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The
temple was the home of music and the fine arts. Music and dancing were
mainly devotional in character. At Thiruvidaimarudur, there is an inscription
of Parakesarivarmen who took the head of the Pandya king, i.e. Aditya II.
It made provision for the enactment of Aryakuttu (Bharatanatyam?) on 7
days. It is stated that, on receipt of the royal order, the officers supervising
the affairs of the temple, the sabha of Tiraimur, the nagaram (merchant
guild) of Thiruvidaimarudil and the temple trustees (devakanmis) met in
the Nataka Sala (hall of dance) and decided that 7 dance recitals be conducted
and that each of the actors receive 14 kalams of paddy.
('Early Chola Art – Part 1' by S R Balasubramanyam, p 24) |
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Koodiyattam
artiste Kidangoor Rama Chakyar is the only living exponent who is capable
of performing the Mandramkamkoothu, a repertoire that demands 41 days of
continuous performance. His annual performance of Mandramkamkoothu at the
Annamanada Siva temple in Trissur district of Kerala for 52 years without
a break has become a record in the history of the art form.
('Kidangoor Rama Chakyar: the last link of a great legacy' by K K Gopalakrishnan, Sruti June 2005, p37) |
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Nritta Ratnavalli written in 1253-54 by Jayapa Senapati, contains 8 chapters with detailed descriptions of not only classical dance traditions, but also desi varieties. Folk dances like Perrini, Prenkhana, Suddha nartana, Carcari, Rasaka, Danda Rasaka, Shiva Priya, Kanduka Nartana, Bhandika nrityam, Carana nrityam, Cindu, Gondali and Kolattam are described. ('Textual Traditions in Dance: an overview' by P S R Appa Rao, Nartanam, Jan-Mar 2001) |
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