MUSINGS ON KRISHNA'S DANCE
Krishna, the charmer seems to have displayed a variety of dance forms in His mesmerizing avatAra. He is referred in Shreemad BhAgavtam 10.21.5 as "naTa vara vapu:" - the best dancer.
Ancient Indian dance forms are galore. The epics of the Sangam period contain knowledge of ancient tamizh cultural dances performed to the tune of 'PaN isai' and accompanied by the melody of musical instruments like 'yAzh-lute', 'kuzhal - flute', 'tannumai - drum', 'ekkam - trumpet' and 'mattali - drum'.
The subject of interest here is the 'koottu கூத்து' dance referred by AzhvArs in Divya Prabandhams.
There were more than 6 broad categories and 7 sub-types in koottus. Out of which Krishna seems to have performed dances from a specific category called 'vinOda koottu வினோத கூத்து, a folk dance meant to entertain folks.
1. KuDa koottu குட கூத்து. kumbha nATyam
Krishna, the pot dancer
KuDa koottu is a type of vinOda koottu, performed by cowherds in the junction of streets. The dancer skillfully balances tiers of pots on the head and hands. Sometimes he or she juggles the pots or balances many pots walking on a rope. Some modern-day improvisations of this dance are 'Karagam கரகம்' of tamilnADu and 'BhavAyee பவாயீ dance of Rajasthan.
Krishna used to perform this 'kuDa koottu' dance along with the cowherd women in the junction of streets to entertain them. That is why He is called 'KuDam ADu Koottan by our AzhvArs. In the sthala purANam of arimEya viNNagaram, it is said that uttanga maharshi wanted to view the virATroopam of Krishna. When krishNa showed His frightful vishvaroopa darshanam, uttanka Maharshi was overwhelmed. So, Krishna revealed His simple jolly form as GopAla Krishnan dancing with the pots of butter/amRuta on his head. Tirumangai AzhvAr sings about this dancing krishna in his periya tirumozhi 3.10.8.
(Other references are PeriyAzhvAr tirumozhi - 2.9.6, NAchchiyAr tirumozhi 10.7 and many more)
Govardhana uddhArana Significance:
After krishNa lifted the Govardhana hill on his little finger, on many instances, Krishna is said to have entertained the cowherds with this pot dance to remind them of His Govardhana fame.
Tattva: The dance portrays the 'para tattvam' that Hari is the source, cause and balance of all movable and immovable creations of the whole universe.
2. Kuravai Kootu குரவை கூத்து, rAsa kreeDA.
Kuravai koottu also forms part of the 'vinOdha koottu' in which a specified number of women dance together in circles. There is one to one interaction either by joining hands, clapping hands or beating sticks of partners. Today, we see this Kuravai koottu style in the DandiyA Raas of Gujarat/ Rajasthan, Garbha of Gujarat, Kummi and kOlATTam of Tamil Nadu, dinDi dance of Maharashtra and kaLi ATTam of Kerala.
Krishna, the aesthetic dancer
The Raasa KreeDa dance of KrishNa with His dear gOpis, in the enchanting backdrop of the Brindavan forest, is a scene to reminisce. The dance steps go hand in hand with the rhythm of Krishna's flute and the tinkling bangles of the gopikas. This is referred as Kuravai koottu by our AzhvArs.
Some other references of rAsa kreeDA are :
(GopAla Vimshati 16) - Swami Desikan attributes this style of dance to the 'lalita vrittam' (charming dance) under the 'kaiseeka vrittam (graceful style) of nATyashAstra.
Tattva: This dance portrays the eternal bond between ‘jeevAtmA' and 'paramAtmA’.
3. nOkku koottu (நோக்கு கூத்து)
This is another type of vinOdha koottu. Its a majestic dance and a treat to the eyes. It depicts special themes such as heroism, victory, energy and anger.
Today, we can see thematic dances like Shiva tANDavam and KrishNa tANDavam in the bharatanATyam of Tamilnadu, mOhini ATTam of Kerala, Kathak of Uttar Pradesh and in many more classical dance forms and cultural dramas in India.
Krishna, the vigorous dancer
The kAlinga nardanam of KrishNa in the kAlindi river is an example of this nOkku dance. Celebrating His victory over the black poisonous serpent kAliya, Krishna danced on each of its hoods to the admiration of the celestials and the cowherds who played drums of different sizes. The sound from His anklets also matched the waves of the river that served as drum sounds.
neeLmuDi aindilum* ninRu naDam seydu*
meeLa avanukku* aruL seyda vittakan*
tOLvali veeramE pADippaRa*
kAy malar niRavA! karumugil pOluruvA! *
kAnaga mAmaDuvil kALiyan uchchiyilE *
tooya naDam payilum sundara! ensiRuvA!
andaraminRi azittADiya tALiNaiyAy*
Aya! enakkorukAl ADuga sengkeerai*
AyargaL pOrERE! ADuga ADugavE.
Swami dEsikan attributes this dance style to the ArabhaTee vrittam (heroic anger) of nATya shAstra. (yAdavApyudayam 1.2.1). Bhagavatam 10.16, Periya Tirumozhi 3.8.7 are some more examples.
Tattva: Only when the mind is filled with love for KrishNa, the uncontrollable senses like the kAliya serpent, get subdued. In other words, KrishNa is the only saviour.
4. Navaneeta nATyam, நவநீத நாட்டியம்
This is the another type of dance that KrishNa performed to lure the gOpis and get a gob of butter.
Krishna, the butter dancer
Swami Desikan explains the butter dance scene so tastefully in GopAla Vimshati (4).
YashodhA is churning curds to get butter in nanda-bhavanam, the home of Nanda. The 'layam' or rhythm arising from the curd churning process matches with the resonating sounds of the mother's gold necklaces, bangles and anklets.
Our smart KrishNa choreographs a dance on the spot for the rhythm produced from the sound of churning butter. He dances with one leg fixed and the other leg moving in different directions. Dancing to Krishna's tune, the butter slowly appears on the top of the pot. The mother is then amused, and she gives him a handful of "Navaneetam' (butter mixed with sugar).
In tiruppAvai 7 - kAsum pirappum kalakalappa kai pErttu, vAsa naRungkuzhal Aychchiyar mattinAl, Osai paDutta tayir aravam kETTilayO, ANDAL describes the rhythmic sound of butter churning by the gOpis and the corresponding tinkling sound of their ornaments.
5. marakkAl koottu மரக்கால் கூத்து
Tirumangai AzhvAr mentions in his Periya Tirumozhi 11.5.6 that krishNa danced with tall wooden legs, a dance form called "marakkAl koottu". (The alternative is dancing with the toes on top of a wooden pole that is fixed on the ground).
suruL pangi nEttirattAl aNindu*
paRRi ninRu Ayar kaDaittalaiyE*
pADavum ADakkaNDEn*
Smt. Malathi Balaji
AZHVAR EMPERUMAR TIRUVADIGALE SHARANAM
Lovely analysis of Krishna nAtyam, drawing references from sangam periods to relating them to contemporary dance forms!
ReplyDeleteThankyou so much, adiyen.
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