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Sattva and Bharatanāṭyaṃ

The following Post was composed by Prakruti Prativadi. You can follow her on TCP.


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Abhinaya

Bharatanāṭyaṃ performances often standout for the striking and realistic portrayals of characters and their stories which are powerful and moving and live in the memory of the audience. Audience members even share their experience with the dancer, often telling how the dance made them teary-eyed, or get goose-bumps. The technique and theory of emoting and embodying characters is referred to as Abhinaya in Bharatanāṭyaṃ and Indian classical dances. The word ‘Abhinaya’ literally means carrying the meaning of the art to the audience. In Indian classical dances like Bharatanāṭyaṃ, the means by which this is done is significant, since the dancer must have expert knowledge of the Abhinaya techniques and nuances in order to genuinely embody and communicate the essence of the song to the onlooker and, most significantly, to awaken the Rasa experience in the spectator.

The general understanding of Abhinaya is that it is the emotive and expressive aspect of classical Indian dance. However, Abhinaya consists of more than just the enactment facet of Bharatanāṭyaṃ; Abhinaya consists of four major types. But before going into the technical aspects of Abhinaya and its varied uses, we must first understand the purpose of Abhinaya. The point of Abhinaya is not just to tell a story or play a role. Abhinaya is how the dancer awakens the Rasa experience in the audience. In Indian Aesthetics, Rasa is a supreme aesthetic experience and is the paramount aim in any classical dance performance and is described as a conscious-uplifting experience, in which the spectator feels a bliss-state that is similar to the bliss of Brahman knowledge.

“The experience of Rasa is similar to the experience of Brahman” – Abhinavagupta

Per the Natyashastra, a dance, drama, or music performance that does not generate Rasas and is not offered to the Gods is not really art and is Nīca (vulgar). This kind of performance will not benefit either the audience or the performers. According to Bharata, no meaningful communication can exist without producing Rasa.

Rasa is not limited to the stage or court; Rasa comes from a set of conditions the dancer creates. Rasa is born after the generation of many and varied Bhāvas (mental and emotional states) that differ based on the character and circumstance. Rasa is awakened in the spectator as result of:  Vibhāvas (determinants), Anubhāvas (consequent reactions), Vyabhicāri (impermanent mental states), Sāttvika (with Sattva) and Sthāyi (permanent mental state) Bhāvas emerging first. According to Bharata, Abhinavagupta, Śārṅgadeva, and other scholars, the Rasa experience is the ultimate purpose of Nāṭya (dance, drama and music). Without Rasa, the performance does not bring a benefiting and lasting effect to the onlooker. Rasa experience is filled with joy and is akin to the knowledge of Brahman.

The Rasa experience stays with the audience for some time even after the performance has concluded; the audience wants to experience it again. During the Rasa experience, the very consciousness is transformed to reflect the true inner Self. The concept of Rasa is ancient and found in the Vedas and Upanishads. For example, the Taittriya Upanishad declares that: Raso vai Saha: Rasa (is) Him (Brahman).

Rasa is not isolated to dance, but also exists in poetry, music and drama. The dances of temples, performed by Devadāsis and in some cases even temple priests also have the same goal of generating Rasa in the onlooker because these dances are not just rituals, they generate Bhāvas which result in Rasa; the Devadāsis also offered their dances to the Divine Gods, which is the same motive of the dance performed on the Raṅga (stage) described in the Nāṭyaśāstra. There is no difference in purpose between the dance described in the Nāṭyaśāstra and the dance of the temples.

Abhinaya consists of four types:

Āṅgika Abhinaya: Using the body, including the arms, hands, feet, legs, torso, face, and head in dramatic representation.

Vācika Abhinaya: Dramatic portrayal through the use of speech, in Bharatanāṭyaṃ Vācika Abhinaya consists of the songs and compositions that are danced.

Āhārya Abhinaya: Consists of make-up, jewelry, flowers, props and accessories used by the dancer to aid in dramatic portrayal.

Sāttvika Abhinaya: Emoting and portrayal of characters and situations through Sattva.

All these types of Abhinaya are essential to generate the Bhāvas and awaken Rasa in the audience. Amongst these, however, the more intangible and indefinable type is undoubtedly Sāttvika Abhinaya. Sāttvika Abhinaya is portrayal that is full of Sattva. This is a crucial ingredient, because it is required to genuinely embody the Bhāvas that will generate Rasas.

Bharata states that a successful performance is not one in which the dancers win awards or gain materially but one in which the Rasa experience was powerful and experienced by the audience. This is the measure of Siddhi (success) that Bharata emphasizes.

Sattva

“One must take particular care of Sattva… for Abhinaya resides in Sattva” -Nāṭyaśāstra 

Sāttvika Abhinaya, as the Nāṭyaśāstra states is an intangible but vital element in generating the Bhāvas and Rasas. Generating Rasa in the audience is not a simple task. The dancer must possess the technical skill, imagination, intellect and a certain state of mind to be able to embody the characters, stories, and movements that evoke Bhāvas and Rasa. According to the Nāṭyaśāstra and other dance treatises, like Saṅgīta Ratnākara, in order to evoke Rasa in the audience, the dancer’s mind and consciousness must be in a state of Sattva.

“Sattva can only be accomplished by a tranquil, peaceful and concentrated mind” -Nāṭyaśāstra

Bharata and Abhinavagupta emphasize that a performance without Sattva will not move the audience and will not produce Bhāvas and Rasas, and thus, will be unsuccessful and meaningless.

Sattva is a Sanskrit word that has no direct translation in English or non-Indian languages. Interestingly, even Indologists like A.B. Keith, agreed that Sattva has no translation. So, what does Sattva mean?   Sattva is a concept that is present in other ancient Hindu philosophical and sacred works like the Vedas, Upanishads and the Bhagavad Gita and is important in the Hindu worldview and in Hindu practices. Sattva is one of the three Guṇas (attributes, qualities, threads, tendencies); the other two are Rajas and Tamas.

Sattva Guṇa is one that is bright, pure, luminous, buoyant, happy and stainless. Under the influence of Sattva, the mind is calm, unagitated, filled with Śraddha, steady, and reflects the Self (Brahman). A person with a Sāttvic mind renounces the results of his or her actions; in other words, actions motivated by Sattva are offered to the Supreme. As the Nāṭyaśāstra makes clear in the very first chapters, Nāṭya, which consists of Indian classical dance, drama and music, whether performed on a stage or in a temple must be an offering to the Divine Gods.

Rajas is agitation, activity, pain, egotistic, seeking sense-pleasures, and Tamas, is dark, inert, lazy, indifferent and exhibits low passions and tendencies. Our actions are controlled and directed by the mind exhibiting a combination of these three Guṇas.

Sattva also means Rajas and Tamas are not present. When the mind is purified, it is Sāttvic and in a state of Śānti and Ānanda and is able to reflect the Self (Brahman). The Rasa experience itself, is likened to the bliss of Brahman knowledge. Sattva modifies the consciousness to bring out Rasa.

In the Nāṭyaśāstra, Bharata describes eight Sāttvika Bhāvas which are:  paralysis, sweating, goose-bumps, change in voice, trembling, pallor, weeping and fainting. According to Bharata, these Sāttvika Bhāvas give genuineness and realism to the dance and make the audience to become one with the performance, hence generating Bhāvas and Rasa. Bharata states that in order to embody the Sāttvika Bhāvas, the dancer’s mind must be in a state of Sattva – purified of the Rajasic and Tamasic attributes.

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Thus, a prerequisite to an outstanding dance performance is that the dancer must accomplish a state of Sattva before the performance and maintain this state of mind during the performance to generate Rasa. How does the dancer go about preparing the mind to be Sāttvic? It is not just a matter of motivating oneself through pep talks or having a few minutes of quiet solitude before the performance. These, of course, can help and all Bharatanāṭyaṃ dancers, to some extent, will use these techniques. But to have the mind in a state of Sattva prior to and during the performance, the dancer would need more than just motivational techniques, and this observation did not escape the perceptive Bharata.

Yajña

So how does a dancer get into the state of mind that has Sattva? The third chapter of the Nāṭyaśāstra is dedicated to explaining, in detail, a series of Pūjās and a Homa that the dancer and musicians should perform. In these instructions, Bharata clearly states that these Pūjās and Homa are the equivalent of performing a Yajña and will help the dancer achieve a calm mental and conscious state necessary for a successful performance. Siddhi or success in a performance, per Abhinavagupta and Bharata, does not mean winning banners (prizes) or material objects, but Siddhi of the performance occurs if the audience witness compelling Bhāvas and experience the different Rasas.

Therefore, these Pūjās and Homa are not robotic superstitious ritualistic acts; they are a science of connecting one’s own consciousness to the Supreme consciousness. They are an offering and a means for the artists to transform and purify their inner-selves to be Sāttvic.

In these pre-performance sacred activities, Bharata details how the Raṅga (stage) must be constructed according precise measurements depending on the type of Nāṭya to be performed. Significantly, the Vedi (altar) of a Yajña must also be constructed in a precise shape with exact measurements depending on the type of Yajña performed. Bharata then specifies how the dancer must sanctify this stage, and even the entire theatre where that audience will be seated, the dancer should then do a Pratiśṭāpana (sacred installation) of the Gods on the stage, and do a Pūjā to each one of these Deities in a certain order and with particular sacred Mantras. The dancer must sprinkle sanctified water on each limb to purify the body and must partake of the Pūjā and Homa with the utmost Śraddha (belief, Bhakti, and diligence) in order to bring his or her mind into a state of Sattva.

These actions along with their subtle effects will give Siddhi (success) by preparing the dancer to be capable of a performance that is rich in Bhāvas and Rasas. These performances are a few hours long and in some classical dances, like Katakaḷi and Yakśagāna, last through the night, so the dancer needs to muster tremendous energy, enthusiasm and concentration. The musicians too must do a Pūjā to their instruments. In effect, the stage and entire theater (where the audience are seated) become a temple, with the consecration of Deities and Pūjās and finally with the performance of the Homa. Bharata instructs that the point of doing the Pūjās and Homa are to offer the performance (dance) itself to the Devatās. This, advises Bharata, will bring Siddhi (success) to the performance.

Among these preliminary activities, the Homa (similar to a Yajña) is of distinct interest and serves a special purpose. Yajñas are ancient Vedic practices that are transformative and have subtle effects on the consciousness of the performer. Homa derives from and is an adaptation of a Yajña, but a Homa is performed in Pūjās to specific Gods. Both feature a specifically constructed altar, sacred fire and sacred materials. Yajña comes from the root word Yaj which means offering, reverence, adoration and bestowing. A Yajña and Homa, are Tyāga (offering) of Dravya (special sacred material) to the Devatās (Gods). They are complex activities that have subtle and powerful effects. Every offering during the Yajña and Homa results in Apūrva Śakti, which is a subtle effect and hidden power of an action (Karma) on the person who is the beneficiary of the offering. Thus, Yajñas and Homas have an effect on the one who performed it in a subtle manner, by affecting the Śaktis (energies, powers) of that person. Every action produces a Śakti which will produce a result. The dancer and musicians are transformed by the Homa; they exhibit Sattva and subtle energies as a result.

VedicYajnaIt is no coincidence that the Nāṭyaveda (classical dance, drama and music codified in the Nāṭyaśāstra) directly derive from the four primary Vedas contain Vedic ceremonies. Furthermore, Bharata states that performing these Pūjās and Homa is the same as performing a Yajña and the same benefits will be received. Here we see the beautiful connection between the preliminary activities of the performance and the performance itself because the Bharatanāṭyaṃ performance is also a Yajña. The Yajña conducted prior to the performance is a transformative experience for the dancer and musicians, and the Yajña of the dance performance itself is a transformative experience for the audience because they will experience Rasa bliss. Thus, Indian classical dances are themselves an offering, a Yajña conducted by the dancer on a specially built Raṅga (stage) and offered (Tyāga) to the Gods with love, Śraddha and Bhakti. In this case, the Dravya, or sacred material, is the dance which is offered to the Devatās. The ones who enjoy the fruits (Rasa bliss) of the Yajña are the attuned and receptive spectators (called Sahṛidaya).

HomaSome of the above Pūjās are done even to this day. Today’s dancers sanctify the stage and consecrate Mūrtis on the stage and perform a Pūjā offering the performance to the Gods. The Pūjās are offered to Ganapati and Nataraja and Saraswati and Vishnu. The Ārati is done, the sacred dance anklets (Gejje or Śalangai) are worshipped, the musicians also worship their instruments. This is not a mere ritual, but is the time when the dancer, Naṭavanār and musicians come together to conduct the Pūjā with Śraddha and Bhakti and offer the performance to the Gods. Dancers look forward to performing this Pūjā, taking it seriously, performing it with the utmost Śraddha and reverence because it brings them inner Śānti, happiness, and connects them to the Gods. In effect – it makes their mind Sāttvic, which is then reflected in the dance. After the Pūjā, the artists remain in this state of mind, now fully immersed in the art, centered, calm and ready for a rigorous and demanding Bharatanāṭyaṃ performance.

 Bhakti

Therefore, Bharatanāṭyaṃ (and other Indian classical dances) are not practiced by merely perfecting techniques and movements, facial expressions or time and rhythm. Traditional practitioners of Bharatanāṭyaṃ know that they require total immersion into the art and its philosophy, must have Bhakti and humility and reverence to dance successfully. A person who may know the technical movements of Bharatanāṭyaṃ but lacks these Sāttvic attributes such as Śraddha and Bhakti is not qualified to do the dance. Śārṅgadeva states that only one who is pure in mind (Sattvic) can be a dancer. The Devadāsis had this intrinsic Śraddha, and they certainly understood Rasas and Bhāvas. Theirs was not a mechanical ritualistic dance devoid of Rasa. The great exponent dancer Bala Saraswati, a Devadāsi, emphasized the importance of Bhakti as an integral requirement for Bharatanāṭyaṃ:

Bharatanāṭyaṃ is grounded in bhakthi…. In fact bhakthi is at the center of all arts of India. Our music and dance are two offerings to God…This experience may only occur once in a while but when it does for that little duration, its grandeur enters the soul not transiently but with a sense of eternity. As one gets involved in the art, with greater and greater dedication, one can continuously experience throughout the few hours of the dance, the unending joy, this complete well-being, especially when music and dance mingle indistinguishably.” – Bala Saraswati

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Shree Bala Saraswati. Eminent danseuse.

The ancient dance treatises have noted that a person best fit to dance is one who learns with Śraddha and Bhakti. Many expert Bharatanāṭyaṃ dancers and Nāṭyācāryas have observed that if a student does not have Bhakti, their dance is not genuine and has a mundane quality to it and few, if any, Bhāvas are produced. For example, if the dancer does not have Bhakti for Śri Kṛṣṇa, how can they embody the episode in which Yaśoda saw the entire universe in his mouth, and was overcome with awe and emotion? How will the non-believing dancer produce the Bhāvas that are required to generate the Rasa in the audience?Abhinaya is not a mere enactment, it is an exalted, lofty, glorified reenactment that will produce Bhāvas and the Rasa experience.

If the dancer interjects her personal opinions and portrays characters such as Sītā and Rāma through a non-Dharmic lens, the result will not be Sāttvic but a pale imitation, a counterfeit, and will not have any lasting effect on the onlooker and the Yajña of Bharatanāṭyaṃ will be a failure. The dancer must be in total sympathy with the character’s viewpoint and beliefs to embody that character authentically. This does not imply that these dances are somber and boring. Quite the contrary, Bharata states that a successful performance brings about happiness, entertainment, diversion, and knowledge to the onlooker and should generate all of the Rasas (Śṛṅgāra, Hāsya, Karuna, Vīra, Bhayānaka, Bībhatsa, Raudhra, Adbhuta and Śānta).

