Topic started by R.Sri Hari (@ modem32.bayrac3.eureka.lk) on Sat Nov 29 13:07:29 EST 2003.
All times in EST +10:30 for IST.
First Article:
A BRIEF SURVEY ON THE TAMIL & SANSKRIT DANCE TREATISES THAT ARE BOTH AVAILABLE & LOST TO US TODAY - By R.Sri Hari
Among the Dance Treatises (Naattiya Noolkal) composed in Tamil by the great Dance Gurus of Tamil Nadu at different periods of it's early history, and that are available to us today are the follows:
(1) Paratha Senapathiyam - Author unknown, but bears the name of an earlier text in Tamil of the same name by Aathivaayilar (and not available to us today)
(2) Paratha Sangiraham - Aramvalarththan
(3) Maha Paratha Chudamani - Abridged translation of the Sanskrit text known as Maha Baratham by Sarangathevan, into Tamil by Somanathan
(4) Abinaya Tharpanam - Translation of the Sanskrit text on Abinayam by Nandikeswarer, into Tamil by Veerarahavaiyan
(5) Baratha Siththantham - In Tamil by an unknown author
(6) Silappathikaram - by Elango Adikal. The third chapter titled the "Arangettru Kaathai" of this great Tamil Epic of the second century A.D., provides enough informations on the original Dance Forms of Tamilnadu of that period. It also refers to a "Natya Nanool"
Further the commentator of this Epic namely Adiyarkku Nallaar too provides useful informations on the Dance Forms of Tamil Nadu of the relevent period.
There are few very late period Naattiya Noolkal composed in Tamil which are as follows.
(7) Baratha Sastram written by Arapaththa Navalar
(8) Abinaya Navaneetham written by Narayana
Iyengar
(9) Abinaya Sarasampudam written by Narayana
Iyengar
Among the other Dance Treatises belonging to the earlier periods of India composed in Sanskrit, and are in use in Tamil Nadu are the follows:
(1) Natya Sastra - by Baratha Muni
(2) Barathanava - by Nadikeswara
(3) Abinaya Tharpana - by Nandikeswara
(4) Sangeetha Rathanakara - by Sarangatheva (only the last chapter deals on Niruththiya)
(5) Natyasastra Sangraha - by unknown author
(6) Niruththa Rathnavali - by Jayasenapathy
(5) Baratha Kosa - by unknown author
In addition to the above we now have an original treatise composed in Tamil by “Saaththanaar” known as the "KOOTHTHA NOOL", and belonging to the Sangam period of Tamil Nadu
Among the Dance treatises composed in Tamil mentioned above, non of them refer to the classification of the Dances that was in vogue in the ancient Tamil Nadu of Sangam Period as the Veththiyal and Pothuviyal
Veththiyal - Dance performed for the kings and nobles.
Pothuviyal - Dance performed for the common people.
This above classification of Tamil Dances that existed during the Sangam & Kaappiam periods is clearly indicated in the great Tamil Epic - the Silappathikarem.
This same classification is also found in the Kooththa Nool, which indicates the antiquity and the period of composition of this Dance Treatise, other than our deduction of same from the other contents in this treatise.
Further in the Adiyaarkku Nallaar's commentry on Silappathikarem, he has mentioned the names of the other ancient original Dance Treatises composed in Tamil, which were availble during the Sangam period, but were not available even during the Adiyaarkku Nalaar's time in the twelth century A.D. They are namely the,
(1) Baratham
(2) Akaththiyam
(3) Muruval
(4) Sayantham
(5) Kuna Nool
(6) Seyitriyam
All the above works on Tamil Dance Forms are now lost to us over a period of two millennium (2000 years). Adiyaarkku Nallaar's commentry on Silappathikarem also states that "......Natakath Thamil Noolaahiya Baratham, Akaththiyam muthalakavulla thon noolkal iranthana.....". From same it is clear that there had been a Tamil Treatise called Baratham earlier but lost even during his period.
Also the Barathasenaapathiyam of Athivayilaar which was available during the period too is lost to us today.
Adiyarkku Nallaar in his commentry on Silappathikaram has also made use of another Tamil Dancing Treatise that was available to him at his time known as Kooththanool. This treatise after disappearence for some time, very fortunately was brought back to light by the good efforts of Thiru S.Yogiyar of TamilNadu of our period. He discovered a copy of this treatise in Ola Manuscript form with few sections damaged badly beyond recovery. However the major part of this work has now been preserved.
