Natyarangam’s Lec Dem on Feb 22nd at Chennai

Natyarangam will present a lec-dem titled “Chidambaram, Nataraja and the three composers-Marimuththa Pillai, Gopalakrishna Bharati and Muththu ThaNdavar”"

Date : 22 Feb. 2009  to coincide with Shivarathri

Venue : NGS, Mini Hall at 6.30pm.

The lec- dem will be presented by an interesting couple, Sri.R. Rajendra Kumar and Smt. Manjari Rajendra Kumar.

Mr.Rajendra Kumar: is a multifaceted resource person whose interests and expertise are in the fields of Music and Literature.

Mrs. Manjari Rajendra Kumar: Trained by her parents, Prof .C.V. Chandrasekhar and Mrs. Jaya Chandrasekhar, Manjari performs and teaches at Nrityashree in keeping with the high standards established by her parents.

Filed under: Arts, Bharatanatyam, Bharathanatyam, C.V. Chandrashekhar, Carnatic Music, Chennai, Dance, Literature, Madras, Narada Gana sabha, Natyarangam, Performing Arts, Tamil, Workshops, artists, choreograhers, choreography, experiences, learning, program, students , Composers, lec-dem, Manjari Rajendra Kumar, Rajendra Kumar

A Thesis Titled “Development of sadir in the court of Raja Serfoji-II (1798-1832) of Tanjore”

Here is a detailed  PhD. Thesis titled “ Development of sadir in the court of Raja Serfoji-II (1798-1832) of Tanjore” submitted to the University of Hyderabad by Radhika V.S, under the supervision of Nataraja Ramakrishna in the year 1996.

The content of the thesis is as follows:-

• Preliminary: (Includes Contents).. Download here
• Chapter 1 (Itroduction,The Colas, Nayaks,the Maratas of Tanjore, Significance, objectives and Scope of Study). Download Here
• Chapter 2( Raja Serfoji II- and his patronage to the development of Art, includes information on Sarawathi Mahal Library, Serfoji II, Music, Dance, Bhagavatamela Nataka, Rules for  Court dancers and Nattuvanars etc.). Download Here
  • Chapter 3  Development of Technique and Format of Sadir (Includes a comparitive study of the adavus in Sangita Saramrita with the current practice, Nirupanas, systematization by the Tanjore Quartet) Download here
  • Chapter 4 Contribution of Court Composers and Musicians (A detailed study on the Tanjore Quartet). Download here
  • Chapter 5 Last Phase of Royal Patronage for Sadir at Tanjore.(Includes a write up on present day scenario and some intersting appendix including a Shapdam on serfoji II, Nirupana text by Serfoji and Interview schedules administered to prince tulajendra Raj Saheb, Guru Kitappa Pillai and Smt. Tilakam, a descendant of the devadasi tradition) Download here

 

It must be noted these are huge PDF files and take a while to download and showup. Dont be worried if the links dont immediately show up on your screen!

Source: http://dspace.vidyanidhi.org.in:8080/dspace/handle/2009/739?mode=full

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, Dance Gurus, History of Bharathanatyam, India, Literature, Nattuvangam, Performing Arts, South Asian Dance, Tamil, Thanjavur, adavus, artists, books, choreography, dance drama, experiences, learning, students , devadasi, guru Kitappa Pillai, Serfoji II, Tanjore Quartet

Natyakala conference Updates

This year’s Natyakala conference as you may recall had “Ramayana” as its theme and was convened by Ananda Shankar Jayant.

Interviews with the  participants/presenters at Natyakala conference organized this season (Dec 2008) can be read at Narthaki http://www.narthaki.com/iindex.html

A report by Rajee Mani  on the conference posted in Narthaki may be read at http://www.narthaki.com/info/rev08/rev682.html

A detailed report on the procedding on a day to day account by Pratima Sagar may also be read at http://www.narthaki.com/rindex.html. Look for an article titled Natyakala Conference 2008

Leela Venkatraman’s report in The Hindu – http://www.hindu.com/fr/2009/01/02/stories/2009010250970300.htm

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, C.V. Chandrashekhar, Chennai, Dance, Dance Gurus, December season., Krishna Gana Sabha, Literature, Madras, Madras Music Season, Madras dance Festival, Sri Krishna Gana sabha, artists, choreograhers, choreography, dance drama, experiences, learning, review , Conference, lec-dem

Another interpretation to the acronym “Bharatha” Natyam

As a New Year post, I would like to  bring your notice  this new take on the acronym on Bharathanatyam by Dr.M.Balamuralikrishna. “Na Jaaney Thava Dhyaanam Vina” in Hamir Kalyani is a composition of Dr.M.Balamuralikrishna where he gives a unique interpretation to the word “Bharatha” in “Bharathanatyam.”

