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| Bharatam - the metamorphosis |
The dancers of Tamil Nadu were known as 'deva dasis' and their art was known as 'Sadhir.' The situation was very similar all over this country, even though the people populating it speak different languages and observe varying customs from place to place. Dance was an art, which was performed exclusively by women dedicated to the temple. That was the prevailing situation. The name of the art from differed from place to place, the division mainly going according to the language. It was known as 'mohini aatam,' 'odisi,' 'kathak' etc. depending on the region. Nevertheless, dance as an art form thrived only by the temple and was entirely dependent on temples, all over the country.
As we saw earlier, this art form once considered divine and was performed exclusively for the temple deity, came out of its enclosures for the enjoyment of the commoner and then the royalty. And that change induced changes - both desirable and undesirable - in the lifestyle of deva dasis. However, we are deeply indebted to them for preserving this art and handing this over to us down the ages. And for preserving this art, the sad fact remains they had to undergo sufferings of a special kind.
The women of deva dasi families practised and performed Bharatam. The men learnt the art and taught it to others. They were called the 'nattuvanaars'. Very popular, respected, and important among them were the Thanjai Naalvar, or the foursome of Thanjavur. They were brothers - Chinnaiya, Ponnaiya, Sadasivam and Vadivelu - and lived in the 17th century. Practice of Sadhir, as Bharatam was known in those days, was confined to particular families and was a profession by tradition. The teacher and the taught belonged to the same family. It had already reached the present form in which it is practised now.
The Thanjai Naalvar were responsible for taking this performing art to the public. They itemised and regularised the performance on stage. Their efforts helped to bring the performer and the audience closer together. According to the Thanjai Naalvar tradition, the dance was performed in a particular order - pushpanjali, alaarippu, jati swaram, vibram, varnam, padham, jaavali, keerthanai, thillana and slokam. This was the order in which dance was performed for a long time.
This is the order in which Bharata Natyam programmes are conducted even today. The contribution of Thanjai Naalvar therefore is very valuable and important.
Krishangini - Neeraja Nagarajan
Translated by Hari Krishnan
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