Philosophy, Language and Tradition

To do justice to the complex songs and poems that are danced, the dancer should do a serious study of the different philosophies of Hinduism. This understanding needs to be deeper than a superficial knowledge of the main features of Hinduism. Knowing the composer’s philosophical leanings to will help the dancer understand the significance of their compositions. As an example, many are familiar with Vaiṣṇavaism, however, there are different schools of Vaiṣṇavaism and their core philosophies have subtle variations that are significant nonetheless. For instance, the Vaishnavism of Sri Vaishnavism, Gauḍiya Vaiṣṇavaism, and the Brahma Sampradāya of Madhvācārya may seem the same, but in fact, they have significant differences and comprehending these will aid the dancer to authentically embody the compositions of those respective philosophies.

For example, the sacred poems of Ānḍāl follow the Śri Vaiṣṇava school whereas Caitanya Mahāprabhu and Purandara Dāsa reflect the Gauḍiya and Madhva schools of Vaiṣṇavaism respectively. Not fully comprehending these subtle differences will lead to missing the beautiful meanings and themes of the songs and even blatantly misinterpreting them in the dance. Ānḍāl’s Tirupāvai has profound meaning as does Gīta Govindaṃ of Jayadeva; however, the refined nuances in these compositions cannot be missed if the dancer wishes to bring about the right Bhāvas and Rasas. The same is true of Śaivism and Smārtism. How can a dancer embody Nirguṇa Brahman without understanding what this profound concept is and the difference between Nirguṇa and Saguṇa Brahman?

Hand-in-hand with this philosophical comprehension, is the practice of the customs and rituals that embody these philosophies. Hindu philosophy is embodied in Hindu practices and customs; they are not just rituals. Just like the Yajña, they are transformative experiences and have effects on the consciousness of the doer. An academic study or an observation of Hindu rituals or interviews with practitioners is woefully inadequate to understand them. These customs and traditions can be understood by experienced and performing them with Śraddha and Bhakti. Therefore, practitioners of these customs are best suited to portray them, because they are not conscious-less ceremonial activities.

CompositionsAndal

This brings us to a vital requirement to dance Bharatanāṭyaṃ and Indian classical dances. Since, as stated by Bharata and other scholars, the dancer’s mind should be Sāttvic and in total understanding with the characters, philosophies and customs and traditions of Hinduism, knowledge of the language in which the compositions are written is crucial. The traditional practitioners of Bharatanāṭyaṃ, Naṭavanārs and Devadāsis, were fluent in several languages and well-versed in our philosophy and traditions. The classical compositions are complex and difficult to comprehend even for a person fluent in the language in which they were composed. However, trying to understand the meaning of a composition by translations, especially from an Indic language to English (or other non-Indic language) will not be sufficient. Knowing another Indic language is helpful, but a dignified study is required with the aid of an expert in that language. Understanding the colloquialisms of the language and a detailed explanation of the philosophy and narrative is critical.

Even dancers who know the language often must do a diligent and serious study of the composition. English translations fall short in conveying the composer’s viewpoint and themes that are embedded in the cultural mores which the native language naturally communicates. These compositions are lofty and refined, and contain much symbolism which will otherwise be missed. Understanding the song through the Dharmic viewpoint, from the composer’s perspective and the times in which they lived is essential to bring out the Rasa of these works. For instance, the composition ‘Yār Āḍinar, ina yevar Āḍuva?’ in Tamizh tells of the great Cosmic Dance of Nataraja. Another composition “Ānanda Kūtāḍinar” is also about Nataraja and His celestial dance. So, are these compositions essentially the same? Well, a closer study of the above two songs shows they are similar on a topical level but convey different themes and evoke different Bhāvas. Similarly, two famous songs of Purandara Dāsa, Jagadoddhāraṇa and O’ḍi Bāraiyya are about Sri Krishna as the Divine child. A sensitive study of these songs reveals they are dissimilar and portray two distinctly refined themes with powerful meanings. The great composer Tyāgarāja is renowned for his beautiful songs devoted to Sri Rāma, but one should not make the mistake in thinking that all these compositions are the same.

Bharatanāṭyaṃ dance, and all Indian classical dance, is a complex rich transformative knowledge system. Bharata has codified the foundations and details of the sacred Indian dances. These codes are purposeful and not optional. They contain a profound philosophical aesthetic that is manifested physically in our ancient dances. The dancer’s mind (Manas) should be transformed into a state of Sattva and remain so during the performance so that the audience experiences the Rasas, which is the ultimate aim of these dances. Bharatanāṭyaṃ and other Indian dances are Yajñas that have a deep lasting impact on the consciousness of the dancer and the Sahṛidaya audience. Understanding these core fundamentals is the foremost prerequisite in the journey to be an accomplished and successful dancer.

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About the Author: Prakruti Prativadi is a Bharatanāṭyaṃ dancer and Founder Director of Kalā Saurabhi Dance School in the US; she actively performs in the US and India. She has spent seven years researching the Nāṭyaśāstra and other Sanskrit texts on Indian aesthetics. She has written a book based on her research, Rasas in Bharatanāṭyaṃ, available on amazon.com


References:
  1. Ghosh, M.M. 2006. P. Kumar (Ed.) Nāṭyaśāstra of Bharatamuni. (Vols. 1-4). Delhi: New Bharatiya Book Corporation.
  2. Prativadi, Prakruti. 2017. Rasas in Bharatanāṭyaṃ. South Charleston: Createspace.
  3. Sarangadeva, Sangītaratnākara. Adyar Library Series.
  4. Srinivas, P. N. 2000. Mathugalu [Talks on Kannada Literary Criticism, in Kannada]. Bangalore: Purogami Sahitya Sangha.
  5. Subrahmanyam, Padma. 1979. Bharata’s Art Then and Now. Bombay: Bhulabhai Memorial Institute. Madras: Nrithyodaya.
  6. Swami Harshananda. 2001. Vedic Sacrifices. Bangalore: Ramakrishna Math.

Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Indic Civilizational Portal. The Author is responsible for ensuring the factual veracity of the content, herein.

Copyright: Prakruti Prativadi. All rights reserved.

Puthandu Vazthukkal & Vishu Ashamsakal (2017)

VishuLipi

From all of us at ICP, Vishu Ashamsakal! Puthandu Vazthukkal! Happy New Year to Malayalis and Tamils alike.

At last, we complete the cycle of Indic New Years (the exception of course being our Gujarati friends). The Solar Calendar New Years are celebrated today. From Yugadi to Vaisakhi to Vishu/Puthandu, we see just how closely all these calendars (varshapada) coincide.

Continuing our tour of the various Indian scripts is Malayalam lipi. Called putiya lipi, it is a comparatively newer script. A different lipi was used centuries ago, which, like Malayalam, branched off from Tamizh.

While Malayalis celebrate Vishu today, Tamilians celebrate Puthandu.

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Best wishes to all of you, and Happy New Year!

VishuLipi

Shubha Vaisakhi (2017)

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From all of us at ICP: Shubha Vaisakhi! Happy Baisakhi! Baisakhi di lakh lakh badhai! Shubho Nabo Borsho! Pana Sankranthi ra Subheccha! Shubh Jude Sheetal! Happy Bihu!

The other half of the assorted New Year’s of Bharatavarsha fall this well. Though the majority are today. We have two more tomorrow.

Today is most famously the Baisakhi Mela of Punjab, celebrated vivaciously by Sikhs. It is the Harvest Festival, and a time of great happiness.

In Vanga, that is the Bengal region, it is referred to as Pohela Boisakh.

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Continuing our tour of the Scripts of Bharatavarshi is the lipi for this festival, Gurmukhi. Used for the Punjabi language, Gurmukhi is also the text for the Guru Granth Sahib. Today is also the day that the Khalsa, the Sikh Brotherhood, was founded by Guru Gobind Singh. The Panj Piare from the five different caste groups were given Amrit today and forged into the Sikh Khalsa. This laid the path to the liberation of the Panjab from oppressive Mughal rule.

This is the other half of the Luni-Solar New Year’s Celebrations in Bharatavarsha. However, you celebrate today, best wishes to all our readers!

Shubha Vaisakhi! Happy Baisakhi!

Classical Indic Literature V: Romantic Sanskrit Poetry 2

RomanticSanskritPoetry2

In honour of Madan Utsav, Bharat’s true Festival of Romance, we bring you the second installment in our special set of articles from our Continuing Series on Classical Indic Literature.

Today we present to you our long planned Romantic Sanskrit Poetry 2.

This post features the famous Kavya of Mahakavi Kalidasa called Meghaduta.

Those of you following ICP would recall our inaugural Post on Romantic Sanskrit Poetry featuring Abhijnaanasaakuntalam. While the ‘Recognition of Sakuntala’ was a drama featuring beautiful poetry, Meghaduta is a lovely, lyrical poem that is pure romantic reverie. Perhaps no padya captures the longing of a husband for his wife like the ‘Cloud Messenger’. Indeed, if there were ever any question of Kalidasa’s poetic greatness, Meghaduta put it all to rest.

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Mahakavi Kalidasa

What is there to be said about Kalidasa that has not already been said? Quite a bit actually.

Kalidasa is a courtly poet, but his knowledge of the human heart and his understanding of the complex play of human motivation, are profound. A keen observer of nature in all its varied aspects—he sees with a painter’s eye and speaks with a poet’s tongue—he is at the same time a learned writer who wears his enormous learning lightly and with grace. [2]

Clearly there is a lesson in this legendary poet’s own approach. As alankara-sastra expert Acharya Dandin frequently decried, there is a proclivity toward pedantry, particularly in those subscribing to the school of Gauda. Mere show of learning is no real accomplishment. It is in the application of learning, to craft useful things which improve human life or via lucidly lyrical literature that lights up the soul. Along with learning, there is grace.

Kavi kula guru Kalidasa may have delighted us with his delightful dramas and romantic rupakas to remember. Abhijnanasaakuntalam, Vikramorvaseeyam, and Malavikaagnimitram may entertain us with their splendid stories. But if there is a piece that showcases the true genius of Ujjain’s most ardent devotee, it the one dedicated to a cumulus amicus. Meghaduta is that kavita that not only captures our heart but captivates our imagination.

“Kalidasa’s accomplishment is distinguished not only by the excellence of the individual works, but by the many-sided talent which the whole achievement displays. He is a dramatist, a writer of epic and a lyrical poet of extraordinary scope. In his hands the language attained a remarkable flexibility, becoming an instrument capable of sounding many moods and nuances of feeling; a language limpid and flowing, musical, uncluttered by the verbal virtuosities indulged in by many writers who followed him; yet, remaining a language loaded in every rift with the rich ores of the literary and mythical allusiveness of his cultural heritage. By welding different elements to create new genres, his importance as an innovator in the history of Sanskrit literature is clearly established.” [2,1]

The biography of that best of Kavis, Kalidasa, is a tale in and of itself—indeed, it is worth of a book, an article, a cinema, or several. Correspondingly, the writer who intertwined legend with history and delightful fancy with moral principles, led a life of similar meeting points. By the present foreign paradigm, he is dated to the 4th century CE, but it is more likely that he belongs to the 1st Century BCE instead.

The foregoing discussion is enough to justify the truth and the vitality of the age-long tradition that the poet belongs to the days of the glorious King Vikramaditya of Ujjayini—the founder of the Samvat era (57 B.C.) [1, vi]

 

Great Plays of Kalidasa

  • 8 works of his have come to us today.
  • 3 dramas, 2 epics, 2 lyrical poems, and 1 descriptive poems. [1]

Kalidasa would set standards of excellence in poetry for millennia. He imbues with life:

“Men of great stature, power and valour, and women of uncommon beauty and grace met by the heroes of epics and romances are often asked with admiring wonder if they are beings of divine origin: yaksas, gandharvas, apsaras. Apsaras, ‘born of the Waters’—the waters of creation (see note 8), are, like yaksa-yaksees, associated with life and fertility and seen as beneficent powers” [2,29]

To better prepare for married life, it is important to not only learn how to become eligible, but also marriageable. The courtly aesthetic is important not only in kingly courts, but in the courtship of couples. It is here that our hero of poesy truly excelled. He inspired generations of not only litterateurs and litterateuses, who frequently referred to him, but women and men of the elite, princesses and princes, wives and husbands,  to great romantic deeds in the itihaas of shringaar. But why take my word for it, hear from another great poet of antiquity.

Bana author of the Kadambari exclaimed:

Who is not delighted when Kalidasa’s perfect verses spring forth in their sweetness, like honey-filled clusters of flowers?”[1]

Indeed, who is not delighted. But if you have yet to dip your tongue in the madhu-madya of Mahakavi’s poetry, then start with Meghaduta.

Composition
kalidasa-s-meghdutam-the-cloud-messenger
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Sringara (Romance) is also Part of our Culture. Perhaps no Poem says Sringara like Meghaduta. From its dazzling descriptions of the Indian Subcontinent to its pleasing poetry recounting its people to its captivating kavya capturing sentiment, it is truly the poem for the true Romantic.

Describing the separation of a semi-divine Yaksha from his wife, we learn of this heavenly being’s banishment to Earth for 1 year. With no friend or beverage in which to drown his sorrows, this servant of Kubera turns to a gracious Cloud whom he beseeches to be his messenger. Duta-kavya can be considered a genre of poetry in and of itself, dating back to the Ramayana, and Rama’s anointment of Hanuman to be his messenger to Sita. In fact, the Meghaduta itself alludes to Valmiki’s great epic with frequent mentions of its characters and place names. The nayaka (hero), like Rama, is not resentful of the originator of his banishment, and bears his exile with heroic forbearance. It is certainly inspired by the Adi-kavya, and possibly an outright homage to it. And it certainly aspires to its himalayan heights of resonant rasa.

“The chief goal of drama is to produce rasa, the aesthetic emotion, evoked by the appropriate mood built cumulatively through not only words, but also by mime and gesture, music and dance, costume and jewellery” [2,7]…and oh, does Kalidasa evoke it, not only in his dramas, but in this descriptive poem.

The Court Poet of Vikramaditya and the first poet among Romantic kavis not only sources scintillating Sringara rasa but stylises soka as the sthayibhava.

He uses the “stately” mandaakraanta metre in his messenger poem. With its 17-syllabled lines, it is considered the archetypal chanda for love-poetry and longing. Indeed, through its cadence, it conveys the loneliness and yearning of the yaksha. If that is the mood, then the ambience is dream-like, like the very cloud with which it is eponymous.

The Meghaduta is divided into the Purvamegha (earlier cloud, as in the cloud’s journey to Alaka puri) and Uttaramegha (latter cloud, the narrative when the journey to Alaka ends).

The Purvamegha has 63 slokas and the Uttaramegha has 52 for a total of 115.

While this article will concentrate on the Uttaramegha, which most superbly captures the vipralambha sringara (love-in-separation) of the a-namika yaksha and yakshi as well as the exhilaration of Alakaa-puri,  outstanding descriptions of the Indian Subcontinent’s landscape is given in the poem’s earlier half, the Purvamegha.

