Nataraja or narteshwara of gauda-banga

2007·4.4 MB·English

by  Mukherjee, Mahua

Nataraja or Narteshwara of Gauda-Banga
MAHUA MUKHERJEE
Alm~steveryvill.ageinBengalhasShaivites,ShaktasandVaishnavas,butthenumberof
ShivatemplesISbyfarthelargest.EvenwhenthestrongcurrentofVaishnavismswept
Bengal,theworshipofShivaandShaktiremainedunchanged.AncientBengaliliteraturehas
anenormous corpusofreferencestoShivaandhisconsortParvatiinprose,poetry,ballads,
stories and songs. Itis typical fora Bengali girlinherteenstomakeclayimagesofLord
Shiva.Thewishistogetagoodhusband.VariousSanskritbookslike Linga Purana,Shim
Purana, BrahmandaPurana, SkandaPurana,etc., which narrate how theworship ofShiva
wasperformed,havebeentranslatedintoBengaliproseandverse.Shivaasadeityisafigure
offascination for both menand women.Shivastoriesthroughtheageshavebeentoldby
village elders'. Without going into the origins of Shiva,one can underline the fact that
ShaivismisoneoftheleadingreligionsofBengal.Countlessexamplesofthephallicemblem
ofShivaarestrewnoverruralBengalandmanyofthemareofconsiderableantiquity.
Asinotherregions, inBengal tooShivaislookeduponasagreatyogi,anexponentof
various shastras. and adept at dance and music. Shiva is called Mahesvara, Bhupati,
Bhutanath, Pashupati, etc. From literary,epigraphic,and livingdanceevidenceavailable
fromBengal'spast,onethingstandsoutclearly-theimageofthedancingShivahasgreatly
fascinatedthepeople ofBengal.IwillconfinemydiscussiontoNataraja,theDancingLord,
knownalsoasNarteshwarainBengal, underthefollowingheads:
(a) NatarajaorShivainBengal'sliterarytradition
(b)NatarajaorShiva'splaceinBengal'sfolk-danceandculturallife.
(c) NatarajaorShiva's placeinBengal'ssculptureandpainting.
(d)NatarajainBengal's prescriptivedanceliteraturei.e.,shastra.
Itistobe noted here thatthemostpopularandimportantaspectoftheShivacultisthe
worshipofIinga. OthergracefulorplacidfOnTISofShivaaredescribedinthevariousShiva
AgamashastrasundersuchnamesasDakshinamurtiandNrityamurti,etc.,whichportraythe
god as master in the various arts of dancing, playing musical instruments, expounding
shastrasandpracticingyoga.Shiva performsvarioustypesofdances,suchastondava; he
isalsoportrayedasthegreatestteacherofyoga,Vina,jnana(knowledge),andis knownby
several names like Yogi, Vinadhara, Jnani, etc. Shiva is also called Bhairava,Aghora,
Virabhadra,Virupaksha,etc."
AsShivacommenceshisdanceintheevening,Ratnakaraimaginesthesunandmoonas
cymbalsused by thegoddessofprosperityherselfforrala(rhythm)andlava(tempo),the
Sangeet Natak Vol.XLI. No.4. 2007
48 MARUA MUKHERJEE
mostimportantitemsinthenritta (puredancewithrhythm)aspectofdance.
At the commencement of dance at dusk, Shiva is pictured with the sun setting over
Ashtagiriandthefullmoonemergingintolight fromhislocks'.Shive'sfondnessfordance
andmusicisknownfromepithetsinShiva-sahasranama.HeiscalledNritya-priya,Natya
priya,Nartana-priyaandSarva-sadhaka.HeisknownasNarteshwara,andthetermisusedin
theinscriptiononthepedestalofoneofthemostmagnificentdancingimagesofthePalaage
locatedin Bharella,neartheDaccadistrictofundividedBengal.Shivaistheonlyonewho
candancebothtandava(vigorous)andlasya (graceful),whichgives emphasistokaishiki';
itismentioned intheNatyashustrathatinBengal.the vrirti(style)ofdance was 'Bharati:
and 'kaishiki", Shiva,beinghermaphroditic,couldplayextremes and was notrestricted to
only shringara and raudra.