Video Courtesy: http://www.youtube.com/user/musiquebox

This is a video of Sri Rama Varma’s lec dem of the composition.

If I understand right, the argument is that, the usual 3 constituents of  Bhavam, ragam, and Thalam would add upto Bharathaa (the last tha with a long “a” sound as in thalam (nedil in Tamil). But that isnt the case we call it Bharata natyam (tha with a  short a or Kuril in Tamil)

Sri Balamuralikrishna proposes, Bhakthi (Devotion), Rakthi (emotional content/flavour) and Tanmaya thuvam (Aesthetics).

Happy New Year

Filed under: Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, History of Bharathanatyam, India, Literature, Performing Arts, Prince Rama Varma, Rasika, experiences, learning, students

Lakshmi Viswanathan’s book release

Chronicling a lost heritage

Lakshmi Viswanathan’s book on the devadasis captures the spirit of a bygone era .

The very title is evocative — “Women of Pride-The Devadasi Heritage”. Dance artiste and choreographer Lakshmi Viswanathan’s book on the devadasi heritage is based on years of research disguised as an easy read.

“I want to make this information accessible to every one, not just to academics or the dance community,” she smiles. “The lay reader may be surprised by some of this information, with details about devadasi participation in court life, the extraordinary status they enjoyed, and their philanthropy. There were nationalists and freedom fighters too among them, who wore only khadi.”

Read the full article from The Hindu here

Thanks to Mr. K.T.J. who identified the article for us.

Filed under: Arts, Bharathanatyam, Chennai, Dance, Dance Gurus, December season., History of Bharathanatyam, India, Literature, Madras, Performing Arts, Rasika, Tamil, Thanjavur, artists, books, choreography, dance festival, experiences, learning , devadasi, Lakshmi Viswanathan

Tenth annual performance of Kaisiki Natakam- Vaishnavism

The tenth revival performance of the all night ritual theatre tradition KAISIKI NATAKAM will take place on December 9, 2008 at Tirukurungudi, Tamilnadu .

The sacred environs of the AZAGIYA NAMBI temple at Tirukurungudi will reverberate with this historic performance that was revived after more than 50 years of decay and neglect.  The story of the low born devotee Nambudevan and his single minded devotion to Lord Vishnu as Nambi, resonates with the same passion as Nandanar in Chidambaram. The interception of the demon and his subsequent surrender at the feet of this true devotee is the legend of Kaisiki Natakam which takes its title from the ancient Ragam (Pann) of the music score. 
  
Over the past twelve years, Anita Ratnam has been heading the team that began the revival efforts. The journey has been long and fraught with many challenges. Still ahead lie more bridges to cross but the annual performance has revived crowds to this magnificent shrine and international music and theatre directors have visited to document this unique ritual theatre form.  
 Tirukurungudi temple is near Eruvadi, Tamilnadu – 30 minutes drive south of Tirunelveli. 
  
Time of performance is 10pm onwards on December 9. Duration is for about 4 hours into the early hours of December 10. 
  
ARAYER SEVAIwill be performed by the priests of Sri Villiputtur temple around 4am on December 10. 
  
ALL ARE WELCOME 
  

Contact:  
Anita Ratnam: arangham@gmail.com  
www.arangham.com 

To Read the complete story visit Narthaki at http://www.narthaki.com/info/prv08/prv194.html

The Arangham website’s ritual and revival has been updated

To read more about the revival of Kaisiki Natkamvisit Arangham here

To Learn more about the Arayar Sevai Visit Arangham here

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Dance, History of Bharathanatyam, India, Introduction, Literature, Performing Arts, Rasika, Tamil, artists, choreography, dance festival, learning, program, promotion , Arayar Sevai, Kaisiki Natakam, Vaishnavism

Padams and Javali

Here are some explanations  by Carnatic musicians on what differentiates Padams and Javalis

S.Sowmya (In Tamil)

 

By Rama Varma (In Malayalam)

Filed under: Abhinaya, Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, Literature, Padam, Performing Arts, Prince Rama Varma, Rasika, Tamil, artists, choreograhers, choreography, learning, students , Javalis

Vaishnavism and related aspects in Bharathanatyam

A reader of this blog recently attended a dance program by Zakir Hussain titled “Narayanam”, that showcased his reasearch work in Vaishnavism.Zakir received training in dance under Chitra Visweswaran and learnt theory from Krishnaveni Lakshmanan of Kalakshetra. She told me that his work was based on Vaishnavism during 5th and 6th century and that he had learnt the Aagama mudras from the chief priest of Sri Parthsarathy Swamy Temple, Chennai. I recall that Ms. Anita Ratnam did a similar research with the Aryar Sevai and their revival. She incorporated her research into her production titled “Neelam”.

