Vilasini Natyam: Salvaging a Fading Dance Form

I guess very few people would have heard the name of this dance form Vilasini Natyam. First time,  I heard about this dance form in India International Centre in Delhi. They have organised a three days Vilasini festival. I attended the festival on Vilasini Natyan by maestro Swapnasundari where she has given a mind blowing performance.  With curiosity, I started searching the roots of this unknown dance form.

A Dance form of Vilasini Natyam

 Vilasini natyam (which means “hereditary dance tradition”) is the name given to the sensual dance-form of the bhogam-sannis, women consecrated by the temple deity in Andhra Pradesh. Called “devadasis” in neighbouring Tamil Nadu, these women passed on their training exclusively to their daughters. Unfortunately this tradition came to an abrupt end when when the devadasi practice was abolished in 1988 by the national government. Social pressures also threatened vilasini natyam. “The dancers took an oath never to perform again. Nor would they teach the dance to their daughters.

Vilasini Natyam is a tradition followed by Kalavantalus. In its glorious period, the Kings used to invite Kalvantalus to perform when there were guests at the court. This was to impress the guests with the art form. Vilasini Natyam is a demanding art form. The dancers of Vilasini Natyam have to sing on stage while performing, regardless of whether they have a good voice or not.



Swapnaundari- Prominent Dancer of Vilasini Natyam



One of the prominent dancer of Vilasini Natyam  Swapna-sundari Rao-Prakash has written a well-researched book “Vilasini Natyam Bharatam of Telugu Temple and Court Dancers”  on this dance form. According to book, vilasini natyam as an ancient tradition that existed only in the temples, before moving into the royal courts. It gives an account of its origin, rise, decline and renaissance into the form Vilasini Natyam.

Though Vilasini Natyam movements appear quintessentially feminine, its hundred-odd Adavus (dance-units) include the Tandava (vigorous) and Lasya (soft) aspects. Vilasini Natyam's complex Abhinaya is widely admired. Its extensive repertoire comprises Temple dances, Court dances and Dance operas of the hereditary female singer-dancers of Telugu origin.

Our Country is so rich in culture and tradition and if we can do little bit of effort from our side, we can easily save these vanishing traditions.

Source:Wikipedia,Hindu, Times of India

Gujrati Africans: Lost in Maze of Legends

India plays a host to numerous tribal cuture. One of its vibrant state Gujarat has nourished a very unusual tribal community “Siddi”. Siddi Tribe- an African tribe that is settled in the nearby town of Junagadh. The quaint village of Sirvan is inhabited entirely by Siddis who were supposedly brought here as slaves 300 years ago from Africa, by the Portuguese for the Nawab of Junagadh. , Siddi Tribe of Gujrat is also reckoned as the lost tribe of Africa.

Siddi Tribe

Woman of Siddi Tribe





Members of Siddi Tribe in Gujrat

The fascinating culture and history of the Siddis was unknown to the world beyond their small communities. The origins of the Siddis in India are lost in a maze of legends and historical calculations. According to belief, “the kings and rulers of small territories along the west coast of India, bought hordes of African slaves from Arab slave traders. They used the women as servants in their places and the men as hunters. Many people are also of the opinion that Indian merchants with establishments abroad, brought with them Siddi slaves from Abyssinia.”
In the western Indian state of Gujarat - where most Sidis live - the community has lost touch with its roots. The village of Jambur, deep in the Gir forest, is one of two exclusively Sidi settlements. It is miserably poor. Their forbears came from Africa. But they have lost any knowledge of African languages, and don't know where exactly their ancestors came from or why they settled in India. The only remnant they retain of their African lineage is their music and dance.



Folk Dance of Siddi Tribe



History of Siddi TribeIn the period of 11th to 19th century, the ancestors of these Siddi tribes have migrated to several places of Gujrat. To be specific, knowing the strength and power of these Siddi tribes, all the royal kings of India hired most of these Sidditribes and there was a huge infiltration of the Siddi tribes from foreign lands. It is an ethnic group having Black African descent. It has been said that African ancestors of this tribe community came along to India during the 10th century with Arab merchants.In spite of their reputations as fine fighters, several of these Siddi tribes worked as domestics servants ans as labours in the farmlands. In order to create their own separate communities, a handful of these Siddi tribes also took refuge in the interiors of the forest area. Much later in the beginning of the 20th century, in the provinces of Jnajira and jafrabad, small Siddi lands are formed. This Janjira Islands was also called Habshan, implying to be the land of the Habshis.

