicians and stage attendants. Whereas these simply clad figures came from our own world, the dancers inhabited the realm of myths and epics.

Given the overall heaviness of the dancing costumes, the performers' hands and feet seemed especially delicate protruding from them. Arm movements were carefully ceremonial and the feet either stamped rhythmically or shifted in measured patterns back and forth.

The program included excerpts from several dance-dramas. In the first, Krishna and his wife defeated a wicked warrior, with the aid of a magic bird. Then one of Krishna's companions tore apart another villain. This episode was followed by a plotless dance sequence, and the evening concluded with a benediction.

There were some interesting touches of characterization. Thus Krishna's wife was usually assigned demure, almost coy, poses. But when it came time to defend her husband, she boldly took up the necessary weapons.

The evening contained little of what Western audiences would consider dramatic suspense. But no such suspense was intended. What one saw was the re-enactment of timeless stories. To use a Western analogy, it was as if the glowing figures of saints and biblical characters in the stained-glass windows of a great cathedral had stepped down to remind us, through dancing, of their tribulations and triumphs.

Koodiyattom

Koodiyattam is the sole surviving classical Sanskrit theatre in India. It is a two thousand year old theatre-tradition. Traditionally Koothu and Koodiyattam are the privilege of the templecastes Chakyars and Nambiars. Chakyars enact the male-characters and Nangiars (the women of the Nambiars) enact the female-characters. Nambiars play Mizhavu, the major percussion-instrument in Koodiyattam. The plays of Kulasekhara, Sakthibhadra, Bhasa Kalidasa and Bodhayana are enacted act by act in Koodiyattam. The four-fold concept of acting dealt with in the Natyasastra, sage Bharata's ancient dramaturgy, find its due significance in Koodiyattam. Angika (hand-gestures and body-movements), Vachika (Verbal acting), Aharya (Make-up and costuming) and Satwika (Facial Expressions) in Koodiyattam are highly stylized. One finds in Koodiyattam more of Natyadharmi (stylized Acting) compared to other classical art-forms.
Apart from the epic heroes, heroines, villains and demons there is the Vidooshaka (Royal clown) who speaks three languages, Sanskrit, Prakrit (Crude form of Sanskrit), and the local dialect (Malayalam). His words and actions convincingly portray the true-character of the protagonist. In the past he was a social auditor. His diatribes against the establishment and those in power were a corrective force in the feudal-society. The main characters in Koodiyattam customarily enact 'Nirvahana'; a recollection of past events in the play to form a backdrop for stepping into the present.
'Nangiarkoothu' is the counterpart of Koodiyattam. It is in essence the Nirvahana of the female characters. Nangiar in forty one days enacts "Sreekrishna Charitam" (The story of Lord Krishna). She appears on stage as the Chedi (Maid) of Subhadra in the play, Subhadradhananjayam of king Kulasekhara. Theatre artists, choreographers and theatre researchers of the West and the East are keenly interested in the aesthetic-dimensions of both Koodiyattam and Nangiarkoothu. They come quite often to Kalamandalam for an intimate observation and analysis of these theatre traditions.

Bharatanatyam

Bharatanatyam is a classical dance form of South India, said to be originated in Thanjavoor of Tamil Nadu. It was known as "Daasiyattam" since performed by Devadasies in temples of Tamil Nadu long ago. The name 'Bharatanatyam' is derived from three basic concepts of Bhava, Raga and Thaala. The modern Bharatanatyam was systematically regularized by well known 'Thanjavoor Brothers', Ponnayya, Chinnayya, Sivanandam and Vativelu.

The dance is performed in the stage as Nritham, Nrithyam and Natyam. Bharatanatyam is based on the theories of the books 'Natyasaasthram' and 'Abhinaya Darpanam'. The dance form is based on 'Adavu' (steps) and 'Hasthamudra' (hand gestures). There are 64 basic 'Adavu' and they are divided into 9 parts, on which 'Thattadavu', 'Naatadavu', 'Kuthithumettadavu', 'Mandiadavu', 'Sarikkal' and 'Thattumettu' are very important. Communication is done through 'bhavabhinaya' (facial expression) and 'hasthamudra' (hand gestures). The performance starts with the prayers to God Ganapathi and worship of Nataraja Moorthi.

The sequence of the dance performance is 'Alarippu', 'Jathiswaram', 'Sabdam', 'Varnam', 'Padam' and 'Thillana'. After 'Thillana', with a 'Mangala Slokam' the dance program ends. Normally the performance lasts for two to two and half hours.

The costume is paijama and jacket of Kanchipuram silk and Banaras silk. The dancer wears a lot of ornaments of shining stones on neck, ears, hands, and head, jasmin garland in the hair and foot trinklet with small bells.

The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin. The dance direction is done by 'Nattuvanar' giving the Thaalam using hand symbols and singing 'Vaaythari'. There will be two singers also.

