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(Sanskrit) "Narante Slaaghana Nibhena Paarsva Parisamsthitha nipuna gopee Sadrisa gopikaanaam chumbati kapola pratimagatam Krishnam"
(English translation)
"The gopis had just ended their (rasa) dance. Te gopi, who just stood aside watching their dance, went foward and kissed the cheeks of the dancer in appreciation. The glistering cheeks of the gopis reflected Lord Krishnas figure and all the kisses of the senior gopi reached the Lord Krishna reflection.
The Prakrit verse, quoted from the Gaatha Saptasthi is indicative of the existence of the performing ar form, as a music-dance drama, entitled
Rasakam. This dealt with the theme of Rasa dance as one of the 18 or 20 Uparupakas, defined by the post-Bharata musicologists like Kohala, |
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which ere earlier written in Desabhashas or Prakritas of the period like Dakshinatya, Magadhi and Apabhramsa.
DESI GANA SAMUDRA
There is no second opinion among scholars about Nandikeswara being the same as 'Tandu' a close disciple of Siva. His 'Nritta Vidya' the art of the pure dance or rhythmic movements of feet and all other limbs of the body, blending the Tandava and lasya techniques, was imparted (by Tandu and Nandi) to Bharata and his disciples.
Sambrai Bhilla, perhaps the earliest tribal chief of patriarch, who was raised to the status of God as on of the Trimurtis, and high respected by other Devas and Rishis, was the innovator of this pure dance or nrita.
This was performed to the accompaniment of lyrics with no words
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or language but composed merely of Patakshara (called Solkattu or Kongulu in Tamil, Kannada and Telugu).
Tarikita, taamtehi, tadhimi, retaka, ghanu ghanu, ghantu, ghantu are some examples of Patakshara, with which the divine sage Narada is said to have composed a ccollection of lyrics under the title Desigansamudram (mentioned by Sarangadeva in his Sangita
Ratnakara).
POLARISATION IN POPULAR TASTE
BETWAEEN DESI AND MARGA
Brihaddesi, Matanga's endeavours for integration, besides those of Kohala, a very close associate of Bharata muni, Yashitka, Kasyapa, Sandilya and Durga Sakthi etc., resulted in giving a social uplift to many Desi ragas, Prabandhas(Kandhakhava Biruda, Kaivada, Ela, Rahadi, Padadhi, etc)and Rupakas
(Srigaditam, Parijatakam, Rasakam, |
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Haillisakam, Kolhatakam, Perani, Prenkahanam etc), entitling them to equal respect along with Marga forms of art.
Matanga was the earliest of Lakshanakarta who defined Marga and Desi types of music.
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