Pleasant Blending of Painting and Dancing
N.Nandhivarman
A French girl driven by
burning desire to gain proficiency in Tamil Dance came all the way from France
to the erstwhile French colony of Pondicherry. Her quest did not end in
disappointment when she found a choreographer to teach her the nuances of dance
with perfection. Pondicherry Tamil Sangam, the cultural hub in the town one
evening was stunned to listen a French girl speak in Tamil with her own accent
and dance her way to their heart. The girl stood on a pot and performed the
“Kuda koothu”, a dance form that is spoken in Tamil epic Silapathigaram. These
dance forms were in vogue much before the time of Tamil epic Silapathikaram.
The mythology says that a King Vanan, who got infuriated by the love affair
between his daughter and the son of Love God Manmathan also known as Kaman, put
him in a prison. Perhaps there was no POTA in those days may be POLA
(Prevention of Love Act) existed.
To secure the release of Aniruthan, the son of
Kaman, Lord Vishnu performed various peculiar dances known as “Vinotha Koothu”
to distract the attention of the prison guard. The author of“ Pancha Marabu”
Arivanar and Saint Thirumangai Azhvar in Nalayira Thivya Prabantham mention
about Kuda koothu. This type of dance is nowadays called Karagattam. The folk
dancers also call it Paanai Karagam in Tamil.
In Andhra Pradesh this is called as Karagalu and Pooja-kunitha whereas
in Karnataka its own version of pot dance is called as Puttakunitha. In Madya
Pradesh, Gujarat, Rajasthan, Sikkim they have pot dances with different names
in different regions. French girl Benedict Doe stayed in Murugan’s house and
learnt this dance in short duration. Murugan also teaches freely at the Tamil
Sangam premises to students and had many stage performances to his credit all
over India.
Those who had seen the
late matinee idol M.G.Ramachandran and Padmini’s dance sequence in film
“Mannathimannan” will remember how difficult it is to draw some painting by
calculated and measured footwork while performing dancing. Painting in Tamil is
known as Chithiram and hence this dance form is known as Chithira natyam. The
16 th century book written by Gangai Muthu Nattuvanar called Natanathi Vathiya
Ranjanam narrates how this dance form emanated. At Thiruvalangadu a dance
competition between Lord Shiva and Goddess Kaali took place and in that
competition Lord Shiva performed Chithira Natyam. Lord Shiva had created 108
thandavas, i.e. dance variations to suit each and every occasion and in that 12
forms are unique. One of them is called “Uruthuba Thandava.” and that thandava
is Chithira Natyam.
In Epic
Silapathigaram’s chapter Arangetru Kaathai this dance is mentioned as Chithira
Karnam. Panchamarabu speaks about Vinotha Koothu and one of its types is Chithira
Natyam. Chithira Natyam has many varieties named after the pictures drawn by
footwork. In Radhabandam a dancer draws
Temple Car, an Elephant in Gajabandham, a snake in Nagabandam, Eagle in Garuda
Bandam, Elephant in Karikolam, Peacock in Mayurabandam, Lion in Simmabandam etc
and these dances derived their names by the pictures drawn by the footwork of
the danseuse. During 17 th century the Tanjore King Sagasi Maharaj in
collaboration with a Poet Bharatha Kasinathan created a number of varieties of
dances under the common title Vichithira Natiyam, that is peculiar dances.
Thiagaraja Vinodha Chithra Prabandam and Sabdam Ennum Thala Sorkattu published
by Thanjai Saraswathi Mahal speak about this dance under title Vichithtra Natya
Marabu.
These dances were
performed in court of the Emperor’s of Chola dynasty . They spread a Rathina Kambalam, floor
mattress of silk and put soft and wet sand over it. While the dancers dance
their foot impression will create the picture they want to present to our eyes.
Murugan’s students nowadays spread a sponge pad of 10 x 15 feet and pour ink
over it. Then they cover it with a white cloth. While dance is performed the
impression emerges. His disciple and impressive dancer Miss. L.R.Krishnamithra
is also teaching dances freely at Tamil Sangam Pondicherry. She performs with ease these Chithira Natyam
and dances on the top of a clay pot, on the top of a 2 glass tumblers etc,
winning numerable fans.
Through dance Murugan
spreads his message of National integration and resolve against terrorism. The
songs composed for the dances choreographed by him, and translated into English
and Hindi are woven together in one dance titled National Procession to Abolish
Terrorism and it is perfomed in 3 languages at the same time in succession. “We
have forgotten our mother of United India after independence; in this occasion
we have to gather to pray to Her to drive terrorism” so ends his appeal. But
this traditional dance forms are adapted to inculcate apt messages of our times
which is a laudable exercise. Reviving dances spoken in our epics and blending
of dancing and painting in unique fashion highlights the greatness of the
Tamil’s past which is relived in present by numerous young dancers getting
trained continuously as a stream by the Tamil Sangam under Murugan’s and
Krishnamithra’s guidance. Miss Krishnamitra is a dancer who has lot of talent
which had to reach the world stage. If that happens not only she will be
famous, the world will know about the greatness of Tamil dances.
Courtesy : 21.8.2004 : NEW INDIAN EXPRESS
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