 At this point, my memories take me back to the small Thengalai Iyengar ” Kothanda Ramaswamy” Kovil in the colony that I grew up in. The mudras that the temple priest used in his everyday rituals were indeed mesmerising and narrative.

Here is an excerpt form the Aryar Sevai

” Arayar Sevai means : ” the service of offering of royal priests”.
They sang and danced before the Lord and intrepreted the individual paasurams of AzhwArs as a part of the temple ritual known as Arayar SEvai . This tradition continued at Temples such as Srirangam, SrivilliputthUr,  AlwAr Thirunagari. The Arayars had a distinct place of honor in the worship of the Lord at the above temples. Great AchAryAs like RaamAnujA , EmbAr, ParAsara Bhattar enjoyed these bhakthi-laden SamarpaNams of the ARayars before the Lord during major festivals like Pagal Patthu and Raa Patthu . Special programs were carried out during this important festival.

The Arayars always performed inside the temple and in front of the Lord alone. They developed a repertoire of paasurams of the AzhwArs in general and those of Swamy NammAzhwAr in particular dealing with the dasAvathArams of the Lord and those pasurams , where KuruhUr SatakOpan looses Himself in the role of  ParAnkusa Naayaki seeking the aasrayaNam of the Sacred feet of the Lord and the unparalleled joy of union with her Naayakan , the Sarva Swami , Sriman NaarAyaNan.

The Arayars were trained by their own forefathers to follow the Arayar Sevai in the strictest sampradhAyic manner going back to Swamy Naatha Muni. The Arayars wear the DhOti in panchakaccham style, adorn a silk upper garment and have a conical cap(VishNu’s cap) during their service(sEvai) to the Lord . They wear the garlands used by the PerumAL and hold the brass cymbals in their hands to beat time to the vocal music and perform SaathvIkAbhinayam to the passages of the AzhwAr Paasurams.Unlike the dance that emphasizes Nruttham techniques requiring the wearing of ankle bells , the Arayars engage in the performance of Nruttham-free Naatyam , where facial and body movements (abhinayams) are most important. The basic Thatta-Adavu of Nruttham is occcasionally used. Whenever the Paasurams dealt with SringAram , even the Thatta- adavu is eschewed. The Arayars of Each temple have their own particular rasAnubhavams during the performance of the Arayar sEvai. For instance , at SrivilliputthUr and AzhwAr Thirunagari ,  the Arayars walk back and forward in a delectably sweet way that is a treasure to behold.

So for those of you who want to look into more information on these lines, please check the links below.

http://www.ramanuja.org/sv/bhakti/archives/sep2001/0012.html (Info on Satvika Abhinaya of Aryars fro Andal Pasurams)

http://www.ramanuja.org/sv/bhakti/archives/apr99/0069.html ( Anitha’s Aryar Sevai and Kaisiki Natakam)

http://www.narthaki.com/info/rev07/rev433.html  (Review on Neelam) 

http://www.thehindu.com/fr/2008/11/21/stories/2008112151220300.htm ( Review of Zakir Hussain’s Narayanam)

Unfortunately  Arangham’s link on the research no longer is active.!

Srimathi KaLLapirAN RanganAyaki AmmAL , a devout  Bhakthai of VaanamAmalai Matam has written extensively about Arayar Sevai at Srirangam temple in her book: “Acharya PrabhAvam”..

Bharata Natyam artist , Srimathi Lakshmi VisvanAthan has a small chapter on Arayar sevai in her book , Bharatha Naatyam: The Tamil Heritage .

Will keep this post updated when I find more details.

