AVMS

Overview

The Bhagavata Mela has its roots in Bharatnatyam, an even older classical Indian dance form originating from Andhra Pradesh. The invasion of the region by Islamic forces resulted in the downfall of a Hindu empire, prompting the migration of Hindu performing artist clans to Tamil Nadu in the 16th century. It was there that the dance transformed into the contemporary Bhagavata Mela. Prior to the empire’s collapse, historical records from the Vijayanagara Empire, renowned for its support of Indian culture and arts, document performances by Bhagavata drama-dance troupes from Kuchipudi village at the royal court. The region witnessed conflicts and political instability, culminating in the establishment of the Deccan Sultanates in the 16th century. Following the demise of the Vijayanagara Empire and the devastation wrought upon temples and cities by Muslim forces around 1565, musicians and dance-drama performers migrated southwards. Records from the Tanjore kingdom reveal that approximately 500 such Kuchipudi artist families arrived from Andhra, receiving a warm welcome and land grants from the Telugu Hindu ruler Achuthappa Nayak. This settlement eventually grew into modern Melattur near Tanjore, also known as Thanjavur. These families preserved their Kuchipudi-influenced dance drama tradition, which evolved into the Bhagavata Mela as we know it today.

Theme

Traditionally, the Bhagavata Mela is observed either within the precincts of a Hindu temple or adjacent to it, commencing after sunset and continuing throughout the night. Historically, male Brahmins assumed the roles of both male and female characters in the narrative, akin to the original Kuchipudi tradition. However, contemporary renditions now feature a blend of male and female performers, reflecting influences from both Kuchipudi and Bharatanatyam, the principal classical dance form of Tamil Nadu.

Aligned with the essence of all classical Indian dances, the Bhagavata Mela intricately weaves together elaborate gestures akin to sign language, intricate footwork, and expressive acting (abhinaya) to convey profound religious narratives imbued with spiritual wisdom. These foundational elements of the Bhagavata Mela trace back to the Natya Shastra, the ancient Hindu treatise on performing arts. The performance encompasses three distinct elements: Nritta, Nritya, and Natya. Nritta represents the abstract, dynamic, and rhythmic facet of pure dance. Nritya, on the other hand, embodies a slower, more emotive expression of the dance form, aimed at evoking sentiments and narrating stories, particularly those infused with spiritual themes. Finally, Natya constitutes a theatrical enactment performed by a collaborative ensemble of artists.

The origins of abhinaya, too, find resonance in the Natyashastra, which delineates the fundamental components of dance, encompassing gestures and movements designed to establish a profound connection with the audience, evoking aesthetic delight, and transcending the spectator into a realm of heightened sensory experience.

Gestures & Instruments

In Bhagavata Mela, communication takes the form of expressive gestures (mudras or hastas) synchronized with music. These gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the story being told. Like other Hindu classical dances, the artist effectively communicates spiritual ideas by attending to four key elements of performance: Angika (gestures and body language), Vachika (song, recitation, music, and rhythm), Aharya (stage setting, costume, makeup, jewelry), and Sattvika (artist’s mental disposition and emotional connection with the story and audience, where the artist’s inner and outer states resonate). Abhinaya brings out the bhava (mood, psychological states).

The stories depicted in Bhagavata Mela typically originate from the Hindu Epics or the Puranas, with Prahlada Charitram being particularly popular. The music follows the Carnatic style, and most of the story is sung to the rhythm while the dance artists perform. The performance is supported by an orchestra of musical instruments, including mridangam (drum) and cymbals providing the beat, along with flute, string instruments, and harmonium completing the ensemble.

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