In the Poorvamegha the poet reveals the Yaksa facing a cloud, clasping a towering peak of Himaalayas, whom he thinks of making the bearer of a message to his lorn wife; for he was cursed by Kuvera his Lord, to be severed from his wife for dereliction of duty. He makes an offering of Kutaja flowers and water to the cloud.” [1, iii]

It is a sophisticated work of an veteran poet and arguably ranks with Kumarasambhavam in its maturity. Connections with the Ramayana aside, it stands out for the originality of approach and the breadth of geographic treatment. Indeed, this descriptive poem provides a veritable  tour of Bharatavarsha and connects the sacred and super-human with the everyday and historical.

In this poem, Kaalidaasa gives us a glimpse of Kailaasa, and the Himaalayan regions. His eye in a fine frenzy rolls over the ridges, cliffs, scarps, valleys, dales, glades and the gritty upland of that mountain. He delineates the story of a bereaved Yaksa in crystal-clear vignettes that are remarkable for their precision and romantic charm.” [1,iii]

Mountains, rivers, valleys & cities, all are veritably painted by his padya for our manasa. Although apsaric Alakaa is the abode of the hour, Avantika’s favourite penman is loath to lose an opportunity to dedicate his penmanship to it.

Ujjayini was the city of his heart and he is delighted to sing of her glories and the romantic loves of her maidens. [1, vi]

Kalidasa’s reference to Ujjain in Meghadutam

 “to Ujjayinee glowing in splendor like a brilliant piece of Paradise

Come down to earth with traces of merits of dwellers in Paradise returning, the fruit of their good deeds almost spent.” [2,5]

For pedantic grammar-gyaanis and assorted Panchatantra murkha-panditas, an appropriate note regarding translation courtesy Chandra Rajan:

“Kalidasa’s poetry like much of Indian art is stylized. The Stylization is not a rhetorical procedure but part of the self-awareness with which the verse shapes itself. The translation therefore, has to be faithful, has to somehow contrive to be stylized and readable; to steer clear of a literalness of rendering as well as an identification of readability with contemporaneity.” [2,xvii]

In our time of jaded ennui and de rigeur poseurs, the Mahakavi revives the romantic with this refreshing tale of a lovelorn lover. Rather than the woman pining over the man, we find the husband pining over his wife.

The [cloud’s] message must be delivered at midnight, for the Yaksa’s fair and chaste wife passes sleepless nights, leaves her bed, sits in the highest window in the palace until the long to come daybreak comes. She is in no mood to enjoy the moonlight since she is neither fully awake nor asleep. Her lips go parch-dry, her hair grows coarse from want of oil; and her sleep is disturbed by tears so that she cannot dream of reunion. Such is the pitiful sight of the disheveled pining wife of the Yaksa that even the cloud would not fail to grow tender…The cloud is requested to bring back on his return a message from his beloved wife”  [1, xii]

C.R.Devadhar muses how interesting a sequel to Meghaduta would be, and what the return message from the Yaksa’s wife would be—perhaps there is a poem there to be composed by a skilled poetess yet to write…

And here, our journey into the author and his composition ends, and the selections from his celebrated poem begin. We now step into the heavenly realm of Himalayan Alakaa.

 Alakaa is a world created by our dreams and desires where time stands still and whose ways are untrodden by the unimaginative; where ‘sensual music’ fills the nights to overflowing under the moonlight (Megh.66,68). [2,26]

Selections
§
meghaduta2
Artwork by Artist Nana Joshi

I. Tanvee syaamaa sikhari dasanaa pakva bimbaa daroshtee

Madhye kshaamaa chakita harirgipre kshargaa nimma naabhah |

Srorgee-bhaaraa-dalasa-gamanaa sthoka-nabhra sthanaabyaam

Ya tatra syaadhya vathivishaye srushtiraadhyova dhaathuh || UM.Sl.19

There resides my wife, the Creator’s prototype of a luscious woman, slender and youthful, with pointed teeth and lips red like bimba fruit, a thin waist and a glance like that of a startled deer; she has a deep navel, with a measured gait owing to the weight of the hips, and she is slightly stooping from the weight of her bosom. [1, 31]

§

 

II. Thaam jaaneethaah parimitha-kathaam jeevitam me dvitheeyam

Dooreebhoothe mayi sahachare chakravaaki-mivaikaam |

Gaadotkashtaam gurushu diva-seshveshu gacchatsu baalaam

Jaathaam manye sisira mathhithaam padhmineem vaanya-roopaam || UM.sl.20

In her recognize my very life, sparing in her speech and cut off from me like a chakravaaka [bird] from the spouse. Her heart overflows with longing as days pass heavily; I think she droops like a younger creeper in Winter’s rigour. [1, 31]

§

meghaduta1 Artwork by Artist Nana Joshi

 

III. Noonam yasyaah prabala-rudeetochoo nanetram priyaayaa

Nihsvaasaa-naama-sisiratayaa bhinna-varga- dharoshtam |

Hasta-nyastam mukha-masakalvyakti lambaala-katvaa

Dindor-dainyam tvadanu-sararga-klishta-kaante -bimbatim|| UM.sl.21

My darling’s eyes are swollen red by constant tears, the color of her lips fades by her burning sighs; her face rests upon her palms, hid by her long tresses. Indeed, she looks like the waning Moon enwrapped in the night’s folds. [1, 32]

§

MeetingInTheDream

Artwork by Artist Nana Joshi

IV. Nih-svaasenaadhara-kisalaya-klesinaa vikshipantheem

Suddha-snaanaat parushamalakam noonamaa-ganda-lambam |

Matsambhogah kathamapi bhavet-svapnajo’peethi nidraa

Maakaankshantheem nayanasa-lilot-peeda-ruddhaa-vakaasaam || UM.sl.28

Her delicate lips are scared by her fervid sighs. She spills her hair, grown rough and dry since she washes them in pure water without oil or scent. She longs for my embrace even though it be in a dream. But tears well up and destroy the relief which sleep could afford. [1, 34]

§

The message:

V. Srangenaangam-suthanu tanunaa gaada-taptena taptam

Saasrergaa-sradrutama-viratot-kanta-mutkantithena

Dheergocch-vaasam samadhi-katarocch-vaasinaa dooravartheem

Sankalpai-stair-visaati vidhinaa vairirgaa ruddha maargah || UM.sl.39

Obstructed by an angry and inexorable Fate, the distant one [your husband] seeks to unite with you, to mingle tears with tears, arms with arms, pining bodies, anxious heart to heart, sigh with sigh—such are his wishes. [1,38]

§
meghaduta4
Artwork by Artist Nana Joshi

VI. Syamaasvanga chakhita-hareergipre-ksharge drshtipaatham

Vaktrachaayaam sasini sikhinaam bahambaareshu keshaan

Utpasyaami prathanushu nadheevee-chishu bhroovilaasaan

Hanthai-kasmin kvachidhapi na te chandi syaadrsya masthi || UM.sl.41

I can detect a little of your form in supple vines

Your glances in the eyes of a startled doe, your face in the moon

Your tresses vie with peacock’s plumage

Your eyebrow’s graceful curve in the stream’s small waves [2, 38]

But do not frown…for in no object, is there full likeness, of you [1,39]

§

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DevadharKalidasameghadutaofkalidasa meghdoothindi


References:
  1. Devadhar, C.R. Works of Kalidasa: Volume II. Delhi: MLBD. 2010
  2. Rajan, Chandra. The Complete Works of Kalidasa: Volume 1 (Poets). New Delhi: Sahitya Akademi. 2005
  3. Wilson, H.H. The Megha-Duta: The Cloud Messenger. London: Thurner & Co. 1867
Acknowledgement: My thanks again to the young voice actor for enacting this poetry recitation on short notice. 

Acknowledgment: The outstanding artwork by artist Nana Joshi can be found on this website. The poem was verily brought to life by these chitras.

*Minor Proofing for some translations

Madan Utsav — Indic Festival for Romance

madanotsav

India, Indic Civilization, and Bharatiya Sanskriti have produced many noble and spiritual figures. But as those of us who grew up Indian know, it is very much work hard & play hard.

Colonial stereotypes  were convenient for those who were trying to change the religion of the people of Bharatavarsha. They failed because those who know our tradition know fun and frolic and yes even Romance has always been very much part of our traditional culture and festivals (perhaps that is why they are trying to doing everything they can to take away the fun…only for Hindu festivals of course).

Therefore, perhaps it is time to not just play defence and preserve what we have, but to go ahead and revive what was originally part of it. The youth of today very much exercise freedom, and naturally when they become college-age, it is only natural to be more interested in spending time with the opposite gender. Indeed, this too is ok, provided it is done respectably and with good intentions. As we wrote in our article on Sringara, Romance—real romance—is not just a pretext to “consume” or “purchase” love from hallmark or godiva. Love is not merely a “veneer” to give respectability to serial and animal lust. This is the danger of de-sacralisation (removing the sacred), whether it is removing Dharma from Yoga, taking the Veda out of Ayurveda, or turning Vasant into some sufi-bolly “Basant”.

In fact, lost in all of these efforts has been the fact that from ancient times itself we had something our Valentine’s day obsessed youth don’t know—our own Dharmic Festival of Romantic Love: Madan Utsav.

Madan Utsav — Indic Festival for Romance

Contrary to Valentine’s lovers who swear by the Catholic St.Valentine as the embodiment of Romance, Ancient India long had a festival that celebrated Shringaar. Vasanta Utsava was the traditional multi-day Spring Festival. Holi has come to represent two such days (with the burning of Holika during Choti Holi the night before). While Kama is associated with Spring, Madan Utsav begins on Chaitra Shukla Trayodasi, and thus is a month later than Holi. This is due to the discrepancy between the Purnimanta Calendar in most of the North and the Amanta/Amavasyat Calendar in Peninsular India. Thus, the reason why Holi and Madan Utsav (currently a month apart) would have been celebrated as part of the two-week Vasanta Maha Utsav is because of the general use of Amavasyat in all of India at one point. Restoring Amavasyat would restore the continuity of the two week Spring Festival, starting from Holi and ending with Madan Utsav. That is why Madan Utsav was traditionally synonymous with Vasant Utsav (and perhaps should be again).

In fact, it has historical precedence in many parts of the country, but especially Andhra. In fact, one king of the Reddi Dynasty, which presided over the Romantic Age of Andhra, came to embody the spirit of Spring, and also personally inaugurated Madan Utsav. It was a festival of great festivity and cheer.

Madan Utsav is also mentioned by our great poets, Kalidasa and Sriharsa, in their plays. Jayamangala, a commentator on the Kamasutra, in fact gives primacy to this day over the other constituent parts of Vasant Utsav, and mentions the name Madhanamahotsava. [1, 353]  This is a festival devoted to Madhana or Kama Deva, god of Love, assisted by his friend and ally Vasant, the presiding deity of the spring.

Madan Utsav celebrates the return of Madan to his wife Rati.

Kama-Rati

“It was primarily a romantic festival involving fun and frolic, music and dance, song and play, swinging, and swimming and all kinds of amusements.” [1,354] “Both men and women, young and old took part in this festival and marched in procession in streets, singing love songs and dancing to the accompaniment of music. Generally dancing girls and their paramours took an active part in these frolics” [1, 354]

That’s right. Hinduism, or more correctly, Sanatana Dharma, was never only just about ritual, or caste, or boring severity, but very much achieving a balance between fun and duty. Dharma to guide Rasa (sentiment), and Rasa to enrich Dharma. Morals, and laws, and virtuous examples don’t exist to restrict the fun of men and women (or boys and girls). They exist to protect individuals from each other and also to protect us from ourselves and from our greed.

Romance and love in the right context (marriage…or at least the path to it) very much makes life worth living and contains the full spectrum (erotic, romantic, & spiritual). But Romance without restraint ends up being, well, the disastrous state of affairs we have now. When no respect or regard is given to sacred relationships between the genders or even between family members—then isn’t what is being called “love”, really lust?

Love is seeking to give pleasure to someone you love. Lust is trying to extract pleasure for yourself. Lust is selfish, Love is selfless.

That is the reason why Madan Utsav is the real Festival of Love for Bharatiyas, rather than some corporate “Global” spend-fest. There was a great carnival and the King (or Civic Leader) would go to a park specially decorated for Vasant. There would be a pandal for Kama & Rati, Vishnu & Lakshmi, Siva & Sakti, and Indra & Sachi. Perfumes such as camphor, musk, civet, saffron, sandal were used, rosewater was freely sprinkled on people along with water mixed with turmeric. A bamboo water soaker was used (like in Holi). People mixed freely and the kings gave it royal grandeur . [1,357]

There is in fact broad evidence to the existence of Madan Utsav beyond Andhra’s Reddi Kingdom, or even the Vijayanagara Empire.

There are accounts for its existence in the Madhyadesa (modern Uttar Pradesh) and Kashmir as well as discussions in the Puranas, about the festival and its origin.

Here is what the ancient Kashmiris celebrated:

Then there was the Madana Trayodashi, a festival dedicated to the god of love. On this occasion a husband would demonstrate his love for his wife by personally giving her a bath with sacred water scented by herbs.[4, 87]

Madana Utsava  is frequently referred to as Madana Trayodasi, as it is celebrated on the 13th day of the Shukla Paksha of the Month of Chaitra (Early April). Being celebrated in the bright half of the moon, it can even extend to next day and thus, there is even a Madana Chaturdashi, which is the 14th day of the Month of Chaitra (for all you 14th of February fans).

The record of Madan Utsav in Kashmir’s ancient Nilamata Purana testifies to this as well.

The reason for this lies in the festival’s origin:

Festival Significance

Vasant Utsav and Madan Utsav have often been referred collectively. And yet, elsewhere we see a clear distinction between the two festivals with Vasant. Thus, traditionally, Madan Utsav seems to have been synonymous with Vasant. But given the divergences and exigencies of the time, perhaps its more appropriate to distinguish the two, while preserving the importance of both.

Here is the traditional story of the origin of Madan Utsav:

This festival of Madanamahotsava is described by Hemadri in his Vratakhand, wherein he narrates the following story about its origin. After marrying Gauri, Siva, observing Pasupatavrata, lost himself in meditation. Gauri’s desire for maternity remained unfulfilled.

Brahma and other gods held consultations and sent Madana to disturb Siva’s meditation, with the hope that he alone could divert Siva’s attention. Madana accompanied by Vasanta, went in front of Siva who was then in deep contemplation, and having drawn his sugarcane-bow, discharged his missiles of flowers on Siva which disturbed his deep medi-tation and caused mandonmada or love madness.

kama-ikshuvaana

Siva burst into a rage and opened his third eye of fire reducing Madana to ashes. Madana’s wife, Rati, seeing her husband burnt to ashes, was stricken with great grief. Then with a heart softened by seeing her pitiable condition, Gauri said to Siva, ‘you have burnt up Kama who had come here for my sake. Pray, take pity on his wife Rati, and bring Madana, her husband, back to life.’ Siva replied, “How could Madana, once burnt to death by me, come to life again?”

 However, I shall grant your request. In the spring season, on the thirteenth day of the light half of the month, he would reassume his bodily form.”  Having granted this boon, Siva is said to have gone to Kailaasa. So the lunar thirteenth day of the bright fortnight was the day of Madana coming to life again. Hemadri does not specify the month; but simply states that it is in the spring time. It is evident that it is the lunar thirteenth day of the bright half of the month of Caitra. This spring carnival is therefore called Madanamahotsava or Vasantotsava” [1,355]

This also aligns, of course, with the Spring Festival of Holi, which features the Holika Dahan. This is referred to as Kamuni Dahamu in parts of India, where a bonfire is lit to burn away attachments.