Filed under: Abhinaya, Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Chitra Visweswaran, Dance Gurus, History of Bharathanatyam, India, Literature, Madras, Male Bharathanatyam dancer, Performing Arts, Sudharani raghupathy, Tamil, adavus, artists, books, choreograhers, choreography, experiences, program, review, upcoming artist , ritual, Vaishnavism, Zakir Hussain

Madras(Chennai) Music and Dance Season (2008-2009)-Dance Program Schedule

I will put in the dance programmes for the 2008-2009 Chennai Music Season that I get to know of (as and when I get to know) … Please visit to the links below for more complete information..  I request readers/dancers to send in info of programs already not listed here . You may send them to me as a comment in this post or email it to me if you know my ID:) The sources of info of the following schedules are based on personal emails received and from websites whose URL’s have been listed below:- (*)

22nd Nov. 2008 : 

Priya Ramadoss(Disciple of Smt. savitri Jagannatha Rao) Performs at Naradha Gana Sabha mini hall under the auspices of Natyarangam at 6:00pm

Navya Natarajan Menon Performs at Naradha Gana Sabha mini hall under the auspices of Natyarangam at 7:30pm

23rd Nov. 2008 :

Lakshmi Ramaswamy demonstrates Prof. Raghuraman’s lecture on “Aham and Puram” of Tamil literature for Natyarangam.(morning lec dem series). Pl check timings

1st Dec. 2008

 Group performance by students of Sri Mudralaya (Disciples of Smt. Lakshmi Ramaswamy), Mylapore Fine arts.. 7.30-9pm

11th Dec.2008

 Bharathanatyam Solo by Purnima Balasubramanian (Disciple of Smt. Lakshmi ramaswamy) at Meenakshi College, 11am

13th Dec.2008

Bharatanrityam Recital By Bala Devi Chandrashekar, Mylapore Fine Arts,Inaugural Day Concert: “Garland of Gems by Great Composers” ,Time: 7.00 pm

15th Dec. 2008

Dance Drama ” Jagam Nee Aham nee” by students of Sri Mudralaya (Smt. Lakshmi Ramaswamy),  at P.S. Senior School, 6pm 

16 Dec. 2008:

Rama Vaidyanathan  Nungambakkam Cultural Academy – Rama Rao Kala Mantap, 111, Habbillula Road, T.Nagar, Chennai-600017. Tel:+91-(0)-44-28343252. 07.00pm.

Shilpa Krishnan, Hamsadhwani sabha,  Adayar Youth Hostel in Indira Nagar, Adyar, Madras, evening concert (Contact  R. Sundar – Secretary – phone : 91 44 24915555/ 24901700)

18 Dec. 2008:

Rama Vaidyanathan Institute of Mathematical Sciences, Ramanujan Auditorium, Taramani, Chennai. 08.00pm

 

20 Dec. 2008:

 Rama Vaidyanathan Brahma Gana Sabha – Petachi Sivagami Auditorium, Mylapore, Chennai 600 004. 06.30pm

21 st. Dec. 2008:

 Shruthi and Shalini Srivatsan will be performing at Adayar Hostel under the Hamsadhwani banner. The program is slated for 7:30pm

22 Dec. 2008:

Rama Vaidyanathan Kalakshetra – Thiruvanmiyur, Chennai 600 041. Tel: +91-(0)44-24524057. 06.00pm

23 Dec. 2008

Kalaimamani Ramya Ramnarayan , 2 PM , Narada Gana Saba

Bharatanrityam Recital by Bala Devi Chandrasekhar,Nungambakkam Cultural Academy, Time: 6.30 pm

Kum Sharanya Balaji,(Disciple of Guru Vishal Ramani, USA), Varasiddhi Vinayagar Temple, besant Nagar) for TVG Academy of Indian Music and Arts, from 5-6.30pm

24 Dec. 2008:

Rama Vaidyanathan Bharat Kalachar – No.7, Lake 1st Main Road, Nungambakkam, Chennai 600 034. Padma Seshadri School Auditorium. 06.45pm

Deepti Venkatraman (Disciple Of Ramya Ramnarayan), Kartik Fine Arts Bharatiya Vidya Bhavan, Mylapore, 4pm

25th Dec. 2008

Smt. Lakshmi Ramaswamy presents her dance drama based on the Sangam Literatute nattrinai, titled ” Sangamum Sangamamum” at Narada Gana Sabha Main Hall, 2- 3.30pm

26th Dec. 2008

Bharatanatyam solo by Kalaimamani Ramya Ramnarayan for Kartik Fine Arts at Bharatiya Vidya Bhavan, 6 pm

29th Dec. 2008

Lecture by Dr S Raghuraman on  ‘dravidaththil Taai deiva vazhipaadu’ (worship of mother goddess in tamil culture). Demonstration by Lakshmi ramaswamy and her students for Katik Fine Arts at Bharatiya Vidya Bhavan

Pooja Kumar, Karthik Fine Arts (Bharatiya Vidya Bhavan) at 4:30 p.m.

