6-Dec-2018: Kamsale dance
Kamsale also known as Beesu Kamsale is a unique folk art performed by the devotees of God Mahadeshwara. Kamsale also refers to a brass made musical instrument. The Kamsale comprises a cymbal in one hand and a bronze disc in the other and is used to produce a rhythmic clang. It is a group dance form performed by the menfolk in villages in the Mysore, Nanjanagudu, Kollegala and Bangalore areas in Karnataka. Kamsale is used both as an instrument and also as a prop by the dancers themselves.
An 11th century percussion instrument, Kamsale belongs to the category of idiophones. It is referred to as Batlu and Kaitala in ancient texts such as the Basava Purana by Bheema Kavi, Chennabasava Purana by Virupakshapandita, Girija Kalyana by Harihara and Shabdamanidarpana by Keshiraja. This is the main instrument used in the Kamsale dance, which is named after the instrument. This form incorporates both the elements of dance and martial arts. The devotees of Lord Mahadeshwara practice and perform this art form.
Built by Junje Gowda, the Kuruba Gowda landlord, the temple is located at Male Mahadeshwara Betta in Chamarajanagara. Believed to be an incarnation of Lord Siva, Saint Mahadeshwara, performed penance on the hills here. The lingam here is swayambu. Devotees believe that the saint in the form of linga still performs penance here. The folk songs sing the praise of Lord Mahadeshwara.
Kamsale is performed by the Haalu Kuruba / Kuruba Gowda community, who are devotees of Lord Male Mahadeshwara.
Derived from the Sanskrit word ‘Kamsya tala’ meaning bronze cymbals, Kamsale resembling the cymbals, is played in pairs and usually made of bronze and, occasionally, in brass. The pairs are not identical like the jalra though. One part of the instrument is in the shape of a cup with a broad base while the other is slightly flat. The flat piece is known as gari, while the cup-like portion is referred to as adi battalu. The battalu is about an inch deep, three inches in diameter and one fourth of an inch thick. The gari is slightly bigger and thinner. The performers feel that gari denotes the sky while battalu signifies the earth.
There is a projection on the outer surface of one of the pieces through which passes a multi-coloured string gonde dara. Sometimes ornaments made in bronze are tied to the string for an added sound effect. The performers hold the cup-like piece in the left hand while the right hand holds the other piece. The kamsale is then struck to produce different sounds.
Kamsale accompanies the recitation of the legends of Lord Mahadeshwara, apart from legends from Basava Purana, Raja Vikrama to name a few. At least three singers recite, like in kathakalakshepam, with the main singer also playing the kamsale. The songs sung are in Kannada.
The art form is passed down generations and are performed during festivals and on special occasions in the Lord Mahadeshwara temple. They also stage performances in and around Mysuru, Mandya and neighbouring places. Earlier, when the devotees trekked the hills to go to the temple they played the kamsale to keep away wild animals. The Kuruba community regard this vibrant art form as an offering to the Lord.
26-Jan-2018: National Palace Museum of Taiwan to stage traditional Indian dance performance
Indian troupe Sarberiya Milan Sangha Chhau Nritya Party is set to stage a traditional Indian Chhau dance at National Palace Museum Jan. 27 in Taipei City, as part of efforts to strengthen cultural exchanges between Taiwan and the South Asian nation.
Jointly organized by NPM and India-Taipei Association, “Chhau Nritya: Dancing Tales from India” will be presented by Sarberiya Milan Sangha Chhau Nritya Party—a troupe sponsored by New Delhi-headquartered India Council for Cultural Relations.
Chhau features dancers in colorful masks and costumes performing movements inspired by animals, birds, martial arts and tribal and folk customs. The practice was added to UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2010.
Chhau shows typically depict episodes from classic Hindu epics. The NPM event will comprise three sections: “Mahishasura Vadh,” the mythical tale of the buffalo demon Mahishasura and his death at the hands of the Goddess Durga; “Kirata Arjuna Saga,” a story from the Sanskrit text Mahabharata about the heroic archer Arjuna; and “Abhimanyu Vadh,” another legend from the Mahabharata about Arjuna’s son, the warrior Abhimanyu.
The Indian troupe will stage another performance of the show the following day at Dream Community, an artistic venue in New Taipei City’s Xizhi District.
Background:
Chhau, a form of tribal martial dance of India, is believed to have originated in the former princely state of Mayurbhanj. Today, three variations of the dance are performed in eastern India – Seraikella Chhau in Jharkhand, Mayurbhanj Chhau in Orissa, and Purulia Chhau in West Bengal. All the dances are performed with masks. However the masks, style and accompanying music of each form is noticeably different.
