virarajendra
20th October 2004, 10:32 PM
"KOOTHTHA NOOL" by Saaththanar - An original Tamil Dance Treatise of the Sangam Period Tamil Nadu
Among the Dance Treatises (Naatya Noolkal) composed in Tamil by the great Dance Gurus of Tamil Nadu at different periods of it's early history, and that are available to us today are the follows:
(1) Paratha Senapathiyam - Author unknown, but bears the name of an earlier text in Tamil of the same name by Aathivaayilar (and not available to us today)
(2) Paratha Sangiraham - Aramvalarththan
(3) Maha Paratha Chudamani - Abridged translation of the Sanskrit text known as Maha Baratham by Sarangathevan, into Tamil by Somanathan
(4) Abinaya Tharpanam - Translation of the Sanskrit text on Abinayam by
Nandikeswarer, into Tamil by Veerarahavaiyan
(5) Baratha Siththantham - In Tamil by an unknown author
(6) Silappathikaram - by Elango Adikal. The third chapter titled the "Arangettru Kaathai" of this great Tamil Epic of the second century A.D., provides enough informations on the original Dance Forms of Tamilnadu of that period
Further the commentator of this Epic namely Adiyarkku Nallaar too provides useful informations on the Dance Forms of Tamil Nadu of the relevent period.
There are few very late period Natya Nookal composed in Tamil which are as follows.
(7) Baratha Sastram written by Arapaththa Navalar
(8) Abinaya Navaneetham written by Narayana Iyengar
(9) Abinaya Sarasampudam written by Narayana Iyengar
Among the other Dance Treatises belonging to the earlier periods of India composed in Sanskrit, and are in use in Tamil Nadu are the follows:
(1) Natya Sastra - by Baratha Muni
(2) Barathanava - by Nadikeswara
(3) Abinaya Tharpana - by Nandikeswara
(4) Sangeetha Rathanakara - by Sarangatheva (only the last chapter deals on Niruththiya)
(5) Natyasastra Sangraha - by unknown author
(6) Niruththa Rathnavali - by Jayasenapathy
(5) Baratha Kosa - by unknown author
In addition to the above we now have an original treatise composed in Tamil by Saththanar known as the "KOOTHTHA NOOL", and belonging to the Sangam period of Tamil Nadu
Among the Dance treatises composed in Tamil mentioned above, non of them refer to the classification of the Dances that was in vogue in the ancient Tamil Nadu of Sangam Period as the Veththiyal and Pothuviyal
Veththiyal - Dance performed for the kings and nobles.
Pothuviyal - Dance performed for the common people.
This above classification of Tamil Dances that existed during the Sangam & Kaappiam period is clearly indicated in the great Tamil Epic - the Silappathikarem.
This same classification is also found in the Kooththa Nool, which indicates the antiquity and the period of composition of this Dance Treatise, other than our deduction of same from the other contents in this treatise.
Further in the Adiyaarkku Nallaar's commentry on Silappathikarem, he has mentioned the names of the other ancient original Dance Treatises composed in Tamil, which were availble during the Sangam period, but were not available even during the Adiyaarkku Nalaar's time in the twelth century A.D. They are namely the,
(1) Baratham
(2) Akaththiyam
(3) Muruval
(4) Sayantham
(5) Kuna Nool
(6) Seyitriyam
All the above works on Tamil Dance Forms are now lost to us over a period of two millennium (2000 years). Adiyaarkku Nallaar's commentry on Silappathikarem also states that "......Natakath Thamil Noolaahiya Baratham, Akaththiyam muthalakavulla thon noolkal iranthana.....". From same it is clear that there had been a Tamil Treatise called Baratham earlier but lost even during his period.
Also the Barathasenaapathiyam of Athivayilaar which was available during the period too is lost to us today.
Adiyarkku Nallaar in his commentry on Silappathikaram has also made use of another Tamil Dancing Treatise that was available to him at his time known as Kooththanool. This treatise after disappearence for some time, very fortunately was brought back to light by the good efforts of Thiru S.Yogiyar of TamilNadu of our period. He discovered a copy of this treatise in Ola Manuscript form with few sections damaged badly beyond recovery. However the major part of this work has now been preserved.
