Perini Performance as per Treatises/ Śāstrās
Dr. V. Rama Krishna
Assistant Professor
Department of Dance
RGUKT AP
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Introduction:
The present Perini dance form is popularly known as ‘Perini Śiva Tānḍavam’; it is recreation of late Dr. Nataraja Ramakrishna. According to late Dr. Nataraja Ramakrishna - Perini means ‘inspiration’. The word Perini has been transformed into ‘Prēraņa’ by Telugu speaking people. It is believed that in the Kakatiya’s time, this dance form had been performed in front of the soldiers to invoke lord Śiva’s divine powers and seek his blessing for success and to get strength in the war before going to the battle field.
According to late Dr. Nataraja Ramakrishna, the dance form dedicates the whole performance to lord Śiva as an adoration in the sanctum sanctorum. The whole performance is based on Perini-Paņcāngas namely; Gharghara, Viśama, Bhāvāśraya, Kaivāraka and Gīta. These are the five parts the Perini performers have to perform in order. All these Paņcāngas are dedicated and performed like Pancabhūtārādhana, the five elements of nature i.e., pṛthvi, ākāsha, tējo, jala and vāyu (incarnations of Śiva) to the Śiva deity. Perini is not mentioned in Bharata’s Nāṭya Śāstra even by the scholars who studied Nāṭya Śāstra. Nandikeshwara was the pioneer of those who had mentioned Perini in his treatise. According to Bharatārṇava Perini originates as Lasya tradition. He mentioned Perini as one of the saptalāsyas in his treatise.
After Bharatārṇava, it was evolved as ‘Dēśi’ and highly developed in the Deccan plateau of India, centuries ago. The word Perini was used by most of the authors in their treatises. Some authors like Abinavagupta used it as one of the uparūpakas. The ultimate meaning of the word Prēraṇa by ever it was used means that it is a one act play consisting comic sentiment.
The present Perini Śiva Tānḍavam repertoire has contrary with the Perini Paņcāngas as per Śāstrās concerned. According to Dr. Nataraja Ramakrishna Perini Śiva Tānḍavam is a valour dance form predominates’ Vira and Roudra sentiments performs in devotion of lord Śiva but confined to the Śāstrās it is a comic play and it does not contain any devotion likewise the total performance of Perini Śiva Tānḍavam is contradicting with the Śāstrās.
Perini Performance in Treatises/ Śāstrās:
Bharatārṇava of Nandikeshwara & Sangītaratnākara of Sārngadēva:
The information furnished in the above two treatises which relates to Perini is almost similar.
Perini Paṇca angas:
The five angas of Perini are 1. Gharghara, 2. Vishama, 3. Bhāvāśraya, 4. Kavicāraka and 5. Gītam
1. Ghargharika: is a Footwork consists six types of Ghargharika,
namely-1.Paripāṭa,2.Cāpdapa, 3.Siripiṭi, 4.Alagapāṭa, 5.Cirihira and 6.Khuluhula.
2. Vishama: is the name given to the karaṇas which starts with leap (utplutīkaraṇas).
3. Bhāvāśraya: is accepted by the scholars as the imitation of the awkward or abnormal (vikṛta) (create comic effect things).
4. Kavicāra: It is to depict the hero’s high qualities. But not the deity
5. Gītam: is refers to the sālaga (Songs are supposed to be of three types: shuddha, citra and sālaga) prescribed for the Kunḍali/Gounḍali.
Sangita samaya sara of Pārśvadēva:
Perini:
Nṛtta, Kaivāra, Gharghara, Vikaṭa and Gita are the Paņcāngas (five parts) of Perini.
1. Nṛttam: Nṛtta is of two types, Tānḍava and Lasya. Thereby the upalayangas followed to various Talas and Layas.
2. Kaivāram: Describing the accomplished character of ancient kings and attributing various characters of presiding officer is Kaivāram.
3. Gharghara: the aggregation sounds of the cymbals is Gharghara.
4. Vikaṭa: Depends on the comical costume of monkeys, goblins, etc. where in the combination of Vikaṭābhinaya is Vāgaḍa.
5. Gītam: the performer has to sing in the combination of tala (laya) and with the help of the story (tale) or by sankīrṇa raga through which the people get captivated to the song is Gītam.
He did not mention the Ghaghara’s sub parts and in the place of Vishama he explained
Nṛttam and in the name of Bhāvāśraya he mentioned Vāgaḍa.
