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The Gita Govinda occupies a key position in the history
of both music and dance and not only inspired numerous Sanskrit
imitations but led to the outburst of a class of musical dance drama in
the local languages, sometimes mixed with Sanskrit, in different parts
of the compositions of Sankaradeva of Assam, of Umapati in Bihar,
Bhagavatanatakas and Yakshaganas, Krishnattam and Kathakali of the
Andhra, Karnataka, Tamil and Malayalam areas – all return to Geeta
Govinda as the ultimate source and inspiration. (‘Uparupakas and Nritya-Prabhandas’ by Dr. V Raghavan, Nartanam, May – Aug 2008) |
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Instruments found in the Silapadigaaram include melodic
instruments like the Kuzhal (flute), Yazh (a form of harp) and Veena.
Percussion instruments include the Thannumai, Muzhavu, Murasu,
Aamandrika. There is no doubt that the music of the times was a thriving
tradition but it is the later commentators, and not Ilango Adigal, who
have elaborated on the musical details in the text. Some scholars of the
20th century have tried to equate the palai-s of the Silapadhigaaram to
modern ragas. (‘Celebrating unheard melodies’ by TM Krishna, The Hindu, Dec 25, 2010) |
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Scholars are still debating about whether there is any
connection between the Natya Sastra and the music of the Silapadigaaram.
Both these were musical traditions that belonged to a different era and
the best we can do is to celebrate them without trying to derive any
contemporary relevance. (‘Celebrating unheard melodies’ by TM Krishna, The Hindu, Dec 25, 2010) |
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