Then and Now -Bhagavata Mela in the Past Hundred Years

Changes in presentation, venue, costume and makeup.

Lecture Demonstration at Natyakala Conference Krishna Gana Sabha 1994 Chennai

 In 1994, I was invited to participate in a Lecture-demonstration on the changing trends in Bhagavata Mela Natakams. I was honorary Chairperson of Melattur Bhagavata Mela Natya Vidya Sangam. The Convenor was Shri V. P. Dhananjayan and on the jury were eminent gurus like Peria Sarada Teacher from Kalakshetra and Dr. Arudra. This was the first four-day festival in Chennai. There was a performance of Parvathi Kalyanam inside the Kapaliswara Temple precincts which was attended by thousands who were watching this traditional dance-theatre for the first time. Another lec-dem by the Sangam was scheduled at the Music Academy’s annual conference. This is the text of my lecture.

 Bhagavata mela is a regional dance-theatre form of Tamil Nadu. Today we shall attempt a study of the changes that have taken place in this tradition during the period 1855 to 1995.

Bhagavatas or Bhagavatulu are devotees who make it their mission in life to spread Bhakti through music, dance and storytelling.

Mela is an ensemble of dancers, actors, musicians and instrumentalists. Natakams are dance-dramas based on the ancient treatise on dramaturgy, Bharata’s Natya Sastra. All the elements of drama, mime and movement, dance and dialogue, lyrics and lore are found in this art form. The dance closely resembles Bharata Natyam as seen today. The dramas are based on stories from Indian mythology and today are restricted to the natakams written by Melattur Venkatrama Sastri (1800-1875). Bhagavata Mela today continues the tradition that all participants are male Brahmins and natives of the village and the art is an offering to the temple deity. If we look at the chronological map of this art in the last hundred years we find that it peaks and dips according to the amount of patronage it received.

I looked into U. V. Swaminatha Iyer’s autobiography as an authentic source for descriptions of Thanjavur in the last century. There was not a single mention of Bhagavata Mela although we believe it flourished in five villages around his birthplace. He mentions just once that the Telugu Brahmins of his village were well versed in music.

When I then went back into the detailed history of this art, the reason for this lacuna emerged. The Maratha rule ended in 1855, the year Swaminatha Iyer was born. Bhagavat mela was discontinued for 27 years till 1882. Even then only Prahlada was performed as a ritual during Narasimha Jayanti. Meanwhile Melattur Natesa Iyer was born in 1865. From 1895 when Natesa Iyer was above 30 years of age to 1931 Bhagavata Mela peaked again. After his death in 1935, performances were totally discontinued till Balu Bhagavthar took up the cymbals again in 1938 along with V. Ganesa Iyer. The art survived but was still languishing for want of support. From 1951 to 1966, E.Krishna Iyer and Rukmini Devi took up the art and introduced several refinements with regard to music, dance and presentation. Much publicity was given by other scholars like Mohan Khokar who also did considerable work for the art. Bhagavatha Mela continued, now despite intense hardship. A split in the group has proved providential in the long run though some like to think otherwise. A new set of youngsters have been inducted and where there were only ten dancers there are now twenty. Is this not a historical fallout? In 1984, Balu Bhagavathar died and the troupe led by him did suffer a setback. In the last ten years, P. K. Subbier and his brother Ramalinga Iyer along with well-wishers like S. Sethuraman continued with performances in Melattur. The legendary mridangam vidwan Thanjavur Bavu Pillai and his sons B. Herambanathan and B. J. Bharathy are now are associated with Bhagavata Mela. Under Bharatam Mahalingam (Mali) and V. Kailasam both nephews of P. K. Subbier, the art is being reinforced and reconstructed. Mali has undertaken several projects to ensure that Bhagavat Mela will not suffer again. I appeal to art lovers who have now heard the saga of survival of these brave Bhagavatulu to give them a hand-(Applause) a helping hand , ladies and gentlemen.

After this brief glance at the sporadic bursts of Bhagavata Mela history we will see how things have actively changed in this little village.