Nṛttaratnāvaḷi of Jāyana:
Perini:
Nṛtta, Kaivāra, Gharghara, Vāgaḍa and Gita are the Paņcāngas (five parts) of Perini.
1. Nṛtta: which has Lasya and Tānḍava as its divisions.
2. Kaivāra: Praise on the celebrated emperors, also addressed to the President of the people, is Kaivāra
3. Gharghara: To sound the ankle bells in and out of beat alternately is Gharghara. These are seven kinds. Namely:1. Cāvaḍa: 2. Paḍivāḍa: 3. Rundha: To slide the edges of both feet simultaneously is Rundha. This is difficult act. When performed occasionally, it evokes laughter. 4.Siribhira: 5. Khuluhula: 6. Alagnapāṭa: and 7. Siripiṭi:
4. Vikaṭa: The attire and gestures of spirits and monkeys are imitated through a disfigured face, lips, eyes, stomach, shoulders, legs, etc, in movements out of beat and weirdly altered dance. This is Vikaṭa. It is opined by a few that is follows the movements of the bird Bhānḍika, and so called it Vāgaḍa.
5. Gita: To sing the song from the classical texts in either the pure from or the lighter form along with variation in the elaboration of tune is Gītam.
While Jaya says that these diverse way of sounding the Gharghara could be with or without tala. Sārngadēva states expressly that they should all follow the tala (VII. 1314) which is of course a matter of greater skill and practice. Comic effect is part of this dance. Already we noted that the Sārngadēva mentions a preliminary display of comic movements by the aṭṭa-bōḍaka. The Perini is thus, a mode that grew up in western India (relates Basavapurāṇam it to Saurāshtra) and the Deccan and naturally dance-texts which were written in other parts of India and did not consult works like the Nṛttaratnāvaḷi or Sangītaratnākara were not properly studied and did not have a correct or complete conception of the Pēriṇi. In Sabhāranjani book the author Velugoṭi Sarvagna Kumar Yachendra mentioned the names of Perini Paņcāngas as per the text Bharatārṇava of Nandikeshwara. But he did not mention the name of the texts and just he explained the dance syllables of Gharghara sub parts which are in 6 varieties and he explained the Pushpanjali (which means salutation to the sabhāpati), which is the new one.
Invention of Perini Tradition; by late Dr. Nataraja Rama Krishna
(The recreation of Perini Śiva Tānḍavam)
He says- “O parama Śiva! Śiva saktini nālo pravesimpajēsi, nā śarīrānni pavitramonarinci, nā śarīram dvārā nī pavitra Nāṭyānni lōkānikeruka paracumu”
The dancer has to pray to the deity saying; “O god! Enter your power into my body, purify me and through my body, introduce your sacred dance to the world”. He believes that this type of emotion of lord Śiva has to happen in every performer’s soul, so that the performer can do justice to the Śiva Tānḍava.
The repertoire of late Dr. Nataraja Ramakrishna’s Perini Śiva Tānḍavam:
The items which are being performed in Perini Śiva Tānḍavam are;
1. Mēlaprāpti,
2. Tahanavinyāsam (pushpānjali),
3. Yati Nartanam,
4. Kaivāram (Pancamukha śabda nartanam), and
5. Samīkaranam
Perini Performance in treatises (Bharatārṇava, Sangītaratnākara, Sangita samaya sara & Nṛttaratnāvaḷi)
Based on panchangas - Perini Siva Tandavam:
By the study of the Perini performance based on the Śāstrās and late Dr. Nataraja Ramakrishna’s recreation of Perini Śiva Tānḍavam. Some of the important observations (Dissimilarities) drawn from the study can be summarized as follows:
The dissimilarities which are found by me from the Perini Paņcāngas confined to the Śāstra s with the reinvented Perini Śiva Tānḍavam of late Dr. Nataraja Ramakrishna. Let us see from the first part Gharghara. In today’s Perini Śiva Tānḍavam, the performers in the name of Gharghara, they are performing Mēlaprāpti, before beginning the item Mēlaprāpti, they praise Lord Śiva by song like; harahara pramada gaņādhipa dēva… Praise of deities is not mentioned in the Gharghara part! According to the Śāstrās, Gharghara means, to make the sound by the bells tied around to the shanks performs footwork’s laid down in the Gharghara sub-parts and there is no song to follow in this part. Therefore, it is not similar as per Śāstrās concerned.