Dhamal Dance By Siddi Tribe

Siddis have largely assimilated into the local populations where they live, adopting local religions, languages, food habits and clothes. The only remaining cultural traits from their African origins are their music and dance forms. The dance form that they are most famous for is called Dhamal.
While they are culturally assimilated, there has been little, if any, intermarriage between tribals and others in the areas they live in and hence they have remained a distinct community. They have also faced discrimination and isolation. In Saurashtra, they are the only tribal community and are at the bottom rungs of the social hierarchy. They are an extremely impoverished community and either live off the land inside forest areas or are employed as agricultural labourers.

The numbers and status of the Siddis – the only known group of African descendants has been dwindling rapidly. Though the government has made some attempt, but their long term survival is a question.
In sum, the Siddis constitute a unique element in the diverse society that is India.While facilitating the preservation of their unique culture and allowing them to retain whatever level of distinctiveness they wish to retain, it is incumbent upon our Governments and socieites at large to help this community develop and gain access to modern education and employment.

Kalaripayattu- An Eternal Indian Martial Arts

Kalaripayattu literally means “training ground-exercise” and the term “Kalari” can be used both to describe the practice, as well as the room in which it is practiced. Kalarippayattu is the only form of the most ancient traditional systems of physical, culture, self-defence and martial techniques still in existence. Among the many exciting experiences that Kerala has to offer, none is more unique than kalaripayattu.  Kalari payat includes strikes, kicks, grappling, preset forms, weaponry and healing methods.  It combines the dynamic skills of attack / defence and the power of the secret knowledge of the body, with a scientific system of healing and therapy based on allied disciplines like Ayurveda.

Kalaripayattu prefomed by two people

Kalaripayattu is possibly the most historic martial art in the globe. The practice of Kalaripayattu is said to originate from the Dhanur Vedic texts encompassing all fighting arts and described by the Vishnu Purana as one of the eighteen traditional branches of knowledge. The origin of Kalaripayattu is nonetheless in the midst of obscurity. Classic Kalari masters attribute mythological stories and legends to the origin of the art.  Historically, the art can be traced to the Middle Ages, or ca. the 11th to 12th century, more specifically to the account by historian Elamkulam Kunjan Pillai who attribtues the birth of kalari payat to an extended period of warfare between the Tamil Kingdoms Cheras and the Cholas in the 11th century AD. Kalaris are the schools where training in this martial art form is imparted by Gurukals or masters

Group of people practicing Kalaripayattu

Kalaris were primarily of two types, the first being smaller known as ‘CheruKalari’ (cheru means small) or KuzhiKalari (kuzhi means the portions formed by caving in the earth) and the second one known as ‘AnkaKalari’ (Ankam means fight). It is called KuzhiKalari because the floor of the Kalari is built at a level lower than the surrounding land by removing soil to achieve the necessary depth. CheruKalari or KuzhiKalari was built for the purpose of impailing physical and weapon training. It was in this Kalari that systematic training in scientific exercises in Kalarippayattu was imparted. Remnants of such ancient ‘Kalaris’ are seen at some places in Kerala even now and the similarity in size and shape they bear to each other is ample proof for the existence of this type of Kalaris throughout the region from very ancient days

 Kalaripayattu has clearly affected the evolution of a number of of Kerala’s theatre and dance kinds, most prominently Kathakali and Theyyam. Kathakali practitioners are required to prepare below Kalari masters to create several attributes this sort of as fitness, stamina, and martial movements enacted in their performances. Kalari practitioners claim that Bodhi Dharma, a Buddhist monk who was accountable for training the Shaolin monks in kung-fu, was in fact a Kalari master.

In many places in Kerala, especially North Kerala, kalaripayattu is going through a vigorous revival. Now learned for its traditional values and fitness quotient, and more as a performing art than a fighting technique, the art form is gaining popularity all over Kerala. It is a stimulating, thrilling and aesthetic experience for the senses- a heady mix of supple movements and brisk action- guaranteed to leave the viewer enthralled. In a Phoenix-like resurrection, Kalaripayattu is today emerging in a new avatar – an ancient art form – a source of inspiration for self-expression in dance forms – both traditional and contemporary, in theatre, in fitness and in movies too.