The Venue

We shall first consider the changes that the venue has undergone in the past 100 years. The performances were held in front of the temple. The spectators sat on either side, probably on the pyol of the houses, as the dancers and the musicians walked up and down about 70 or 80 feet in a clearing among the people. Oil lamps were the only illumination then. Later came the petromax lamps. The plays always began around 9 or 10 at night and lasted till dawn. A temporary stage was built sometime early in the 1950’s for the annual performance. There were no curtains, but the stagehands would hold a cloth across for an important character’s entry, if necessary.

In 1955, it became an accepted practice to seat the musicians on the left. But there was no sanctity attached to the venue as such. It has been performed at other venues in the village-for example at a spot where it was believed Venkatrama Sastri’s house stood. And once in the garden behind the Siva temple.

In 1964 an acre and half of agricultural land was gifted by industrialist V. D. Swamy. Every year a stage with curtains, lights and microphones is erected. A long pandal for the spectators is also built. At the far end of this pandal a shrine is built and the processional idol of Varadaraja Perumal is brought out with ceremony and placed there during the performance. It is believed that this land was once the precincts of a temple dedicated to Sri Lakshmi  Narasimha, the chief deity of Bhagavata Mela. In fact, the idol of Narasimha found here was installed in 1922 in the main Varadaraja temple by Melattur Natesa Iyer.

The legendary actor G. Swaminatha Iyer who is considered one of the finest actors, continues to guide his son S. Natarajan whose group continues to perform on a stage constructed in front of the temple.

Prahlada Charitram will be continued to be presented only at Melattur because of the religious rituals that are part of the play. But we at the Naya Vidya Sangam have agreed that once a year we could perform outside the village provided the ambience is suitable. A modern proscenium theatre is not suitable for such a performance. Next- with your help- we hope to construct a low cost artistic stage where performances will be held perhaps more often.

The Orchestra

Today we have four singers, a mridangam, flute and violin. We have a Director V. Kailasam who controls all aspects of the performance. In earlier days, there used to be instruments like Tutti and Mukha veena. Even the mridangam was worn across the shoulders and played standing. For a short while the Veena replaced the above  mentioned instruments followed by the harmonium. Today we have a violin and flute.

Order of The Preliminaries.

The play begins with a Pundarikam as we began today as is the tradition of all Bhajana Sampradaya. This is followed by Konangi, a strange character probably the one who cannot be really described as the traditional buffoon or Vidhushaka. But he inspects the stage, the orchestra and shouts ‘Sadhu, Sadhu’ or quiet, quiet. Then follows the Todaya mangalam establishing the connection with Bhajana Sampradaya. The Ganapathy Patrapravesha with which the Natakam begins has undergone a change. While earlier a boy wearing a Ganapathy mask was led on to the stage, today he dances a few steps before being seated. A gurukal offers an aarati and then leads him back inside.

Next comes the Katiakkaran, the courtier of the king and then the main characters are introduced one by one.

Today we shall perform the Leelavathi Patrapravesham from Prahlada Charitram performed by Nagarajan who is the recipient of the scholarship awarded by the Human Resources Ministry this year. Patrapraveshams are an extended and often the most important part of the play. The stress is on the display of the nature of the character. This gives a strong identification and awards a status according to their importance in the play. The music plays an important role in its choice of raga in order to create the mood. Often the same raga is used each time the character makes an entry. The lyrics of the Patrapravesha daru is cleverly used by the composer to include the stage directions, description of the costume and the movements or abhinaya that the character is expected to do. A special feature of this Patram, Leelavati, the wife of Hiranyakashipu in the play Prahlada Charitram is the entry behind a thiraiseelai or decorative screen.

(Demonstration of Leelavati Patrapravesham)

The Costume

To demonstrate the changes that have taken place in the costume, we have two young girls here. One is dressed in the original Thoyya sari, a kind that the temple idols were decorated with. Then came the cyclecut made famous by the Devadais who danced in the temples many years ago. We have tried to btain original jewellery, sari etc. The makeup, as you can see, was called Aridaram, a reddish powder made of Aconite, a stone. The powder was mixed with coconut oil and apply it on the face. Later they discovered that it was harmful to the skin and therefore discontinued. Now they ask me for Max Factor.

Today the costume is the same as a modern Bharata Natya costume, as you have seen Leelavati wear. I think you will agree with me that the beauty of this costume, the cyclecut is unmatched. Perhaps we should introduce it in Bhagavata Mela.