Celebration

How to celebrate Madan Utsav? While jnu “global” types suggest finding a random partner and running off to the nearest park or motel, Bharatiya sanskriti is more sophisticated. As we saw above, whether in Kashmir or Kosta (Coastal Andhra), Madan Utsav was celebrated by the entire society. Not just Kings and Queens, but traditional Brahmins, fun-loving masses, and everyone in between. The only difference is that achara (good conduct) and sabhyata (etiquette) were observed. In public, one must behave with respect/courtesy (maryada) to elders and senior citizens.

Public Celebration

Public celebration of Madan Mahotsav, specifically in the context of Vasant Utsav, is mentioned in both the Malavikaagnimitram and one of Sriharsa‘s famous plays celebrating the famed Manmatha of Madhyadesa, King Udayana—better known as Vatsaraja. Here is an excerpt from Ratnavali on the public celebration and all it entails:

His Majesty has started for the palace to witness the merriment of the citizens, heightened by the Madana Festival. (Looking up) Ah, how now! The King has ascended the palace! He, The lord of Vatsa, like the flower-bowed god (Madana) in person, as it were, with all talk of Vigraha (the war-body) ceased, having Rati (love of the people—his wife), living in the hearts of the people and one to whom Vasantaka (his companion—Spring), is dear, is advancing, eager to behold this great festival.“[7, 120]

Just behold the beauty of this great Madana-festival, in which curiosity is excited by the citizens (or gallants), dancing as they are struck by the water from the syringes [pichkaris] taken up, of their own accord, by the amorous women intoxicated with wine; which is attractive on account of the openings of the streets resounding with the sound of charchari songs (or clapping of hands) deepened by the tabors beaten all round, and which has rendered the faces of the ten directions yellowish-red by means of the heaps of patavasa [flowers] scattered about.” [7, 121]

By heaps of scented powder scattered about, yellow with saffron dust and imparted to the day the appearance of the dawn, by the glitter of gold ornaments and by the wreaths of  Ashoka flowers that cause the heads to bend low by their weight, this Kausambi, which has surpassed all the treasures of the Lord of wealth by its opulence apparent from the dresses (of the people), and which seems to have its inhabitants covered with liquid gold as it were, appears all yellow. Moreover, In the courtyard which is flooded all over with the continuous streams of water ejected by the foun-tains and where sport is carried on in the mud caused by the simultaneous and close treadings, the yon pavement is reddened by the people with the imprints (lit.plantings) of their feet, red with the colour of the vermillion” [7, 122]

Kaushambi is in modern Uttar Pradesh. Thus from Kashmir in the Uttarapatha to Kaushambi in the Madhyadesa to the Kosta in Andhra Pradesa, Madan Utsav was celebrated throughout classical Bharatavarsha.

By the way, although this is a legendary love story involving King Udayana and Princess Ratnavali, there is war and adventure, so there’s something in it for the guys and girls.

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Ratnavali

Family/Community Celebration

The Pujavidhana or the mode of worshipping Madana is also described by Hemadri. It is said that, on the thirteenth tithi of the bright half, a representations of the Asoka tree should be made after taking a bath, and the floor should be decorated with kolams. Images of Kamadeva, Vighnesvara, Siva and Vasanta and Apsarogunas made either of gold or of any other metal or material, should be worshipped with incense, sandal paste, and flowers at midday by the king, along with his ministers, ladies and others. After the completion of worship, offerings of cakes of different kinds should be made to them and betel be distributed among brahmin couples with daksina.” [1,355]

Couples

Couples should offer new clothes, gifts, flowers and ornaments to each other. “Those who observe this Madanamahotsava are enjoined to keep holy vigil that night, and perform rasa-mahotsava or love-dance. Lamps should be lit, and wine should be offered to sudras [or rather those who drink], and camphor, kumkuma powder, sandal paste and other perfumes and betel should be distributed.”[1, 355]

Thus while the wife would worship her husband on his return (as the embodiment of Kama Deva), the husband in turn would worship her after her sacred bath, as we saw in Kashmir.

This mutual reverence demonstrated not only respect for both genders but also gives the correct understanding of matrimony and even sex as sacred—in contrast to modern consumer society where it is lust on demand and for the highest bidder. Lust is not Love  nor is Lust even Erotic Love or Erotic Desire. Lust is selfish greed for sex. Erotic desire is not condemned (in the right context). Lust is condemned (in any context).

Lord Krishna teaches detachment

“Sri Krishna relates to Arjuna in Bhagavadgita (Ch.2.62 & 63), on the battlefield of Kurukshetra (a place near Delhi) in Mahabharata that:

Dhyayato vishayaan pumsah, vangas teshupa jaayate
Sangaat sanjaayate kaamah, kaamat krodhobhi jaayate
Krodhad bhavati sammohah, sammohat smriti vibramaha
Smriti bhramsaad buddhi nasho, buddhi maashaat pranasyati

While contemplating material and sensual objects, persons become attached to them. Such attachment develops lust and lust generates anger. Anger leads to delusion and delusion to mental bewilderment. When the mind is bewildered, intelligence and discretion is lost. Loss of intelligence and discretion leads to downfall of the person.” [6]

Kaameswara Lord Shiva Conquers Lust [6]

ShivaConquersKama

Kama (pronounced Kaama) is a very interesting word. Like many words in Sanskrit its meaning is context sensitive. In some contexts it means pleasure, in others it means love, and in this situation it means lust (kaama-moha or kaama-unmada). It is because of this danger (which Sri Krishna warns about) that Lord Shiva had to show us the importance of conquering Lust.

The reason why there are so many regulations and rules and such detailed morality regarding sex is because it is the most powerful of aspects in life. This is the case not only for its creative power, but due to its attractive power, its physical power, and even its spiritual power. The key to conquering lust, therefore, is not through celibacy-sans-saadhana, but by correctly connecting sex with love (if you do take the oath of celibacy, you must follow the saadhana that our sadhus do to succeed). Love comes in many forms. When you are capable of real romantic love, however, then the selflessness it demands, opens the door to Divine Love.

That is why the Madan Utsav itself is signified by Lord Shiva destroying Kama. He is referred to as Kaameswara and Maara-ripu because he conquered lust. When lust is conquered, then the full spectrum of love from the erotic to the romantic to the spiritual can be properly enjoyed. It was only after this that Mahadev and Parvati Devi endeavored to create the God Kartikeya.

That is why, unlike Valentine’s Day, Madan Utsav signifies the sanctity of the bond between woman and man, and especially, Wife and Husband. So yes, there is the erotic (rati), yes there is the romantic (sringara), but Madan Utsav is also about the spiritual (adhyatmika), which makes the erotic & romantic healthier and more meaningful . When wife is viewed as sacred, the husband refuses to exploit her (and vice-versa—yes ladies, what’s good for the gander…).

That is why you should celebrate Madan Utsav: the whole society comes together to celebrate Love in happy abandon, and all participate in their own way. Less orthodox castes used to be gifted wine while traditional brahmanas were gifted betel leaf. The day would begin with all of society coming together in respectable but enthusiastic celebration, with the night obviously ending between wife and husband.

In contrast to the consumer-driven, hallmark inspired veneer of romance for lust that is Corporate Valentine’s Day, Classical Indic Society celebrated the full spectrum of love in the proper context. Yes, dancers and actresses and singers, etc had their paramours and inspired people to celebrate, but the engaged (or about to be) and the married were naturally the core of the festival. Young and old, upper caste and lower caste, elite and mass, woman and man, all celebrated what we all know to be part of our nature…but in the right context…in the right way…in the right time.

How to Start?

It has been many centuries since the days of Ancient Kashmir or Medieval Andhra, so how can a beautiful festival be celebrated today? If you are reading this and are unmarried, you can tell people in your college or organise a group of friends your age and go to the park and sing your favourite love songs (they can be from Indian movies or popular music). If you are even more adventurous you can make (safe) flower-head arrows using a children’s bow or slingshot and pretend to be Kamadev, returning. You can distribute the traditional bamboo water soakers from Holi for rose-water or sandalpaste water (saving the colours for that special Festival of Colours).

If you are not single, then you know to exchange gifts, express love and affection, recite Poetry, and of course, dance the Rasa Mahotsav and the dance of love however you see fit.

But most importantly, if you care about our culture and tradition, be sure to tell your friends and family about Madan Utsav and how they can celebrate on Madan Trayodasi (Thirteenth day of the bright half of the lunar month of Chaitra, which is in Early April, see below for this year’s date).

Celebrate Madan Utsav!

kaamadhevaDate:

April 9th, 2017

Public Activities:

§ Spread the word in your College or Social Group. Hand out flyers explaining the day.

§ Greet or Yell “Shubh Madan Utsav!”. Find a public place or reserve one for celebrations.

§ Spray rosewater/sandalwood paste waster with pichkaris or gently throw flowers.

Kama-Rati

§ Sing your favourite love songs as a group and/or via Shringaar-themed Antakshari

§ Play Romantic instruments like the flute or hire professional musicians

§ Dance using Dandiya sticks—or Bhangra too if you are inclined to Punjabi.

Family Activities: Extended family can celebrate by lighting lamps, singing songs, giving tambula to those in home, colony, apartment or housing development. Of course, those of you who drink wine, will know whom to give it to, whom not to give it to, & when to drink it.

§ Draw Rangavali/Rangoli/Kolam during the Day. Light lamps at night.

§ Have a great feast in your community. Make garlands and swings of flowers. Play music.

§ Give gifts depending on how orthodox you or others are (betel leaves for some, wine for others)

§ Sing, Dance,use a safe (children’s toy bow)/slingshot for soft flowertip arrows or flowers.

Married Couples: Exchange gifts,  express affection in preferred manner (see above).

§ At the start of the day, wife welcomes husband as embodiment of Kama Deva

§ During the day is the chance to express love (rather than PDA) either in public celebrations or private, via music, song, poetry, dancing, etc.

§ At end of the day, husband returns favour and gives gifts & shows love for wife (see “Kashmir option” above)

Kama is the embodiment of Romance and his wife Rati is the embodiment of well, rati.

So Happy Festival of Love, in advance. Or as we should say in Bharat…

Shubh Madan Utsav!!!
April 9th, 2017

References:
  1. M.Somasekhara Sarma. History of the Reddi Kingdoms.Delhi:Facsimile Publ. 2015
  2. Rajan, Chandra. The Complete Works of Kalidasa: Volume One (Poems).Delhi: Sahitya Akademi.2005
  3. Dutt, Manmatha Nath. Garuda Puranam Calcutta.1908.p.355
  4. Kaw, M.K. Kashmir & its People: Studies in the Evolution of Kashmiri Society.New Delhi: Saras Graphics.2004
  5. http://www.hindu-blog.com/2010/03/madana-trayodashi-2010-date.html
  6. http://www.saibabaofindia.com/spiritual_meanings_for_holi.htm
  7. Kale, M.R. The Ratnavali of Sri Harsa-Deva.Delhi: MLBD.2011

Shubha Yugadi (2017)

Happy-Ugadi-2017

From all of us at ICP, Shubha Yugadi, Shubh Chaitra Shukla Pratipada, Happy Ugadi, Shubh Thepna, Cheti Chand ki Shubhkamnayein, Gudi Padwa Shubheccha, Happy Sajibu Nongmapanba, Shubh Navreh, and finally Ugadi Subhashayagalu and Subhakaankashalu!

Ugadi comes from the Sanskrit term Yuga Adi, or new era. Continuing our convention this year of showcasing the various fonts of India, this year’s Yugadi greeting is in Telugu and Telugu Script.

In Maharashtra, Andhra Pradesh & Telangana, Karnataka, and Goa it is celebrated as part of the sidereal (luni-stellar) calendar. In the land of Shivaji it is called Gudi padwa.

In Rajasthan, some communities notably celebrated Thepna to mark the same. In Kashmir, Hindus celebrate Navreh. Most of North India and Nepal mark it as Chaitra Shukla Pratipada.

Sindhis celebrated Cheti Chand as their New Year due to the importance of their Rashtra deva Jhulelal.

If we missed any, let us know in the comments!

While the Gujarati calendar celebrates New Year on/around Deepavali, and the Solar Tamil Calendar usually a few weeks after us, the Telugu/Kannada/Marathi New Year is based on the sidereal calendar (combination of Lunar, Solar and Stellar positions), and begins on this day.

Ugadi-2017-Pictures

In Andhra, it is traditional to have Ugadi Pacchadi (Yugadi Chutney). It consists of the Shadruchis or 6 different flavours (Sweet, Sour, Bitter, Salty, Spicy, & Pungent). Here is Andhra Cultural Portal’s Post explaining the Pacchadi and the Utsav in more detail.

Normally Ugadi coincides with Gudi Padwa, Chaitra Shukla Pratipada, etc, but due to astronomical reasons, the cultural exemplars of Andhra advised the following day.

In any event, we wish you all a happy Hevilambi Samvatsara!

gudi-padwa-marathi-wishes-greetings

Classical Indic Music I: Saastriya Sangeeta Tradition

SaastriyaSangeeta

Music is quite possibly the most powerful medium to not only communicate sentiments and feelings, but even ideas and philosophies. The spirituality inherent in the music of India, from the august sangeeta sabhas of Chennai to the lively village songs of Braj, is fragrant with this spiritual sense. Whether it is in communicating the everyday emotions or the most transcendental bliss, music of all echelons is an important and even critical aspect of culture.

To properly understand one’s Culture, it becomes crucial to evaluate the significance and centrality of our music, and even what makes it ours in the first place. And yet, in the engagement of Civilizations today, even music, a sacred bond among artistes and singers of different backgrounds and nationalities, is not above breaching this brotherhood.

Music and Indic Civilization is as old as the Sama Veda, and yet authentic Indic Civilization is at a crossroads. As has been researched and discussed by a respected author, there is a concerted attempted to deprecate and even deconstruct our traditional culture, and replace it with imports from other part of the world.

Sadly, even the realm of music, which should ideally bring people together, has been used by foreign “Indologists”, and their men “friday”, as a means to question the very existence of an Indian identity and an Indic Civilization, leave aside the classical tradition. Those of us raised in the tradition, in tune with modern realities and exigencies, know this assertion is ridiculous.

Much younger civilizations such as Europe and Persia, both of whom acknowledge borrowing much that is Classically Indic in origin, are self-servingly placed ahead of India, while India’s own Classical Music tradition is deconstructed and denied. This is the approach of “the developed world’s” Ivory tower, and its courtier magazines.

That is why the time has come to put aside hesitance for assertiveness, and academically rebut these preposterous propositions. While there are many different strands in the diverse Indic tradition, as anybody who is familiar with the Natya Sastra knows, it is the Sastra of Bharata muni which serves as the foundation for our Classical Arts, Music, & Literature. Desi and Marga lived in traditional harmony, much like Regional Language and Civilizational Sanskrit.

Therefore, this Series will primarily view Classical Indic Music through the tradition of Carnatic, as it is the most authentic and reflective of the native Indic spirit. Though periodic discussion of  Hindustani and its Personalities, such as Bhimsen Joshi and  Hariprasad Chaurasia, will take place, it is nevertheless important for readers to understand the difference between the syncretic and the authentic.