Some of the famous Bharatanatyam performers are Bala Saraswathi, Mrinalini Sarabhai, Rugmini Arundel, Kamala Laxman, Padma Subrahmaniam and Chithra Visweswaran. Panthanalloor Meenakshi Sundaram Pilla, Panthanalloor Chokkalingam Pilla, Padmasree Vazhoor Ramayyan Pilla and Adayar Laxman are some of the famous 'Nattuvar'.

Bharatanatyam: the origins

Bharatanatyam

bharatanatyam bharatanatyam

Bharatanatyam, as Balasaraswati puts it, is an artistic yoga (natya yoga), for revealing the spiritual through the corporeal. It is the most widely practised of Indian classical dances in South India. It is the most ancient of all the classical dance forms in India, which are based on Natya Shastra, the Bible of the classical Indian dance. The term "Bharatanatyam" was used by Purandara Dasa (1484-1564). Later, Ghanam Krishnayyar's songs speak about a devadasi as an expert at Bharatanatyam. Subramania Bharathi also speaks about Bharatanatyam.

The legend and the inspiration

Gods and Godesses pleaded with Lord Brahma for another Veda to be created that would be simple for the common man to understand, which is particularly important in Kali Yuga. Granting their wish, Lord Brahma created the Panchamaveda, the Fifth Veda, or NatyaVeda, a quintessence of the main four Vedas. Brahma took pathya (words) form the Rigveda, abhinaya (communicative elements of the body movements, cf. mime) from the Yajurveda, geeth (music and chant) from Samaveda, and rasa (vital sentiment and emotional element) from Atharvaveda to form the fifth Veda, NatyaVeda. After creating this Veda, Lord Brahma handed it to sage Bharata and asked him to propagate it on earth. Obeying the fiat of Lord Brahma, sage Bharata wrote down Natyashastra. Bharata together with groups of the Gandharavas and Apsaras performed natya, nrtta and nrtya before Siva. It became the most authoritative text on the artistic technique of classical Indian dances, especially Bharatanatyam and Odissi. It is also possible that the term "Bharatanatyam" partly owes its name to sage Bharata.

am

bharatanatyam bharatanatyam

The Natya Shastra reads, "When the world had become steeped in greed and desire, in jealousy and anger, in pleasure and pain, the Supreme One (Brahma) was asked by the people to create an entertainment which could be seen and heard by all, for the scriptures were not enjoyed by the masses, being too learned and ambiguous." "This art is not merely for your pleasure, but exhibits cosmic expression (bhava) for all the worlds. This art has been created following the movements of the world in work and play, profit, peace, laughter, battle and slaughter, yielding the fruit of righteousness to those who follow the moral law, a restraint for the unruly, and a discipline for the followers of the rule; to create wisdom in the ignorant, learning in scholars, afford sport to kings, and endurance to the sorrow-stricken; it is replete with the diverse moods, informed with varying passions of the soul, and linked to the deeds of mankind — the best, the middling and the low — affording excellent counsel pastime and all else."

Another version of the origin of Bharatanatyam is that Goddess Parvathi taught this dance art to Usha, daughter of demon Banasura. Usha handed it down to the Gopikas of the city of Dwaraka, Lord Krishna's birth place. Lord Shiva is himself the Supreme Dancer, and the whole Universe is His Divine Dance. Goddess Parvathi dances with Him.One can imagine that the Gods and the Goddesses, being dancers themselves, have been passing the art of the heavenly dance through many other human channels, whose aptitude, understanding, and personal idiosyncrasies naturally varied from person to person, and created a number of styles ranging from Odissi to Bharatanatyam.Bharatanatyam has been undergoing a lot of change over the centuries (click here to read more). It used to be and is still mostly performed by women dancers. Centuries ago the Hindu temples in South India had dancers-priestesses called devadasis who would sing, dance Dasi Attam (old version of Bharatanatyam), play many musical instruments. They were well-versed in Sanskrit and other languages as they had to adapt compositions to suit the audience. The devadasi tradition gradually degraded. Initially, devadasis lead a very strict and celibate life and were not allowed to have a family. As the dance entered the royal courts, the dancers were called Rajanartakis, who performed in the royal courts and gradually became royal concubines. The British colonial rule has completely corrupted the devadasi tradition.

Bharatanatyam

bharatanatyam m bharatanatyam

In the first half of the 19th century much of Bharatanatyam was redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah and Vadivelu. Styles of Bharatanatyam were preserved in practice mostly by the guru's and performers of the Isai Velalar community of Tamil Nadu. The Tanjore Quartet organized all the basic Bharatanatyam movements of pure dance into a progressive series, adavus.

Each adavu is a basic unit taught in systematic order and then combined with others to produce choreographed Bharatanatyam sequences based upon the rhythmic pattern of a musical composition. The brothers composed new music specifically for Bharatanatyam, and introduced a different sequence of items which integrated various aspects of dance and music into a carefully coordinated, aesthetically sound progression. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Bharatanatyam. In the 20th century, such prominent personalities as Mangudi Dorairaja Iyer and Krishna Iyer made their significant contributions. The social status and image of Bharatanatyam was restored by Rukminidevi Arundale, the founder of Kalakshetra, who started teaching a simplified, Kalakshetra style invented by her after having learnt some of the Pandanallur style of Bharatanatyam in a record 3 years' time. Bharatanatyam has undergone much change but is still deeply rooted in the spiritual Hindu heritage. Contemporary classical Indian dancers are both male and female artists. While most learn it as a hobby, very few make it their career and a lifestyle, as it is extremely demanding and complex in terms of dedication and daily practice. While most university degree courses offer the theoretical base in Bharatanatyam, there are institutions that offer certificate and diploma courses with the focus on the practical skills.