A beautiful description of Shiva's classicality as Ardhanarishvara (halfman and half
woman)isgiveninacopper-plateofDhannapala(oneofthefamousPalakingsofBengalof
AD9 c. ).In Pragjyotisha(Assam),the primal god is portrayed as halfa youthfuldamsel,
decorated withblue lotusandgems,theotherhalfhavingaserpenthood.Shivais notonly
theLord ofrandam inboth varietiesofnritta and nritya, heisalso theLord ofnatya?
s
Significance ofShim Dance
(a) DanceofOmniscience:Natarajadancing with Vina, asrepresented inseveralPala
forms,signifieshissupremeknowledge.asSarvajna.ItisthedanceofOmniscience.
AsDakshinamurti, Nataraja and Vina-dhara, he is respectively the Lord ofknowl
edge,danceandmusic.
flo
(b) DanceofTimeandEternity:TheDanceoftimeand eternity isthatofKalantaka.ln
BengalsculptureofthePaladynasty.Natarajaisseenasdancingandkeepingtimeby
clappingapairofhandsoverhis head.
(c) SignificanceofShivadancingonbull:Shivadancingonthebullconnotestheeradi
cationofignorance,resulting inthebirth ofknowledge. as crescent culminatingin
the full moon indicates perfection of knowledge or omniscience. There shouldbe
similarly aconnotationforShiva'sdanceonthebull.which is foundparticularlyin
eastern India. mainly in Bengal andAssam, and to an extent in Orissa and Nepal
duringPalaperiod.
(d) Symboloflife:ThedancingformofShivahasalwaysbeendepictedwitharmsspread
outlikebranchesoftrees.Thejarasormattedlocksspreadingandwhirlingindance.
Ganga andGauri inclose proximity,standing incharmingtribhanga stanceslightly
inclining towardstheirLord,isfoundinsculptures oftenth-century Bengal.
(e) Destroyeroffearofthreemiseries:TheinterpretationofthedancingShivaastearing
uptheveilofignoranceisstressed.Similarlyinmulti-armedformsofShivaofthePala
periodofBengal,theswordisprominentasisexemplifiedintheNarteshwaraimageof
ShankarabandhasituatedintheeasternpartofundividedBengal. Itisworthwhileto
speculate in this connection the purpose of the sword in the ten-armed varietyof
NATARAJAOR NARTESHWARAOF GAUDA·BANGA 49
Nataraje.Aversefrom thestoneinscriptionexplainsthatShivadestroysallfear:fear
ofthethree miscries-s-Adhyamtika.Adhibhautika.Adhidaivika.Inotherwords,itisa
flameflashingforth,cuttingtheknotofdeep-rootedandextensiveignorancewiththe
swordofknowledge.'
s
Natara]a in Bengal Literary Tradition
The dancing god is featured prominently inBengali literature.The Mangala-kavyu has
played a very distinctive role in the history of Bengali literature and Shim Mangala or
Shivayana which falls under the above-mentioned genre is worth dwelling upon. The
Mongala-kavya songs invariably have a story to tell. illustrated by dance with chamara
(chowrieorfly-whisk)inhandand aidedbyMridanga-mandira";theSangita-ramakarahas
referred to such Mnngalacharprabandhagiti?
There are various types of Mangala-kavyas. among themthree versionsbeingMunasa
Mangata , ChandiMungnlu, and DharmaMangala.To this was addedShiva Mangaluor
Shivayana.whichonlyconfirmsthepivotalrolethatSbivaplayedinthehistoryofBengal's
perfonning arts.Incidentally,inShim Mongolo,Shiva isportrayedasanordinary peasant
andParvati asa ruralhousewife.
Further,inManasaMangalaKavyathereisaseriesofdescriptionsofShiva'sdance.TIle
first startswithanoverjoyedShivadancingonmeeting Manasa.Thewordsofthepoetare:
"Padmare laiya kakhe nache Shira ghanopake"~Shiva ispirouetting with Padrnaishis
arms.Itremindsusofthebhramari(whirlingmovement)traditioninBengalidance.Moreo
ver.in Vijaya Gupta'sManasaMangala Kavya, there isreference to tam/avanritvabeing
performedbyShivaand Parvatijoiotly.