Introduction

220px-Saraswati

Sama Vedaaditham geetham-sujagraha Pithamahah ||

Pitamaha(Brahma)collected music from Sama Veda [2]

The Goddess Sarasvati, consort of Brahma, is herself considered the presiding deity of Music. Indic Music in general is often referred to as Gandharva Veda. The Gandharva Veda is one of the four main Upavedas and is attached to the Sama Veda. Named after those semi-divine beings famed for their divine music (Gandharvas), this upaveda is considered the origin of our sangeeta.

Gandharvaah

Thus, Saastriya Sangeeta is a very ancient tradition—one that laid the foundation for both styles (Carnatic & Hindustani)  of what is referred to as Classical Indian Music. While Carnatic is generally dated to its Pitamaha Purandara Dasa of Karnataka, he himself in fact was merely the reviver of an older tradition of music that once connected both North & South. The matter of disjunction, however, is that  Hindustani revolves around catering to the tastes of medieval Turks with persianised inclinations. It has very likely been promoted for precisely such reasons (much like urdu in bollywood) by the Lutyens crowd, to the detriment of others. What’s more, for a long time, rather silly JNU style theories were floating around that foreigners had taken the Vedic Chant tradition and given native Indians “sangeet”. This is a laughable notion for anyone who has studied the authentic Saastriya Sangeeta tradition. Carnatic has directly preserved this lineage from the time of Bharata muni and Rishi Tamburu down to the present day.

The reality is, so-called “Ganga-jamuni tehzeeb” is mostly Ganga-Jamuna and very little tehzeeb. Merely renaming melakartha ragas, cutting the Mridangam in half, and tweaking the Veena, does not a true Classical Tradition make. Panache and flamboyant flair! are fine for neophytes, but real rasikas will appreciate the refinement that goes into technique and training.  Fusion styles are fine for artists and their sentimental leanings—the but the truly authentic is what is native.

As such, it is only natural that Carnatic will serve as the backbone for the rediscovery of the Authentic Indic Tradition, with due regard to key Northern performers, of course. And with that we begin.

Background

rp_basis1.png

In our country, originally there was only one form of music and that was Indian music. Only later the divisions came and South Indian music and North Indian music chartered a separate course [2, 13]

This is the background of Classical Indic Music. Contrary to contemporary proponents of “art music”, the tradition, both South and North of the Vindhyas, finds its common origin in Sastra.  Saastriya Sangeeta is traditionally credited to Sage Bharata , author of the celebrated Natya Sastra. Nevertheless, the hymns of the Sama Veda are liturgically sung, and thereby take the origins of Sangeeta back to the Vedas themselves. Bharata himself draws the connection:

His assertion that he is creating a fifth Veda which will be accessible to all castes and classes at the same time likening it to the Vedas (i.e. creating a fifth Veda and the analogy of a ritual) transcends the accepted boundaries of hierarchy as also norms of inclusion and exclusion. [4, 21]

Foreigners too recognise the the place of the Natya Sastra and its criticality to the Classical Tradition.

The Bharata Natyasatra is our earliest Indian authority on these three arts [drama, music and dancing] and shows that by this time India had a fully developed system of music, which differed little from that of present-day ‘classical’ music. Anyone who has heard performance on the vina by a good South Indian musician has probably heard music much as it was played over a thousand years ago. [3, 382]

This was written not by some recent Indian scholar, but by Indologist A.L. Basham, in 1967. He further writes that over thirty ragas are listed in Bharata muni’s magnum opus, but these have expanded to hundreds over the course of millennia. Furthermore, there is strong reason to believe that Bharata himself was building upon the existing foundation of Gandharva Veda [emphasis ours]:

“The fact that there was a flourishing tradition of poetry, dance and music, even of architecture, sculpture and painting, is evident from innumerable references in the Vedas and epics. Patanjali’s Mahabhaasya and Arthasastras, the Ramayana and the Mahabharata provide interesting details of theatre halls, recitals, social status and training, but of the works of writers, Acaryas or rsis of the arts we learn little. Bharata provides a list of his gurus (teachers) and contemporaries. Apart from Pitamaha Siva and Mahesa, he mentions Kohala, Dhurtila (Dattila), Salikarn, Baadaraayana (Badari) and others.”[4, 114]

In fact, while there are those who continue to reduce the antiquity of Indian history and culture (to aggrandise their own culture and civilization), there is reason to believe that Natya Sastra is in fact much older than the date assigned to its composition. As Kapila Vatsyayan writes:

Many believe prior to its written composition, the Natya Sastra was transmitted orally. [1,29]

As such, one immediately sees the reason why mere documentary evidence alone cannot suffice. This is not only because destructive forces can burn down libraries (as was done at Alexandria and Nalanda),  but also because some of the most ancient traditions and strongest memories are transmitted orally, whether it is the traditional four Vedas, or the metaphorical fifth.

In addition, contrary to current day self-proclaimed “secular” revisionists who decry Sastra as frozen and rigid, Basham wrote that

The Indian musician was, and still is, an improviser [3, 383]

But the notion that the “Classical Tradition” is something new, or regionally/temporally restricted, frozen, or limited to only Brahmins is patently false.

Works on Dance such as non-brahmin Jaya Senapati’s Nrtta Ratnavali in the Medieval era pay homage to Bharata muni’s treatise (and Matanga muni’s text) from the ancient era, which in turn pays homage to the Vedas themselves. Senapati also wrote in great detail about music instruments and musical accompaniment in chapter 7  (239 verses on everything from vocalists to orchestras). As such, one can see the continuity of tradition beginning with the Vedas and going on to Maharishi Bharata to dance & music commentators such as Jayasena from Andhra, and all this before Carnatic or Hindustani even came into their own.

Contrary to newly invented narratives, the classical tradition is a continuous one that has merely evolved new styles and schools of music, in response to changing conditions. Incidentally, Jaya Senapati also authored the Geeta Ratnavali, which is now lost due to the pillage of Warangal by Delhi Turks.  Here’s what one Delhi Turk hyperbolically credited with all of Hindustani music himself had to say:

KhusroIndiaMusic

Further, Jayasena himself predates Bharatanatyam, Sadir, and Kuchipudi dances, demonstrating the importance of not only Thandava, but even Dakshinatyam as an intermediate style between ancient Bharata muni and modern Bharatanatyam (or its precursor Sadir).  Similarly, Carnatic music may be credited to its Pitamaha Purandara Dasa of 16th Century Karnataka, but this style of Sangeeta itself was established amid changing conditions. He is also preceded by Annamayya of Andhra, who is nevertheless celebrated by Carnatic aficionados today.

This is why, contrary to foreign Indologists, it is not appropriate to refer to Classical as a time period, as though the musical or cultural tradition were dead like ancient Greece or Classical Rome. In fact, it is very much alive, and as widely respected scholars themselves have written, classical in regards to India culture, should have a different meaning:

As regards the recent use of the term sastra as adjective, sastriya nrtya or sangita, it suggests quality of performance, sometimes genre, with an implied translation of the term ‘classical’ in English, as a qualitative and not historical period category. [4, 43]

Furthermore, there are foundational characteristics of Indic music that can be found in all corners of Bharatavarsha.

The evidence of Bharata shows that, as at the present day, the Indian of two thousand years ago preferred the throaty…style of music which comes more naturally than that which Europe has learnt to appreciate. The singing voice was often treated as a musical instrument, the vocalist performing long impromptu variations on a simple melody, sung to a single phrase, often an invocation to a deity. ” [3, 385]

This latter part becomes all the more important when one understands the inherent importance of spirituality in Indic music.

Carnatic

PurandaraDasa
Purandara Dasa

Carnatic music is basically governed by an abiding faith in God [2, 1]

Carnatic takes its name, according to various theories, from Karnataka. Karnataka Sangeeta Pitamaha Purandara Dasa is from that state and composed his keerthanas in Kannada. Yet another theory stipulates that the word ‘carnatic’ is connected to the Tamil word ‘karnatakam’, which ostensibly means ancient. Whatever it is, Carnatic may be comparatively new, but Saastriya Sangeeta itself is very old.

After the foreign invasions commencing in the 12th century A.D. our savants in music were not only uprooted but many rare manuscripts were either lost or got thoroughly mutilated. In the [14th century A.D.] the rulers of the Vijayanagar kingdom with the help of vidwans and music lovers tried to trace these manuscripts. In this process, thanks to the great efforts of Vidyaranya who adorned the Sarada Sringeri Mutt as its Pontiff, some portions of the manuscripts were recovered but savants on music were not available. There were, however, a few great vidwans who could sing in the chaste traditional style.” [2, 14]

Furthermore, contrary to modern “Art Music” opinionistas, Carnatic music goes beyond Sacred music and already includes an Art Music (called Vinodham) and “Art Musical Forms”— Padam, Javali, and Thillana.  Others forms include, Kalakshepam (singing of epics/Harikatha), Dance musical form, Opera musical form (Yakshagana), Secular music (songs on Niti, such as those by Siddhars), Folk Music (Jaanapaadam), Martial Music, Kalpitha music and Manodharma music (no prior preparation). [2, 45]

Whether it is the 1500s of Purandara Dasa or the 2010s of the recently deceased Balamurali Krishna, Carnatic music is the successor of an ancient inheritance that remains ever-adaptable to changing times.

Hindustani

HariprasadChaurasia
Shri Hariprasad Chaurasia

Hindustani music’s origins remain somewhat controversial, irrespective of the “secular” consensus. Questions remain as to whether it owes its origins to a prejudiced Turk courtier in Slave Dynasty Delhi or the more venerable Tansen of the Mughal era. Either way, it too, like Carnatic, is the product of Saastriya Sangeeta, and was created (or re-packaged) on an earlier, authentically Indian foundation. In fact, this musician courtier himself is said to have brought Maharashtra musician Gopala Nayaka of Devagiri to Delhi.[9,27] This is said to have laid the actual foundation for what is known as the Hindustani School today.

As western Indologists themselves admit, Ancient India already had a fully developed system, with an orchestra of distinct instruments. The Sitar itself is a renamed and tweaked Tritantri Veena. [9, 31]

Therefore, irrespective of the various gharanas, or the Hindustani school itself, it is very much Classical Indic Music—just repackaged for foreign (and foreign-imposed) tastes. Despite how common (and cliche) it has become to talk of the contrasts and differences between Hindustani and Carnatic, there is far more in common than motivated scholars would like. But in order to recognise this, one must study the structure of Saastriya Sangeeta closely.

Having provided an introduction to the Saastriya Sangeeta Tradition, and some of the ongoing controversies regarding its epistemology, one can now more closely examine its Theoretical Structure and Musical aspects.

Structure

CarnaticTrinity

Sangeeta is historically classified according to four types. These are Marga, Suddha, Desiya and Salaka.

1.Marga Sangeeta—The Four Vedas, along with the Sapta Svaras, are called Marga and are considered to have come from Deva Loka.

2.Suddha Sangeeta—Singing withing the established framework of arohana (ascending notes) and avarahona (descending) according to the traditional manner.

3. Desiya Sangeeta—Regional (desa-pradesa) types of music according to the various provinces of India

4. Salaka Sangeeta—Singing without any traditional structure or guide, per one’s own inclination. [2,7]

Bharata muni wrote further on its classification and had this to say:

Geetham vaadyam thathaa Nruthyam-thrayam sangeetha mucchyathe ||

Sangeetham comprises Geetham, Vadyam and Nrutthyam. [2]

Interestingly, academic authority on the Natya Sastra, Kapila Vatsyayan, writes that

There is a theory that ‘Bharata’ is an acronym for the syllables Bha, Ra, and Ta (standing for Bhava, Raga, and Tala respectively). [4, 7]

Incidentally, all these three are all fundamental to Saastriya Sangeeta. Much of the terminology in Carnatic & Hindustani is either common or common conceptually:

Terminology

In the Natya Sastra, and beyond, one can find the “foundations of a distinctive system of music—its micro-intervals (sruti), notes (svara), scales (graama), modes (murcchana), melodic forms (jaatis), rhythm (taala) and much else.” [4, 92] Despite the motivated critique that Bharatiya Sangeeta does not have harmony, this is by design. It emphasises Melody instead.

Bhava refers to the emotional state that produces Rasa.

Raga refers to the melody produced by a sequence of notes.

Ragas are divided into Melakartha (parent)and Janya (derivative) Ragas.

Melakartha Ragas

Rama Amatya (Asthana Vidvan of the Vijayanagara Empire) refers to 19 melakartha ragas, Govinda Deeksitar mentions 20, and finally Venkatamakhi (second son of Govinda Deeksitar) mentions 72. The melakartha scheme equivalent in Hindustani is Thaat (which only has 10).

These 72 melakartha ragas are the modern standard. 36 are considered Suddhamadhyamam (or pure) and 36 are pratimadhyamam. The 5 svaras other than Ma and Pa are found in all 72.

1.Kanakambari 2.Rathangi 3. Ganamurthi 4. Vanaspati 5. Manavati 6. Tanarupi 7. Senavati 8. Hanumatodi/Janatodi 9. Dhenuka 10. Natakapriya 11. Kokilapriya 12. Roopavati 13. Gayakapriya 14. Vati Vasantha Bhairavi/Vakulapriya  15. Maya-malava Goula 16. Chakravakam17. Suryakantam 18 Hatakambhari/Jayasudda-malavi 19. Jhankarabrahmari/Jhankaradhvani 20. Natabhairavi/Narireetigoula 21. Keeravani 22.Sri/Kharaharapriya 23. Gaurimanohari 24. Varunapriya/Veeravasantam 25. Sarasvati/Mararanjani 26. Tarangini/Charukesi 27. Sourasena/Sarasangi 28.Harikambhoji/Harikedaragoula 29.Dheera-sankarabharanam 30.Nagabharanam/Naganandini 31. Kalavati/Yagapriya 32. Ragachoodamani/Ragavardhini 33. Gangatarangini/Gangeyabhushani 34. Bhogachayanata/Vagadheesvari 35. Sailadesakhi/Shulini

36. Chalanata 37 Sougandhini/Salagam 48 Jaganmohana/Jalarnavam 39. Jhalavarali 30. Nabhomani/Navaneetam 41. Kumbhini/Pavani 42. Ravikriya/Raghupriya 43. Girvani/Gavambhodi 44. Bhavani/Bhavapriya 45. Sivapantuvavali/Shubhapantu-varali 46. Stavarajam/Shadvidamargini 47. Souveeram/Suvarnangi 48. Jeevantika/Divyamani 49. Dhavalangam/Dhavalambari 50.Namadesi/Namanarayani 51. Kasiramakriya/Karnavardani 52. Ramamanohari/Ramapriya 53. Gamakakriya/Gamanashrama 54. Vamsavati/Vishvambari 55.Samla/Shamalangi 56. Chamaram/Shanmukhapriya 57. Sumadyuti/Simhendramadhyamam 58. Hemavati 59. Dharmavati 60. Nishadam/Neetimati 61. Kuntala/Kantamani 62. Ratipriya/Rishabapriya 63. Geetapriya/Latangi 64. Vachaspati 65. Santakalyani/Mechakalyani 66. Chaturangini/Chitrambari  67. Santanamanjari/Sucharitra 68. Jyotire/Jyotisvarupini 69. Dhatuvardani 70. Nasamani/Nasikabhushani  71. Kusumakara/Kosalam 72. Rasamanjari/Rasikapriya

Endaro Mahanu Bhavalu, composed in Sri Raagam

Janya Ragas

Janya ragas are those born from melakartha ragas. These are divided into different categories.

Sampoornam-contains all seven svaras, Shaadavam-contains six swaras, Audavam for five, Svaraantham for four, Saamigam for three, Ghaathigam for two, and Aarchigam for one. Nevertheless, it is generally considered that to get a sweet and well-developed ragam, at least 5 svaras are required.

