Dashavatar: Devotional Drama and Artistic Symbolism

Introduction: A Glance at Dashavatar

Wrapped in the tumultuous plateaus and seashores of Konkan, Maharashtra, an art form manifests itself in the form of a vibrant cultural theatre. This art is ‘Dashavatar’, an immensely popular theatre that has been thriving for almost a millennium. Geographically, this art form is practiced in numerous districts of Maharashtra, including Palghar, Thane, Raigad, Mumbai, Ratnagiri, and Sindhudurg. As the nomenclature suggests, Dashavatar is based on the ten incarnations or avatars of Vishnu_, depicted through diverse dances, expressions, ritualistic endeavors, and more. 

As Varsha Raman Malwade states, this art form was brought to Maharashtra by Shyamji Naik Kale from coastal Karnataka in the year c. 1728 C.E. This legend has established a tradition wherein each Dashavtar performance begins with a remembrance to him: the Sutr6adhaar announces, “Kalebua, Dashavtaras chala!” which stands for “Kalebua, let us commence the Dashavatara!” This art is performed during Kartik Purnima and Chaitra, i.e., post-harvest season in the Dusshera-Diwali month, from October to March. Traditionally, these performances were enacted in temples and public places by labourers and farmers, primarily consisting of men. The bountiful interactions between audiences and performers are enhanced by the social and communistic style of Dashavatara theatre. 

Dashavatar: A Historical Reconstruction

Dashavatar, as we recognise it today, is a folk amalgamation of traditional Vaishnavite lore, oral traditions, mythology, and spirituality. In its inception, the art is said to have existed since c.1659 C.E. and traveled from Karnataka to Maharashtra in the transition of the 17th-18th centuries. The initial literary mention of this theatrical art form can be traced back to the scripture Dasbodh, authored by Samarth Ramdas, a Marathi saint poet, which goes as follows:

If the Dashavtari performers present a neat show, it will be attended by even beautiful ladies. But the notorious element in the audience will anyway criticize the art.

Various rulers initiated patronage towards Dashavatar, which exacerbated its rise and development. Ruling clans such as those of Peshwas and Yadavas supported and sponsored these Vishnu-themed folk performances. The diverse communities in Maharashtra, encompassing both agrarian and nomadic populations, played a crucial role in the development of Dashavatar. Some scholars argue that Dashavatar evolved from an archaic Karnataka theatre tradition referred to as Yakshagana. These performances frequently occurred during festivals and religious events, promoting a sense of community and a collective heritage. The historical progress of Dashavatar theatre is a rich tapestry created from the elements of devotion, regional culture, and support from dynasties, culminating in a lively artistic expression that carries a fervent legacy even in the present times. 

Structural Synthesis and Religious Motifs 

The theatrical tradition of Dashavatar is based on the ten incarnations of Vishnu: Matsya–the fish, Kurma–the tortoise, Varaha–the boar, Narasimha–the lion-man, Vamana–the dwarf, Parashurama, Rama, Krishna, Buddha, and Kalki. The display of Dashavatar incorporates purvaranga and uttaranga. The purvarang starts with the appearance of the Sutradhaar or Natya Karta, who leads and narrates the entire performance. Sutradhaar welcomes the audience and introduces the planned activities and itinerary. After this, the Naman is typically scheduled, which features the entrance of Lord Ganesh alongside his consorts Riddhi and Siddhi on the stage platform. Appropriate attire and face masks are incorporated on Ganesha; these are very crucial for aesthetic and symbolic appeal. After a musical homage by the Sutradhaar to Lord Ganesh, Goddess Saraswati, with a peacock as her vahaan or ride, makes her blissful entrance to bless both the performers and the audience. At the end of Purvarang, Aad Dashavatar occurs, wherein characters depart.

The Uttarrang initiates with the story of Matsya, where Shankasur steals the rasa from Lord Brahma, prompting Lord Vishnu to take on a fish incarnation to save the deities. This is followed by a portrayal of another incarnation of Vishnu, typically observed as Narasimhavtar and others. After Dashavtar is performed, Fugdi occurs, which is a dance form featuring Radha and Krishna, culminating in the Dashavtari Kala, which is served as a prasad for all attendees.

Artists Performing the Dance of Divinity

In the Konkan region, Dashavatar is primarily performed by a community called ‘Devali’, a caste that is in the service of the village deity or Gramdevata. For these artists, Dashavatar is not merely an art; it is associated with the agricultural cycle. Rice, which is a winter staple, is the widely sown crop, and hence Dashavatar acts as a decent secondary job for the farmers. The group of artists called the Dashavtari Mandali would peregrinate across the region with their attire and belongings in metal boxes to perform at shows. It is only recently that the Mandalis have turned themselves into theatre houses and have commenced treating the contracts commercially. The invited Mandali would stay at the temple and perform there. A component of the temple premises would be converted into a make-up room, and the artists would adorn themselves in the character that they are depicting. It is important to note that female roles are traditionally played by male actors in Dashavatara. The artists weave this theatre as not only a generational heritage but also as an active socio-economic ritual and part of their lives. 

Denigration and Gradual Rise

Towards the initiation of the 20th century, Census archives show emigration from Konkan areas to Mumbai and Kolhapur due to the famine of the 1870s, which Dashavatar declined in its previous region. Alongside this, the rise of modern forms of entertainment such as radio, the growth of urbanisation in Maharashtra to 53%, and the reduction in the number of jatras, which gave less platform to the Mandali to perform. All this led to a decrease in monetary incentives, popularity, and commercial clout of artists. However, a silver lining emerged in the 1980s with the development of vernacular Malwani literature, which depicted Konkan theatres. National Theatre for Performing Arts prioritised the documentation of Dashavatar. The Department of Tourism of the Maharashtra Government reframed its tourism policy and made Konkan a primary tourist locale, which exacerbated Dashavatar as a folk representation of Konkan heritage. 

Conclusion: Contemporary Legacy and A Way Forward 

The various troupes performing Dashavatar usually inhabit 8 to 10 members, with instrumentalists and cooks traveling to village fairs for the Gramdevata. Dashavatar has seen a mild rise in its popularity and cultural value. In July 2024, an eminent show of Dashavatar was performed at Anant Ambani and Radhika Merchant’s wedding—highlighting the gradual fervour this art is generating. However, as Maidul Islam remarks, autochthonous cultures and folk traditions have faced threats from neoliberal cultures. This has influenced Dashavatar, too, but the latter has seen some rejuvenation of these cultural practices. Dashavatar serves as a vignette of cultural heritage and artistic traditions, preserving not just virtue and values but also showcasing a glimpse into the beliefs of artists performing it.

References: 

1. Varsha Malwade, Dashavatar: Then and Now. https://www.researchgate.net/profile/Varsha-Malwade?_tp=eyJjb250ZXh0Ijp7ImZpcnN0UGFnZSI6InB1YmxpY2F0aW9uIiwicGFnZSI6InB1YmxpY2F0aW9uIn19