Dance in different eras

Subashini PATHMANATHAN

The historical practice of dance in Tamil Nadu could be divided into different periods. Dance flourished during different eras. Roughly the dance practice could be divided into different periods for instance - Sanga Kala Dance Period, Post Sanga Kala Period, Bakthi Literature Period (Pallava Period), Chola Period, (Golden Era of Art and Culture), Vijenagara Period, Nayaka Period, Marathi Period, Dance under European rule and dance in the 20th century.

Earlier dance was practised and preserved in and around the temples and temple environs. It was practised by a particular clan called Devadasi. But with the passage of time dance started flourishing in a polished and systematic manner.

Bharatha Natyam is considered as stage dance

This started with mainly during the era of Nayaka Kingdom. The present day jewellery, costumes and the blouses in Bharatha Natyam are the continuation of Nayaka Era. The Tamil classical dance was earlier called as Sathir but latter it was renamed in 20th century as Bharatha Natyam.

The Classical and semi classical dance forms which we practise today in modern stages also originated in the Nayaka Era. Mainly beautiful Padams were enacted during the Nayaka Regime.

One of the founders of the Nayaka dynasty was Sevappa Nayaka who was a great patron of art, music, dance and culture. After his reign, his son Regunath Nayaka became the ruler of the Tamil country. His tremendous contribution to the development of dance and music was immeasurable.

Numerous nuances of the Sangeetha Sastra were introduced. Meanwhile, numerous literacy works were enacted during this period.

Even, the king himself along with numerous authors and poets enacted beautiful dramas; music and dance compositions to enhance the literature and arts together. King Ragunath in his works introduced a variety of Thalas.

These Thala (rhythm) varieties are still prevailed in Carnatic music and dance. Beside these King Ragunath Nayaka mentioned about numerous single hand muthras, double hand muthras, Anga Pirathi Anga, and Upa Anga body movements in dance. Elaborate information about Bhava, Rasas, body positions, foot positions, foot movements, standing positions and different stands of the dance are clearly described in his works.

His entire meaningful contribution is still followed in Bharatha Natyam. Even the methodology of recitation of Jathi for pure Nirtha also took place during his era.

He emphasized that Abinaya and facial expressions, should be executed in dance. His court was adorned with scholars and the artistes who were well versed in art and culture.

During the regime of King Ragunath Nayaka even folk dance traditions were also given encouragement. For instance Yaksanagana tradition started developing during this period. This was divided into two sections, one was music based and the other was dance based.

Without royal protection any art cannot be developed. Dancers were allocated to live in a particular area; such places existed even during the Chola regime. This was referred to as Cheris even very recently.

Now Bharatha Natyam is considered as stage dance alone. And it is not permitted to dance in the streets during processions.

To enhance the essence of dance earlier, dancers danced in the streets during the temple festival in front of the idol and royal processions. These dancers danced in the decorated streets.

The streets were called “Natyasalai”. Later the place where the dance took place was called Natya Sala. With the passage of time this place was named as ‘Sangeetha Mahal’.

Today the stage where the dance takes place is called Arangam.

Even the audience of Nayaka Era was expected to be knowledgeable, and supposed to be very critical about the art. Such tendency in the art field is always very necessary to develop the art along with the correct path.

Many references of Nayaka Era of musical instruments could be seen. These instruments are such as Tambura, Mukaveena, Ottu, Thala, Maddala, and the Flute, were some of them.

These are still used in classical Bharatha Natyam and in Carnatic Music. Some instruments are used in folk dance. Experts of dance and music were honored with awards and rewards. Following the ancient traditions, still the outstanding artistic talents and contributions are widely recognized by society.

During the Nayaka Era musical and dance troupes were called by the name Sangitha Melam.

Actually with the passage of time in the early 20th century Nathaswaran, and Thavil troupe were referred to as Periya Melam, and temple female dance troupe was named as Chinna Melam, the dances were called Chinna Melakaris.

The present stages of dance and music have their origin from the Nayaka Era.