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Dances of India
Sabda Nritya
 Down
the ages religion has played an important role in influencing our art
and culture. The art scene experiences change and shapes itself
differently according to the philosophy, doctrine and feeling of the
religion. While dance is considered as an offering to the divine,
religions used this as a medium to express its philosophy. Religion and
dance are complimentary to each other.
Though we see a definite influence of Vaishnavism in Odissi dance, it is
natural that the dance of Orissa must have under gone the cults like
Shaivasim, Buddhism and Jainism. Because the kings of Orissa were
staunch followers of Shiva, Buddha and Mahavir at passage of time.
During 5th and 6th century the cult of Bauddha, Shaiva, Shakta and
Tantra dharma surfaced in Orissa. Some people opine that the Bauddha
Tantra Dharma evolved from the medium path of Nagarjuna.It evolved
through Mahajana, Brojajana, and Kalachakrajana and finally took the
shape of Shahajia Dharma. Similarly Shaiva /Shakta Tantra dharma evolved
through Pashupata, Kapalika and Kalamukha sects and emerged as Tantra
dharma. Both Bauddha Tantra and Shaiva/ Shakta Tantra moved parallel to
each other and finally merged to form TANTRA DHARMA.
Evolved out of this strong influence of Tantra Dharma, Sabda Nritya is
in the verge of extinction. But fortunately still practiced by few
artistes at Kumbhari Gaan, Barapali. Research scholar Sri Dhiren Patnaik
has traced its origin and discussed about this dance under the caption
Sabda Swarapata in his book Odissi Dance. Late guru Debaprasad Das has
used this style to make it popular.
This dance form demands tremendous physical fitness but also lays equal
emphasis on sensitive facial expression more on the swatika bhava. A
sloka in praise of a deity is recited rhythmically with synonymous and
similar pattern of bols on percussion. The movements are so vigorous
that it makes the dancer emotional, tired and exhausted. He falls in to
a trance or becomes senseless at the end of the performance. So this
style of dance maintains a perfect balance between physical, mental and
spiritual aspects of dance. Chatura Damodara and Sri Pandarika Vitthal
have also described about this dance in their treatise Sangeet Darpana
and Nartana Nirnaya.
Sabdas are syllables in praise of a deity describing his\her valour,
beauty and deeds, which are intercepted by musical notes (swara) and
synonymous ukutas (pata). This is performed to receive the benediction
of the deity.
Example
Chaha chaha Chanda, Chanda Besha Chanda munda Binashini
Chaturbhuja- Ugrachanda-Charachara nibashini.
Jhang jhang Jhankari, Tang tang Tankari
Dig Dig Dig Dig
Dhola Sabda Probodhini
Dha gidi gidi Jhe tak jham tak ta
The Dharanis of Tantrik Bauddhas though mystic and difficult to decipher
are written more or less in the similar pattern. It was a common
practice to throw this type of Dharanis in the chaita to attain
salvation
Example
Dhara dhara! Har hara! Prahara prahara! Mahabodhi chitta dhare
Ma shama ! Prasama prasama sarba papa prashamane! Sarba
Falling in to a trance after the performance can be believed as an
influence of Tantra Dharma. The word Mudra is said to be brought from
the Tantrik cult.
The ancient authors of the music treatise opine Prabandha has six angas.
In the latter years the scholars like Krishna Das Badajena, also the
author of Geeta Prakash accepted four angas for Prabandha.
They are
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BAKYA: the words that narrates the story
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SWARA: the sapta swara or the seven musical notes
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PATA: syllables like dha dhug dhug - gidi gidi- jhe jham etc.
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TENAKA: auspicious words like nom, tom etc.
Sabda Swara Pata as the name implies has three limbs of Prabandha and
can be considered as a Pabini type of Prabandha. Incidentally in
Manipuri dance Prabandha Nritya is performed to the accompaniment of
Prabandha Geeta.They also have mukhobol, which can be compared with our
sabda swara pata. In Kathak dance, rhythmic rendition of Kavit with
synonymous bols is prevalent where as the Kuchupudi dancers perform to
the accompaniment of sloka sung rhythmically along with similar patterns
played on the mridanga in the item Tarangam, when they dance on the
brass plate. Sabda Nritya is also a prominent item in Kuchupudi
repertoire.
To-days Odissi dance is mostly influenced by Vaishnavism. The addition
of Sabda Nritya to the Odissi repertoire will definitely give it a new
dimension and help in the process of innovation as well as keep the
tradition alive. Though the dance Sabda Swara Pata has lost its glory
and the true technique, it can be revived and polished.
Everything undergoes changes with time. This also happens to the art
scene. The ancient forms undergo much metamorphosis and evolved as
contemporary which again leads the way to nascent modernism. This cycle
continues the past becomes present, which gives birth to the future. By
these processes of alteration, modification metamorphosis and evolution
the primitive, simple, pristine indigenous arts become contemporary,
complex, polished and sophisticated. But sometimes it is also lost in
the horizon, when the character of this art form can only be imagined,
remembered but becomes difficult to witness. Fortunately for us the
tradition of Sabda Nritya is still alive. Researchers are flocking the
village Kumbhari Gaan to get valuable information about this dance form.
Many musicians & dancers have already started to utilize this treasure
in their performances & productions.
I have tried to bring back this forgotten member to the Odissi
repertoire. The production MAHAVIDYA is replete with the Sabdas composed
by Ramahari Das.
– Aloka Kanungo
June 12, 2005
By arrangement with
alokakanungo.com
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