From the Kooththa Nool it is very clear that during the time of Saththanar - the composer of this treatise, had access to the other original Tamil works on Tamil Dance Forms and Music namely the,
(a) Agathiyam by Agaththiyan
(b) Then Isai of Sikindi
(c) Perisai
(d) Narai
(e) Kuruku
(f) Kooththu
(g) Sayantham
(h) Kuna Nool
(i) Muruval
(j) Sayitriyam
(k) Thanduvam
(l) Nanthiyam
(m) Pannisai
(n) Thakkam
(o) Thaalam
(p) Thannumai
(q) Adal Muvoththu
He confirms that it was based on these he composed his Kooththa Nool on the subject of Tamil Dance. This clearly indicates the antiquity of this treatise as that of the Sangam period.
The treatise has nine chapters. The first book on this treatise with text and detailed commentry of the first two chapters by Thiru S.Yogiyar has been put to print by the Tamil Nadu Sangitha Nataka Sangam. But before Thiru S.Yogiyar could write his commentry to the remaining chapters and put them too in print, he has passed away. The fate of the balance chapters is not known to us today.
I give below the brief details of the contents of all nine chapters as indicated by Thiru S.Yogiyar himself in the first part of the treatise already available in Print.
KOOTHTHA NOOL
This masterly treatise in Tamil on the ancient art of dance is divided into nine books. The contents of each book are given below in a condensed form.
(1) Suvai Nool (Aesthetic Emotions)
Divine origin of dance, music, drama, the evolution of sounds, shapes and emotions both natural and aesthetic, their manifestation, in all their possibilities and limitations as a theoretical art and craft.
(2) Thokai Nool (Dictionary of Dance Forms)
108 Thandavas of Siva of which 12 are important. (Bangas & Abangas) Static and standind poses involved, 39 poses of the 12 Siva thandavas and the 12 types of dance derived from them developing altogether 144 dance patterns.
(3) Vari Nool (Folk Dances) Pura Vari - dances representing varied natural phenomena in terms of "Inthinai" (five fold division of earth), Aha Vari - psychic dances pertaining to love, Mukha Vari personal, exhibitional and acrobatic dance in single and group patterns, Vasai Vari - ludicrous dances.
(4) Kalai Nool (Dancing Limbs)
This is the largest book and contains more than 1000 sutras on antomicaldivisions of the human body, actions and poses of feet, toes heels, ankles, calves, knees, and thighs, standing leg poses, moving poses 360, 120, 300 and 90 single, supplementary, double and Nritya hand gestures and poses, actions of the neck, jaw, chin, ears, mouth, nose, etc and facial expressions plus their appropriate physical modifications, such as horripilations, tremors etc.
(5) Karana Nool (Combination of Dance Gestures)
120 Karanas with their appropriate mudras, sthanakas, and charis 90 kalasas (varpu) or angaharas, 9 thandavas in full and 6 lasyas.
(6) Thala Nool (Time Measure)
Thala samudra or the ocean of angas, grahas, murchanas etc (Iyal Thalam) 5 original thalas and 35 derived from them with their accompanying swaras and jathis, (Atta Thalam) 108 thalams of Agastya and 52 of others, their jathis, etc.
(7)Isai Nool (Music)
This books deplorably mutilated, still we get here only the arohanas and avarohanas of 30 extinct panns some of which are used by Thevarem Saints.
(8)Avai Nool (Theatre Architecture)
Theatre architecture, lighting, curtains, dress, theatrical effects, makeup, green room problems, etc.
(9) Kan Nool (Summation)
The aim of Dance, yoga through Dance, medicines, oinments and exercises to keep health and voice fit in tact, pranayama in dance, Dhyana (meditation) of dancers, Moksha.
This is the first book of its kind and stands out singular and distinguished in many respects.
-------------------
The first part of this book with Thiru Yogiyar's commentry for the first two chapters of this treatise namely the Suvai Nool and Thokai Nool has been published (September 1968) in printed form by the Tamilnadu Sangita Nataka Sangam of Chennai. (Printed at Shanthi Press, 135, Pavalakkarath theru, Chennai).
It was very unfortunate Thiru Yogiyar died thereafter. The fate of the remaining seven valuable chapters of this treatise is unknown.
By way of this Forum Hub column, I request the authorities of the Tamil Dance & Music Institutions of Chennai, or the leading Dance exponents of Chennai, or individuals with the assistance of the Tamilnadu Sangitha Nataka Sangam of Chennai trace the present whereabout of the remaining chapters of the Kooththa Nool and publish same in printed form, and preserve this only original Tamil Treatise on Tamil Dance of the Sangam Period for the benefit of or Tamilians.