Most of the contemporary choreographers and dancers may use some of the formal Bharatanatyam technique or its elements to stage ballets presenting various themes such as nationalism, unity of religions, the sanctity of the environment, the animal rights activism, the greatness of a king or a political party, or even the delightfulness of Coca-Cola. In Vande Mataram, a dance festival organised under the auspices of Natyarangam, a project of Narada Gana Sabha in 1997 in Chennai, there was a host of topics: evils of the current education system, the caste and reservation systems, threat of nuclear weapons, AIDS, the population explosion, corruption in politics, bribery, religious fanaticism, secularism, the greed for riches, the Chinese aggression, the Dandi March, literacy, agriculture, mechanisation, industrialisation. Most recently, some dancers of Nrityanjali Academy (Andhra Pradesh) managed to draw their divine inspiration even from Condom Songs.

Bharatanatyam

bharatanatyam bharatanatyam

The true Bharatanatyam, it has to be stated clearly, is not a vulgar form of entertainment but a sacred ritual that is supposed to bring the rasanubhava (catharsis, or spiritual upliftment) to the rasika (audience) and the dancer.

Ottan Thullal

Among the classical performing arts of Kerala, Thullal is distinct for its simplicity of presentation, wit and humour. It follows the classical principles of Natyasasthra (a treatise on art compiled in the 2nd century B.C). Ottanthullal is the most popular among its three varieties. The other two are Seethankan and Parayan Thullal. Thullal is a solo performance combining dance and recitation. Staged during temple festivals, the performer explicates the verses through expressive gestures. Themes are based on mythological stories. Humour, satire and social criticism are the hallmarks of this art form. The Thullal dancer is accompanied by a singer who repeats the verses. The orchestra consists of the Mridangam or the Thoppi Maddalam and a pair of cymbals.

Thullal was introduced in the 18th century by the famous Malayalam poet Kunchan Nambiar (1705 - 1770). A satirist, he is the man who brought literary wit and humour within the ken of common man. His innovative satiric art form Ottanthullal reflected his deep sense of social responsibility. Witticism and anecdotes from the life of this genius have become part of the lores and legends of the State.

There is an interesting story about the origin of the Thullal. Nambiar, who used to play the Mizhavu, (a percussion instrument) during Koothu performances, was once caught napping during a performance and the annoyed Koothu player sent him off the stage. To get his own back, the insulted young man created the new art form overnight and presented it himself the next evening. The audience were thrilled. However this story has been debated by scholar ever since, who believe that it is impractical to create a new art form Thullal overnight.

The Costume: The make up, though simple, is very much akin to that of Kathakali. The actor wears a long tape of white and red coloured clothes looped around the waist-string to form a knee-long skirt. The chest-piece is adorned by various coloured beads, glass and tinsel, and other ornaments. The face is painted green, the lips, red and the eyes emphasised with black paint. The headgear is colourful and richly decorated

Mohiniyattam :

Literally meaning the dance of the celestial enchantress, this sensual dance form of Kerela, contains elements of Bharathanatyam as well as the classical and folk dances of Kerela. Mohiniyattam is usually performed as a solo dance and is very lyrical in its rendering.

Slow, graceful, swaying movements of the body and limbs and highly emotive eye and hand gestures are unique to this dance form. The simple, elegant gold-filigreed dress, in pure white or ivory, is akin to the traditional attire of the women of Kerala. The origin of Mohiniyattom is rooted in Hindu mythology. Once the ocean of milk was churned by the gods and demons to extract the elixir of life and immortality. The demons made away with this divine brew.

Lord Vishnu came to the rescue of the panicky gods and assumed the female form of an amorous celestial dame Mohini. Captivating the demons with her charms, Mohini stole the elixir from them and restored it to the gods. This dance was adopted by the Devadasi or temple dancers, hence also the name 'Dasiattam' which was very popular during the Chera reign from 9th to 12th century.

Kathakali :

Kathakali

Kathakali literally meaning 'story-dance' is the dance-drama of Malabar which is now culturally and politically known as Kerala’s soul. Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas. The early Malabari danced in the forests: His dance was a power- a mixture of his passions, erotic pleasures and inner talks with the beauteous Nature, and his natural and graceful movements, elaborate gestures, picturesque costumes, grand harmonic make-up suggested by herbal plants of the forests and the vigorous and triumphant music emerging out of the crude instruments manufactured by him.

Origin of Kathakali

It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance".
Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.
The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.

Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.


The Art of Kathakali

Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.

As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum's powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.
Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.
In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.
According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.
As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.