Tamil dance Nayaka circa

Subashini Pathmanathan

According to Tamil history after the Chola regime Tamil literature generally faced a dull period. But Tamil devotional history and cultural history, even after the Chola period, flourished considerably.

The historical practice of dance in Tamil Nadu could be divided into different periods. Dance flourished during the 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 environs. It was practised by a particular clan called Devadasis. But with the passage of time dance started flourishing in a polished and systematic manner. It could be said that during the Nayaka Kingdom Tamil dance and music started to develop in a new dimension. Even the dance jewellery, costumes and the pattern of blouses which we are using today in Bharatha Natyam are the continuation of Nayaka Era.

The Tamil classical dance was earlier called as Sathir but it was renamed in 20th century as Bharatha Natyam. Even the semi classical dance forms which we practise today in modern stages also originated during the Nayaka regime. Beautiful and melodious Padams were enacted during the Nayaka Regime. Bhagavatha Mela tradition penetrated into the art field during the Nayaka period.

Bhagavatha Mela dance drama laid down the foundation for the Kuravanchi dance dramas of the 20th century in classical Bharatha Natyam. Bhagvatha Mela dance form was practised by 510 Brahmin families. These families migrated from Andhra Pradesh and settled at the river banks of Kaveri. 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 Sangheetha Sastra were introduced during this era. Meanwhile, numerous outstanding literacy works were enacted. Even the authors, poets, the king himself enacted beautiful dramas, musical and dance compositions to enhance the literature and arts together.

King Ragunath in his works introduced a variety of Thalas. These Thala varieties (rhythmic patterns) are still in use in the classical Carnatic music and in the classical dance today. Besides, King Ragunath mentioned about numerous single hand gestures, double hand gestures, Anga, Pirathi Anga and Upa Anga body movements in dance. Elaborate information about Bhava, and Rasas, body positions, foot positions, foot movements, standing positions, different stands of the dance are clearly described in his works. His entire meaningful contributions are still followed in the present Bharatha Natyam tradition. Even the methodology and customs of recitation of Jathi for pure Nirtha was introduced during his era. Today in the modern stages Nattuwanga Jathis (oral Sollukadu Jathis) are interwoven with the Nirthya and Natya which provides an exceptional beauty to classical Bharatha Natyam. Such patterns of execution of pure dance in between the Nirthya was adopted only during this Nayaka period.

He emphasized excellent Abhinaya and facial expressions should be adopted in dance. During the period the court scholars, kings and the artistes were well versed in art, culture and tradition. The cultural nuances were deeply rooted in the ancient Sastras. The traditional cultural nuances were well interwoven in the Nayaka era dance and music.

During the regime of King Ragunath folk dance traditions were also given encouragement. For instance Yaksanagana tradition started developing during this period. This was divided into two divisions. One was musical based tradition and the other was dance based tradition.

Without royal protection any art cannot be developed. Dancers were allotted to live in a particular area. Such places were existed even during the Chola regime. This was referred to as Cheries. Even today such places are called Cheries. 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'. The place of dance took place at Natana Salai.With the passage of time this particular place was named as 'Sangeetha Mahal'. Today the stage where the dance takes place is called Arangam.

Even during the Nayaka Era the audiences were expected to have sound knowledge in dance and music. Such attitude in the art field is still needed to develop the art field in general. Many references could be found regarding the musical instruments which were used during the Nayaka period. Tambura, Mukaveena, Ottu, Thala, Maddala, and the Flute were some of the remarkable instruments used in those days.

Still these instruments are used in classical numerous classical Indian dances and Carnatic Music. Some instruments are used in folk dance. Experts of dance and music were honored with awards and rewards. This tradition is still practised.

During the Nayaka Era musical and dance troupes were called by the name Sangeetha Melam. Actually with the passage of time in the 20th century Nathaswara and Thavil troupes were called as Periya Melam, and temple female dance troupes were named as Chinna Melam the dances were called Chinna Melakaris.

The present stage of dance and musical traditions are the continuation of Nayaka era.