Konark Dance Festival: Classical Dance & Music Extravaganza

The sun temple in Konark is famed as a world heritage site. The exquisite 'Natyamandir' or the 'dancing hall' of this 700-year old shrine is an architectural wonder with well-adorned sculptures in Odissi dance poses. The Natyamadir or the dancing hall of the temple is extremely famous for its wonderful interior. Constructed a way back in the 13th century on the beach of Chandrabagha, this temple and its dancing hall today stand as the evidence of Indian culture’s age old amalgamation of dance and devotion.

 The Konark Dance Festival is organized annually in the month of December at the open air auditorium in the temple premises with the temple as the back drop. Many celebrated dancers from all over the country perform at this pious venue. Since 1989, this festival has been organized in the state jointly by Orissa Tourism and Odissi Research Centre to promote the diverse Indian dance heritage as well as the popularity of Konark Temple and Orissa as a tourist destination.


Konark Dance Festival




Celebration of different dance forms at one place

 Konark Dance Festival is held in December in the beautiful backdrop of the Sun temples in Konark, Orissa. The enthralling Konark Dance Festival is held every year, from 1 to 5 December. The festival has made the famous tourist destination that the Konark is even more attractive in the eyes of the tourists.



Konark Dance Festival at the backdrop of famous Konark sun temple

 


Odissi Dance Form




Bharatanatyam Form



The Konark Dance Festival is organized annually in the month of December at the open air auditorium in the temple premises with the temple as the back drop. Many celebrated dancers from all over the country perform at this pious venue. Since 1989, this festival has been organized in the state jointly by Orissa Tourism and Odissi Research Centre to promote the diverse Indian dance heritage as well as the popularity of Konark Temple and Orissa as a tourist destination.



Craft Mela at Konarak Dance Festival



With the setting of the sun, the open air auditorium put on life in the variety of musical beats and rhythmic actions under the star lit sky. In the midst of the poem in stone at the background, the festival proves to be a proper cultural feast. A carnival of Odissi, Bharathnatyam, Manipuri, Kathak and Chau Dances.The festival truthfully comes as a sumptuous feast for the eyes and ears. The sound of bells of Ghungroo, flute and Pakhauj append to the festive atmosphere. There is also a crafts mela, with a variety of handicrafts and tasty cuisine during the festival. The festival is jointly organised by Orissa Tourism and Odissi Research Centre. This mela affix more excitement to the festival thus making it an ideal venue for a family gathering on a holiday in India or a blissful experience to the tourists. The festival is a prospective platform for the performing artiste and the dance connoisseur both. It in addition comes as a right occasion for the potential artists of India who are yet to make their occurrence felt on the international level.

Konark Dance Festival takes place in an open-air auditorium against the backdrop of the floodlit temples that reverberates with the beats of 'Raga' and 'Tala' to fill the air with the sounds of classical music. The classical extravaganza is a journey through eternal ecstasy. Thus, Konark Festival gives one to have an experience of life time to witness a cocktail of art, craft, music, dance and food, all at the same place.

Mohiniyattam: Dance of the Enchantress

Mohiniyattam" literally means "dance of the enchantress".  It is one of the well known dance of Kerala. It is a celebration of womanhood and the grace and elegance of femininity. It is considered a very graceful dance meant to be performed as a solo recital by women. The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The striking features of this dance form are the musical melody and rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the body movement. The dance is focused on feminine moods and emotions.

Women Performing Mohiniyattam

 It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Mohiniyattam is a fusion of ' Bharathanatyam ' and ' Kathakali ', as it combines the graceful elegance of Bharatanatyam and dynamism and vigour of Kathakali. The performances are done only by women. In Mohiniyattam, the Lasya element of dancing is predominant, and the mood created is Sringaram (erotic).