------------------
Now there are few sections in the first book of this treatise, available to us in the printed form, which I wish to reproduce below both in English for the benefit of those who wish to know of the,
(a) Antiquity of this treatise
(b) The other original Dance & Music treatises that were available to the author of Koothanool namely Saththanar during Sangam period.
(c) The antiquity of the concept of God Siva's form as Nadarajar
(d) The first available referance to the "Om" pranava manthiram to be found in any ancient Tamil Literary work known to us.
The readers could make use of them for their own research in the respective fields and make their own deductions with help of same.
(a) Manthira Maamalai yanthira thavisil
vadakku parithi kidakkap poamvali
nalvarkku Thanthira Nanmarai koorum
Kooththanum Kooththium iyatriya kooththaik
kandaan Akaththiyan kannuthal seppa
iyatrinaan Kooththin Ilakkana vaippe.
(b) Akathithiyan iyatriya Akaththiya muthal nool
Sikindi iyatriya Thenisai sarbu
Perisai, Naarai, Kuruhu, Kooththu
Sayantham, Kunannool, Muruval, Sayitriyam,
Thanduvam, Nadhiyam, Pannisai, Thakkam, Thalam,
Thannumai, Adalmuvoththum,
valinool avattrin valivakai vahuththuk
kooththin vilakkam kuravan yane
(c) Oruthal uuntri oruthal yettri
oru kai mariththu marukai amaiththu
irukaiyil aakkamum iruthiyum yetru
aru-vuru aakkum ammai koothu aattap
peruveli nadikkum perumaan arulath
Thennavan venda munai nool aayinthu
Senthamil nilaththum ser pala nilaththum
vantha meik kooththin vakai elaam kandu
Kooththanoor Nanmukakooththan Saaththan
Veth Thavai ellam viyappath thanthathe
(d) Udukkaiyil piranthathu Om enum oliye
Om enum oliye naattiyaththu oliyam
Om enum uruve naattiyaththu uruvaam
Om enum unarve naatiyaththu unarvu
av vuv im enal athuve Om oli
av enal akame uv enal ulame
im enal isaiye iyalvathu thalam.
There are also further references to Siva, Sakthi, Thirumal and Murukan.
This treatise should be preserved,and efforts should be taken by all Tamil Fine Art lovers to bring the remaining portions of this great work on Tamil Dance in to print.
Among the Dance Treatises (Naatya Noolkal) composed in Tamil by the great Dance Gurus of Tamil Nadu at different periods of it's early history, and that are available to us today are the follows:
(1) Paratha Senapathiyam - Author unknown, but bears the name of an earlier text in Tamil of the same name by Aathivaayilar (and not available to us today)
(2) Paratha Sangiraham - Aramvalarththan
(3) Maha Paratha Chudamani - Abridged translation of the Sanskrit text known as Maha Baratham by Sarangathevan, into Tamil by Somanathan
(4) Abinaya Tharpanam - Translation of the Sanskrit text on Abinayam by
Nandikeswarer, into Tamil by Veerarahavaiyan
(5) Baratha Siththantham - In Tamil by an unknown author
(6) Silappathikaram - by Elango Adikal. The third chapter titled the "Arangettru Kaathai" of this great Tamil Epic of the second century A.D., provides enough informations on the original Dance Forms of Tamilnadu of that period
Further the commentator of this Epic namely Adiyarkku Nallaar too provides useful informations on the Dance Forms of Tamil Nadu of the relevent period.
There are few very late period Natya Nookal composed in Tamil which are as follows.
(7) Baratha Sastram written by Arapaththa Navalar
(8) Abinaya Navaneetham written by Narayana Iyengar
(9) Abinaya Sarasampudam written by Narayana Iyengar
Among the other Dance Treatises belonging to the earlier periods of India composed in Sanskrit, and are in use in Tamil Nadu are the follows:
(1) Natya Sastra - by Baratha Muni
(2) Barathanava - by Nadikeswara
(3) Abinaya Tharpana - by Nandikeswara
(4) Sangeetha Rathanakara - by Sarangatheva (only the last chapter deals on Niruththiya)
(5) Natyasastra Sangraha - by unknown author
(6) Niruththa Rathnavali - by Jayasenapathy
(5) Baratha Kosa - by unknown author
In addition to the above we now have an original treatise composed in Tamil by Saththanar known as the "KOOTHTHA NOOL", and belonging to the Sangam period of Tamil Nadu
Among the Dance treatises composed in Tamil mentioned above, non of them refer to the classification of the Dances that was in vogue in the ancient Tamil Nadu of Sangam Period as the Veththiyal and Pothuviyal
Veththiyal - Dance performed for the kings and nobles.