Shim;nocheremukhetegilagahe
Haretalidiyakinkaregilagahe
Hasitekhelltechaliteranga
Nandi}.l.ahakalabajay mridanga
(Shiva is dancing and singing songs and the kiokara. the attendantofShiva, is also
singing and keeping the rhythm with claps,and theotherattendantsNandiand Mahakala
are playing percussion instruments.)
Itlistsdifferent names-Shivai,Gangadhara,Trilochana,Pashupati,etc.,-bywhichShiva
wascalled.Bengali literatureaboundsindescriptionsofShiva'smovementindance.Poets
whohavetriedtodescribeminutelyevery bitofShiva'sbeautyfromheadtofoot,conceive
the form of Shiva himself in a picturesque fashion.As the drum precedes other musical
instruments.bothinmusicand dance,the soundingofitbyNandiatthecommencementof
Shiva'sdancebecomesafavouritethemeinliterarydescriptions.ShiV3'SbeautyinMangala
kavyasisdescribedIhus--hisnaturallyfaircomplexionisrenderedfairerbytheapplication
ofashes. snakes glide over his chest, neck and shoulders. creating a colourfuleffect of
interspersedblackandwhite;heislikeaclearskywiththerisenmoon.Suchisthedescrip-
50 MAHUA MUKHERJEE
tion inAnnada Mangala Kavya ofBharataChandraRayGunakaraof18thcenturyBengal.
Nararaja in Epigraphical Literature ofBengal
Ithasto benoted thatinBangladesh, thenameNarteshwara occurs in an inscription, and
thatitissynonymouswithNataraja.Theinscriptionmentionstheconsecrationofadancing
formofShiva,calledNatrteshwara,inthetenthyearofkingLadahaChandraDeva'sreignby
BhabuDeva, sonofKusumaDeva, rulerofKannanta.Thisinscriptiononthepedestalofan
imageofNatarajathrowslightonthepopularityofthedancingformofShivainthispartof
thecountry.It isinterestingthatinthenatgharainthestateofTippera,aNatarajaimageis
still worshipped. It shows the bias of the devotees for this aspect ofShiva (the Bharella
Narteshwaraimageinscription)."
Nataraja in Bengal's Sculpture
Thearchitecture of Bengalis replete withShivatemplesandimagesof Nataraja. In the
easternregionPashupatismwasverypopular. Epigraphicalandliterary evidencesdisclose
theprevalenceof thisform ofShaivisminancient Bengal.KingShashanka ofGaudahas
beendescribedinoneofhiscopper-plates,datingtog.S.300,asagreatdevoteeofShiva,the
godofthe threeworlds. This devotion ofShiva inBengalis alsoprovedby agold coinof
KingShashanka.ShivahasbeenrepresentedinvariousfOnTISatPaharpur(7th-il" century)
andfourofthesculptures havebeennotedbelow:
(a) Thesceneofofferingpoisonhasbeendepictedinasimplebutdignifiedway.
(b) There isastanding imageofShivawithakneelingbull tohisright andaheavy staff
inhislefthand. (Nataraja ofBengal with 12hands)
(c) Inanothersculpture,hisrighthandisinthe varada (blessing)pose andhisleftholds
the trishula (trident).
(d) In another piece there isa halo round his head and his two hands hold akshamala
andkamandalu.It is tobenotedthat in these fourforms,Shiva hasurdhvalinga
(phallus inupwarddirection)andhisthirdeye ontheforehead, which along withthe
presenceof akshamala and kamandalu signify hisasceticaspect."