31st Dec. 2008:

Lakshmi Ramaswamy’s Sri Mudralaya students perform at Guruvayoorappan temple, Mahalingapuram , 7pm

Sharanya Balaji (Disciple of Guru Vishal ramani), Youth Hostel, Indira Nagar for Hamsadhwani Sabha , 7pm

02 Jan. 2009:

Pooja Kumar ( Program awarded to the Winner of Cleveland Thyagaraja Aradhana ), Narada Gana Sabha Main Hall at 6:30 p.m.

 Deepti Venkatraman,(Disciple of Ramya Ramnarayan)  for Mudra Fine Arts at Old No.10/4(New No.21/4),Shenoy Road, Nugambakkam, Chennai 600 034, 5 pm

Bala devi Chandrasekhar, Bharatanrityam at Vani Mahal,“Shree Krishna Smriti” ,Time: 5.30 pm

03rd Jan. 2009:

Bharathanatyam solo by Archana Mahesh (Dis. of Lakshmi Ramaswamy) for GanaMukunda Priya at RK Swamy Hall at 4.30pm

 Deepti Venkatraman (disciple of Ramya Ramnarayan) Thiyaga Brahma Gana Sabha, Vani Mahal, T.Nagar at 6.30pm

04 th Jan. 2009:

Sadhaa Shanmugham Smaraami”,  Bharathanatyam Solo by Savitha Vankatapathy for Gana Mukundapriya, at R.K. Swamy Hall  at 4.30pm 

06 Jan. 2009:

Solo by Mythili Prakash at The Music Academy , chennai at 11.30 am

07 Jan. 2009:

Solo by Shijith Nambiar at The Music Academy , chennai at 11am

Sri Krishna Jananam Produced by Bharatakalanajli under partial funding from ISKCON. Artistic direction & production co-ordination: Naatyaachaarya V.P.Dhananjayan  Choregraphy: Prof. A. Janardhanan (former Principle artiste and Principal of Kalakshetra, Chennai  Music composition: Mysore S. Rajaram (former Director, Kalakshetra, Chennai. Participants: Bharatakalanjali Artistes & Graduates from Kalakshetra (Pl chk for timings) at Music Academy

09 Jan. 2009:

Pooja Kumar, Bharath Kalachar at 6:00 p.m.

Rama Vaidyanathan Music Academy, TTK Auditorium, 168, TTK Road, Chennai. Tel:+91-(0)-44-2811 2231. 06.00pm

Navia Natarajan Menon, Kartik Fine Arts, Narada Gana Sabha (Mini Hall),Chennai, 6:00pm – 7:00pm

14th Jan. 2009:

Bharathanatyam solo by smt. Lakshmi ramaswamy at Mylapore Fine Arts, 7.30pm.

15th Jan. 2009:

Bharathanatyam solo by Smt. Lakshmi ramaswamy at Bramha Gana Sabha, 7.30pm.

18th Jan. 2009:

Bharathanatyam by Aishwarya Narayanaswamy for Brahma gana sabha Sivagami petachi auditorium, Mylapore, 6pm

 27th Jan. 2009:

Bharathanatyam by Aishwarya Narayanaswamy at Parthasarathy swami sabha, R.K.Swamy hall, Mylapore, 7.15pm

 

*Please confirm the schedules with Local newpapers or sabha guides

To see the list of awardees for the Music Season (‘08-’09) click here

Links for Updates

• Searchable database of concerts from kutcheribuzz
• Season Coverage by Kutcheribuzz
• Mr. Ramkumar ’s blog
• Music Season Coverage By Art India
• Updates from from Carnatic Darbar(includes schedules from lot many sabhas)
• Kalakshetra Schedule from Carnatic darbar
• http://www.musicacademymadras.in/2008-work/2008_schedule.html (Their Dance programs are usually after the Music season in the first week of January or so)
• Here are a few available websites of a few other popular sabhas..
  http://www.krishnaganasabha.org/home.html: The Pongal Dance festival and Nadaswara Isai Vizha, a part of December Art Festival will be held from January 2 to January 19, in which young as well as experienced dancers will be featured.
  http://www.bharatkalachar.com/
  http://parthasarathysabha.com/
  http://www.kutcheribuzz.com/ebrochures/srithyagabrahmaganasabha/
  http://www.kutcheribuzz.com/ebrochures/kartikfinearts/
  http://www.rrsabhamylapore.in/ (Rasika Ranjini sabha)