Pothuviyal - Dance performed for the common people.
This above classification of Tamil Dances that existed during the Sangam & Kaappiam period is clearly indicated in the great Tamil Epic - the Silappathikarem.
This same classification is also found in the Kooththa Nool, which indicates the antiquity and the period of composition of this Dance Treatise, other than our deduction of same from the other contents in this treatise.
Further in the Adiyaarkku Nallaar's commentry on Silappathikarem, he has mentioned the names of the other ancient original Dance Treatises composed in Tamil, which were availble during the Sangam period, but were not available even during the Adiyaarkku Nalaar's time in the twelth century A.D. They are namely the,
(1) Baratham
(2) Akaththiyam
(3) Muruval
(4) Sayantham
(5) Kuna Nool
(6) Seyitriyam
All the above works on Tamil Dance Forms are now lost to us over a period of two millennium (2000 years). Adiyaarkku Nallaar's commentry on Silappathikarem also states that "......Natakath Thamil Noolaahiya Baratham, Akaththiyam muthalakavulla thon noolkal iranthana.....". From same it is clear that there had been a Tamil Treatise called Baratham earlier but lost even during his period.
Also the Barathasenaapathiyam of Athivayilaar which was available during the period too is lost to us today.
Adiyarkku Nallaar in his commentry on Silappathikaram has also made use of another Tamil Dancing Treatise that was available to him at his time known as Kooththanool. This treatise after disappearence for some time, very fortunately was brought back to light by the good efforts of Thiru S.Yogiyar of TamilNadu of our period. He discovered a copy of this treatise in Ola Manuscript form with few sections damaged badly beyond recovery. However the major part of this work has now been preserved.
From the Kooththa Nool it is very clear that during the time of Saththanar - the composer of this treatise, had access to the other original Tamil works on Tamil Dance Forms and Music namely the,
(a) Agathiyam by Agaththiyan
(b) Then Isai of Sikindi
(c) Perisai
(d) Narai
(e) Kuruku
(f) Kooththu
(g) Sayantham
(h) Kuna Nool
(i) Muruval
(j) Sayitriyam
(k) Thanduvam
(l) Nanthiyam
(m) Pannisai
(n) Thakkam
(o) Thaalam
(p) Thannumai
(q) Adal Muvoththu
He confirms that it was based on these he composed his Kooththa Nool on the subject of Tamil Dance. This clearly indicates the antiquity of this treatise as that of the Sangam period.
The treatise has nine chapters. The first book on this treatise with text and detailed commentry of the first two chapters by Thiru S.Yogiyar has been put to print by the Tamil Nadu Sangitha Nataka Sangam. But before Thiru S.Yogiyar could write his commentry to the remaining chapters and put them too in print, he has passed away. The fate of the balance chapters is not known to us today.
I give below the brief details of the contents of all nine chapters as indicated by Thiru S.Yogiyar himself in the first part of the treatise already available in Print.
KOOTHTHA NOOL
This masterly treatise in Tamil on the ancient art of dance is divided into nine books. The contents of each book are given below in a condensed form.
(1) Suvai Nool (Aesthetic Emotions)
Divine origin of dance, music, drama, the evolution of sounds, shapes and emotions both natural and aesthetic, their manifestation, in all their possibilities and limitations as a theoretical art and craft.
(2) Thokai Nool (Dictionary of Dance Forms)
108 Thandavas of Siva of which 12 are important. (Bangas & Abangas) Static and standind poses involved, 39 poses of the 12 Siva thandavas and the 12 types of dance derived from them developing altogether 144 dance patterns.
(3) Vari Nool (Folk Dances) Pura Vari - dances representing varied natural phenomena in terms of "Inthinai" (five fold division of earth), Aha Vari - psychic dances pertaining to love, Mukha Vari personal, exhibitional and acrobatic dance in single and group patterns, Vasai Vari - ludicrous dances.
(4) Kalai Nool (Dancing Limbs)
This is the largest book and contains more than 1000 sutras on antomicaldivisions of the human body, actions and poses of feet, toes heels, ankles, calves, knees, and thighs, standing leg poses, moving poses 360, 120, 300 and 90 single, supplementary, double and Nritya hand gestures and poses, actions of the neck, jaw, chin, ears, mouth, nose, etc and facial expressions plus their appropriate physical modifications, such as horripilations, tremors etc.