TheNatarajaimagesfoundinBengalespeciallyinthePalaperiodshowShivadancingon
thebull.Thebullitselfisdepictedinanecstaticstate.Shivaisgenerallyten-totwelve-armed
andhassometimestheVinainhishands,whichheplaysashedances.Insomeoftheimages,
thepairofhands isshownabovehisheadclappingandkeepingtimebymeansofkarkata .
hasta.HeisusuallyflankedbyGangaandGauri.ThisformofimageisknownasNarteshwara
asitissonamedinaninscriptiononthepedestalofabadlymutilatedimageatBharellain
Tipperadistrict.ThemostbeautifulamongtheNatarajaimagesfoundinBengalisundoubt
edlytheone fromShankarabandha, Daccadistrict, presentedtotheDaccamuseumbyJ.N.
Majumder.HereNatarajaisshowndancingecstaticallyonabull;theanimal,withtwolegs
NATARAJA OR NARTESHWARAOF GAUDA-BANGA 51
raised andwith face turned andtwistedtolookup,itselfisinanecstatic stateasisseenby
thecurvesandcontoursof thebody andthecurled uptail.AsdescribedinMatsya Purana,
Shivacarriessword, lance, staff, trident, varadahasta,shield,skullcap,snakes,rosaryand
khatvanga.AnotherNatarajainDaccamuseum foundinatanktothesouthofBallabadiat
RampalaintheDaccadistrictisimportantasitmighthavebeeninthesiteofthepalaceofthe
kingofBengal.Wemayrecall thattheNaihatiplateofBallalsenastartswiththeinvocation
ofShiva's sandhya tandava. The Senas were famous fortheirdevotion toShiva. Shivais
ten-armedandusuallyhasaccompanimentslikethesword,thunderbolt,tridentandstaff,the
shield, khatvanga, snake andskull. Themainhands areingajahasta anditappearstohave
been inabhaya.GangaandGauri aretheprincipal figuresflankinghimandthetwoseated
musicians are shown playing drum and cymbals. The drum isof urdhva (upward) type.
Bhringi isshowndancingecstatically.Amongothers,theganasplayontheconch,Tumburu
himselfplays the Vina.Nandikeshvaraclaps hishandstokeeptime.Thereareanumberof
other deities aUaroundwatching thetandavadance. On thepedestal itselfthereare many
dancing figures.
Nataraja inthe DanceofRuralBengal
OntheoccasionoftheGajanfestival ofChaitraSankranti(inmid-April,thelastdayofthe
Bengalicalendar),alargesectionofpeopleofruralBengalparticipate.TheGajanfestivalis
typicalofBengal. Throbbingwithsongs,thefestivaloffersavarietyofdancesinhonourof
the lord, mainly performed by rural artists. One suchdance isthe maskdance.The artof
theseBengalimaskdancesispurelyruralincharacter.Themaskdanceformsanintegralpart
ofthereligiousand social lifeofthe ruralHindupopulation ofBengal,irrespectiveofcaste
andrank.
(i)Mahadeva Nritya
TheartistwhoimpersonatesMahadevawearsaredloinclothroundthewaist;therestofthe
body is bare except for a smearing of white ash and chalk. Adouble string ofrudruksha
seeds(rosary beads) hangs roundhisneck.Onhisheadhewearsawigwithtwolongmatted
locks reaching down to the knees. With both hands he holds the mask of Mahadeva and
puts iton his face; he holds an iron trishula (trident) andshankha (conch shell)inhis left
hand. The dignity of the mask of Mahadevaisgreatly heightened bythecrown ofsnakes,
the snakes forming the crown being either 3 or 5 in number. The notable feature of the
Mahadevamotifin this dance is that itrepresents the Bengali conception ofShiva. It isa
combinationof,ononehand,thecompletelydetachedandunworldlyyogiwiththetrishula,
and on the other of the married man who has a wife at home and who acknowledges a
husband's duty towards her to supply the conch-shell out of which are made bangles
(shankha) which she loves to wear. According to thisconcept, the hooded snakes on the
head represent the tamed passions of humanity. This personal and human conception of
Mahadevaisadistinctivefeature ofruralBengal,exhibitednotonlyinsongsanddancesbut
52 MAHUA MUKIIERJEE
also inballad. (Shim Mangala )and paintingsofpatuas(village painters).They also find
expression inlocalproverbs.All this illustrates thefact that the rural deitiesofBengalare
reallysymbolicrepresentationsoftheapotheosisofman,based on Bengalisahajiyacultor
ideology,namely.that man athisbest is the highest embodiment of all beings. The basic
features of thedance of Mahadevaare itsbalance and restraint and the rhythmic progress
fromslow measured stepstothegraduallydeveloped finale.
