Indological Studies

Author(s): H C Bhayani
Publisher: Parshva Prakashan

Page 88

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Literary and Performing Arts
the dance and musical performance of some dancer in the role of a Bhilla damsel at a Bhūta-mātřkā festival in Kalyāṇa, and he formalized it as a new dance type. He named it as Gondali because (so it is reported) the Bhili was called Gondali in Manārāsgra.
Here ignorance and confusion seem to have played a part. The fact is that the word gomdala was current in Prakrit and Apabhramsa since at leart the nineth century in the senses of ‘uproar', 'tumult', 'noisy and confused crowd' etc., usually in the context of singing and music in festivals. Thereafter it came to denote such a festival, and shortly, mythical origins were invented for it. Jāya Senāpati informs us that originally the Goņdali dance along with the music was taught by Pārvati to an Apsaras named kundali and hence that type of dance came to be known as the Kuņdalı dance. The Sangita-muktāvali goes one better. According to it the dance is called Kundali after that designation of the dancer, who derives it from her affinity with the Kundalini Sakti. These accounts give us some idea of how devine origins were invented for popular forms of dance and drama when they received acceptance of the elite and the consequent Šāstric codification.
Lastly we consider the account of the type called Peraņa or Peraņai. Perana finds casual mentions in the Abhinavabharati, but it is only in later works like the Sangita-ratnākara, Nýttaratnāyali etc. that we find it described in detail. In the Peraņa at the very beginning enters on the stage an actor with its gratesque cost and make-up, making ludicrous gestures. Being shaven headed, he was called atļa-bodaka. Next enters the chief actor called Peraņi. His head also is shaven, excepting the Sikhā. He was besmeared all over with white ashes and small bells were tied round his ealves. In the fourth section or act of the Peraņi dance, called Vikata, this main actor performs a grotesque dance assuming the roles of a monkey, goblin etc., making wild and distorted gestures with his face, hands, belly and legs. Here it is obvious that the character of Peraņi is madelled on a Saiva devotee and his gratesque makeup and facial distortions remind us of the Gaņas of god Siva. But