Buddhist Dance Drama

Twenty Eight Dance Dramas on Buddhist Themes in Sanskrit and Tamil. Composed by Professor V. Subramaniam. (Venkateswarier Subramaniam, 1920-2004)

July 3, 2009

Song from Dance drama Yasodhara

Raga सावेरी

Tala आदि

पल्लवी

कण्ठस्तंबितवत्यस्मि अद्य विमिश्रितभावैः.....

अनुपल्लवी

मुण्डितशीर्षमवेक्ष्य रुदन्ती मुखतेजसि मज्जन्ती

चरणम्

खण्डितमारं पश्यन्ती कम्पितकातरहृदयवती

काषायाम्बरमीक्ष्योत्कण्ठापूरितनयनद्वयवन्ती

कलुषविदूरं नमस्कुर्वन्ती कामजितं पतिरिति स्मरन्ती

गाढालिङ्गन-आशापूरित करयुगलं धिक्कुर्वन्ती

Translation:

Raga Saveri.

Tala Adi

Pallavi

My throat is chocked with mixed feelings.

Anupallavi

I cry on seeing his shaven head, but I immerse

myself in the shining light of his face.

Charana

On seeing the Conqueror of MÀra, I shake with fear,

But my eyes fill with anxiety when I see his ochre robe;

I bow down to the one who drives away sin,

But I remember the Conqueror of MÀra as my husband.

My hands yearn to embrace him tightly and I curse them hard.

July 1, 2009

About the Composer Professor V. Subramaniam


After a long gap of fourteen hundred years Professor Subramaniam has brought back Buddhist themes into the performing arts in a substantial way. Coming from a family of Sanskrit scholars, poets and musicians, he was drawn early to Buddha and Buddhist lore. The three blended into musical and literary creativity by an innocent question from his son Gautam, some 40 years ago in Australia.

"Daddy, you are always telling me stories on Shiva, Vishnu, Krishna, Ganesha and singing songs on them. About Buddha you are telling me only stories; now, sing a song on Buddha. "there are no songs on Buddha". "if there are no songs, why don't you make some daddy?"

In this life time achievement, Subramaniam has composed 23 dance dramas on Buddhist themes which are included in his books Pancha Kanya Tarangini, Kinkinimala, Veera Kanya Vahini, Dima Panchakam and Arya Satyam. His dance dramas have been staged in India, Europe, South East Asia and North America by leading dancers, both in the Bharata Natyam and Kathakali styles.

Subramaniam composes each of his dance dramas integrally. He chooses the story and often modifies it substantially and composes the words and music of each song together using both Carnatic and Hindustani ragas.

Subramaniam has also pioneered the sociological study of the performing arts of India through a series of articles and his book The Sacred and the Secular in India's Performing Arts.

BUDDHA'S FIRST SERMON

1. Idam Kho Phana Bhikkave dukkam Ariyasachham

J`ate pi dukkah Jarapi dukkha

vyadhibhi dukkha Maranam pi dukkham

Appiyassah sampayago dukkho piyassah vippayogo dukkho

Yampi iccham na labhati tam pi dukkham

Samkitena pancu padanu Khandani dukkha

2. Idam kho pana bhikkave dukkha samudayam ariya saccham

Ya yam tanha pono bhavika Nandi raga saha gata

Natra Tatrabhinandini seyyatidam kama tanha bhava tanha vibhaba tanha

3. Idam kho pana bhikkave

Dukkhanirodam Ariya saccham ya tasme evam tanhayai

Asesa viraga nirodho Padi nissago mukti analayo

4. Idam kho pana bhikkave dukkha nirodha gamini padi pada

Ariya saccham Ayameva ariyo Attangiko magge

Sayyatidam

sammadisti

samma samkappo

samma vaca

samma Kammanto

sammajivo

sammavayamo

samma sati

samma samadhi.