(0) KirataArjuna Pala
h isafamousdancepieceofthegajangenreintheChhaudanceof'Purulia, basedonastory
taken from KashiramaDasa'sMahobharata,whereLordShivaisinthedisguiseofKirata.a
tribalhunter.
(iii)Dharma-pujaProcessionDance
TheDharmapujaismostlypractisedbyrural peopleofthedistrictsofWestBengal.Dharma
puja is believed to bea relic of Buddhism with an admixture ofTantric Hinduism, i.e.,
ShaivisrnandSurya-puja.ThedeityDharmarajaisworshippedintheforrn ofalongpieceof
wood which is called Baneshvara ( Shiva) and is decorated with vermillion. Baneshvara
correspondstothePataThakuroftheCharakaGambhiradance,anditisgenerallyidentified
withthedeityShiva.Onthe 13thdayofthemoon,Baneshvaraistakeninaprocessionfrom
housetohouse andfinally tothe ghat,thebankofatank, totheaccompanimentofsong and
dance.ThedrummersplaytheDhakonthe 14' dayofthemoon, thebhaktasburn somelogs
ofwood, andafterhavingscatteredthem onthefloorofDharmarajatala, theydancewildly
ontheburninglogs. ThisiscalledSanyasdanceofthe Charak-Gambhirafestival.
(iv) Chamk Gajan Festival
ThefestivalofCharak Gajantakesplaceduring thelatterpartofChaitra,thelastmonthinthe
Bengalicalendar,culminating intheChaitraSankrantidayoftheBengali year.The month
Chaitraisdevoted10 theworshipofShiva,and theCharakGambhiraisrelatedtothecultof
Shiva.The Bengali conception ofShiva identifies him with non-attachment, valour and
insensitiveness to pain. His worshippers. who are called bhaktas. submit themselves to
austeritiesofvariouskindsinvolvingthe painfulprocessofpiercingthebody with pointed
rods.etc.Everyevening.theworshippersperformtheDashavataradance,theincensedance.
and the phul sanyas dance.The bala or leader utters appropriate hymns, which are tradi
tionalBengali verses relating tothecultofShiva,
Oh Lord!inthy Yoga sleep-con thy left Sati(consort)
On thy two sides stand Nandi and Bhringi(attendants)
I utter thy name and stand in frontofthee Inhope of getting the dust ofthy feel
Wonderful is thy capacity
Thou art the source ofall strength and life
Iknow norhow to worshipthee
NATARAJA OR NARTESHWARAOFGAUDA-BAr-;GA 53
Thou art Shin the victor of death.
the holder ofthe holy riverGangeson the he..d
Thou art (he essence of the Universe
Thou holdeth the Universe.
Saveth the living andhelpeth the living incrossingtheseaof life.
oThou with mattedhair, riding abull.
Givethy blessingstothy worshippers.U
SotheGajanfestival.oneofBengal'smainfestivals,iscelebratedwithgreatenthusiasm
inruralparts;especiallythelastthreedaysofthemontharecelebratedinagrandway.Abrief
descriptionofCbarakfestivalsatdifferentplacesisgivenbelow:
(I)Charak festivalofKaliganj-aplaceinNadiadistrictborderingMurshidabadinW<>I
Bengal.CharakGajanisafamousfestivalof(hisplace.Almost40to50devoteestakepart
intheBrata orvow.