As per the Sastras, the second part Vishama, there is no scope for abhinaya. In Sangītasamayasara and Nrittaratnavali treatises this part had been termed as Nŗtta and it can be performed in two divisions, Lāsya and Tānḍava. The performers have to execute some Karaņas and Cāris and there is no song to follow abhinaya. It is devoid of Bhāva and Abhinaya.
In Perini Siva Tandavam the second item is Pushpanjali; Dr. Nataraja Ramakrishna had used this item which is mentioned in Sabharanjani book in PeriniVivaramu. It is a salutation offers to Sabhapathi. But this item is not a part of Perini Pancānga.
Bhāvāśraya or Vikaṭa or Vāgaḍa, it is an important part which consist abhinaya to imitate awkward things like monkey, goblins, devil, through a disfigured face, lips, eyes, stomach, shoulders, legs, etc. and to create comic sentiment. In this part, the performer has to perform the dance in the above said manner and create comic play in absence of tāḷa. There is a scope for abhinaya to give comic effect without following certain tāḷa. Bhāvāśraya or Vikaṭa or Vāgaḍa, it does not contain song or even tāḷa.
Bhāvāśraya or Vikaṭa or Vāgaḍa, in Perini Śiva Tānḍavam, He choreographed jatis to the various Mṛdhanga syllables to certain tāḷas which resemble lord Śiva five faces (Śiva Pancamukha) in a devotion way as he was inspired by the Kakatiya’s Pashupathi Sampradaya (tradition). But compare to the Śāstrās his (Dr. Nataraja Ramakrishna) view is totally different.
Kaivāra, it is also known as Kavicāraka. In this part the performer has to praise or enlist the good qualities of kings but not the deities and also it doesn’t mean that, the performer has to perform dance in praise of kings. The performer may recite and admire the king’s good qualities. It is totally dedicated to kings. But they did not mention about tāḷa, laya or song.
But Dr. Nataraja Ramakrishna had choreographed Kaivaras on Pancalingas. The influence of Śaivāgamas which were learnt from his guru late Smt. Nayuḍupēṭa Rājamma and Pashupathi tradition of Kakatiyas made him to choreograph Kaivaras on Pancalingas but this part is totally dissimilar with the Śāstrās.
According to Dr. Nataraja Ramakrishna, in the last part Gīta has to perform dance to the Kaivara prabhanda Gītas. But confined to the Śāstrās; the Gītas (songs) should be sung by the performers not to dance for the Gīta songs. In the Perini performers qualities; the Perini dancer should have knowledge in instrumental music and good command on tāḷas, gatis and conversant with singing songs from the classical texts. In this way the performers have to give their performance. But this part is not found in present Perini Śiva Tānḍavam performance.
Confined to Śāstrās, the evidence which had been lost for Gīta particularly the songs or Sālaga sūḍās used for Pēriṇi. Dr. Nataraja Ramakrishna assumed for these angas according to its definition, he suspects the items which might be the same, because the tradition is being performed in temple tradition and it is alive and he knew about the traditions. But his assumption may not be true because; according to the Śāstrās the Pēriṇi dancer has to sing but not to dance.
Conclusion:
What we see the present Perini dance today, the Perini Śiva Tānḍavam is a recreation of late Dr. Nataraja Ramakrishna. The whole performance is not as described by the ancient scholars as per Śāstrās concerned. Dr. Nataraja Ramakrishna wanted to see Perini as men oriented ‘Pure Tānḍava’ tradition which has to produce only Vīra and Roudra sentiments. According to Dr. Nataraja Ramakrishna, Perini is a virile form predominates’ Vīra and roudra sentiments but this statement was purely unsubstantiated. Perini was a Dēśi dance form which produces Comic sentiment. But Late Dr. Ramakrishna had done a worthless effort regarding Perini as he knew about Śaivāgamas and Dēśi dance forms therefore he dared to reconstruct Perini. With his effort now, we are able to see Perini. It is his version of Perini which is known as Perini Śiva Tānḍavam, reconstructed with his own thought and observations but it is totally different from the description of the treatises.
