Among the various groups, called kothus, which Ramanuja (Hindu theologian and philosopher 1017–1137 CE) appointed for various temple related tasks in Srirangam, one was called Isai Vaanar and another was Natana Asiriyargal (dance teachers). Thus the Acharya arranged for dance and music to be taught. These two groups also had to perform in other temples, during festivals. This was to ensure that a desire for paasurams, rendered through music and dance, was fostered in other places, besides Srirangam. There were also women dancers, attached to the Srirangam temple, who danced to paasurams. In Ramanuja’s time, Araiyars were called isaikaarar - musicians, indicating that their music and dance had been recognized as a profession. Ramanuja felt that enacting paasurams would help people understand the meaning of the verses better. So he appointed a group of people called Ramanuja Adiyar. They were actors who would act out the verses.
(‘The preceptor as patron of arts’ by Suganthy Krishnamachari, The Hindu Friday Review, Sept 1, 2016)

Ramanuja also had knowledge of dance, and even corrected Azhwar Thiruvaranga Perumal Araiyar on one occasion. Araiyar was rendering an abhinaya for Thiruvoimozhi verse 5-3-6, where Nammazhwar sings as parankusa nayaki, who is pining for the Lord. This verse has the word “vasapaduthinaan”, meaning captured. For this word, Araiyar’s abhinayam showed a fishing net being cast. Ramanuja signalled to him that there was a better way of expressing Nammazhwar’s thoughts. The Lord’s eyes are captivating and He must have used them to capture the heart of parankusa nayaki, Ramanuja reasoned, and signalled to the Araiyar that he had to indicate the beauty of the Lord’s eyes through his abhinaya. Thus Ramanuja, capitalising on his knowledge of music and dance, put the verses of Nammazhwar within reach of the common man, by arranging for them to be sung, danced and acted.
(‘The preceptor as patron of arts’ by Suganthy Krishnamachari, The Hindu Friday Review, Sept 1, 2016)


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