DifferentBolangroupscometoperformdancehere.Theycreateanartificialatmosphere
ofacrematorium,amanlyingasifdead.Alongwiththis,'Gridhnibishulnachoorvulture
dancewasalsoperformed.OnthedayofSankranti,thedevoteesinsertthinironskewersjust
beneaththeeye-brow andplacelightedearthenlampsonthem.ThisisanofferingtoLord
Mahadeva.Anothertypeofbanphoda(arrow-piercing)danceisperformedbyinsertingiron
rodsthroughthetwosidesofthewaist.Thetwoendsofthearrowsaretiedtogetherinfront
andabananaisverticallyplacedthere.Inflammablematerialslikeghee,chutu(flourofchick
pea),etc.•are coatedon the banana.which issetalight.Inthisposition50to60devotees
standin8-10rows andperformexcellenttandavanrttya(vigorousdance).creatingaspec
tacularscene.Othersassociatedinfrontofeachrowcontinuouslygoonthrowinginflamma
blematerialssothattheflamesgrowbrighterandbigger.Thesedevoteesgoondancinguntil
thebananafallsdown byitself.
In traditionalgajan songswecometoknowabout Lord Shivadancingonhisoxasthe
tailofhisox risesup--'brisheunmanohoiyapuchhatutyoneche'.Theclassicalschoolof
sculpturesofthePaIa-Senaperiod alsogivethesameidea,i.e.,LordNateshwaraisdancing
onhisoxNandi(bull)withhistailup(8"-11"century).
Thisdifficultarrow-piercingdanceisperformedtotherhythmofDhakfromafternoon10
evening.Anextraordinarysceneiscreated,withfonytofiftyarrowsburningandthedevo
teesdancing.wearing whitedhotiontherhythmofmanyDhaks.Thesceneremindsusof
theSandhyaTandavaofLordShiva.Suchharddanceinvolvestremendousself-castigation.
Wewerewatchingthatdancefromtheroofofasingle-storiedbuilding,yettheradiationof
heattroubled useventhere.Atlate nightofChaitraSankranti,anotherritualisperformed
withdance.Alargequantityoffuel-woodiscollectedthroughoutthenightandlituplateat
night.Theflamesriseveryhigh-theheightofa3to4storiedbuilding.Thedevoteesdance
totherhythmofdhakandgraduallyputoutthefirebyremovingoneortwopiecesofwood
duringthedance.The wholeprocesstakes3to4hours.Aftercompletingthewholeprocess
thedevoteesrollonthehotbibhutiorashes.Thisritualisperformedimitatingtheactivities
54 MAHUA MUKHERJEE
ofLordShiva oncremationgroundsasmentionedinmyths.Thefireisputoffat5a.rn.,but
almostthreehourslater,whenwewereonourwaybacktothebus-standataround8a.m.•we
had torunthroughthat place inordertoavoid the heaL
(2) CharukCajan festivalofDattaphuliainNorth 24Parguna(includingthevillagesbor
dering Nadiadistrict). The devotees here observe hard and painful rituals throughout the
month.OnthedaybeforeChaltraSankranti,3()..40sanyasiswearingreddhotiorclothperform
a kindofsamharatandavanritya (vigorousdance) inthecrematorium insidea paddyfield.
Threesanyusisaresenttoadistantvillagecremationgroundtodig outskullsfrom there.
After theyleave.the devoteescontinuetoperformtheirdance-s-comicactslikelighting
firetohanuman'stailand ashtakdancebymembersofashtakdalorparty.Twohourslater,
thesanyasisreturnwiththeskulls.Allalong their way,theydancewithmusicalrhythmor
PeatsofDhakorabigdrum-typepercussioninstrument.Afterreachingthe mainplace.they
start uchchundu tandava, a wrathful dance with the skulls.They were beyond control
whenIwitnessedthedance.Many sanyasistried tocontrolthem bytaking away the skulls
andpouringwateronthese threesanyasistomakethem calmdown.Theneveryonewent to
asmallcrematorium and wefollowedthem.Beforeleavingthe place one Vaishnavapriest
made four Shaivadevotees tum into Vaishnava byapplying chandan tilak;gran/hi tilak
(markwith sandal-paste)andtulsi mala (Vaishnava rosary beads),A basket was placedon
theheadof theothersanyasi which contained the articlesrequiredfortantrikShivapuja(a
specialkindofShivaworship)likeskull,bones,etc.Thewholeprogrammewentonwiththe
beatsofDhak(bigdrum).Wefollowedthem throughthemuddyfield,withoutany light,toa
small privatecrematorium. used by an individual family. We also tried 10 step with their
rhythm, Fourbananatrees were placedonthecomersofthechita(burningplaceofthedead
body).Those four Shaiva devotees with Vaishnava tilak started praying by using prayer
beadsoftulsiandrudraksha. Onestartedworshippingbyplacing thepujamaterialsonthe
chita in tanmk method using tantrik mudras or hand gestures.All these activities were
carriedoutintherhythmofdance.The processtookaboutanhour.Covered indeepsilence
and darknessallaround,onlythe chantingofmantrasandbeatingofDhakcouldbe heard.