A few of these may not be updated regularly

Filed under: Arts, Bharat Kalachar, Bharatanatyam, Bharathanatyam, Chennai, Conference, Dance, Dance Gurus, December season., Dhananjayan, India, Kalakshetra, Kartik Fine Arts, Krishna Gana Sabha, Literature, Madras, Madras Music Academy, Madras Music Season, Madras dance Festival, Male Bharathanatyam dancer, NRI, Narada Gana sabha, Natyarangam, Performing Arts, Rasika, Shanta, Sheejith Krishna, Shijith Nambiar, artists, choreograhers, choreography, dance drama, dance festival, experiences, learning, program, students, upcoming artist , Add new tag, Aishwarya Narayanaswamy, Bala Devi Chandrashekar, Hamsadhwani, Navia Natarajan, Pooja Kumar, Ramya ramnarayan, Shilpa Krishnan, USA, Vishal Ramani

Kavuthuvams- a study

In recent years one witnesses on the performing platform the dances belonging to the ancient temple tradition of South India. Navasandhis, Pushpanjalis and Kavuttuvams form an integral part of this group. Though these pieces have been performed for a number of years within the hallowed precincts of temples, it is only recently that they have gained prominence in Bhratanatyam recitals. Of these, the Kavuttuvam presents a fascinating scope for study, both historically and technically. As one delves deeper, the subject becomes even more intriguing.

This article will consolidate some ideas regarding the historical references to kavuthuvam, its position in a Bharathanatyam recitals, the structure, prevalent practices etc..

Kavutuvam- the common thread:

Kavuthuvam is an invocatory item in Bharathanatyam and Kuchipudi recitals. It is a hymn a song of devotion in praise of a deity. It was performed by the devadasis as part of the daily rituals, or on special occasions or during the festivals. Most of the Kavutuvams are dedicated to a particular deity. For eg, the Chidamabara Natesa Kavutuvam by Gangai Muttu Nattuvanar is dedicated to the deity at the Chidamabaram Natarajar temple and similarly Nachiar or Andal Kavutuvam is dedicated to the shrine at Srivilliputthur. Whereas, there is no apparent mention of a particular kshetra or shrine in the Subrahmanya and Ganesha Kavutuhuvams.

 When my students heard it the first time they brightly came up with the idea that rap must have originated from the kavuthuvams. Kavuthuvam have an unique structure – it begins with a rhythmic recitation of sollukattus, followed by lyric recitation in the same santham (rhythmic metre) as the sollus and the later a melodic rendering of the lyrics and ends with a sollukattu. No sancharis or elaboration herev(the choreography sticks to padartham). Sometimes Thattimetti for the lyrics when repeated the second time may be seen.

Musically most Kavuthuvams are composed in Nattai, Gowlai, Arabhi, Varali, Hamsadhwani and Sri Ragam. Gangai Muttu Nattuvanar and the Tanjore Quartet have penned most of the Kavutuvams.

Kavuthuvam- Historical References

“A study of the temple tradition and extant literature sheds light on the fact that the Kavuttuvam of Tamil Nadu has a parallel tradition in the Kavuttuvam of Andhra. The earliest mention of the formal Kavuttuvam in Tamil literature dates back to the work Kulappa Nayakkan Virali Vidu Dhuthu by Supradeepa Kavirayar (about 1725 AD).

            Aadavarai eyyum madhavel kaikkichayum malar evalpol

Thaiyalal pushpanjali cheithal – cheithu pillaiyar

Kavuttuvam kondal ada ilaya nayanar

Kavuttuvam kondu nanninen

The term used here is Kavuttuvam and not any distortion of or derivation from it. The lines suggest that the dancer first struck the basic position of the feet essential for commencing the dance. Whether she chanted the Kavuttuvam in a ritualitis manner and then struck the position of the feet in order to dance or whether she first took the position to dance and then performed the Kavuttuvam is, however, not very clear. ” (2)

