The evolution of dance drama in classical Bharatha Natyam
 

by Subashini Pathmanathan

In ancient Tamil history two different art forms dance and drama were considered as one art form. It was generally referred as Kuthu. The ancient Tamil epic Silappatyikaram numerous dances and dramas are referred to as Kuthus.

In Silappathykaram different variety of Kuthus were mentioned Aka Kuthu, Pura Kuthu, Vetheyal Kuthu and Pothuveyal Kuthu are some of the few Kuthu varieties mentioned in the ancient epic. In olden days the male dancers and male drama actors were commonly known as Kuthar and female dancers and female drama actors were called Kuthiyar.

The word Kuthu was common to dancers and actors. Even the cosmic dancer Lord Nataraja is often referred to as Ampala Kuthan, Kutharasan and Kuthapiran, Kuthandavar and Kuthavallan.

During the Chola period the Chola Kings patronised, preserved and protected the dance and drama. These arts flourished in and around the temple environs. This is evidenced by numerous stone inscriptions and copper plates. The Chola Kings endowed lands, gold, wealth and even villages to the artistes.

To this day there is a village called Kutha Nallur which was endowed by Chola Kings to the Kuthars. Similarly a reference called Kuthu Kanni is found in the ancient inscriptions referred to a land which was endowed to the dancers and actors.

In 17th century dance and drama together emerged in the art scene as Pallu, Kuravanchi and Bhagavatha Mela. But at the end of 17th century there was a gradual separation of the dance and drama. But with the passage of time dance and drama were separated from one another.

Recognition

In 18th and 19th century dance faded away and lost its popularity and importance, whilst drama (theme based acting where numerous characters participated) gained recognition and popularity. But in 20th century cinema was introduced to society with modern technique and technology and acquired a pre-eminent position.

Meanwhile drama was pushed to the verge of extinction. At this stage drama artistes turned into cinema stars and drama halls were transformed into cinema theatres. With the passage of time after a period of brief oblivion dance (incident based, or in praise of lord, or descriptive art form, based on classical Carnatic music) once again regained its pre-eminent position.

This dance form was earlier known as Sathir and later known as Bharatha Natyam. From 1945 onwards different Bharatha Natya, schools choreographed different dances on different social and religious dance drama-based variety of themes and epics.

During this period various fictional stories were adopted for dance based dramas. Towards the end of the last century different TV channels telecast different dance dramas adopted with technical innovations through light, sound and smoke. Although dance drama evolved out of classical Bharatha Natyam, there are differences between the two.

Repertoire

Bhartha Natyam has its own repertoire, well designed stitched costumes, distinctive and unique make-up. Essentially it is an individual dance form. It is based on Carnatic music.

Dance drama does not strictly adhere to Carnatic music tradition but very often it uses Western musical instruments whenever necessary (mainly for the sound effects), the make-up and costumes are worn according to suit characters.

In Bhartha Natyam, the stage decor is simple and adheres to certain standards. In dance drams, the stage decor is often adopted to suit the needs of the scenes. But both these art forms use the same adavus, abinayas, hand gestures, bavas and rasas.

And both these two dance forms give maximum opportunity to the dancers' imaginative creativity.

Yet both these dance forms have their own identity. Generally dance drama is considered as Bharatha Natyam by the public as dance dramas are presented through the idiom and grammar of classical Bhartha Natyam. They are mostly presented by the traditional dance schools.

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