Just to understanding the level of evolution of these melodies, each melakartha raga has 483 janya ragas. This brings the total to 34,776 janya ragas in Carnatic Music. [2, 23]

Just to further demonstrate the commonality of the Ragams in Carnatic and Hindustani, here is an equivalency:

Carnatic                                  Hindustani

Hanumathodi                                         Bhairavi

Natabhairavi                                           Asaveri

Kharaharapriya                                      Kapi

Harikambhoji                                         Kamaj

Subhapantuvaraali                             Thodi

Kamavardini                                           Poorvi

Gamanasrama                                       Marva

Mechakalyani                                        Kalyan/Yaman Kalyan [2, 90]

Tala (thaala) refers to the beat that tracks time (Kaala) and determines tempo (Gathi ) and rhythm (Laya). It is the backbone of any composition. There is a saying that Sruthi (pitch) is the mother of music and Thaala (beat) is the father. There are 7 basic thaalas: Dhruva, Matya, Rupaka, Jhampa, Triputa (Adi), Ata, and Eka. When these are combined with the various jathis, were get 35 thaalas. When joined with gathis, the total reaches 175. Layam indicates the rhythm of the thaalam, and there are 3 kinds (Vilamba, Madhya, Duritha).

Laghu-finger movements. There are five kinds of jatis, and these form Lagu, which is the count of the finger movements. The counterpart to laghu is dhrutam (which is a one hand clap on the knee), of which there are five types as well.

Nada (naada), is the primordial sound that gives evocation to a musical note (Svara). It is the sound that is pleasing to the ear.

The fire that is burning in our stomach joins with the air that we breath[e] and goes upward through nav[e]l, heart, neck and finally the head. and comes out through our mouth in the form of a sound. This sound becomes Nadam. [2]

Nada is classified in to two types. There is Ahatha Nadam, which is the sound that is naturally formed but made sweet through man’s effort. When we sing or play an instrument in consonance with sruthi, this is called ahatha nadam.

The purely natural sounds called Anaahatha Nadam. Examples include the sound of raindrops on objects, or the notes of wind flowing through cut bamboo. Aum (Pranava) is considered the origin of both Ahatha and Anahatha nadam. [2, 9]

Perhaps nothing embodies Naada like the flute. Shri Hariprasad Chaurasia of the Hindustani school has become synonymous with the Bansuri. Here is a sample of his beautiful music.

Na Naadena vinaa geetham na naadena vina svarraha

Na naadena vina nruttham-thasmaath naadaathmakam jagath

Naada roopaha smrutho brahmaa naadaroopo janaardanaha

Nadaroopa Para Sakthihi-naadaroopo Mahesvaraha

Without Nadam, there is no Sruthi, Geetham or Nartthana. Brahma, Vishnu, Siva, Sarasvati, Lakshmi, Parvathi and all the creations in the world are engaged in Nadam. [2]

Svara is the musical note containing pitch and tone. The Classical Indic system is Sapta Svara (7 notes), and heptatonic scale originates in our Sastras.

Sarva lokod bhavaath poorvam ye na vyaaptham charaa charam Naadaathmakam thadaakaasam bhoothaanaamapi kaaranam ||

The air that floated from the sky created the sound, S, which is the origin of Nadam. Along with this sound the akshara considered to be the earliest was added to create the sound Sa (S). [2]

Udaaththo nishaada gaandhaarow-anudaattha rishabha daivathow |

Svaritha prabha vaahyethe shadja madhyama panchamaha ||

With Sa as the base, the other six svaras RI-GA-MA-PA-DA-NI were created [2]

Svara literally means that which makes its own sweetness. The etymology is the combination of the two letters from the words svayam and ranjagam. There are seven svaras in total: Shadjam, Rishabham, Gandharam (or Gandharvam), Madhyamam, Panchamam, Daivatham and Nishadam. There is also a special symbolism to this number seven, as there are seven seas, seven rishis, seven days, etc. [2, 9]

The heptatonic scale finds its earliest form in Classical Indic Music.

Sa Ri Ga Ma Pa Da Ni

These seven notes central to our tradition find their analogue in the West as follows

Do Re Mi Fa So La Ti

It is no surprise, therefore, that many European Classical Composers appreciate Carnatic Music in particular (as it preserves the technical sophistication of traditional Saastriya Sangeeta).

Sthayi refers to Octave. Per Carnatic, there are five in number: Anumandra, Mandra, Madhya, Thaara, Athi.

The integral unity of the Saastriya Sangeeta System is therefore seen clearly here. Not only common terminology but also common concepts and common performance organisation. Perhaps nothing embodies this more than this common sloka.

Brahmaa thaala dharo-hariccha patahee

Veenaa kara bhaarathee ||

Vamsagnyow sasi bhaaskarow

Srrthi dhaaraha ||

Siddhaap Saraha kinnaraahaa

Nandee Bhrungiritaadi mardala dharaha ||

Sangeethako nardaha

Samboho nruttha karasya mangalathanoho ||

Naatyam sadaa paathunaha ||

With Brahma providing the beat, Vishnu playing on the mridangam, Sarasvathi playing the Veena, Surya and Chandra playing the flute, Devas and Apsaras providing the Sruthi, Nandi and Brungi playing other instruments, Narada singing melodiously, every one enjoyed the celestial dance of Siva. [2]

Nada is therefore connected to Svara and Sruthi, and Sangeeta to Gaana and Naatya. These connections are further embodied in the system of scales used in our sangeeta.

This is the centrality of not only the Saastriya Sangeeta Tradition to modern Indian music, but also the central importance of Bharata Muni and his Natya Sastra.

Bharata displays an extraordinary knowledge of material in the making of musical instruments (four types) and of the nature of sound, notes, consonance, assonance, dissonance and melodic forms. He establishes a system of correspondence between each category and its potential for arousing emotion; he develops it to establish patters of configuration of ‘notes’ in melodic forms and emotive states. He distinguishes between vocal and instrumental music.

He further divides vocal music into two types—one, consisting only of notes and the other, with words (varna and geya). He provides details of different types of instruments and their respective characteristics. He returns to an elaboration of the category of dhruva songs which he had mentioned in many earlier chapters. He identifies a category of music called gaandharva and distinguishes it from gaana. Bharata enumerates the different types of taala (time measures—rhythm, metrical cycles). In short, he lays down the foundation of a distinctly Indian syle of music with its scales and modal structure.” [4,92]

In fact, here again, in the use of instruments, we find commonality between North and South. Attodya or instruments of Saastriya Sangeeta are divided into four categories. These are Sushira (wind), Avanatta (leather percussion), Ghana (metal), and Thatha (string). While there were and are many string instruments…

The chief musical instrument was the vina, usually loosely trans-lated ‘lute’. [3, 384]

Veena is by all accounts the national instrument of India. It came in many varieties, one of which was the precursor to the Sitar. It was the instrument not only of the Goddess of Knowledge but of the Great Indic Emperors of yore.

220px-Samudracoin1800px-samudraguptacoin

Maharajadiraja Samudra Gupta with Veena and Vaana

In tandem with Sarasvati’s instrument, is the Tambura (now known as Tanpura in the North). It is primarily used to keep Sruthi and is most famously seen in that roaming celestial bard, Narada Muni. There is also the Mridangam, which in popular lore at least, was cut in half, and tweaked to create the percussion instrument Tabla. The bamboo Murali (also known as Venu, Vamsee or Bansuri) is the flautist’s delight and is also common to both North and South India. Finally, there is the Nadasvaram (Nagaswaram) of the South. This wind instument corresponds to the Shenai of the North. There are, of course, many other instruments to discuss, but these mainstays of the Indic orchestra (vaadyabrnda) demonstrate the Tradition of Saastriya Sangeeta in both schools.

Finally, there is the matter of various musical forms and composition types.

Krithis & Keerthanas

Pallavi, Charanam and Anupallavi are the key determinants of the compositions known as Krithis and Keerthanas. These are both the typical standards in Carnatic music.

Pallavi is the first line (or refrain) of the song, Anupallavi the following lines, and Charanam is a stanza. [5, ix]

A Keerthana will have only a Pallavi and Charanam. A Krithi will have all three.

Pallavi

This is considered the theme of any performance. The word Pallavi is itself derived from three words: Padam, Layam, and Vinyasam. “In Carnatic music, pallavi singing is the most important part. Here is an opportunity provided to the vidwan to exhibit his knowledge and mastery and imaginative power. It consists of three parts- Ragam, Thanam and Pallavi“. [2, 58] Thanam is where special emphasis is placed on one of the names of the Lord.

Padams

Padam is a term that has various meanings. It can refer to a line, a stanza, or a full composition. While Odisha’s Jayadeva referred to stanzas in his Astanaam Paadanaam Samhahaara (Ashtapadis), Andhra’s Annamacharya composed 32,000 padams (of which 14,328 are extant), which were compositions. While in some cases, such as Annamayya, these are purely devotional, the more commonly accepted definition is that padams are imbued with Sringara rasa (as evidenced by the Odisha’s Jayadeva).

In any event, Padam is a very ancient musical form. Bharata muni defines Padam in his Natya Sastra as follows:

Gaandharvam yan mayaa proktam svara taala padaatmakam

Padam tasya bhaved vastu svara taalanu bhavakam

Yat kincid akshara kritam tat sarwam pada sanjnitam

Nibaddham ca anibaddham ca tat padam swividham smrtam ||

Gandharva comprises of svara, taala and padam.

In this, padam is evocative of svara and taala.

Any meaningul syllabic composition can be called a padam.

It is of two kinds, Nibaddha (bound) and Anibaddha (unbound)

It can also be with taala or without taala. NS XXXII, 25-27 [5, vii]

Along with Padam, another musical form focused on Sringara rasa, is Javali. However, these are typically not given patronage as they are considered inauspicious and coarse. It is only in modern times that some have chosen to perform them at sangeeta salons. The object or subject of romance is not always maritally unattached, and thus, considered improper. Nevertheless, the existence of Padam (as defined by Bharata) and Javali is emblematic of how Carnatic music, and Saastriya Sangeeta in general, is not merely about devotional music. The current conservativism in the Katcheris of Coimbatore and Chennai may prefer the purely spiritual, but historically this was not the case, and along with the religious, more material and romantic topics also featured in performances, for the King or audience’s pleasure and relaxation.

Thillana

This is where there are various jathi combinations, but little or no saahithya. Here is an example of a Thillana.

Geethams/Gaanas

These are the most basic form of songs. There are Sanchari and Lakshana geethams. Sanchari is where the lyrics are simple, there is no pallavi, anupallavi, or charanam. Lakshana geetham is more complex, and may have alapana (exposition of the ragam). [2, 56]

A mukhari is an instrumentalist, and a Mukya-gayaka the main singer. A vaggeyakaara is one who authors a lyric and sets it to music. This word is a close analogue to but ultimately much wider than the english term ‘composer’. [5, vii]

There are of course other forms, such as the Dhrupad of Hindustani (which was originally called Dhruvapada). However, these are best dealt with elsewhere, in greater detail. The theory behind Saastriya Sangeeta is indeed very sophisticated, and will necessitate a separate post on the topic. Nevertheless, this overview summarises the basics for the casual reader, and should give a foundation for deeper studies in the future.

What does become obvious to the objective person, however, is that there is a common tradition across the Indian Subcontinent from which regional and local variations draw from. Whether it is spiritual, material, or folk, Saastriya Sangeeta is the common fountain providing identifiable patterns of musical structure from Kashmir to Kanyakumari.

But don’t take our word for it. Again, here are the eminent experts in their studies.

We notice three trends, one of adherence to some key principles of the Naatyasaastra, another of introduction of new categories and, a third, specially in the second period of the eleventh century onwards, of descriptions of fully developed regional schools and styles. This is a pan-Indian phenomenon. [4, 119]

Personalities

Bharata Muni

Dattila

Matanga

Maharajadiraja Samudra Gupta

Maharaja Bhoja Paramara

Jayadeva

Abhinavagupta

Lochana

Sarngadeva

Gopala Nayaka

Jaya Senapati

Kshetragna

Annamacharya

Kallinatha

Chaitanya Mahaprabhu

Purandara Dasa

Maharana Kumbha

Meerabai

Tansen

Narayana Teertha

Thyagaraja

Syama Sastri

Muthuswami Deeksitar

Pandit Ahobila

Raja Shahaji

Raja Swati Thirunal

Important Texts

Natya Sastra, 400 BCE (or earlier) [2,8]

Dattilam, 400 BCE (or earlier)

Brihaddesi, 500 CE (or earlier)

Manasollasa by Somesvara III (Karnataka), 1000 CE

Abhinava Bharati (Kashmir), 1000CE

Ashtapadi by Jayadeva (Odisha), 1100 CE

Sangeeta Makaranda by Narada, 1100 CE

Sangeeta Samayasaara by Parsvadeva (Karnataka) 1100 CE

Sangeeta-Ratnakara 1200 CE

Nrtta Ratnavali (Andhra), 1200 CE

Geeta Ratnavali (Andhra), 1200 CE

Bharatabhaasya by Nanyadeva

Sangeetopanisat

Saaroddhara by Sudhaakalasa (Gujarat)

Sangeeta-Sudhakaram by Haribala, 1300 CE

Sangeeta-Saram by Swami Vidyaranya, 1300 CE

Ragatarangini by Lochanakavi, 1300 CE

Kshetragna Padams (Andhra)

Dasar Padams (Karnataka), 1400 CE

Sangeetaraja & Sangeet-krama-dipaka by Maharana Kumbha (Rajasthan), 1400 CE

Sangeeta Kaumudi (Odisha)

Svaramela-kalandhi by Rama Amatya, 1500 CE

Raaga Vibodam by Somanatha, 1500 CE

Sangeetha Sudha by Govinda Deeksitar, 1600 CE

Chaurdandi Prakaasikai by Venkatamakhi, 1600 CE

Sangeeta-paarijaata by Ahobila, 1600 CE

Krishna-leela-tarangini (Andhra), 1600 CE

Sangeetha Saaraamrutham by Tuloji Maharaj (Maharashtra/Tamil Nadu), 1700 CE

Sangeeta-narayana

Conclusion

From Matanga Muni to M.S.Subbulakshmi, Saastriya Sangeeta has an ancient heritage and an All-India influence (much like Adi Sankaracharya whose bhajan is being sung above). It is the Pan-Indic, genre-transcending nature of this music that has made it so central to our culture and civilization.

Correctly understanding Indian Music and its (true) origins, necessitates understanding the tradition of Saastriya Sangeeta. Sastra is the foundation from which spiritual, worldly, and folk music all draw from (to varying degrees). Ancient India, and even parts of medieval India (notably the South) preserved an indigenous musical system that is both continuous and civilizational in nature. From common origin to common texts to common terminology, the integral unity [6] of this variety of musicology is obvious to all earnest students and scholars.

For those who believe Bharata and his musicology as disconnected from the masses, here is some food for thought for “art music” advocates:

To return to the inheritance to the lineage of Bharata, as also those who inherited from him—we have already referred to Bharata’s indebtedness to the Vedas, the Upanisads and Brahmanical yajna practices. He incorporates the system of puja later codified in the aagamas, draws freely from contemporary practice, and considers loka, the ‘people’, as the final authority.” [4,113]

The people are the final authority to this tradition. They improvise, invent, and re-invent new styles and new modes of expression, but the source of inspiration finds expression through the unifying mechanism of Sastra. That is why it is so amusing to find juvenile foreign theories of foreigners bestowing music upon Indians (when the reverse is in fact far more likely).