(5) Karana Nool (Combination of Dance Gestures)
120 Karanas with their appropriate mudras, sthanakas, and charis 90 kalasas (varpu) or angaharas, 9 thandavas in full and 6 lasyas.
(6) Thala Nool (Time Measure)
Thala samudra or the ocean of angas, grahas, murchanas etc (Iyal Thalam) 5 original thalas and 35 derived from them with their accompanying swaras and jathis, (Atta Thalam) 108 thalams of Agastya and 52 of others, their jathis, etc.
(7)Isai Nool (Music)
This books deplorably mutilated, still we get here only the arohanas and avarohanas of 30 extinct panns some of which are used by Thevarem Saints.
(8)Avai Nool (Theatre Architecture)
Theatre architecture, lighting, curtains, dress, theatrical effects, makeup, green room problems, etc.
(9) Kan Nool (Summation)
The aim of Dance, yoga through Dance, medicines, oinments and exercises to keep health and voice fit in tact, pranayama in dance, Dhyana (meditation) of dancers, Moksha.
This is the first book of its kind and stands out singular and distinguished in many respects.
-------------------
The first part of this book with Thiru Yogiyar's commentry for the first two chapters of this treatise namely the Suvai Nool and Thokai Nool has been published (September 1968) in printed form by the Tamilnadu Sangita Nataka Sangam of Chennai. (Printed at Shanthi Press, 135, Pavalakkarath theru, Chennai).
It was very unfortunate Thiru Yogiyar died thereafter. The fate of the remaining seven valuable chapters of this treatise is unknown.
By way of this Forum Hub column, I request the authorities of the Tamil Dance & Music Institutions of Chennai, or the leading Dance exponents of Chennai, or individuals with the assistance of the Tamilnadu Sangitha Nataka Sangam of Chennai trace the present whereabout of the remaining chapters of the Kooththa Nool and publish same in printed form, and preserve this only original Tamil Treatise on Tamil Dance of the Sangam Period for the benefit of or Tamilians.
------------------
Now there are few sections in the first book of this treatise, available to us in the printed form, which I wish to reproduce below both in English for the benefit of those who wish to know of the,
(a) Antiquity of this treatise
(b) The other original Dance & Music treatises that were available to the author of Koothanool namely Saththanar during Sangam period.
(c) The antiquity of the concept of God Siva's form as Nadarajar
(d) The first available referance to the "Om" pranava manthiram to be found in any ancient Tamil Literary work known to us.
The readers could make use of them for their own research in the respective fields and make their own deductions with help of same.
(a) Manthira Maamalai yanthira thavisil
vadakku parithi kidakkap poamvali
nalvarkku Thanthira Nanmarai koorum
Kooththanum Kooththium iyatriya kooththaik
kandaan Akaththiyan kannuthal seppa
iyatrinaan Kooththin Ilakkana vaippe.
(b) Akathithiyan iyatriya Akaththiya muthal nool
Sikindi iyatriya Thenisai sarbu
Perisai, Naarai, Kuruhu, Kooththu
Sayantham, Kunannool, Muruval, Sayitriyam,
Thanduvam, Nadhiyam, Pannisai, Thakkam, Thalam,
Thannumai, Adalmuvoththum,
valinool avattrin valivakai vahuththuk
kooththin vilakkam kuravan yane
(c) Oruthal uuntri oruthal yettri
oru kai mariththu marukai amaiththu
irukaiyil aakkamum iruthiyum yetru
aru-vuru aakkum ammai koothu aattap
peruveli nadikkum perumaan arulath
Thennavan venda munai nool aayinthu
Senthamil nilaththum ser pala nilaththum
vantha meik kooththin vakai elaam kandu
Kooththanoor Nanmukakooththan Saaththan
Veth Thavai ellam viyappath thanthathe
(d) Udukkaiyil piranthathu Om enum oliye
Om enum oliye naattiyaththu oliyam
Om enum uruve naattiyaththu uruvaam
Om enum unarve naatiyaththu unarvu
av vuv im enal athuve Om oli
av enal akame uv enal ulame
im enal isaiye iyalvathu thalam.
There are also further references to Siva, Sakthi, Thirumal and Murukan.
This treatise should be preserved,and efforts should be taken by all Tamil Fine Art lovers to bring the remaining portions of this great work on Tamil Dance in to print.