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Wednesday, 14 September 2011

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Dance, from temple to stage

In south India Tamil Nadu state dance form is presently known as Bharatha Natyam. This classical dance form evolved out of temple dance Sathir. In the beginning of the 20th century most of the dancers, musicians and instrumental musicians came from the hereditary caste known as Isai Vellala caste. The member of the normal high caste is known as Vellala caste and the members of the Vellala caste who were involved with art was known as Isai Vellala.

Sathir in short

* Bharatha Natyam evolved out of temple dance
* Hereditary dancers are called Sinna Melam
* Isai Vellala members played with big instruments
* Only females could express Sringara Rasas in a polished manner

These hereditary dancers were called Sinna Melam and the large instrumental players were called (Nageswaram and Thavil players) known as Periya Melam. These Sinna Melam (dancers) literally means small band, handling dance, music, drum (miruthangam) wind instruments (harmonium and flute) and cymbals.

And the male members of the Isai Vellala caste were involved in playing with big instruments such as Thavil and Nageswaram were known as Periya Melam. These Isai Vellala female members were known as devadasis. And the male members were known as Nattuwanars. These Nattuwanars were also the dance teachers and mentors of the dance for devadasis. Previously dance was the part of the temple rituals. In Sathir dance the male performers were very few.

Because in Sathir and Bharatha Natyam among all the rasas Sringara rasa plays significant role than any other rasas.

The elegant and graceful movements of Sringara Rasas can be expressed by females only in a polished manner. In Tamil land and culture, dance and music played a significant role. The dasis (dancers) served in the temples were known as devadasis. The dasis served in the royal palaces were known as Rajadasis, and the dasis who were performing in the social functions known as Alankara dasis.

Till the first quarter of 20th century Sathir was practised in the temple rituals by the devadasis clan. The social stigma attached to the dasis clan gradually disappeared. Between 1930 and 1933 was the revival period for the art. Numerous social reformers were directly involved with the art and the art was renamed as Bharatha Natyam.

Till the year 1947 Sathir was continued and practised in the temples. But in 1947 practising Sathir in the temple was prohibited by an act. During that period two categories of dances were in practice, one was the temple-based ritual dance performed in religious functions, ceremonies and religious festivals. The other variety of dance form was secular but also deeply religious dance performed in general stages by non devadasis.

The Nattuwanars who are hereditary traditional gurus for almost for all the outstanding dances of today. But they always remained as teachers and they never performed on stages. But there is evidence that one Nattuwanar named K Muttukumar a dance teacher and dancer Nattuwanar of 1884, who dressed as a girl and performed with his devadasis sister Kannama. Both of them performed mainly in the weddings.

A few male dancers also learnt the art, among them Ram Gopal was the first to gain the international fame in the Bharatha Natyam. He learnt under hereditary dance teacher.

After the establishment of Kalashethra by Rukmani Devi non-hereditary males got an opportunity to learn the art. Among them Bharatha Natyam, evolved out of Sathir, underwent certain changes in the presentations, items and repertoire. Bharatha Natyam originated from the ancient temple art form called Sathir. Origin of Bharatha Natyam could be traced back to 19th and 20th century. Earlier temple female Sathir dancers, of South India, and Northern Sri Lanka were called Sathirkaaris. They danced in the temple festivals, and temple occasions, these Sathir dances were called Sathir Kacheris. Devadasis were the Sathirkaaris. Their dance took place throughout the night. It was good entertainment for devotees as well as for the audience. Northern Sri Lanka is divided from India by eighteen miles sea called Palk Strait.

Hence Sri Lankan Tamil music, dance, devotional music, Pun music, temple paintings, temple sculptures, are very much influenced by the South Indian culture, practices, and traditions, not only the Sri Lankan Tamils, but all the Tamils living outside India, are also influenced by the Indian culture and traditions.

With the passage of time when the devadasis lost their reputation due to certain reasons in South India, and consequently practising Sathir in Temples, was also legally banned in India. In Northern Sri Lanka Sathir gradually lost the reputation, yet it was practised in the Jaffna village temples till the nineteen seventies. When the art was waning Rukami Devi, Arundale and Krishna Iyer, revived the art and renamed it as Bharatha Natyam, Bharatha Natyam dance started growing in a steady stable form and new dimension form. Earlier there were four different styles in Bharatha Natyam, but later two different styles only flourished. One is Pandanallur style and the other is Vazhuvoor style. Today Vazhuvoor style is a rare style and graceful style, and provides much more chance to develop artistic and self creativity factors and scope to the Nirthiya aspect (expression and abinaya).

Pandanallur style is quite common and has moved to the institutions. It provides much more to Nirtha (advus or steps) rather than Nirthiya aspect (expression and abinaya).

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