Somesanvasisgot soengrossedin itthat theyfainted for sometime.In the meantime one
priest dressed as Shiva came from the deep darkness doing Shiva tandava dance and lay
downonthechita withtrishula ortridentinhand.Thiswentonforalongtimeinathrilling
atmosphere.Suddenly,fromnowhere.amanappeared,dressed asshmashanKali,thegod
dess of darkness. dancing Kalika tandava (the vigorous dance of goddess Kali)--a dance
based onbhuyunaka rasa(ferocioussentiment). 'blood pot"inhand, dancingwith asword
asiftode'troyallevils,drinking 'blood'from thepot andsnatchingflowersandskullsfrom
thepriest. \Vhiledancing, thegoddess Kaliof thecremationground cuidownthreebanana
trees but one remained and after that all returned back to the earlier cremation ground,
dancing throughout the way.
Intheafternoon, on thedayofSankranti, charakiscelebrated.Three tofourmen hang
themselves from the charak gachh. The charak~log is approximately 40 feet in height.A
NATARAJA ORNARTESIIWARAOFGAUDA-8A.'OGA 55
straightlargepieceofwoodisplacedhorizontallyacrossit.Thesanyasishangdownfrumit
withhookspiercingtheirskinattheback,Icouldnotbelievemyeyes.whenIwitnessedthis
scene!The charak wood wasrotatedat suchahighspeedthattheverticalpositionofthe
mangraduallybecamehorizontal.Thescenegavemegoosepimplesbutthesanyasiswere
indifferent.Someofthemhadperformedtheseactsinpreviousyears.TheS-shapedthick
iron hooks were inserted on both sides of the back-bone without usingany anaesthesia;
whenthe hookwas pressedhardinordertopiercetheskin.allshouted jaiShivailoudly
togetherwiththebeatingofDhak.Afterperformingthewholeact.thesonyasiscomedown
andspeaknonnally.Thiswouldbesimplyunbelievable,iffhadnotwatcheditwithmyeyes.
Iasked themhowtheycoulddoallthis!Theyanswered,onlyfaithinBabaor BuraBaba
(Shiva), nothing else. If Baba can take all the pain and sufferingof the universe, being
Nilakantha, then why can't we?
(v) Angadoni Nritya
Itsactualname isAngadhwani.The worddhwaniinitslocalaccenthastransformedinto
doni. Here,bone-jointsofdifferentpartsofthebodyarchurtwithaninstrumentcreatinga
varietyofsounds.Sound ordhwanioriginatingfromangaorbodycombinedwithvarious
bodymovementsgivesbirthtoAngadhwanidance.Thestrikinginstrumentismadeofbone
andcoveredwithleather.Varioussoundsarecreatedbystrikingthisinstrumentondifferent
bone-joints.Sometimes oneinstrument, ortwoorthreeinstrumentsofvaryingshapesand
sizes,aretaken and struckfast,inthefeet.ankles,knees.waist,chest,ribs,shoulder.chin,
nose.ear,forehead,palm, backof thehead.etc.The soundsthuscreatedareblendedwith
rhythmandmelody.Itisarigorousandgracefuldance--classicalkatanascanbeobserved
withthisgarland ofmelodiousrhythm.Atfirst,theperformersitsinpadmasana,thenthe
dance beginsatslowpace,andendsatafasterpace.Thedanceisverytoughandstressful.