From the Kooththa Nool it is very clear that during the time of Saaththanaar - the composer of this treatise, had access to the other original Tamil works on Tamil Dance Forms and Music namely the,
(a) Agathiyam by Agaththiyan
(b) Then Isai of Sikindi
(c) Perisai
(d) Narai
(e) Kuruku
(f) Kooththu
(g) Sayantham
(h) Kuna Nool
(i) Muruval
(j) Sayitriyam
(k) Thanduvam
(l) Nanthiyam
(m) Pannisai
(n) Thakkam
(o) Thaalam
(p) Thannumai
(q) Adal Muvoththu
He confirms that it was based on these he composed his Kooththa Nool on the subject of Tamil Dance. This clearly indicates the antiquity of this treatise as that of the Sangam period.
The treatise has nine chapters. The first book on this treatise with text and detailed commentry of the first two chapters by Thiru S.Yogiyar has been put to print by the Tamil Nadu Sangitha Nataka Sangam. But before Thiru S.Yogiyar could write his commentry to the remaining chapters and put them too in print, he has passed away. The fate of the balance chapters is not known to us today.
I give below the brief details of the contents of all nine chapters as indicated by Thiru S.Yogiyar himself in the first part of the treatise already available in Print.
KOOTHTHA NOOL – by Saaththanaar
This masterly treatise in Tamil on the ancient art of dance is divided into nine books. The contents of each book are given below in a condensed form.
(1) Suvai Nool (Aesthetic Emotions)
Divine origin of dance, music, drama, the evolution of sounds, shapes and emotions both natural and aesthetic, their manifestation, in all their possibilities and limitations as a theoretical art and craft.
(2) Thokai Nool (Dictionary of Dance Forms)
108 Thandavas of Siva of which 12 are important. (Bangas & Abangas) Static and standind poses involved, 39 poses of the 12 Siva thandavas and the 12 types of dance derived from them developing altogether 144 dance patterns.
(3) Vari Nool (Folk Dances)
Pura Vari - dances representing varied natural phenomena in terms of "Inthinai" (five fold division of earth), Aha Vari - psychic dances pertaining to love, Mukha Vari personal, exhibitional and acrobatic dance in single and group patterns, Vasai Vari - ludicrous dances.
(4) Kalai Nool (Dancing Limbs)
This is the largest book and contains more than 1000 sutras on anatomical divisions of the human body, actions and poses of feet, toes heels, ankles, calves, knees, and thighs, standing leg poses, moving poses 360, 120, 300 and 90 single, supplementary, double and Nritya hand gestures and poses, actions of the neck, jaw, chin, ears, mouth, nose, etc and facial expressions plus their appropriate physical modifications, such as horripilations, tremors etc.
(5) Karana Nool (Combination of Dance Gestures)
120 Karanas with their appropriate mudras, sthanakas, and charis 90 kalasas (varpu) or angaharas, 9 thandavas in full and 6 lasyas.
(6) Thala Nool (Time Measure)
Thala samudra or the ocean of angas, grahas, murchanas etc (Iyal Thalam) 5 original thalas and 35 derived from them with their accompanying swaras and jathis, (Atta Thalam) 108 thalams of Agastya and 52 of others, their jathis, etc.
(7)Isai Nool (Music)
This books deplorably mutilated, still we get here only the arohanas and avarohanas of 30 extinct panns some of which are used by Thevarem Saints.
(8)Avai Nool (Theatre Architecture)
Theatre architecture, lighting, curtains, dress, theatrical effects, makeup, green room problems, etc.
(9) Kan Nool (Summation)
The aim of Dance, yoga through Dance, medicines, oinments and exercises to keep health and voice fit in tact, pranayama in dance, Dhyana (meditation) of dancers, Moksha.
This is the first book of its kind and stands out singular and distinguished in many respects.
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The first part of this book with Thiru Yogiyar's commentry for the first two chapters of this treatise namely the Suvai Nool and Thokai Nool has been published (September 1968) in printed form by the Tamilnadu Sangita Nataka Sangam of Chennai. (Printed at Shanthi Press, 135, Pavalakkarath theru, Chennai).
It was very unfortunate Thiru Yogiyar died thereafter. The fate of the remaining seven valuable chapters of this treatise is unknown.
By way of this Forum Hub column, I request the authorities of the Tamil Dance & Music Institutions of Chennai, or the leading Dance exponents of Chennai, or individuals with the assistance of the Tamilnadu Sangitha Nathaka Sangam of Chennai trace the present whereabout of the remaining chapters of the Kooththa Nool and publish same in printed form, and preserve this only original Tamil Treatise on Tamil Dance of the Sangam Period for the benefit of or Tamilians.
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Now there are few sections in the first book of this treatise, available to us in the printed form, which I wish to reproduce below both in English for the benefit of those who wish to know of the,
(a) Antiquity of this treatise
(b) The other original Dance & Music treatises that were available to the author of Koothanool namely Saththanar during Sangam period.
(c) The antiquity of the concept of God Siva's form as Nadarajar
(d) The first available referance to the "Om" pranava manthiram to be found in any ancient Tamil Literary work known to us.
The readers could make use of them for their own research in the respective fields and make their own deductions with help of same.
(a) Manthira Maamalai yanthira thavisil
vadakku parithi kidakkap poamvali
nalvarkku Thanthira Nanmarai koorum
Kooththanum Kooththium iyatriya kooththaik
kandaan Akaththiyan kannuthal seppa
iyatrinaan Kooththin Ilakkana vaippe.
(b) Akathithiyan iyatriya Akaththiya muthal nool
Sikindi iyatriya Thenisai sarbu
Perisai, Naarai, Kuruhu, Kooththu
Sayantham, Kunannool, Muruval, Sayitriyam,
Thanduvam, Nadhiyam, Pannisai, Thakkam, Thalam,
Thannumai, Adalmuvoththum,
valinool avattrin valivakai vahuththuk
kooththin vilakkam kuravan yane
(c) Oruthal uuntri oruthal yettri
oru kai mariththu marukai amaiththu
irukaiyil aakkamum iruthiyum yetru
aru-vuru aakkum ammai koothu aattap
peruveli nadikkum perumaan arulath
Thennavan venda munai nool aayinthu
Senthamil nilaththum ser pala nilaththum
vantha meik kooththin vakai elaam kandu
Kooththanoor Nanmukakooththan Saaththan
Veth Thavai ellam viyappath thanthathe
(d) Udukkaiyil piranthathu Om enum oliye
Om enum oliye naattiyaththu oliyam
Om enum uruve naattiyaththu uruvaam
Om enum unarve naatiyaththu unarvu
av vuv im enal athuve Om oli
av enal akame uv enal ulame
im enal isaiye iyalvathu thalam.
There are also further references to Siva, Sakthi, Thirumal and Murukan.
This treatise should be preserved,and efforts should be taken by all Tamil Fine Art lovers to bring the remaining portions of this great work on Tamil Dance in to print.
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Second Article: {Reproduced from another thread in this same Forum Hub posted by Forum Hub - Contributor namely Mr AJ OF CANADA}
THE TAMIL ROOTS OF BHARATHA NATYAM (Sathir)
by Renuka Kumarasamy; published October 8, 2003
An art of any form must have roots in a language, a culture and a people. From those roots it must carry their thoughts, their joys and sorrows and tell the story of their civilization. The soul and roots of Bharatha Natyam can be found in the Tamil people, their culture and language. But in recent years, in countless articles and Arangetrams, the origin of Bharatha Natyam has been attributed to Bharatha Muni and his work in Sanskrit called the ‘Natya Sastra.’ Is this assertion based on factual evidence or is it a myth perpetuated with no historical backing?
When one traces the historical roots of modern Bharatha Natyam, it becomes clear that this assertion is more a myth than a historical fact. Bharatha Natyam is a new name given to this ancient art form. Until sixty years back, this dance form went by the name Sathir. The late Dr.V.P.K.Sundaram has done a remarkable job tracing the roots of Bharatha Natyam across Tamil Literature and History and categorically disproving the myth that Bharatha Natyam originated with Bharatha Muni.
If one looks at the historical time line of Bharatha Natyam, starting from the present, the last couple of centuries could be considered to be the period of the reformists. It is during this period that Bharatha Natyam attained its modern form and stature through the work of ‘The Thanjavoor brothers’(Ponniah, Chinniah, Sivanandam and Vadivelu), E.Krishna Iyer, Rukumani Devi Arundale, Meenakshi Sundaram Pillai, Bala Saraswathy and many others. Of these reformers, the Tanjavoor brothers, who in the first half of the 19th century revitalized the dance form, that at that time went by the name Sathir, are considered by many to be the founding fathers of modern Bharatha Natyam. Around the 1930s, it was E.Krishna Iyer who first coined the term ‘Bharatha Natyam’ for the then Sathir dance. He probably renamed this dance in an effort to dispel the social taboo that was associated with this dance during this period.
The period prior to the work of these reformers, was probably one of the darkest periods in the history of Sathir (Bharatha Natyam). During this time frame, which corresponds to the British rule in India, both the art (Sathir) and the artists who practiced this art (Deva Dasi dancers) were looked down, both by Society and the ruling British bureaucracy.
It was the tireless work of Rukumani Devi Arundale, the founder of Kalakshetra, that played a major role in pulling Sathir (Bharatha Natyam) out of its darkness of social taboo, into its current status of respectability.
Modern Bharatha Natyam owes a depth of gratitude to these reformers of the last two hundred years, for reinstating it back to its original status of divinity and respectability.
But any change introduced by them in the technique of the dance has more to do with the style and presentation of the dance and not the basic structure. Dr.V.P.K.Sundaram, not only methodically traces the Tamil root words of the modern components of Bharatha Natyam such as Puspanjali, Alaripu, Jatiswaram, Varnam, Padam and Thillana, but also establishes that the core structure of these components have remained the same over several centuries. He also asserts that the recent idea that the word Bharatha is derived from Bhava (expression), Raga (Melody) and Thala (rhythm), is an explanation superimposed on the new name (Bharatha Natyam), with no factual basis.
The terms ‘Sathir Attam’ and ‘Thevar Attam’ (divine dance) were used for this dance form as early as the 6th century. During the 6th century and also during the Thevaram period following it, Sathir dance was an integral part of the Tamil saivite Temples. Unmarried women called ‘Theva Adiyarkal’ or ‘Theva Dasikal,’ who dedicated their life to the service of God, performed the Sathir dance. These women were highly spiritual, received ‘Siva Thikshai,’ and were well respected.
When we travel further down the historical time line of Sathir (Bharatha Natyam), we would arrive at the period of Sillapthikaram, (the 2nd century). Dr.V.P.K.Sundaram and many other scholars consider Sillapthikaram, composed by Ilango Adikal, the Chera prince turned monk, to be the treasure house of information on both Tamil classical dance and music. Sillapthikaram gives in-depth details on the style and structure of the various categories of the Tamil Dances. The Arangetram of Mathavi, so elaborately described by Illango Adikal, is probably one of the earliest documented Arangetrams. Ilango Atikal not only details the style and structure of Mathavi’s dance, and the type and musical notes of the accompanying musicians, but even gives meticulous details of the Arangetram Stage, down to its required dimensions. It is through Sillapthikaram that we know that an artist was required to complete at least seven years of rigorous training before she could perform the Arangetram. It is through Sillapathikaram that we know that the style of Mathavi’s dance was based on the rules of dance spelled out in ‘Natya Nannool,’ a Tamil treatise on dance that seems to have existed around that period.
Many of the Sangam Literature and Tholkappiam also have details on the various dance forms of the Tamils. These Sangam dance forms were precursors to Sathir and other later dance forms.
When the roots of Sathir, runs strong and deep in the Tamil culture, how did its Tamil origin get overshadowed? First, a new name (Bharatha Natyam ) is given to this ancient dance form, followed by an elegant explanation for this new name (Bhava, Raga, Thala). Eventually, even the origin is attributed to someone (Bharatha Muni ), who happens to have a name very similar to this new name for the dance. Combining all these elements, a beautiful and elegant mythology is fabricated, which when repeated enough number of times, is accepted as fact, by the majority. Before mindlessly repeating this myth, the Tamils need to pause and ponder on the effect of this myth. For, the net effect of this myth, whether perpetuated intentionally or unintentionally, is to distort and deny the Tamil roots of Bharatha Natyam (Sathir).
SOME ADDITIONAL NOTES ON BARATHA NATYAM - by R.Sri Hari
Saint Kumarakurupara Adikal in his poetic euology on Goddess Saraswathy namely in Sakalakalavalli Malai has sung in one of his Pathikams as,
"Pannum Barathamum theensott panuvalum....."
establising the fact that around 250 years ago the Dance form of Baratha Natyam was known by its name Baratham in Tamil Nadu.
There is also a reference in Manimekalai around 1900 years ago as,
".....padal sal sirappit Barathth(u) onghiya nadakam..."
Does it mean the "...nadagam which was composed in the Baratha Natyam form (Dance Drama ???) which remained famed with the accompanying music...."
Also we note the statement by some that the name Baratha Natyam was coined by RukmaniDevi of Kalashethra is incorrect.
Informations on the costumes for Naattiyams can be seen in Natyasastra, and also the ancient Tamil Treatise called the "Kooththa Nool" composed by Sattanar.
Further Rukmanidevi's Kalashetra is not the only Institution in TamilNadu which developed Baratha Natyam. Her school developed the Kalashetra Style, but we know of two other well known schools namely the Valuvoor Style (in Thanjavur) and of the Panthanallur Style.
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