Gaudiya Nritya: The Classical Gem of Bengal

0 Followers

I am Noholie Bonnerjee, a citizen of India and a second-year undergraduate student residing and studying in Kolkata (West Bengal, India). I am pursuing my undergraduate B.A. Honours (Bachelor of Arts) in History (major subject) and International Relations and Strategic Studies (elective subject) from Jadavpur University (Kolkata, West Bengal).

0 0 35

Introduction

Gaudiya Nritya is one of the classical yet underrated gems of Bengal’s cultural heritage. Originating from the Natyashastra, it has gained popularity in the eastern part of India, including the states of Assam, Odisha, and Manipur. The performances are based on stories based on mythology and are believed to have influenced the Vaishnav communities. Let us have a deep dive into the universe of this classical dance form.

The Origin Story

Gaudiya Nritya held its prominence during the 6th to 10th centuries in Bengal, culturally. One of the main traces of origin for this dance form is believed to be Bharat Muni’s Natyashastra. The ancient text on classical dance refers to the four regional “pravrttis,” or the local performative arts. They were Dakshinatya, Panchali, Avanti, and Odra Magdhi. Odra Magdhi refers mainly to the eastern style, associated with present-day Odisha and Bihar. Natyasastra refers to Gaudiya Nritya as “Odra Magadhi.” Along with this, Kalhana’s Rajatarangini mentions the incident where Jayapida, the king of Kashmir, witnessed the devadasi Kamala dancing Gaudiya Nritya (based on Natyasastra) during his visit to Pundravardhana (North Bengal).

The word ‘Gaudiya‘ means old Bengal, and ‘Nritya‘ means dance. In the 1990s, Bratindra Nath Mukhopadhyay, an Indologist, coined the term ‘Gaudiya Nritya’ based on its origin from Gauda, the ancient capital city of Bengal, during the reign of Sasanka and the Palas. King Sasanka is believed to be the first ruler to spread the political dominance of Bengal beyond the geographical boundaries. After Sasanka, the Palas and the Senas contributed to the political succession of the region. The presence of the Gaudiya style in Indian literature and music can also be considered as the roots of this classical dance form.

The ancient kingdom of Gauda under Sasanka (Source: Pinterest-India)

Gaudiya Nritya was believed to be extinct in the 12th century CE with the Turkish invasion. However, Chaitanya Mahaprabhu restored the dance form by adding a new dimension in the 15th century CE. With the support of musical instruments and dialogue, he combined the Vaishnava traditions with the performative art form. Therefore, Gaudiya Nritya is also called Kirtana-Nritya. Another significant piece of evidence was found in the 15th-century literature named Abhinaya Chandrika, where Shastrakar Maheswara Mohapatra of Odisha mentions the seven forms of dance styles, including Gaudiya Nritya.

The Symbolic Elements of Gaudiya Nritya

Based on the traditional norms of Natyashastra, Gaudiya Nritya follows the detailed requirements of the ancient text. This includes composition, structure, body language, ornaments, makeup, costumes, and musical variables. The costumes and makeup are based on various religious and mythological themes, each symbolizing a story. The art reflects history and culture with a twist of entertainment.

The main themes explored in this dance form are based on historical narratives. With the culmination of the Vaishnava tradition, the art form also associates itself with mythological and religious themes such as devotion to Lord Krishna, the Dashavatar of Lord Vishnu, highlighting the power of Shiva and Shakti through the dance performance of Ardhanarishwara, and many more.

The movements go beyond the traditional norms of Bharatnatyam, as Gaudiya Nritya consists of its unique framework of structure and orientation. They narrate the events and navigate the audience through the dramatic journey, supported by musical instruments such as the tabla, harmonium, and kartals, amplifying the sensation of devotion. The footwork, hand gestures, and facial expressions highlight the core principle of Gaudiya Vaishnava philosophy.

Shastriya: The Dance and Music Scriptures

Shastriya Grantha: Shastriya originates from the word “Shashan,” meaning to govern or control. The Gaudiya Nritya, just like other classical dances, has its own Shastriya Grantha (dance rules detailed in scriptures). Sangeet Damodar classified 33 dance positions in Gaudiya Nritya, such as the Swastik.

Sr-Hasta Muktabili: It is the main theoretical documentation followed for Gaudiya dance. This was composed by Subhankara and contains 916 shlokas. The document details hand gestures, containing twenty-eight one-handed gestures and twenty-four two-handed gestures. Each hand gesture follows a pattern with a meaningful symbolism.

Ragas: Though Natyasastra consists of eight forms of ragas, Gaudiya researchers argue that there are only two ragas, each classified. Mukkhyavittika Rasa, the first type, is classified into:

Shanta (Calmness)
Image of Ragas (Source: Wikipedia)
Dashya (Servant)
Shakya (Friend)
Bathshalya (Mother-son relationship)
Madhur/Sringar (Love)

Gounyavittika Rasa, the second type, is classified into seven types of Ragas:

Hashya (Laughter)
Adbhuth (Wonder)
Veer (Courage)
Karuna (Sadness)
Rudra (Angry)
Bhayanak (Dangerous)
Bibhatsya (Disgusting)

Architectural and Sculptural Heritage of Bengal

Idol of Nateswar (Shiva) (Source: Pinterest—India)

One of the significant components of Gaudiya Nritya is its relevance through sculptures and other artifacts. The existence of architectural buildings, such as temples, possesses Natyamandaps, a platform for Devadasis to perform. One of the famous sculptural pieces is the Nateswar idol performing the Taandava dance (the dance of destruction). This idol is dated to the periods of Plas and Senas. The Nataraja idol from South India and the Nateswar idol from Gaud (Bengal region) are believed to be contemporary. However, some evidence depicts that the Nateswar idol might have been established earlier.

Guru-Sishya Tradition

The Guru-Sishya Parampara ( Source: Indica Today)

The transmission of the knowledge of the art form has been followed for generations. The evolution can be witnessed due to the guru-shishya tradition of the folklore. The artist transforming into a ‘guru’ (teacher) teaching his/her shishya (students) to carry on the legacy is what makes the tradition and the cultural heritage alive.

Modern Relevance

Dr. Mahua Mukherjee (Source: ArtIndia Net)

Dr. Mahua Mukherjee, a classical dancer and a scholar herself, brought back the glory of the dance form through her extensive research work based on Gaudiya Nritya. The art now received its global stage due to its unique blend of spirituality with creative expression. The knowledge of Gaudiya Nritya is believed to be preserved through the Guru-Shishya Parampara (Tradition), continuing and guaranteeing its continuous legacy.

Conclusion

Although considered the youngest form of classical dance when compared to other traditional forms, Gaudiya Nritya truly embodies the long cultural heritage of ancient Bengal. Through its unique blending of traditions and flexible framework of themes, this art form continues to live the legacy as Bengal’s classical dance.