Late Dr. Nataraja Ramakrishna assumed Perini in valour state while reconstructing Perini with the help of Jāyana’s Nṛttaratnāvaḷi treatise. Jāyana elaborated Dēśi dance forms. So, author Jāyana knew about Perini dance and also, he was a Chief Elephant Commandant at Gaṇapati Dēva’s kingdom and his duty to train the elephants as well as soldiers before going to the battle field. So, he assumed that this Perini would be performed in front of the soldiers before going to the battle field in a ferocious state and produce Vīra and Roudra sentiments. But actually, when we look at to the texts Bharatārṇava, Sangita samaya sara, Sangītaratnākara, Nṛttaratnāvaḷi, it is not sounding valour. According to the texts it is a dance form contains comic sentiment. The dancer himself was a good singer and a musician. He has to command the music and the tāḷa. Besides this he has to imitate ludicrous thing to create comic sentiment for the spectators in overall performance.
Late Dr. Nataraja Ramakrishna had thought about Perini was contrary compare to the Śāstrās. The influence of dance practice from his childhood and immense devotion on lord Śiva, his scholarship, mastery in knowledge and skills towards dance and also influence of Kākatīya kingdom’s sculpture and history, made him to revive Perini in Vīra and Roudra sentiment according to men-oriented dance view. He got inspired by the Jāyapa and his work. Besides this he already knew how to study the sculptures and the mudras of the figurines and meditation from his childhood in Kapilaeshwara temple at Mylapore and Ramakrishna mutt. All these things made him to revive Pēriṇi according to his view.
Kākatīyas were Vīra Śaivas, pashupati tradition. He assumed Perini might be done in front of the soldiers before leaving to the battle. So, he thought to revive Pēriṇi in Tānḍava and reconstructed as Pēriṇi Śiva Tānḍava. With the help of Nāṭya Śāstra and other dance treatises in related to the Śiva Tānḍava he acquired all the Karaṇas, Angahāras, Cāri’s, Recaka’s, Hasta, Pāda, Bhramari, Utpluti’s, etc. to produce ferocious expression and creates Tānḍava atmosphere and choreographed only Śiva Tānḍava.
He knew Śivagama tradition from his guru Nāyuḍupēṭa Rājamma. And Kuchipudi from Vēdāntam Lakshmi Nārāyaṇa Śāstri, Bharatanāṭyam Pandanallur Mīnakshi Sundaram Piḷḷai, Kathak Sukhdev ji, and Devadasi traditions from his guru Nayuḍupeta Rajamma and worked with some of eminent Devadasis like Bālāsaraswati, etc. With all these scholarships he wanted to recreate a new dance form which might not be similar to already existing and the one’s he knew. So, he searched for new one and finally he found and shaped it.
So, these were the things to decide Perini as “Perini Śiva Tānḍavam”. But he had reconstructed Perini with his creative and imaginative skills though it sounds different from available textual evidence. Perini has to produce comic sentiment and the costumes are also related to comic effect (aṭṭa-bōḍaka). Just he took the names of the Pancāngas and he had done choreography to them which was contrary. He used the same names of the Pancāngas but the choreography is different from the Śāstra s.
He wanted to show Perini in a valour and in a ferocious state. But actually, its main rasa is Hāsya rasa. The Perini dancer has to imitate ludicrous things to create comic sentiment with aṭṭa-bōḍaka head. Perini is a dance form which related to the Dēśi. Late Dr. Nataraja Ramakrishna was inspired by Jāyana and his work and contributions to dance. But actually, Jāyana just mentioned all the Dēśi forms which highly existed in his time. He did not give much importance to the Perini dance as late Dr. Nataraja Ramakrishna thought. But Jāyana elucidates all the Dēśi dance forms with equal importance’s which are flourished in his period. It looks like late Dr. Nataraja Ramakrishna little exaggerated towards Jāyana and his work especially on Perini and Pashupati Sāmpradaya (Dāna Vīra, Daya Vīra and Yuddha Vīra) and of course his interest towards men oriented Tānḍava tradition attracted him and dragged him to reconstruct Perini as Perini Śiva Tānḍavam.
With all these evidences, most of the information regarding Perini dance form has been lost and now it looks an incomplete dance form with available information confined to the Śāstrās. If we found the lost manuscripts then we may get the genuine Dēśi Perini. It had a lot of history but unfortunately the link had been lost / unavailable. The found material regarding Perini and its performance is inadequate. We don’t have any evidence for the practical performance or its repertoire items on what they actually used to perform in those days.
The present Perini Śiva Tānḍavam by Late Dr. Nataraja Ramakrishna had made an attempt on Perini on a different view his interpretation leads to forget what actual Pēriṇi is!
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---------------Sri Nataraja Ramakrishna – A Versatile Artist and Great Teacher by Dr. Uma Rama Rao.
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