“To say that they pertain to, or have been influenced by, the Arab or the Persian system shows a very superficial knowledge of the subject. These systems, originally mostly derived from Indian music, have become so reduced and impoverished in comparison with it that no one can seriously speak of their having had any influence on its development.”

(Alain Danielou in  Northern Indian Music. Praeger, 1969. volume I, p. 1-35)

In the name of promoting the syncretic, the authentic is being denigrated, demoted, and debased. Much like the modern Persian who laments at the arabisation of Pahlavi, the modern Indian finds himself wondering why foreigners are forever trying to persianise his own native tradition. Let Persia be Persia and let India be India. Tweaking our music to suit foreign tastes may be vaunted as syncretism, but persianisation and arabisation are not equivalent to sanskritisation. There is a difference not only based on nativity, but also due to inherent nature.

Syncretism vs Symbiosis

What the present narrative conveniently elides is that Sastra is the foundation for not only Carnatic but Hindustani as well. It is rather odd that the current discourse appears to imply that even music was brought from outside India, ironically by those who condemned music and banned it. Kapila Vatsyayan illuminates this point further:

The Ain-e-Akbari relies heavily on the Sangeetaratnaakara in its music and dance chapters. So does the later work—Risala-i-Raagadarpana. Both adherences and changes can be discerned in the later works, such as, Sangeeta Mallikaa of Mohammed Shah (seventeenth century) and Kitabe Nau Rasa of Adil Shah. [4, 120]

Sangeeta-ratnaakara, a work by Sarngadeva, a Kashmiri Pandit in a Maharashtrian King’s court, is credited as influencing all these exemplars of “Ganga-Jamuni Tehzeeb” & “Hindustani”. Even the alleged eminence grise of the Ganga-Jamuni brigade noted how native Classical Indic Music was beyond the grasp of persianised Central Asian invaders.  As Kapila ji notes “The basic foundations were laid by Bharata“. [1, 120]. Unlike the parasitic nature of so-called “syncretic” traditions that are colonial in etiology, symbiosis is endemic to the Sanskritic (traditionalists would in fact assert that it is not only symbiotic but organic, as Sanskrit is the mother of all these Indic cultures).

Sastra and Saastriya sangeeta rejected homogenisation and birthed a diversity of not only languages and traditions, but styles of dance and music. Sastra was the standard that all looked to, but all sought to express their own identity within the guidance of given standards. Urdu continues to kill off lovely dialects of Hindi such as Braj and Avadhi, and even robust languages like Kashmiri, Sindhi, and Punjabi. In contrast, Sanskrit has, with its grammar and vocabulary, enriched regional languages, whether North or South, while preserving the parlance of the people. Ask any Kashmiri  how many people speak his  mother tongue today, then compare with a Kannadiga.

Classical Indic Music is no different. The traditional high culture (marga) music birthed or preserved the regional (called desi) variations and enriched the (janapada) folk variations. This beginning is made apparent in the Natya Sastra itself. And for our caste-conscious casteists, even non-brahmin regional Natyacharyas such as Jaya Senapati  of medieval Andhra looked back to Bharata muni and maintained this tradition of Marga and Desi living side by side. And this tradition continued under such figures as modern Telangana’s Nataraja Ramakrishna. Folk performers throughout united Andhra Pradesh saluted him for his contribution to reviving their art forms, while he revived the classical Perini Thandava.

Further, the Pan-India connections rise beyond Sarngadeva, as Shahaji, the Maratha King of Thanjavur, patronised many Carnatic musicians at his Tamil Nadu Court and Tuloji himself authored a text.

What actually destroyed these folk and classical dances and styles of music however, our omniscient and infallible indologists (and their loyal native informants) will never tell you (hint: also medieval). Unlike the perso-turkic syncretic, the symbiotic sanskritic nourished, revived, and revives the full spectrum of musical voices,  whether desi or marga, male or female, mass or elite & regional or civilizational.

From the Dattilam of Dattila to  Sarngadeva and his Sangeeta-Ratnakara, Saastriya Sangeeta is a very ancient tradition that is very native in nature. The time has come to fully revive this cultural treasure not only in the South, but in the North as well, so the authentically Indic will get its due place again. Syncretism and Fusion are fine and dandy for “art music” dandies, but Classical Indic Music is the Core of our Musical Culture, and that is the relevance of Saastriya Sangeeta.

Ultimately, most of you “modern”, “progressive” types may be wondering, why any of this matters. After all “we are all global now“. Well, here was a “global” historian writing on why simply “getting degree” and “getting job” isn’t enough…

This was not the case in India’s greatest days, when a knowledge of music was looked on as an essential attribute of a gentleman.  [3, 384]

Those who wish to appear educated, sophisticated, and urbane would do well to understand what real culture is. Pop culture hits and bollywood beats may be all the rage today, but comprehension of the system of music and musicology that made them possible is the true sign of cultural refinement.

All in all, while many new regional, sub-regional schools and even individual styles developed, the basic foundation of a ‘modal’ system of music was not demolished. The living traditions of the several schools[,] the gharanas and the sampradaayas of Hindustan and Carnatic music bear testimony. The continuous flow of the tradition, as also the infinite number of possibilities of change and creativity is obvious. [4,121]

The tradition remains at the core, while the various schools and styles emerge from it. At a time when its originality (and even existence) are being challenged, perhaps its time to revisit what exactly makes the modes of Saastriya Sangeeta, truly Indic and truly Classical. This is something even Western Classical Composers have recognised:

[8, 48]
References:
  1. Appa Rao, P.S.R. A Monograph on Bharata’s Natya Sastra. Hyderabad: Natyakala Press.1967
  2. Iyer, A.S. Panchapakesa. Karnataka Sangeeta Sastra: Theory of Carnatic Music. Chennai: Ganamrutha Prachuram.2008
  3. Basham, A.L. The Wonder that was India.New Delhi: Rupa & Co. 1999
  4. Vatsyayan, Kapila. Natya Sastra. Bharata: The Natyasastra. Sahitya Akademi.2007
  5. Pappu, Venugopala Rao. Fragrance of Padams. Kakatiya Heritage Trust. 2014
  6. Malhotra, Rajiv. Sulekha. 2002. http://creative.sulekha.com/the-axis-of-neocolonialism_103313_blog
  7. Madhav, Ashok. http://www.carnaticcorner.com/articles/mukund_chart.htm
  8. Lavezolli, Peter. The Dawn of Indian Music in the West. New York: Continuum.2006
  9. Lata, Swarn. The Journey of the Sitar in Indian Classical Music. Bloomington: iUniverse.2010
  10. Bailly, John. Music of Afghanistan. Cambridge University Press. 1988

Book Discussion: Rasas in Bharatanatyam

RasasBook

Introduction & Book Summary

Bharatanatyam artist Prakruti Prativadi recently published a book ‘Rasas in Bharatanatyam’. ICP’s daughter portal shared an interesting introductory article written by the author. I got a copy of the book from Amazon.com a couple of weeks ago and ended up reading it multiple times. The work is an outcome of several years of research and a first-person experience of living the tradition. The book is intended to be the first of a series.

The author states that the book is aimed at the serious Bharatanatyam artist and connoisseur, and is also beneficial to those who want to learn more about Indic art traditions. An in-depth discussion of the different elements of Bharatanatyam including Abhinaya, Rasa, and Bhava is provided. The book also presents a brief and well-researched history of Bharatanatyam and related traditions in Hinduism, a topic which has endured much distortion and confusion in recent years. The author goes deep into the ancient roots of natya, and succinctly explains the concepts relying on primary sources in Sanskrit and Indic languages. The clarity and authority required to write in a crisp question-answer format, the shraddha, the attention to technical detail, and the reinforcement of key learning points give the book a stamp of authenticity that perhaps only a dedicated practitioner and teacher can produce.

Where to Buy

Readers can set up a discount code ($8.00 off) which is available only from the Createspace page (not the amazon.com page) by following these steps:

  1. Go to the book’s Createspace page:
  2. Add the Book to the Cart, this will take buyers to the checkout page
  3. Add this discount code: PYTKY7GV in the ‘Discount Code’ field and click ‘Apply Discount’ to get a discount, the price of the book will be $28.99.

Please note: Users will have to sign up for a Createspace account (if they don’t have one). Createspace is owned by Amazon.

Bharatanatyam: Embodied Learning & Direct Experience

Poet, Indic scholar, and computer scientist Prof. Subhash Kak has said that the best way to understand India is through its art [2], and the book reaffirms this point. Why art? India is the land of Vedas, so can’t one read Vedic text?

The author discusses the worldview underlying Bharatanatyam and notes that direct experience is central to Hinduism. Through sadhana and shraddha, potentially anyone can transcend their ordinary level of consciousness [1]. This is an amazing and powerful discovery by India’s ancient seers. The armchair-acharya (like the theoretical martial artist and air guitarist) tries to convince us otherwise, but Hinduism recognizes that textual knowledge is useful but it cannot fully delineate the scope of Dharma and Vedas, and we provide two independent explanations regarding this.

Prof. Kak quotes Yaaska [3], the author of the ancient Sanskrit treatise Nirukta: “One who reads the Veda but does not know its meaning is like a draught animal”, and explains that “the idea of knowing the Veda is not merely to read it, but to understand its meaning in one’s heart. This is paradoxical, since one cannot understand the text unless one has already had the experience of its deepest intuitions. The text of the Veda cannot in itself be used for instruction”. We have Bharata Muni’s Natya Sastra, revered as the fifth Veda, that has the wisdom of the four Vedas embedded within, which is available to all people, cutting through all barriers of social and economic status, gender, race, and geography.

In his book Indra’s Net [4], Rajiv Malhotra poses a related question: “How did the rishis ‘see’ the shruti in the first place? Unlike the Abrahamic religions, in which prophets hear from an external God, in the Vedas there is no external voice. There is no entity equivalent to Yahweh who speaks the Vedas to the rishis… Vedas are a-purusheya, i.e., beginningless and authorless. They existed before the rishis ‘saw’ them… Hinduism does not regard the rishis as inherently different in substance or essence from the rest of us…. each human has the same potential as the rishis, and that this potential is realized through disciplined sadhana (the inner sciences of adhyatma-vidya)”. In the Indian context, Rajiv Malhotra coined the term ‘embodied knowing’ to refer to adhyatma vidya, and Indic art forms that employ this inner science surely occupy a pride of place in India’s grand narrative [6]. The deepest authentic ‘ideas of India’ are embedded in Bharatanatyam. We owe a debt of gratitude to dedicated artists who tirelessly practice, promote, and preserve India’s sacred art forms.

Bharatanatyam as Yajna

The book has a brief but insightful discussion of Bharatanatyam as Yajna, which has been explained as a sacred process that establishes links (bandhus) between the inner and the outer world [6]. The material world is not considered separate and discarded but is harmoniously united with the spiritual within Bharatanatyam. Indic art forms are rooted in this Vedic view where consciousness is the basis of ultimate reality itself [3]. Such a Bharatanatyam is unacceptable to the enticing “sweet-speech” Charvaka School [5] that totally rejects Yajna, Puja, Bandhus, and the transcendental domain since they believe that consciousness emerges from neural matter [2]. Bharatanatyam is also incompatible with the irreconcilable duality of history-centric Abrahamic dogma that accepts the transcendental and the transactional domains but keeps their existence independent and infinitely apart [6].

Actively participating in Yajna leads to an internal transformation that is like undergoing a ‘rebirth’ [2]. This leads us to a second, and equally remarkable observation that any sensitive and attuned viewer (Sahridaya) immersed in a Bharatanatyam performance [1] can also potentially attain a higher state of consciousness and transcendental bliss, and this communication is possible due to Rasa. The book explains this process in-depth.

Rasa Ganita

Dharmic thought employs a finite and limited number of levels to manage quantities/qualities that may appear to be unlimited or huge in number, or even indivisible or continuous. How does it work?

On Rasa, Prof. Kak remarks [3]: “An aesthetic attitude is a combination, in varying measures, of the different essences (rasas) of it. It is one of the great insights of the Indian tradition that these essences are supposed to be discrete, and perhaps this idea emerged from the Vaisesika atomic doctrine as well as the idea of Nyaya that mind operates sequentially”. Like Panini and his rules of grammar, Bharata, using only a finite number of sutras, covered the profound topics of Rasa and Bhava and spanned the virtually unlimited expanse of dance and drama.

Paanini has been credited for a grand unified theory of language, and Bharata too can be credited for a similar theory of aesthetics thousands of years ago. The author notes how a danseuse can skillfully conjugate various dance elements such as movements, gestures, etc. mentioned in the Natya Sastra to generate innumerable permutations and combinations to artistically express the myriad emotions and situations that has occurred, or will occur in the future, and convey that meaning to the audience. Bharatanatyam does not limit but encourages unselfish self-expression.

Rasa Awakening in the Audience

In her book, Prakruti ji takes us on a fascinating journey through the Rasa awakening process in Bharatanatyam. The idea of Rasa is ancient and present in the Upanishads [1]. According to the author “Rasa is the supreme aesthetic experience and absolute aesthetic relish that the audience feels when witnessing an artistic performance… Rasa is a heightened state of consciousness and bliss… This experience is called Rasasvada, which is akin to Brahmasvada, a supreme knowledge… Rasa is a Sanskrit word that no equivalent word in English”. A simplified arrow-diagram view of the Rasa awakening sequence/combination given in the book can be described as follows (the interested reader should refer to the book to obtain a complete and correct picture).

Vibhava (cause/determinant): → Anubhavas (consequent reaction) → Vyabhichari Bhavas (temporary emotional states) → Sthayi Bhava (permanent emotional state) → Rasa

(Author dancing selected Paasurams from the Vaarinam Aayiram)

In Bharatanatyam, for example, the process can be triggered by witnessing the Abhinaya of the skillful artist, and given the right conditions, culminate in a heightened state of consciousness within a receptive audience. In an interview, Dr. Ramachandran Nagaswamy confirms this important point about Rasa while correcting the mistaken conclusion of a western Indologist.

Another crucial point made by the author is that the generation of Rasa in a performance is not guaranteed and it requires the harmonious integration of multiple inter-connected factors. The author likens it to a complex and rich recipe.  Rasa is not awakened by sensory stimuli such as personal sadness experienced in mundane life, or by artists using the stage to make purely political and social statements. And even if the performance is of the highest caliber, it still requires an attuned viewer (Sahridaya) [1] within whom the ‘aesthetic vibes’ of the performance can resonate. The author quotes Bharata “without Rasa, there can be no meaningful communication”.

Engineering Design Example

Natya Sastra ideas can find applications in diverse fields, including entertainment, advertising, public-service messaging, etc. Given its integral view, teaching Natya Sastra concepts authentically in schools and colleges will benefit not only young artists, but also engineers and scientists. As an analogy and example, modern highway design relies on the PIEV theory of driver response to visual stimuli:

Cause/determinant: → Perception → Intellection → Emotion → Volition

PIEV is used to measure the perception-reaction time of a driver. Triggered by observing an event, the driver first perceives (something happened), grasps the implications (danger to self/others), and this triggers one or more emotions (what to do?), before converging on a final, stable action (brake, steer, or accelerate). PIEV duration differs for a distracted versus fully conscious driver. When deciding where and how to install and calibrate a traffic light, one has to evaluate the combination of all inter-related factors – PIEV, visibility, topography, traffic conditions, etc., in order to maximize the percentage of drivers that will have sufficient time to go through PIEV and make the right decision. PIEV and Rasa may be two different things (although when in danger, even the most materialistic passenger and driver will invoke the divine transcendent charioteer to ensure fast PIEV so they can remain in their transactional world); however, there appear to be similarities – the importance of an integral perspective, a scientific approach, and understanding the roles of emotional states, cognition, and consciousness.

