Everlasting evidence of inscriptions
Subashini PATHMANATHAN
The ancient world kept its records in stone inscriptions and copper
plates, or durable metal. This was long before the paper and print
appeared. These inscriptions mostly related to succession to the throne,
endowments to religious, educational bodies, records of political
events, such as victories and war. And sometimes even economic affairs.
Endowments to temples were inscribed in copper plates or stones.
 Ancient Tamil dance grew up as temple art and there are numerous
references in inscriptions to this art. We gather from these
inscriptions that these dancers were variously referred to as
'Devar-Adiyar-kal', (handmaids of the Lord), Pathi-Aye-Yalar'', those
ministering to the Lord. The temples' professional dancers were called
'Kuthiyar'.
Temple development
Those outstanding temple dancers were called 'Veraliyar'. The
Veraliyar lived in a certain area, called 'Verali Malai'. To this day,
it is called as 'Verali Malai'.
Those who excelled in dance were awarded the title 'Thalai Koli'.
Even now inscriptions Iynooru- Wath- thalai- koli, and
'Arankth-Thalai-Koli' clearly show the enormous interest that the ruling
houses took in the development of temples and dances.
Some kings established colonies and settled female dancers. In the
Thanjavur Raja Rajeswara Temple, about four hundred female dancers were
settled. This is evidenced by stone inscriptions. The Chola emperor
Kulothunka III settled 200 female dancers in a colony called 'Thiru-
Puvna- Veeran-Pathi-Yiya-Lalar. Some stone inscriptions bear witness to
the fact there were male dancers and dance teachers who were variously
called 'Chankayer'; 'Koothar', 'Kootharasan', Nirutha Peraiyan' and
'Natuva -Aasaan'. The lands endowed to these dancers were called 'Koothu
Kaani', 'Nattuva Kaani' and 'Nattuva Puram'.
Stone inscriptions also reveal that the dances were performed to suit
the occasions. There are also references about male and female dancers
who excelled in the art. In some cases certain villages were given to
the dancers. Even to this day, one village is called 'Kootha Nallur'.
These inscriptions show the high esteem, in which the dancers were held
by the ruling monarch.
The Chola Emperor Raja Raja Cholan III witnessed the performances of
the dancer 'Ura-Waa- Kinan Thalai Koli'. He renamed the adjoining
village in the name of the dancer as a tribute to her excellence. Stone
inscriptions also show Nirutham and Nirthyam were held in high esteem.
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Dances were
performed to suit the occasions |
Those who showed outstanding talent in Nirutham (pure dance) were
called 'Nirutha Peraiyan'. Another stone inscription reveals that the
dancers installed statues and performed dances before the statues.
One such person referred to as 'Umiyal-Sathira-Vida Nankayar' who on
the day of 'Thiruvathiri', constellation in the month of Vikasi (May).
She installed a statue and danced before it. The references in
inscriptions and matters pertaining to dances are far too numerous.
Outstanding dancers
From the inscriptions we also gather that titles were conferred by
the reigning monarch on the outstanding male dancers.
'Nattuva-Kulothunga - Chola - Nirutha Peraiyan', 'Thiru-Votari- Chakai
Momudi Chola Nirutha Peraiyan'. Some touring dancers were granted the
privilege of having the details of the dancers inscribed in stone. 18th
year of the reign of Kanna Devan, one stone inscription was made stating
the details of the dances performed during the procession of the
deities.
Dance halls were constructed and properly managed. Many other details
were also set out in stone inscriptions. Stone inscriptions also reveal
in the Thiru-Vadu Thurai-Temple that a dance hall existed. Likewise in
Kachi Ekampara Natha Temple a Nirutha Mandapam was erected.
Inscription revealed that a sathir Mandapam existed, in the ninth
year of the reign of the first Raja Raja Cholan established a Sathir
Chalai (a dance hall). During the reign of the ancient kings dance
occupied an important place. |
