Tamil dance and ancient Tamil music
Subashini Pathmanathan
Early dancers
* Tamil dancers were earlier called Pun
* Males were Pannar and females were Pannathiyar
* Puns were never preserved
* Originally seven puns existed
Language, music and drama were interwoven in the lives of the Tamils
from ancient days. In ancient times, Tamil music was called Pun. But at
present the Carnatic music is manifested through Ragas. In ancient
times, the male musicians were called Pannar and female musicians were
called Pannathiyar or Padinneyar. Those who danced for their music were
called Kuthar, the female dancers were called Kuthiyar or Veraliyar.
Those days, even the lands were generally divided into five different
categories.
|
A dancer
was equipped with skills to dance to various musical tunes |
Those categories were based and divided according to landscape,
climatic conditions, and nature of the land. The five categories were
Krinchi (mountain and mountainous area), Mullai (forest and forest
area), Marutham (paddy field and paddy field area), Pallai (desert and
desert area), Neithal (sea and seaside area). These aforesaid categories
of lands had each distinct (Pun Iasai) music, as well as different
musical instruments, including leather drums, string instruments and
wind instruments.
Language and culture
Language (Iyal) and Isa (music), underwent changes. To understand the
music of Sangam age one has to refer to ancient works, Pari Padal and
Kalithokai.
In Paripadal there are references to numerous Puns. But they were
never preserved properly. Most of these rested in oral traditions. The
theme of the music was love and the songs to which they danced were love
songs. This evidence is supported by certain verses appearing in Pari
Padal ‘Parivoonda Padaloddu Adalum Thonra’.
The post-Sangam era is known as Sanga Maruviya Kaalam. During this
era the ancient Tamil Epic Sillapathikaram was written by Illango
Adikal. According to it, Mathavi the dance heroine danced eleven dances
at her Arangetram.
Those eleven dances were based on religious themes and consisted in
‘Thiva Viruthi'. The music for all these dances were based on Pun. This
would be seen in the last verse of the chapter on arangetram.
After The Sanga Maruviya period Tamil music and language suffered, a
setback because of the foreign invasion. But this dark era did not last
long because Karaikal Ammaiyer appeared on the scene with the deeply
devotional music.
This age of Karaikal Ammaiyar was followed by the Bakthi period from
7th century A.D. till the 14th century A.D. Tamil music revived largely
due to the four Saiva Saints and twelve Alwaars and various other saints
composed devotional hymns.
Still most compositions of the Saints and Alwaars are sung with the
same devotion and following the traditional Puns.
Devotional hymns
The three Saiva saints Appar, Sampanthar and Sundarar composed
Thevarams religious hymns. Varam means music. Thevaram means devotional
hymns. These three saints were called ‘Thevara Mum Moorthikal’ or
‘Thevara Trio'. Those who sing Thevaram were called ‘Thevara Nayakam'.
Those who danced for Thevaram were called ‘Thevar-Adyarkal'.
The outstanding dancers were honoured by conferring the title
‘Thalaikolli'. But there is a reference to ‘Sivagana Sampanthear Thallai
Kolli’ which apparently is a reference to those who sang and danced for
Thiru Gana Sampanthar's hymns.
Originally seven Puns existed but later out of these seven Puns
altogether 103 Puns developed. Poet Sekkilar referring to saint
Sampanthar called him the saint who propagated the seven Puns in order
to glorify the Puns. Even today in Carnatic music all the ragas are
based on seven swaras (Sabtha Swaras).
Those who sing the Thevarams are called Othuvars. The musical
traditions of the Puns are persevered by oral traditions. Even in
today's dance recitals the Thevarams are danced by most accomplished
dancers though not by all. In dance recitals most of these Thevarams are
danced with same the ‘Pun Traditions'or Viruthams without thala.
Thevarams when they are used in dance with thala and Pun Isai is called
Pannankam. Here Nirtham and Nirthyam are interwoven.
Themed songs
Twelve Vaishnava Alwaars sang songs on Vaishnava themes. These were
believed to have been sung in 108 Vaishnava temples. All these Paasurams
were based on Pun Isai.
These were complied by Natha Muni and published to the world as
‘Nalaaieram Thiviyia Pirapantham'. Curiously enough only in the
Paasurams, of Nammalvar the Puns are noted. Altogether 13 Thevara Puns
and six special Puns are mentioned.
There is evidence that at Sri Rangam Temple the dancers danced for
Paasurams and danced with Abinaya. The males who danced for Paasurams
were called Arraiyar and their service was called ‘Arayar Sevai'. The
female dancers were called Sri Vaishnava Maanikam. Today in dance
stages, the dancers use these Paasurams based on Carnatic music but not
based on Pun Isai.
The ancient Tamil music Pun Isai is used by co-ordinating with
Carnatic Music ragas. In olden days a song called ‘Devapaani’ was sung
at the beginning of a dance recital as an invocation song.
This was based on Pun Isai. This tradition is still followed at the
beginning of a dance recital by singing Vinayagar Sthuthi or Thodaya
Mangalam in modern stages.
|