Bharatanatyam & Artificial Intelligence

Today, Artificial Intelligence (AI) systems can generate cooking recipes, write mournful poetry, and has even started writing musical scores. Can machine-generated artistic performances evoke Rasa? Can it replicate the transcendental leap [3] that is possible through a Yajna? These are interesting questions to be answered by experts. Machines are not conscious because they cannot have Bandhus [3], and their art output appears to be generated by algorithms using preset rules distilled from prior art, which were created by highly skilled human artists, not machines. The book has clearly established that the Rasa awakening process and the dance elements of Bharatanatyam are not mechanical.

While machine art may match humans and eventually do better in terms of purely materialist aesthetics, the sacred Indic art-as-Yajna rooted in an integral unity via bandhus that bind the inner and outer worlds, will not only survive, but thrive and give humanity a sense of hope and a glimpse of divinity. This makes it all the more important that Bharatanatyam and classic Indian art be preserved and taught in their authentic form and context. Prakruti Prativadi’s book is a welcome step in this direction.

Click here to Buy this Book!

RasasBook

(This post was written by an aesthetically-challenged Ganita professional ‘armed’ with two right feet, and is an informal exploration of ideas inspired by Prakruti Prativadi’s book)

References

  1. Rasas in Bharatanatyam. Prakruti Prativadi. CreativeSpace. 2017.
  2. Art and Cosmology in India. Subhash Kak. Patanjali Lecture, University of Massachusetts, Dartmouth. 2006.
  3. The Pragna Sutra: Aphorisms of Intuition. Subhash Kak. 2006.
  4. Indra’s Net: Defending Hinduism’s Philosophical Unity. Rajiv Malhotra. Harper Collins, 2014.
  5. Epistemology and Language in Indian Astronomy and Mathematics. Roddam Narasimha. Journal of Indian Philosophy. 2007.
  6. Being Different: An Indian Challenge to Western Universalism. Rajiv Malhotra. Harper Collins, 2011.

Holi ki Shubh Kamnaye (2017)

Happy-Holi-2017

From all of us at ICP, Holi ki hardik Shubhkamnaye! Happy Holi!

The Festival of Colours is here! Water should be used wisely throughout the year, not just on a single day because some silly celebrity says.

So celebrate this ancient festival with gusto, whether you grew up with the tradition or embraced it after. Modern Holi is part of Ancient Vasant Utsav, which celebrates spring and nature, the way we were meant to.

holigopikrishna

It is also possible to be safe in the use of gulal. Here is a video with some safer, eco-friendly, natural ways to make colours for Holi.

Holi Hai!

holi116

Vasant Utsav

gopikrishnaholi

Sabhi ko Holi ki Shubhkamnayein! A very Happy Holi to all our readers celebrating day 1 of this exciting festival today.

Holi’s roots are in fact very ancient in origin. Though today it is primarily celebrated in Northern India, it was once part of an all India, vast, virtual month of Festivities known as Vasanta Maha Utsava.

Vasanta Mahotsava

Spring has a definitive place in the minds of most people and most cultures. It not only signifies the end of winter, and the end of the previous year, but also a time of renewal, rejuvenation, rebirth, and revelry. It is truly a celebration of life, youth and the young-at-heart alike.

Vasanta Mahotsava, Vasantha Utsava, or Vasant Utsav or Basant, is the ancient Spring Festival of Indic Civilization. It is mentioned in many old works from the Kathasaritasagara to the Kamasutra. Vatsyayana refers to it as Suva-santaka. Kalidasa’s Malavikaagnimitra and Sriharsa’s Ratnavali both include this festival, and the latter, in fact celebrates it in the opening act. [1, 353]

Vasanta Mahotsava was, therefore, a seasonal festival celebrated at the approach of the vernal equinox. [1, 353]

“The new year begins with Spring around the vernal equinox. But the poem begins with Summer so as to end with Spring; and auspicious ending, for Spring is renewal. The old year is dead and the advent of Spring is welcomed with song and dance and religious ceremonies. In ancient India this was known as the Spring Festival or the Festival of Love and it was celebrated with uninhibited revelry in a carnival atmosphere. New plays were written and staged as part of the festivities. The prologue to Kalidasa’s first play Maalavikaa and Agnimitra mentions it as the new play presented at the Spring festival.”[2,18]

But while the modern North excels in celebration and festivity, it is important to note that Vasant was once an all-India festival. Here is an account of its celebration in the Reddi Kingdom of Andhra :

Beautiful descriptions of this spring festival are furnished by the Telugu works Simhaasanadvaatrimsika, Bheemesvara Puraanam and Kaaseekhandam produced in this age. These works give us a clear idea of the celebration of the festival and the different ceremonies practiced on this occasion. As the authors of these works lived in this age when the spring festival was at its zenith of popularity, we may be certain that, much influenced by the realistic grandeur of this carnival, they introduced it into their works, and provided us a good picture of the festival, as it was in vogue” [1,355]

There was a great carnival and the King would go to a park specially decorated for Vasant. There would be a pandal for Kama & Rati, Vishnu &Lakshmi, Siva & Sakti, and Sachi & Indra. Perfumes such as camphor, musk, civet, saffron, sandal were used, rosewater was freely sprinkled on people along with water mixed with turmeric. A bamboo water soaker was used (like the pichkari in holi). People mixed freely and the Reddi kings gave it royal grandeur. The king and queen were sprinkled with saffron-water by passersby. [1, 357]

The Reddi King Kumaragiri himself so came to embody this celebration that he received the title Vasantaraya (Emperor of Spring).

hazararamtemple
Hazara Rama Temple,Women playing Kollatam (dandiya) during Utsav

The Rayas of Vijayanagara were Emperors in their own right, and Vasant is famously featured in temple sculptures of this Empire in Karnataka.

 “The festival of Holi also finds a reference in the sculptures on walls of old temples. A 16th century panel sculpted in a temple at Hampi, capital of Vijayanagar, shows a joyous scene of Holi. The painting depicts a Prince and his Princess standing amidst maids waiting with syringes or pichkaris to drench the Royal couple in coloured water” [3]

It is likely that what is being referred to as Holi above was in fact the grand festival of Vasantha Utsava, as listed elsewhere:

 “Vasantotsavam was celebrated in this mandapa [Mahanavami Dibba] during Tirumala-raya’s period.” [2,11]

mahanavamidibba

There are of course attempt to digest and appropriate Vasant Utsav as “Basant” by Sufis. But the Vasant Utsav itself is far more ancient, and in contrast with Sufism (a velvet glove for an iron fist), our Utsav is far more in line with the Indic Dharmic view of balanced relations between the genders anyway. Recent sufi attempts to digest Holi are even more risible and show the importance of understanding authentic Indic culture, rather than obsessing over the colonising syncretic.

Further, in the name of being “modern/post-modern”, many of our traditions are being digested by corporations and similar business efforts. The Color Run is one such example of Holi’s tradition of throwing colours being used as part of a marathon. While cultural exchange is good, cultural appropriation and de-sacralisating of our traditions is not. What usually starts as harmless participation, becomes appropriation, and when the Hindu/Indic roots are denied (as is being done with Yoga), finally becomes digestion (as explained by Rajiv Malhotra).

As such, it is far better to understand the significance, sanctity, and symbolism behind our traditions and culture, rather than merely exulting in “being recognised by global!“.

In any event, Vasanta Maha Utsava is the traditional two-week long Spring Extravaganza in Bharatavarsha. Here are the components and the significance in detail.

Festival Significance

Vasant Utsav is not merely 1 or even 2 days, but in fact extends over several weeks. While there are references tracing it back to Vedic times, it is almost certain that its celebration was documented in mid-first millenium BCE.

Traditionally, there are four navratras, the most famous being in Sharad. The Chaitra Navratri, true to its name, is also celebrated over nine days, and honours the Goddess Durga. Here is a description of it and the other components of Vasanta Mahotsav.

Holi

holi

As most know the famous story, Holi signifies the evil Holika’s defeat by the devout  Prahalad, a great Vishnu Bhakta. Holika was the sister of Hiranyakashipu, the rakshasa king who had grown powerful and full of arrogance, demanding all worship him instead of Vishnu. His son Prahalad was obedient, but refused this command, saying despite his father’s accomplishment, Vishnu was Supreme, and thus, should be worshipped. Hiranyakashipu’s ahankar was wounded, and thus commanded Prahalada to sit on Holika’s lap in a fire, to demonstrate whether Vishnu would save him. While the evil Holika (who was also a cannibal) had a saree that could protect her from fire, Prahalad had no such defence, and only his devotion to Vishnu. Nevertheless, he was saved and escaped unharmed from the fire.

holikadahan

Elsewhere, it is said that Lord Krishna killed Poothana (another killer of infants) on this day. Thus, Holi has acquired its importance and grandeur on account of these successive defeats of evil. It is thus traditionally divided over two days, starting with Choti Holi (on Chaturdashi) and ending on Phalgun Phurnima (full moon).

Choti Holi/Holika Dahan

HoliUdaipurBlog
Holika Dahan at Udaipur

This is the day that the bonfire is prepared. This is called Holika dahan, and articles from the past year are also burnt, signifying a fresh start for the upcoming year.

Interestingly, parts of the South celebrate this Holika Dahan as Kamuni Dahamu, signifying the burning away of all wrong passions and impulses and baggage of the previous year, and renewing ourselves in the New Year.

Holi Hai!

krishnagopiholi

This day needs no introduction in most of the world. From the colours (gulal) to the pichkaris (bamboo water soakers) to the dance and revelry, this is quite possibly the most fun festival in the entire world.

People from all classes and backgrounds freely mix and spread cheer and song in the name of Spring and the triumph of good over evil. More traditionally, one can find some additional rituals, especially in the villages of Northern India, which further underscore the mixture of the sacred with the festive.

Some women in the village offer special puja during Holi. Small twigs of the ‘Kamal’ tree are painted in red and yellow and then laid out in little bamboo baskets (khartoo) along with thread, kumkum, jaggery and roasted grams. The women carry this basket and little pots of coloured water in their hands and go for the Puja”. After it is offered, Holi is then played. [4,226]

Yugadi

Despite the calendrical variations, the two main divisions in the Hindu Luni-solar calendar celebrate New Year on the same day. Most of North India uses the Purnimanta Calendar. This Calendar ends every month with the full moon. The Amanta or Amavasyat Calendar starts every month with the new moon. Due to this discrepancy, Holi, which would normally align with the two-week long Vasant Mahotsav now has a month-long gap.

Restoring the Amanta calendar in the rest of India would restore the two week-long celebration. Interestingly, because the Purnimanta calendar starts with Krishna paksha, the Chaitra Sukla Pratipada (first day of the Bright half of the moon) is on the same day in both calendars. That is the reason why Ugadi/Gudi Padwa and Nava Varsha/Navreh are all celebrated on the same day, by both calendars.

Chaitra Navratas

ChaitraNavratri

When we say Navratri, most people think of the 9 days leading up to Dasara. But this is in fact just 1 of 4 (some say 5) Navratris, other than the famous Sharad Navratri. There is also the Magha, Ashvin, and relevant for Vasant utsav, the Chaitra Navratri. All of these celebrate the glory of Shakti.

Chaitra Navratri, in particular, is significant as it ends with the Sri Rama Navami. This is all the more symbolic as the original reason for this Navratri involved Ayodhya. Prince Sudarshana, one of Rama’s ancestors, was driven from his rightful throne. Through worship of the Devi, and her bija mantra, he was able to get married and become king. Bhagavan Rama too worshipped Shakti, and the timing of his defeat of Ravana is on Dasara (the tenth day of Durga’s Victory). As such, Chaitra Navratri ending with Sri Rama Navami is highly significant.

Sri Rama Navami

RamLalla

The Mahotsav appropriately closes with one of our most Sacred Days, Sri Rama Navami. This is the day of Lord Rama’s birth in Ayodhya. As he renewed our Dharma in the previous Treta Age, Spring renews our commitment to Dharma in the present one.

The overarching vision of Vasant Utsav, however, contrary to sepoys (LW and RW), is not unrestrained license or debauchery. Rather, it is a celebration of life in a tasteful yet enthusiastic manner. The full spectrum of all things, rather than mere obsession with the lower chakras. It is about celebrating all aspects of creation, whether personal or cosmic.

Celebration

HoliHai

In ancient times, this was arguably the most exciting of Indian festivals, with a large part of the subcontinent featuring a carnival atmosphere, of music, dance, food, socialising, and general celebration. With so many days of significance, from Holi to Yugadi to Sri Rama Navami, it is only natural that this Utsav would become a Mahotsav.

Holi, of course, needs no explanation on how to celebrate. The only suggestion is to play safe and to use safe organic gulal. There are plenty of healthy natural colour-based options that individuals can draw from. They are not only “eco-friendly” but are also made by people who actually care about the festival and passing on our traditions.

Vasant Utsav in general is celebrated in many ways. Beyond Holi and its famous festivities (an article in and of itself), there are many spring sports, with music, theatre, and dance.

After the termination of the sports, the king with his queens went to a lotus pond nearby and sported in the water for a while. Re-turning from the lotus tank he gave audience to the public and rewarded poets and artists according to merit. Dramas were put on boards; dance recitals were given; musicians, showed their skill in music, both vocal and instrumental; and magicians and others proficient in other kalaas or vidyas, came there in search of patronage, and displayed their feats of strength, skill and sleight of hand. It was a grand occasion for patronising Arts and Letters.” [1, 358]

Dandiya Raas (from the Sanskrit Dandaraasakam) is played , especially during the nine nights of Navratri. Puja is also done, especially for Devi, via the Ghatasthapana Muhurta, which has to be done at a specific time during the day. Doing so will activate the positive energy of Shakti via the kalasa (sacred pot).

Finally, Vasant Utsav is often associated with Kama Deva, the God of Love, whose friend and ally is literally the personification of the month of Spring, Vasanta. Kalidasa himself famously celebrated this month in his Rtusamhara.

Above all, however, Vasant Utsav was a great coming together of all sections of society, in fun and frolic. Spring is a time for renewal, not only of relationships and spirits, but of values and societies. And it should be once again.

Vasantamahotsava was the major festival of those days, which exercised great influence on the people culturally and socially. It was occasions like this that advanced the knowledge and culture of the common people. [1, 358]

References:
  1. M.Somasekhara Sarma. History of the Reddi Kingdoms.Delhi:Facsimile Publ. 2015
  2. Rao, V. Kameswara.Temples in and Around Tirupati.1986.p.11
  3. http://www.saibabaofindia.com/spiritual_meanings_for_holi.htm
  4. Gajrani, S. History, Religion, and Culture of India (Vol.5).Delhi: Isha Books.2004
  5. http://www.speakingtree.in/blog/gupt-navratri-the-secret-lesser-known-navratri-begins
  6. http://zeenews.india.com/entertainment/and-more/chaitra-navratri-the-legend-behind-it_1873820.html
  7. http://www.speakingtree.in/allslides/chaitra-navratri-2017-why-its-auspicious