Influence of devotional dance

Subashini PATHMANATHAN

Indian classical music is mainly divided into two categories. One is Hindustani (North Indian classical music) and the other is Carnatic (South Indian classical music). It is believed that this division occurred around the13th Century AD. South Indian classical dance forms are based on Carnatic music.

Carnatic music comprises various songs. It may be devotional, patriotic, social and these songs could well be adopted to dance. Carnatic music encompasses South Indian languages, sometimes with a mixture of Sanskrit words. Various factors have contributed to the development of music, mainly temple sculptures, painting and stone inscriptions. Numerous musical instruments are clearly depicted in temples towers, mandapas (halls), and in temples pillars.

In some temples, notably in Thanchai, Maduri and Alakar Kovil, there are pillars which reverberate with music just on touch. Dance was preserved in temples and its environs; so was the music. According to Hindu mythology music and dance were given to the world by Siva. The following verses bear testimony:

Nanthai played the drum

Thirumal kept the thala

Bharama sang and Lord Siva danced

These verses depict the divine involvement in the growth of dance and music. Many of the ancient Tamil works refer to the lord as the fount of all music. Saint Appar in Thiruthandakam sings: thou art the song and music.

According to Hindu culture dance and music are inextricably bound together in the divine. Saint Thirugnanasampanthar said that the Lord is the creator of dance and music. So too, there are numerous references in the devotional songs: the Lord is the creator of music and dance.

Between the second Century AD and the 20th Century music and dance grew up together. In the ancient Tamil classic Silapathikaram there are numerous references about music and dance. Silapathikaram refers to some outstanding musical compositions of those days. Aachiyar Kuravai, Kunra Kuravai and Vettuva Vari were some outstanding musical compositions used those days. Similarly there were many references to dances prevalent at the time.

In addition those dances were based on devotional themes and dances were called Theiva Viruthi.

The Silapathikaram period was followed by a dark age in the history of Tamil music. This period was called kaalapiyar kaalam. Moreover about this time Kaarikal Ammiyar appeared and gave to the world Thiruvalankadu Mutha Thiru Pathikam.

This was followed by the age of Saiva saints and Vaishnava Alwaars. During this time Tamil music was at its peak; the main contributors were Saints Appar, Sampanthar, Suntharar and Manikavasakar. Most of their compositions are still used in dance.

Similarly, among the Vaishnava Saints Periyalvar Paasurams, Nammalvar Paasurams, and Andal Paasurams are still used in present classical Bharatha Natyam recitals.

In the 10th Century AD, Thiru Maalisai Devar and eight others composed Thiruvisaipa and Thirupallandu.

This was followed by another dark era, which was brightened by the appearance of Saint Arunakirinathar, his exquisite composition of Thirupukal still finds a place in the repertoire of the present Bharatha Natyam.

During the period of the17th Century Thanchai was under the rule of Nayaka kings and in the 18th Century it was under Maraathi rulers again. This era was a turning point in Tamil music. During this time many innovations were introduced in the traditional Tamil music. To these innovations dancers danced.

This period was followed by the age of Muthuthandavar, Arunachala Kaviraiyar and Kavikunchara Bharathi and many others.

Arunachala Kavirayar’s Ramanadaka Keerthanams, Kandapurana Keeerthanam by Kavikunchaara Bharathi, Meenakchi Ammai Kuram by Kumara Kuruparan and the composition of Thiruda Raasapa Kavirayar’s Kutrala Kuravanchi are still used in modern dance stages.

Earlier these were mainly used in dances. Therefore they were called Koothu songs.

In the 19th Century AD Gopalakrishna Barathi composed Nanthanar Keerthanam based on the life history of Saint Nanthanar. Following Gopalakrishna Barathi, numerous composers composed religious and devotional songs on various gods.

Most of these devotional songs are very popular and more suitable for Bharatha Natyam. Among the popular works Uthukadu Venkadasubaiyer and Papanasasivam stand out.

In the 20th Century numerous traditional dance gurus and traditional musicians composed melodious songs on various gods and on various temples, which are suitable for dance. And in the 20th Century Tamil religious cinema based on various epics were produced.

In the cinemas, deep Carnatic based devotional songs were used. Those devotional songs are suitable for the classical dances, but the modern artistes are reluctant to use these songs on the basis that those have been used in cinema.

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