Rigorouspracticeisessential,asonehastoconcentrateonanthreeaspects-.dance,rhythm
andmelody.GenerallytheseperformersateworshippersofLordShiv.andtheyperfonnat
Shivamelasorfairs.Theperformancesarebyoneortwoorthreeartists.Theywearredcloth.
sometimestheskinoftigerordeer,tieapieceofclothontheforehead.andtheirbodiesare
coveredwithashes.Thisgracefulandvigorousdanceisalmostextinctnow.LordShivais
worshipped fora good harvest.ThereisamyththatDeviDurgawasmesmerized bythis
Angadonidanceand themusicofLordShiva.
Inancienttimes,thisdancewasspeciallypractisedintheBengal-Barak"alleyandSylhet.
Avarietyofexercisesaredoneplayingtheleatherinstrument-r-Ia)theartistsplaytheinstru
mentanddanceonburningcharcoal;(b)theydanceoncubesugarorcubemolasses(bataso)
spreadinthecourtyardwithoutbreakingthem;(e)theymakedesignswiththeirfeetwhile
dancingwiththeirinstruments.onhusk.sand,clay,colour,etc.spreadinthecourtyard.
II
Contact ofGaudadesha with TamilNadu .
ShaivadanceandmusicisaveryoldtraditioninBengalandhasinfluencedtherestofIndia
56 MAHUA MUKHERJEE
andalsoplacesoutsideIndia.TamilNaduisanimportantsealforShaivites.Alargenumber
ofShivatemplesare inTamil Nadu, andintheCholaperiodthe Gauda genreofmusic was
sung in Shiva temples during daily services, nitya pujas.It is interesting to note that in
Agamictexts,thesingingofGaudasongswasmadecompulsoryintemplesimmediatelyafter
Vedicrecitations. The Dravida songs were to be recited after Gauda songs in the daily
worshipofShiva,The Sarna Veda should berecitedduringthe sacred bathingofthedeity.
The music of Vina should be followed by Vedic hymns and shastras. The Gauda music
should besung till the start ofthe incense rite followed by songs in Dravida languages.
SanskritandApabhramsasongsshouldbesung.Dancesofdifferentregionalschoolsshould
be performed at the end ofthe songs.This shows that Gaudiya tradition had struck deep
rootsinShaivatemples,veryearlyinthehistoryofTamilNadu.!'
According to Chidambaram Mahatmya, a certain Simhavarman, also called
Hiranyavarman,ofGaudadeshabuilttheNatarajatempleofChidambaramandspenttherest
ofhislifeworshippingNataraja.ThislegendofaBengalkingcorningtoChidambaramand
buildingaNatarajatempleappearsprominentlybothinSanskritandTamiltexts.Wemaynow
trace thislegendtothecomingofShaivacaryas-s-Shaiva priests-from BengaJandestab
lishingcloselinksbetweenGaudadeshaandChidarnbaram.TheShaivacaryaswhoservedas
rajagurusoftheCbolas were fromGaudadesha andtheircontributionsareremarkable."
Rajagurusofthe Cholas
ThenamesoftherajagurusofCholaemperorsfromIsanaShiva,therajaguru ofRajendra
Chota.arelistedbelow:
King Rajaguru Nativity Date Place
I. Rajaraja Isana Shiva Lada HID Tanjavur
2. Rajcndra SarvaShiva ? 10 Tanjavur
(Lada=Radha=
Western part of
Bengal)
3. Kulotunga SrikanthaShiva Gauda H2O Thumangalkkudi
4. Vikrurna -do -do 1121 -do
5. Kulouunea ll DhyanaShivu Gauda H50 Cidambaram
6. RajadhirajaII UmapatiShiva Geuda 1170 Arpakkarn
7. Kulottunga111 IsanaShiva Geuda 1200 Tribhuvanam
Havinglistedtherajagurus,mostofwhommighthavehailedfromGaudadesha,itwould
beinterestingtoseebrieflythetempleactivitiesundertheirrulers.v"
Idols Broughtfor abrship
The Pala bronzeofNrityeshwara Shiva. now worshipped atAmritaghateshvara templein
MclakkadamburnearChidambaram,C.Sivaramamurtiremarks: