DANCE FORMS OF TAMIL NADU

Contents

• Introduction
• Dance Forms
  • Bharat Natyam
  • Karakam Dance
  • Kolattam
  • Kavadi
  • Puravai Attam
  • Arayar Natanam
  • Podikazhi Attam
  • Kuravaik-Koothu
  • Kazhaikoothu
  • Kummi
  • Oyil Kummi
  • Bommalattam or Pavakkuthu
  • Navasandhi
• Dance – Drama
  • Kuravanji
  • Bhagavatha Mela
  • Harikatha Kalakshepam
• Folk Music
  • Nayyandi Melam
  • Villu Pattu
  • Lavani
  • Kappal Pattu
  • Sanku Vadyam
  • Kanian Attam
  • Pura Pattu
• Musical Instruments

Introduction

Dance and music originated in the temples of ancient Tamil Nadu. The Thevara Nayakams arranged dancing and singing occasions for worshipping the Kings and Gods. Bharata Natyam is the most popular and practiced dance form of Tamil Nadu and it is still performed in the temples of Lord Shiva. The different dance forms of Tamil Nadu encapsulate the rich tradition, heritage and cultural fabric of the people of Tamil Nadu.  

Dance Forms

The major dance forms of Tamil Nadu are briefly described as follows:

Bharata Natyam

Bharata Natyam is a specialised dance form, which originated in the Shiva temples of South India. It follows a strict code and a rigid traditional convention. The Bharata Natyam dance form encompasses the three primary elements of dancing i.e. Raga or Music, Bhava or Mood and Tala or timing. There are 64 basic coordinated movements of the hand, foot, face and body, in this dance form.  

The Nattuvans of Thanjore were a certain family, who were considered as the chief proponents of the Bharata Natyam dance form. They performed the dance almost every day in the temples of Shiva or on festive occasions. The basic codes of this dance form were compiled in Bharata Muni’s Natyashastra. The four Nattuvans of Pandanallur i.e. Chinniah, Vadivelu, Ponniah and Sivanandam are considered as the greatest teachers of Bharat Natyam. However, it was Rukmini Arundale and her Kala Kshetra, which played a tremendous role in promoting and propagating this dance form. In the Nataraja Temple at Chidambaram, beautiful sculptures depicting the Bharata Natyam postures are found.  

Performance - The different stages of performance of the Bharata Natyam are described as follows:

Alarippu - The Alarippu opens the performance of the Bharata Natyam and the name is derived from the Telegu word Alarimpu meaning to decorate with flowers. It is a form of pure Nritta, which is performed in conjunction with Rechekas or neck movements along with hand, eyes and facial movements.  

Jethiswaram - The Jethiswaram is the dance expression of the impressions and ideas which the accompanying music evokes in the dancer. The rhythm of the dance is therefore set to one of the five Jathis. The drums and the cymbals accompany the dance performance.

Sabdam - Sabdam is the third phase in the Bharata Natyam dance form. It is basically performed through the expression of abhinaya or mime, which purports to a hymn of devotion or romance. Thus, Abhinaya or acting is the core element of Sabdam.  

Varnam - The Varnam is the longest phase of the Bharata Natyam and its thematic component is usually Love. The dance starts in a slow and rhythmic tempo and slowly climaxes into furious tempo with rapidly changing patterns known as thirmanams. The Kalyani Varnam, Ragamalika Varnam and Todi Varnam are the most popular varities. The Abhinaya phase of the Varnam follows in accordance with the Sanchari Bhava. The songs of Kshetrajna, Arunacalakavi, Thyagaraja and Jayadev are the most popular accompaniments of this dance.

Padams - Padams are the songs expressed through mimes. Almost three to four Padams are enacted during the performance. The acts of lovers are usually performed in this dance. The most popular music composers for this dance are Swathi Thirunal, Erayimman Thampi, Jayadevan, Kshetrajan etc.

Thillana - The Thillana is the last phase of the Bharat Natyam and is essentially a foreign element which has crept into it. The Nattuvans played a major role in integrating Thillana into this dance form. The Chilakottu and Kaikalakottu are the most popular varieties of this dance form. The most eminent dancers are Vaijayantimala, Chitra Visveshwaran, Mrinalini Sarabai, Bala Saraswathy, Rukmini Arundel, Padma Subhramaniam etc.   

Music, Costume and Make-up - The most important musical instruments accompanying the Bharat Natyam dance performance are as follows:

• Mridangam
• Pair of Cymbals
• Violin
• Ghatam
• Veena
• Tambura

The costume for the dancers is extremely gorgeous. It consists of Dhoti for both male and female dancers, which is richly embroidered with brocade or shimmering satin silk. The upper half of the male dancers is bare except for a necklace and the females wear a tight bodice over the Dhoti. The Dhotis are pleated along the legs and it fits closely over the ankles.    

The jewelries for the dancers are necklaces, earrings, bangles, wristlets, armlets, etc. The other typical jewelries are the Thalaisaman or the head piece, the Maatal or the ear chain and the Jhimki or the hanging earrings. The jewelry making hubs for the typical Bharat Natyam style are Nagercoil and Mylapore.  

Karakam Dance

Also known as Amman Kondadi in Tirunelveli district, the Karakam dance is basically a form of folk art and is developed along the lines of the cult of Mariamman. There are two types of Karakam i.e. Sakti Karakam (religious type) and the Attak Karakam (professional type). While performing, the dancers smear their body with holy ash and sandal paste and wear a short skirt.

Kolattam

As per legend, a group of girls were able to make Basavaru give up his evil designs through the performance of Kolattam. Lord Shiva in the form of Basava or the divine bull is the chief deity of the Kolattam. Kolattam is derived from two Tamil words i.e. Kol or sticks and Attam or playing. Also known as Kolatta Jothrai, the dance performance is usually celebrated by the girls.   

Kavadi

There are various types of Kavadis celebrated in Tamil Nadu such as milk and rosewater Kavadi. It is a Tandava form of dance as opposed to the Lasya form of dance. The dancers insert copper and brass rings and endure severe forms of austerity before the performance of this dance. After the rendering of the divine songs, the dancers enter into a state of trance while performing the art. The songs usually describe the romantic encounters between Muruga (son of Lord Shiva) and Valli. The different Kavadi songs are Kavadi-c-cindu (a folk art of Tamil genre) and Vazhinadai-cindu.

Puravai Attam

Also known as Poikkal Kuthirai, Puravai Attam is a form of a dummy horse show. The horse is usually made of cardboard, paper, glass and jute. The dance is performed by both men and women, and requires months of severe practice for a successful performance.

Arayar Natanam

Enacted in the months of December-January, Arayar Natanam is performed at the Srirangam and other Vaishnava temples. The sacred hymns of Thiruvaimozhi are recited during the occasion. The Arayars or the Chanters are the chief performers and they wear a special uniform during the performance.

Podikazhi Attam

Podikazhi Attam is a very popular dance of the fishermen near the coastal villages of Pondicherry and the dance is dedicated to Lord Muruga. Around eight to sixteen men perform the dance, sporting traditional costumes and accompanied by drums.

Kuravaik-Koothu

Also known as Aichiyar Kuravai, the performance of Kuravaik-Koothu involves seven girl dancers representing the seven musical notes, who continously keeps on dancing by clapping the hands. The girls stand in a circular pattern and the dance is signified as the dance of the cowherd women of Chilapaddikaram.

Kazhaikoothu

This form of dance is performed by standing on two bamboo poles of two meters each and balancing while performing the dance. Dance performances take place at the Sri Andal Temple of Srivilliputhur.

Kummi

Derived from the Tamil word Kommai, meaning to dance with the clapping of the hands, Kummi is of two types i.e. Common Kummi and Oyil Kummi. Singing and clapping of hands accompany the dance performance.

Oyil Kummi

Also known as Oyil Attam, Oyil Kummi is performed by large groups of men, who tie bells at their feets and narrate mythological stories.

Bommalattam or Pavakkuthu

Bommalattam or Pavakkuthu is basically a form of puppet dance, whose major themes are derived from the Ramayana, Mahabharata and the Bhagavad Gita. The performances are believed to be auspicious and ward off evil spirits and epidemics. Skilled players perform the show on specially prepared platforms or stages.

Navasandhi

Literally meaning nine directions, the Navasandhi dance is performed during the flag hoisting ceremony, which inaugurates the annual festival at the Tiruchendur temple.

Dance – Drama

Kuravanji

Kuravanji is a distinctive dance-drama of Tamil Nadu and its origins have been influenced by both folk and classical arts. There are hundreds of Kuravanjis created and King Rajaraja Chola was the earliest patron of this dance form. The theme of this dance revolves around the love of the heroine with the deity or ruler of the land. The annual festival in which Kuravanji is performed is known as Kuravanji Medai. During the festival, many fortune tellers assemble for palm reading of the visitors. Some of the examples of Kuravanji are as follows:

• Thiruk Kutralak Kuravanji
• Sendil Kuravanji
• Azaghar Kuravanji
• Viralimalai Kuravanji
• Thirumalai Andavar Kuravanji

Bhagavatha Mela

The Bhagavatha Mela or fair is celebrated in Melatur, Thanjavur district and is held as a part of the Narasimha Jayanti festival, which is held during the months of May-June. All the performers of the Bhagavatha Mela dance-drama are well trained in Bharata Natyam. The performance commences with the appearance of Konnagi or Buffoon and then climaxes with Lord Ganesha blessing the play. The Todaya Mangalam or the invocation song is performed in the middle of the play.  

Harikatha Kalakshepam

The Harikatha Kalakshepam performance is extempore story telling for over four hours. The performer has a good command over numerous languages, knowledge of the epics and stage control. The modulations in the tone of the performer provide the necessary diversity in the manner of story telling. This art was introduced in Tamil Nadu by the Mahratta rulers of Thanjavur, from the state of Maharashtra. The handling of the Chappalakattai (a pair of wooden planks) also plays an essential role in controlling the movement and the tempo of the performance. The themes are usually drawn from the Rukmini Kalyanam, Sita Kalyanam and the Meenakshi Kalyanam.

Folk Music

Music of almost all sorts originated in the temples of Tamil Nadu. The Thevara Nayakams played a crucial role in the development and nurturing of music. Music was so significant in Tamil Nadu that the Madurai, Tirunelveli, Sucindram and Alwar Tirunagiri temples have musical pillars. The Sama, Navaroz, Karaharapriya, Thodi, Manji and Nadanam-k-kriya ragas are very much prevalent in the Tamil folk music. Some of the major forms of Tamil folk music are briefly described as follows:

Nayyandi Melam

It is a rustic imitation of Nadaswaram or classical melam. The orchestra for the performance consists of a Pambai, a pair of Cymbals, a Thammukku, two Tavels and two Nadaswarams.

Villu Pattu

Literally meaning the Bow Song, Villu Pattu is performed for a week between September and January. The dais is usually set in front of the temple, facing the deity of the temple. The stories for the performance are usually derived from the Ramayana and the Mahabharata. The performance is accompanied by vocal singing and the instruments Mridangam, Dholak, Cymbals, Udukku, Kashta and Kanchira.

Lavani

Lavani is a discussion or debate in a musical form. Generally performed in the months of April-May, Lavani heralds the coming of the spring season. It is primarily performed in the Thanjavur, Tiruchirapalli and Madurai districts. The debate essentially circles around two groups, who argue the cause of death of Manmatha or Kaman (God of Love). One group argues that Manmatha was physically annihilated by Lord Shiva, while the other group argues that it is just an allegory which symbolizes the triumph over carnal desires and lust. References from the Shastras and the Puranas are found throughout the performance.  

Kappal Pattu

Also known as Padagap Pattu, Kappal Pattu is a type of boat song, which is sung to overcome the fear of tides and monotony of long and ardous travel.

Sanku Vadyam

The Sanku Vadyam is nothing but a conch shell with a silver pipe attached to it. Various sounds are produced from the conch, through a combination of air blowing and adjusting techniques. The sound produced from the conch is an admixture of the sound from a clarinet and a mukhaveena.

The traditional family of the Pandarams skilfully play music from the conches, which has a special type of 5 inch silver pipe attached to the conch. Musical instruments are also used in agricultural fields to increase the productivity of the workers. This is also agreed upon by the scientists.

Kanian Attam

Kanian Attam is a type of descriptive folk songs, which are sung by two buffoons i.e. a man and a woman, as they are on a walk. No stages are required for this performance and this kind of one-act plays are slowly and steadily on the decline.

Pura Pattu

Pura Pattu, also known as pigeon-songs, has been sung in the Tamil language right since the eleventh century. The subject of these songs is love and it narrates the story of a love sick maiden, who addresses all animals, birds, natural objects such as ploughs, wind, to inform her lover about her plight.

Musical Instruments

The major musical instruments accompanying the folk music of Tamil Nadu are as follows:

• Nagara (a large hemispherical kettle drum percussion instrument)
• Damaram (a conical percussion instrument made of wooden shells and braces of leather)
• Udukki (placed in the left hand and played with the right finger)
• Gummati (a pot shaped drum played in a horizontal manner)
• Ekkalam (an S-shaped horn, played along with drum and trumpets)
• Pambai (a pair of colored and cylindrical drums)