The forms:
Seraikella Chhau – Based on martial arts, the Seraikella Chhau follows the tenets of Natya Shastra as propounded in our scriptures. The use of masks is its uniqueness and the dancer uses these to clarify and depict the theme of the dance. The dancer expresses different emotions, notions and ideas with the drum beats (Tal) and musical rhythms. The dance runs in three phases i.e. Sthayee (Permanent posture), Madhyala (Intermediate movements), and Drut (Faster movements). Various topics from Ramayana and Mahabharata, abstract ideas, and common social incidents form the subject matter of these dances.
Mayurbhanj Chhau – Mayurbhanj Chhau dance form has a long history. Originally a tribal dance, which originated from the forests of Mayurbhanj, Odisha, in the 18th century, it got the status of a martial art form in the 19th century. Slowly & steadily Mayurbhanj Chhau left its martial character and got mellowed. Under the royal patronage it received proper attention & direction and showed a bright future and utmost perfection as a dance of excellent style in the field of eastern art and culture of India. Mayurbhanj Chhau is performed without masks and is technically similar to the Seraikella Chhau.
Purulia Chhau - Chhau in West Bengal has a distinctive character of its own. Though it has not changed much in spirit from its hunting or warfare origins due to lack of sustained patronage, its outer form has been altered to an extent. In fact the Purulia Chhau is almost an antithesis of the sophisticated and stylised Seraikella form.
Brief and simple rituals precede the performances usually conducted before a Shiva temple or in the village square. Basically, a ritual dance, Chhau was performed on the occasion of the sun festival observed at the end of the month of Chaitra (mid-April) as per the Bengali calendar. With time Chhau has become an integral part of other festivals too. It also provides an opportunity for groups of young people to pursue it as a profession. There are many renowned Chhau dancers in Purulia like late Gambhir Sing Mura and Nepal Chandra Mahato; both were Padmashree awardees.
No dais or raised platform is constructed for Chhau. Spectators crowd around in a circle and enjoy the unfolding story squatting on the bare ground. The dance usually starts as darkness falls and continues till dawn. The reverberating drum is an important part of the performance. With the rumble and a thunderous invocation to Lord Ganesha, the dance begins. As the invocation fades out, musicians builds up the crescendo with the dhol and the dhamsa (both percussion instruments). The flute-like marui holds the notes and the melody of the rendition. In Purulia Chhau the chief drummer sings the introductory song or renders rhythmic passages during the performance, unlike the Seraikella Chhau. As opposed to the godly hero a demon engages in vigorous somersaults at the entre to make the distinction between the unbridled and the stoic. The stories selected for the dance are usually based on episodes of the Hindu mythological epics, Ramayana and Mahabharata. Sometimes episodes from Puranas are also used. Two rasas, emotions, dominate the performance, i.e., vira, power and Rudra, strength. The victory of good over the evil is the central theme of most of the dances – ‘Mahisaur Badha’, ‘Mahiraban Badha’, ‘Kiratarjun’, ‘Abhimanyu Badha’, ‘Bokasur Badha’. No woman participate in Chhau, men perform the female roles with élan.
10-Dec-2017: Tholu Bommalata on the verge of extinction
Tholu Bommalata, the traditional puppetry art form of Andhra Pradesh, has lost its sheen. Now, there are only a few artisans to carry forward the art. Years ago, the art was active in the four districts of Rayalaseema, especially in the border villages of Karnataka and Andhra Pradesh. However currently, there are only 6-8 troops left in all those areas that are still taking up the leather puppetry as the prime livelihood.
Artists are not finding any income with this art. Children of present generation are not showing any interest as there is no income in this profession. Artists say, even today, they have to go around houses for food grains after completing a night skit.
Artists travel around various villages and perform various skits with leather puppets but still they don’t get enough to make a living. Even government programmes doesn’t pay sufficiently for their livelihood. The government should come forward, and introduce the art and train it professionally in all music colleges across the state.
Most shadow puppeteers are originally from Maharashtra, who settled in Andhra Pradesh and Karnataka over the centuries. Today, as puppeteer families are on the verge of extinction, we need to zero in on people with a passion for puppets and train them. Empowering youngsters to take puppetry forward, and have training organisations to hold regular story-telling puppet sessions as part of school curriculum would solve the urban disconnect we are witnessing. As of now, the Department of Culture is giving artist pensions worth 12,000-20,000 per month across the state.