Kavuthuvam- Position in the margam

Though Kavutuvams are usually performed in the beginning of a recital today, there are references that show that a Kavutuvam may have been featured towards the end of a recital too. “Serfoji II was the Maratha ruler of Tanjavur from 1798 to 1832. He was a great patron of Bharatanatyam and himself wrote many Nirupanams for dance in the Marathi language but in Karnatic ragas. In his time there were eighteen items in a Bharatanatyam performance and these were

 

1) Jayastuti

2) Sharanu Sharanu

3) Alaru (This was perhaps Alarippu)

4) Sollu

5) Shabdam

6) Varnam

7) Padam

Swarajati

9) Abhinaya Padam

10) Tillana

11) Abhinaya Padam

12) Jakkini Padam

13) Geetham

14) Prabandham

15) Triputa

16) Shloka Varnam

17) Kavuthuvam

18) Mangale

 

Serfoji patronized four brothers called Chinnaiah, Ponnaiah, Sivanandam and Vadivelu who came to be known later on as the Tanjore Quartette. They reduced the eighteen items to eight and introduced the Margam which is now in force.” (1).

Prof. Sudharani Ragupathy in her VCD on Navasandhi Kavuthuvam talks about Kavuthuvam being performed before a Shapdam or instead of one.

Kavuthuvam: Different Views on its emergence…

The most common view that is present among the dance fraternity is that “Kavuthuvam” is a term that is beleieved to have originated from Kavithvam or kavithuavm referring to its poetic excellence. Bhagyalakshmi (2005) says that it may have been derived from the Kavitvam/salamu repertoire of Kathak.

 In an article authored by Smt. Chitra Visweswaran, with Sri. T.S.Parthasarathy’s support, the emergence of  Kavuthuvam is discussed as follows…

“Discussing the word Kavuttuvam, Prof. P. Sambamoorthy suggests the possibility of its being a distortion of Kavithvam (from kAvya, which has much to do with poetry). But the Kavuttuvams available to us are by no means great works of poetry. Nor can they be traced back ritualistically to kavithva and kavya. In his introduction to Jaya Senapati’s Nritta Ratnavali, Dr. V. Raghavan traces the present day shabdam to Kavithvam, which appears to be a more plausible explanation.

On the other hand, while studying the term Kavuttuvam from the ritualistic point of view, it is possible to associate it with temple rituals. The main deity in any temple is called the moolavar or moola bimbam; the deity taken out in procession is known as the utsavar, utsava bimbam or kautuka bimbam. It is known that Kavuttuvams were performed in the temple processions in the presence of the kautuka bimbam. Could the origin of the name of this dance piece be traced to this ritual? It is significant that the ceremony of tying the kappu around the wrists of young couples during the wedding is called kautuka bandham. It is also interesting to note that Kautukamu in Telugu literally means kapu utsava or the celebration of tying the kapu (see Suryaraya Andhra Nighantu – Sangeeta Sabda Chandrika, a dictionary of musical terms in Telugu). It is thus possible that the Kavuttuvam or Kavutam was performed in the presence of the deity, in the nature of tying a kapu to ward off evil.

My observation on the close bond between Kavuttuvam and Kappu is further strengthened by the study of old pieces such as Bhairavakappu in Takkayaga Parani by the famous Tamil poet, Ottakuttan, who belongs to the 12^th century A. D.

BHAIRAVAKAPPU

 Uraka kankanath tharuvana panamani

Ulakatangalum thuyil ezha veyil ezha

Udai thavirthathan thiruvarai udai mani

Ulavi onrodonru alamara vilakiya

Karathalam tharum thamaruka chathipothi

Kazhal punaindha chemparipura oliyodu

Kalakalan kalan kalanena varum oru

Kariya kanjukan kazhalinaik karudhuvam

Many literary and poetic pieces begin with such kappus. The Bhairavakappu has many characteristics found in Kavuttuvams as available to us today. This clearly leads to a discussion of the essential characteristic features of this dance piece that is today performed in the name of Kavuttuvam.

Perhaps, the most comprehensive definition of Kavuttuvam, is in Natyacahrya Vedantam Parvatheesam’s Kuchipudi Natya Darpana in Sanskrit.

