________________
Shri Mahavir Jain Aradhana Kendra
www.kobatirth.org
induced ecstatic singing and dancing processions of the followers of Sri Chaitanya Mahaprabhu (1485-1533). The collective chanting of the divine name, euphoric dancing, drumming and fumes of incense allowed for a trance-like state of ecstatic devotional experience for Sri Krishna devotees. Theatre critic and dramatist Balwant Gargi alternatively notes that, "Krishna's march or jatra to Mathura has been celebrated in the palas (plays), and this. heart-rending separation became the favorite theme of singers and players. Later, any pala about Krishna's life or about any other mythological hero was called Jatra" (1966:14). Chaitanya Mahaprabhu himself played the lead role of Rukhmini in his play, Rukmini Haran giving special emphasis on glorifying her feminine charms. According to Balwant Gargi, this was the first historically known performance of Bengali Jatra (1966:15). A unique feature introduced in Yatra during the early decades of the twentieth century, is the abstract. role of "vivek," literally, the "conscience." Played by a male, the "conscience" had the freedom to appear and reappear at any significant time in the play, providing critical and philosophical comments, warnings and moral guidance in response to the characters' thoughts, words and actions. The "conscience" also represented the alter-ego of the character if the situation so demanded. After having acquired a very popular religious appeal, Yatra encompassed themes pertaining to Rama, Shiva, and Chandi worship and during the British rule, Yatra also posed as a political theatre. Female roles continued to be performed by men. Nautanki, mostly performed in the northern regions of Rajasthan, Uttar Pradesh and Punjab is a balladic form of performance, eulogizing Gods and Goddesses, historical or religious heroes, and celebrating social romances as well. Most Nautanki plays centre around the romantic legend of Princess Nautanki of Multan. Female roles, usually over stylized with bawdy and lusty dancing, were traditionally performed by men.
10
Acharya Shri Kailassagarsuri Gyanmandir
There are two significant exceptions to the all-male bhakti forms of dance theatre. Manipuri dance including the Rasa Lila of Manipur and Kudiattam dance-theatre of Kerala are rare exceptions where female dancers have traditionally participated. Traditional Manipuri dance cultures, including the Lai Haraoba, elaborate ritual trance dances of the (pre-Vaishnava) Meithei community, were fairly egalitarian and welcomed male as well as female participants into this devotional dance. Vaishnavism was accepted as the state religion in Manipur during the early decades of the 18th century, giving rise to a variety of Rasa Lila dances. Highly influenced by Bengal Vaishnavism, devotional songs of Vaishnava poets like Chaitanya, Jayadeva, Chandidas and Vidyapati gained prominence in Manipuri artistic performances. In spite of the imposition of Bengal Vaishnavism in Manipur, Manipuri women continued to enjoy their ancient cultural tradition of an active participation in the religious dance performances, namely the Rasa dances and the Jagoi. Similarly, Kudiattam of Kerala, developed around the 11 century, is a very specialized form of Sanskrit theatre performed by the Chakiars. Unlike other bhakti forms of dance-theatre later developed in Kerala, female character roles in Kudiattam were usually performed by the Nangiar, a female temple ritualist.
Until the 1930s, Sadir or Dasiattam, the temple ritual dance performed by the
સામીપ્ય : પુ, ૨૫, અંક ૩-૪, ઓક્ટો. ૨૦૦૮ માર્ચ, ૨૦૦૯
For Private and Personal Use Only
-