Prahlada Charitram

The most radical change that has been introduced in Bhagavata Mela is in the last scene of Prahlada Charitram. As many of you are aware, in the last climax scene Narasimhaswamy carries Hiranyakshipu , puts him on his thigh and tears his torso apart with his talons. This scene was also enacted in exactly the same way.

But Bhagavata Mela is unique in that a Narasimha Mask, believed to be worshipped by Melattur Venkatrama Sastri himself is preserved in a glass shelf inside the sanctum of the Varadaraja Perumal temple in Melattur. The actor who plays the role wears the mask first before the climax scene. He has to observe certain rituals including prayers and fasting at least 24 hours prior to this moment.  In this devout mood he wears the mask and becomes transformed and uncontrollable with fury and anger. It is believed that the spirit of Narasimhaswmy  is invoked in him. In the past it has led to violence on the stage. So the practice has been discontinued in Melattur. After the Samvadam, a verbal duel between god and demon, prayers are chanted to appease the god. Aarati is shown and a pot of jaggery water (panagam) is offered.

Duration

Another important change that has been introduced is the curtailing of the length of the play. This is a major problem facing arts like Kathakali and Bhagavata Mela in the modern context. The leisurely exposition of anecdotes that are woven into the recital are in fact the richest core of these styles. Some of the artistes are well-versed in the sastras and can get carried away by the music to do elaborate sancharis to every line. Normally the duration is 5 to 6 hours. Every character mentioned in the play was expected to make an appearance. Today we have condensed the plays to 4 hours by judiciously selecting what is vital to the story. Patrapraveshams which collectively consume an hour or more are always to be retained. The most delectable music is always found in this part of the play. To discontinue Patrapraveshams is to dilute Bhagavata Mela. In accordance with Darwin’s theory that though mandescended from monkeys he does not have a tail because of generations of disuse (or misuse) ! In the same way we stand to lose a great chunk of inheritance if we discontinue Patrapravesha darus.

However all restrictions of time are lifted during the festival at Melattur as spontaneity and improvisation on stage is crucial to the development of an artiste. And somebody like R. Mahalingam (Mali) needs to be allowed freedom during a varnam or daru when  Sancharis which flow from his imagination is allowed full rein.

Today the Natya Vidya Sangam follows a policy where we do not perform extracts of a play to suit urban impatience. It has to be performed for four hours. We do not have comic interludes in Tamil as was the practice some years ago.

In lecture demonstrations like this one we perform a scene relevant to the theme. I have mentioned before that all the aspects of dance and drama can be found in Bhagavata Mela. The Melaprapti and Sollukattus for which it is so famous were sung in tune with the music.

Although this practice is still continued, the nattuvannar also recites the theermanams as in a Bharata Natyam performance. In order to demonstrate a contemporary work, a scene from the newly composed play Seetha Kalyanam which was premiered in Melattur this year. Dialogue is an important part of Bhagavata Mela. We have chosen a scene between Viswamitra and Dasharatha after the former asks the king to send Rama to the forest with him. Two aspects must be noted here. One of course is the innovative way the action is composed. Secondly the music is newly composed by our veteran Vidwan L. Venkatesa Iyengar. He has followed the original ragas mentioned in the manuscript, but has used his originality and scholarship and made some changes in raga and tala. With the exception of Prahlada Charitram which is definitely original music, as it has been performed or sung every year and passed down the generations, others may have been composed early this century (1900). Kalyani Ammal, the daughter of Natesa Iyer, has made an invaluable contribution by writing down the notation of the music and scripts accurately which is followed today.

(Demonstration)

The content of dance has always been high. As some of you are aware, Melattur repertoire is rich in Alarippu, Sabdams , Varnams and Thillanas.

It is no surprise that the natakams have also several such compositions incorporate din them. You can find this mostly in the Patrapraveshams. The dance content is less if there are no competent dancers available at a particular time. But if there are trained dancers in the troupe like we have currently, there is greater scope for dance. The Melattur style is distinctly different with its extensive usage of footwork which is maintained without change.

Many refinements have been introduced in the presentation. Without affecting the quality of the actual dance-or attempting to introduce sophistication. Entries and exits have been worked out to avoid excessive use of curtains.

While we endeavour to maintain tradition, and the artistes and musicians are devout and dedicated, we expect that changes for the better will not compromise or dilute Bhagavata mela.