Performances at Carleton University, Ottawa

Title of production

Date performed

Performed by

1

Sujata

23 June 1979

Sudha Chandrasekar & dancers

2

Yasodhara

23 June 1979

Kalpalatha & PEALI

3

Maya's Dream

27 November 1981

Asha Singh & dancers

4

Angulimala

8 January 1983

Prof. V. K. Chari & Ananthy

5

Mahakanya Sangha

8 January 1983

Sheila, Chandra, Janani & dancers

6

Salama Vinasam

21 January 1984

Sheila, Prof. Chari, Deepti Gupta

7

Nrutya Prasutih

21 January 1984

Sheila, Geetha, Janani, Prof. Chari

8

Vasavadatta

10 November 1984

Vasanthalakshmi & Narasimhachari

9

Yasodhara

10 November 1984

Vasanthalakshmi & Narasimhachari

10

Madhavi

30 November 1985

Sudha Chandrasekar & dancers

11

Nrutya Prasutih

30 November 1985

Sheila, Geetha, Janani, Prof. Chari

12

Manimekhalai

29 November 1986

Sudha Chandrasekar & dancers

13

Rajya Sri

27 May 1988

Kalpalatha & PEALI

14

Krishnaveni

26 November 1989

Vasantha Krishnan & Nrithyalaya

15

Buddhavatara

26 January 1991

Vasantha Krishnan & Nrithyalaya

16

Arya Satyam

23 August 1992

Sudha Chandrasekar & dancers

17

Ambapali

12 June 1993

Vasantha Daniel & dancers

18

Homage to Buddha.

Excerpts from five dance dramas performed in five different styles.

26 November 1994

Saveeta Sharma, Ritha Devi, Prof. V.K. Chari, Vasantha Daniel, Sumathi Rao and their dancers.

May 21, 2007

Nalagiri Damanam enacted by Margi Kathakali group, Thiruvananthapuram















``NALAGIRI DAMANAM" or ``Taming Nalagiri, the mad elephant" a dance drama composed by Prof. V. Subramaniam was presented in the Kathakali style by Margi Kathakali Troupe, Thiruvananthapuram as the world premiere on December 22 at the Indian Fine Arts Society. For such a unique experience of traditional Kathakali there were remarkably few in the audience. The heavy rain and stagnated water may have kept them away. This dance drama was conceived in the Dima genre, stressing the Veera and Raudra rasas. The original script in Sanskrit by Prof. V. Subramaniam was adapted to suit the Kathakali format by M. Madhavan Nair of the Margi performing group. The music in the original Carnatic style had been adapted to suit the ``sopanam'' style of singing. ``Nalagiri Damanam" narrates the story of the subduing of the mad elephant Nalagiri by the Buddha. Prince Ajatasatru wants to take over the throne from his father King Bimbisara after killing him but is afraid of popular uprising and the Buddha's disapproval. His cousin Devadatta, jealous of the Buddha, suggests sending a mad elephant Nalagiri to attack him clearing the way for the prince. The mad elephant however is subdued by the Buddha's merciful glance.

The customary Tirainokkam to declare their characters was done with the characteristic aplomb by the Tadi character of Ajatashatru, the Katti character of Devadatta and the Pacha character of the King Bimbisara. Each showed the differences very sharply. The Tadi for the vicious, vile demonic type with the green background on the face broken by a red patch and black surrounding the eyes, a white blob on the nose showing aggressive and evil character while the Katti shows a strange savagery but still have some nobility. The pacha is for the sattvika characters with a light green make up just broken by brilliant coral lips, the face framed by a white chutti made of rice paste with lime to symbolise inner refinement and heroism with a moral stand point.

All these characters were well-defined and suited the different types in a story. It was a pleasure to watch Margi Vijayan Pillai in the Pacha vesham of King Bimbisara, Margi Vijayakumar who did an excellent female role of Queen Rasamanjari, Inchakkad Ramachandran Pillai in the Katti role of Devadatta was brilliant especially when showing the maddened elephant, Margi Suresh did the Tadi role of Ajatashatru with the customary cries and the aggressive body language. The role of the mahout was played by Margi Harivalsan. The singers, Kalamandalam Haridas and Margi Nandakumar, brought alive the mood even though they were not very familiar with the text.

Percussions of Chendai was played by Kalamandalam Krishnadas and Maddalam by Kalamandalam Raveendran. The make-up artistes were R. L.V. Somadas, Thankappan Pillai and Thankappan.

The play was directed by Jaya Subramaniam.

Nalagiri Damanam

Prince Ajatasatru wants to take over the throne from his father King Bimbisara but is afraid of popular uprising and Buddha’s disapproval. But Devagupta who is envious of Buddha’s fame suggests sending the mad elephant Nalagiri to attack and kill him clearing the way for the prince. The mad elephant Nalagiri however is subdued by Buddha’s merciful glance.