Pataksharena samyuktam devata vishayatmakam

Nanartha chitrasamyuktam kitthantam kautam uchyate

[That which has a combination of syllables pertaining to footwork (sollukattu), that which pertains to the deeds of Gods and thus presents pictures of various types and ends with the rhythmic syllable, kittha, is called a Kavuttuvam]

Whether it is done in the Bharatanatyam or Kuchipudi styles, the concept and structure are the same. The most important characteristic feature peculiar only to Kavuttuvams is the close intertwining of sahitya (lyric) and sollukattu (rhythmic syllables), which is non-existent in any other dance number.”(2)

Kavutuvams- The Variety

Two kinds of Kavutuvams are important from the historical point of view:-

• 1. The Panchamurthi Kavutuvams on Lord Vinayaka, Muruga, Sambanadar, Sandeswarar(Chandikeswara), and Nataraja. This was performed on the Thiruvathirai day in the month of Margazhi,when the idol was taken out in procession.
• 2. The Navasandhi Kavutuvams propitaiate the ashtadikpalaks(the guardian of the 8 directions) and Bramha at the centre. These were composed by the Tanjore quartette and performed during the Dwajaroha(Flag hoisting) festival at the Thanjavur Periya Kovil or the Brihadeeshwara temple. The Navansandi Kavutuvams are composed on Bramnha, Indra, Agni, Yama, Niruthi,Varuna, Vayu, Kuberaand Isana. The Navasandhi Kavutuvam, is a vast research topic in itself. All the 9 Kavutuvams talk of the attributes of the particular deity(their mount, their consorts, their kriya (loosely translated as responsibilities etc.),
• This has been researched by prof. Sudharani Raghupathy who is a disciple of Tanjore Kitappa Pillai, a direct descendant of the Tanjore Quartert. This project is now brought out as a Geethanjali VCD titles “Navasandhi Kavuthuvam” brought out by the Super Audio Madras Pvt. Ltd. A video search in the You tube will help you watch a few of these.More about this Cd and Kavuthuvams here
• I intend to write a note on Navasandhi Kavutuvams shortly.

 Priyadarshini Govind in her DVD on Invocatory Items talks of  a few kavuthuvams on nature like the “Vanambadi Kavutuvams” and Kavuthuvams that mention”Nithyasumangali” or “Rudrakanika”, the devadasi.

 The Kuchipudi repertoire includes Kavutuvams, in which the dancers use their feet to create patterns of birds and animals while dancing to special songs. For example, in a Kavutuvam in praise of the Goddess Durga, the dancer creates the image of a lion, the mount of the goddess. In the Mayura Kavutuvam they create an image of the peacock. The Mellatur Bhagavatha Mela  Sampardaya also features its own Kavutuvam.

Popular Kavuthuvams performed today include

• 1. Natesha Kavutuvam-
• 2. Ganapathy Kavutuvam-(In ancient times it is said that training began for the student with this kavutuvam who learnt to perform the steps to the rhythm of the kavutuvam)
• 3. Subramanhya Kavutuvam-
• 4. Srivilliputtur Andal/nachiar Kavutuvam-
• 5. Hari Narayana Kavutuvam-sings  praises of the dasavatar
• 6.  Tiruvallankadu Kaali Kavuthuvam-
• Less common ones.
• 7. Tharugavana Mahalingar Kavutuvam
• 8.Seergazhi Ganasambandar Kavutuvam
• 9.Madurapuri chokkar kavutuvam

Definitely kavutuvams with their divine nature please the traditionalists and their crisp rhythmic construction and its brevity impresses the uninitiated audience too. No wonder the Kavutuvam is making its indent into the margam today. It is said that many kavutuvams are still kept and preserved in their respective temples and are yet to be brought to the performance arena. Research and collaboration with the traditional nattuvanars may discover many of these unseen gems.

Sources:

• 1. BHARATANATYAM IN HISTORY by Sangita Kala Acharya T. S. Parthasarathy,http://www.carnatica.net/special/bharatanatyam-history-tsp.htm
• 2. KAVUTTUVAM Padmashri Chitra Visweswaran & Sangita Kala Acharya T. S. Parthasarathy http://www.carnatica.net/special/kavuttuvam-tsp1.htm
• 3. http://www.narthaki.com/nforum/messages/11225.html
• 4. Bhagyalekshmy, 205, Approach to Bharathanatyam, Third Edition, CBH Publications Nagercoil.
• 5. Kavuthuvam and Mallri, Natya Dwami, Swathi’s Samskrithi Series CDpresented by priyadarshini Govind
• 6. Navasandhi Kavuthuvam in Bharathanatyam , CD produced by Super Audio Madras, directed by Prof. (smt) Sudharani Raghupathy
• 7. My gurus oral teaching and notes ( Smt. Chitra Visweswaran and Smt. Priyadarshini Ramchand)

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