Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Practice of dance forms in temples� of the study on the Theory and Practice of Gati (“gait�) which refers to the “movement of a character on the stage�, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.
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Practice of dance forms in temples
The Kings were the patrons of art forms such as dance, drama and music. Pallavas were among the earliest rulers of Tamilnadu and they are best known for their architectural wonders of Mahabalipuram. The Cholas were known for the temples around Thanjavur and kings of Vijayanagar Empire for the temples in Karnataka. The temples in India built by them have been providing a nucleus for the growth of various cultural activities. They were not just a place of worship but were a place for social gathering, education and celebration. Art and craft flourished and encouraged in the temples. Performances in the form of music, dance, drama and handicrafts were held here. Thus, the artists acquired the opportunity to worship and present their homage to God and get remuneration from Kings. Inscriptions seen in the temples provide various details about the Kings being patrons of the art forms.
Viṣṇudharmottara PurÄṇa prescribes that each temple should have a theatre on its northern side.[1] Theatre used to be an essential part of the architecture of temples. Most large temples have a hall meant for the performance and the audience to sit. They were known as the â€�°ù²¹á¹…g²¹ ³¾²¹³óÄå±ôâ€� â€�ná¹›tta maṇá¸apaâ€�, â€�²õ²¹á¹…gÄ«³Ù²¹-Å›Äå±ô²¹â€� and so on, for occasional sacrifices and dance recitals. This is also called the â€�²Ô²¹á¹a-³¾²¹²Ô»å¾±°ùÄåâ€� (hall for temple dancing) where, women dancers or »å±ð±¹²¹»åÄå²õ¾±²õ used to perform dance rituals. The architectural beauty of these halls, the innate carvings of dance sculptures and the inscriptions found here tells us that dance performances were a regular feature in the temple.
Detailed description of staging a Sanskrit play, in a temple is found in the °³Üá¹á¹²¹²ÔÄ«³¾²¹³Ù²¹[2] an epic poem composed by ¶ÙÄå³¾´Ç»å²¹°ù²¹ towards the end of the eighth century. In an episode in this poem, the author gives a vivid description of the performance of Sri-±á²¹°ùá¹£a’s ¸é²¹³Ù²ÔÄå±¹²¹±ô¾± ²ÔÄåá¹i°ì²¹. This performance was presented inside Visvanatha temple of Kasi.[3] ¶ÙÄå³¾´Ç»å²¹°ù²¹ gives an extensive account of how they were presented. The performances of ³ÛÄå³Ù°ùÄå festivals in temples are noted down in various Sanskrit texts. Jaina Äå²µ²¹³¾²¹, describes about the °ì°ùÄ«á¸a ²µá¹›h²¹ (playhouse) in Jain temples.[4] ±·²¹°ù³¾²¹»åÄå²õ³Ü²Ô»å²¹°ùÄ«°ì²¹³Ù³ó²¹, a fascinating tale of ±Ê°ùÄå°ì°ù¾±³Ù, presents a picturesque account of the ´³¾±²Ô²¹²ÔÄå³Ù³ó²¹ Mahotsava in a Jaina temple where dances and drama performances took place.
Footnotes and references:
[2]:
Infra 3.1.p.132.
[3]:
Lectures on the ±·Äåá¹y²¹Å›Äå²õ³Ù°ù²¹-RadhaVallabhTripathi.p.112
[4]:
Ibid.p.113.