Facial expression in Mohiniyattam

According to the legends, Lord Vishnu disguised as a Mohini and he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk. Another story says that Mohini’ toward the end of her dance, persuade the Asura to place his own finger on his head unwittingly to his own undoing. This episode seems to be picturesquely represented in the first item of the Mohiniyattam called ‘Cholkkettu’ which begins with a pose of the dancer displaying her right hand, the murder of ‘Suchimukha’ with her first finger pointing to her head. So Vaishnava devotees have take the name and called it Mohiniyattam.  Cholkkettu was also considered to be a dance pattern scattered to Lord Siva. There is a sloka in praise of Siva towards the end of the test used for Cholkkettu in Mohiniyattam.

There is a typical costume for Mohini Attam. It is generally simple and white, or off-white. Usually there is a gold brocade, possibly with a border of red. One of the most characteristic signs of the Mohini Attam dancer is the bun of hair worn off-centre. This is very much a characteristic of women from Kerala.The make up is simple and realistic. Nothing garish or loud is worn; the entire ambiance is one of tenderness and refinement. The performers of Mohiniattam dance usually wear an off-white colored sari with gold brocade borders. Hairs of the dancer are gathered in a bun and decorated with jasmine flowers. The Mohiniattam dancer is adorned with Gold Jewellery including necklaces, bangles, waistbands and anklets. The tinkling of the Jewellery produces music as the dancer performs the dance.

Group of girls performing Mohiniyattam

The mudras or hand gestures followed are from the Hastalakshanadeepika. The movements are languid and swaying suggestive of the rise and fall of ocean waves from which Mohini was incarnated. The accompanying music is Carnatic essentially. The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture of Sanskrit and Malayalam. The Mohiniyattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy yet sensual manner, the purpose being to enchant the mind without enticing the senses.

The real beauty of Mohiniyattam comes through only when mature ladies enact the romantic padams specially written to present the Ashta Nayikas: Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, Viraholkhanditha.

Yakshagana: Songs of the Celestials

India is a synonym of unity in diversity. Every state has its own unique culture, art and its own tradition. Karnataka is also one of such state. One of the most prevailing arts in Karnataka is Yakshagana which was once popularly known as “Gandu Mettida Kale” which originated 400 years back. Yakshagana has been embedded in the history and culture of Karnataka for the past thousand years. This is a classical folk art, which has its roots in the mythologies and holy texts.  Yakshagana is a traditional theatre form combining dance, music, spoken word, costume-makeup, and stage technique with a distinct style and form.

Literally Yakshagana means “Songs of the Yakshas”.  Yakshas means a tribe one whose mention we can find in Mahabharata or in the ancient Indian literature. According to Hindu mythology Yakshas are demi gods and the attendants of Kubera. Yakshagana art form is a product of Vaishava Bhakti Movement. The origins of Yakshagana can be traced as early as eleventh century A.D.  Yakshagana dance-drama during its early days was known as Bahunatakas but was later on rechristened to its present name after getting inspired from the Yakshas or Jakkulas who used to be great singers and dancers. In the ancient days, Mangalore Yakshagana dance-drama was a ballad singing art form which was later on given the shape of a dance drama. In the beginning, Yakshagana was performed by only a single dancer. It was during the 17th and 18th century, that it regained its current form of a dance drama where various characters were introduced.

Yakshagana is popular in the districts of Uttara Kannada, Udupi, Dakshina Kannada, Shimoga and Kasaragod district of Kerala. A Yakshagana performance begins at the twilight hours with the beating of drums for up to a couple of hours before the 'actors' get on the stage. The actors wear resplendent costumes, head-dresses, and painted faces which they paint themselves. The stories of Yakshagana were drawn from the Ramayana , Mahabharatha , Bhagavatha and from other mythological episodes. It consists of a narrator who narrates the story in a song-like fashion, backed by musicians playing on traditional musical instruments as the actors dance to the tune, with actions that portray the story as it is being narrated. Traditionally, Yakshaganas would go on all night.

One of the most remarkable features of Yakshagana dance-drama is that every time when the dance is performed, it is performed with a different subject. Till date it has covered almost every theme from historical, secular to mythological. Presently there are about 30 full fledged professional troupes, and about 200 amateur troupes in Yakshagana. Professional troupes go on tour between November to May, giving about 180-200 shows i.e. a full night show everyday.

Yakshagana is a unique harmony of musical tradition, eye-catching costumes, and authentic styles of dance, improvised gestures and acting with its extemporaneous dialogue appealing to a wide range of the community. In truth it is a vibrant, vigorous living form of theatre art.