The development of Carnatic Classical Music and dance in different periods

By Subashini PATHMANATHAN

Normally in all of dance forms, whether it is ritual or religious, or classical, or folk, or any sort of dance forms, the music is the soul, strength, to any dance forms. Music which inspires the human mind, influences any dance of worldwide music and dance are inter-woven. At the same time the music not only means the vocal music alone but also, it means the instrumental music. In earlier days the instruments used for dance were called 'Geethangam', and the instruments used for nirtha (steps) were called 'Nirthangam'.

In India the classical music is often referred as Sangeetham, or sangeeth. It includes only vocal, instrumental, and or a combination of vocal and instrumental. Natya Sastra of Bharatha muni provides a wealth of information about the nuances of dance, drama, music and related fields. According to Natya Sastra, music without dance is like a painting without colours.The ancient Tamil classic Sillapathykaram, and the oldest Tamil grammar Tholkapiyam provides a wealth of information about the musical traditions of those days and various nuances of dance and music of earlier days.

Besides these Tamil Nadu was under various rulers and cultural concepts which faced various stances in different eras. During the period of Pallavars art, culture, religious values, and traditions were well protected and preserved to some extent.

After the period of Pallavars the Chola period came into existence, during this period royal patronage was given to the fine arts and religion. Specially to dance, music, drama, painting, sculpture and architecture, special attention was paid by different rulers. This era was considered a golden era in the history of Tamil land. After the Chola period the Nayaka period came into existence. Generally Nayaka period in Tamil literature was considered as a dark period. But in the development of history of dance and music, there was a considerable progress which took place.

During the period of Nayaka, beautiful and numerous compositions suitable for dance were enacted. Some of the beautiful Telugu padams were enacted, and some of the Padams were enacted by the rulers themselves. It was believed that the earlier temple dance Sathir, got a rational format only during this period. A famous Telugu epic named, 'Valmiki Charithram', was written by one Nayaka ruler called Ragunatha Nayak, who created and introduced two imaginative dance characters.

And he created a dance competition between these two imaginative dance characters Rampa, and Urvasi. In the epic numerous dance and musical nuances are mentioned. According to Ragunatha, Urvasi danced twenty three dances, and Rampa danced four different varieties of dance forms. This showed the numerous dance forms, and different variety of dance forms which, existed during that time. He further mentioned about some number of Asamutha hastas (single hand muthras), Samutha hastas, (double hand muthras), nirtha muthras (step hand muthras', body positions, neck movements, side body positions, and leg positions etc.

This reveals that how the dance tradition of those days were preserved, with certain high norms. Further in his epic he mentioned numerous musical instruments used during those time for dance, including string instruments, leather instruments and other variety, of various instruments.

A greatest Telugu poet Kashetrajna who visited Thanchai during the period of Nayak King Vijeyaragava Nayak, and the King Thirumalai, enacted beautiful Telugu padams. More or less the terms Sangeetha Mela, Chinna Mela, and Periya Mela came into existence during this period in the music and dance world.

Hence during the of Nayaka period as far as dance and music are concerned, both these fields faced tremendous changes and development. During the rule of King Serfogi, of Thanchai (1798-1832), he mentioned numerous dance items during his time, in his work"sangeetha saramirtham'.

These items were curtailed and a repertoire was formulated by the four brothers who were collectively called Thanjavaur Quartette.