Gati in Theory and Practice

by Dr. Sujatha Mohan | 2015 | 88,445 words

This page relates ‘Gati in Manipuri’ of the study on the Theory and Practice of Gati (“gait”) which refers to the “movement of a character on the stage”, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.

Gati in Maṇipurī

[Full title: Deśī forms of Manipur (1): Gati in Maṇipurī]

Manipur has classical and folk forms based on vaiṣṇavaite literature. Ras dances with are performed with a variety of rhythmic beats. The treatise written in 18th century by Maharaja of Manipur known as Govinda saṅgītalīla vilāsa follows the Nāṭyaśāstra tradition.

Manipurī is the classical dance of Manipur. The dance performance is spontaneous and free flowing movements. The major aspect of this dance is rasalīlā and saṅkīrtan.[1] The tāṇḍava is divided into calana and guṇṭhana. The lāsya is also divided into simitāṅga and sphuritāṅga[2] The present day practice follows this work. There is full chapter on varieties of rāsa dance such as mahārāsa, majurāsa, nityarāsa, nirvesarāsa or the kuñjarāsa. Various knee positions are given which are to be used in the chālis and bhaṅgis (sthānaka) which are seen in the gatis. Many piṇḍibandas are performed in these rās dancers.

The body is generally in samasthāna and the movement is done with ease and fluidity. There are no deflections or sharp terns but the body is moved in beautiful curves, like in serpentine movement. The knees are kept close together and bent in the nata position. The face and neck move in the figure of eight like in parivahita and semi-circular curve. The wrist movements are similar to the hasta karaṇas of the Nāṭyaśāstra.

In the sphuritaṅga, the dancer moves through sweeps and gliding movements like sitting and almost touching the floor but the foot is not lifted high above the ground. These are similar to some of the bhūmicāris given in the Nāṭyaśāstra. The tāṇḍava movements are very agile with high leaps jumps and terms the knees are separated as in vaiśākhasthāna, which is maintained by the puṅgcholo dancers. In the tāṇḍava portion many vṛścika karaṇas are performed. There are many sitting postures in both lāsya and tāṇḍava. Thus, there are many up and down movements with wavy and with hop on the toe with kuñcita and agratala pādas.[3] This is similar to the elakākrīḍitā and janitācāri of the Nāṭyaśāstra. Thus, the space is covered very gracefully. The dance of the coal is performed as solo or by hundred men at a time. The sound of the pung is very exciting and this is one of the grand performances of Manipuri dance.[4]

Chālis are the movements, which are basic ways walking and covering space. The dancer moves front, back, then sidewards and finally ending by spirals. The two types of bhramarī are uplai and longlai. The lais, which is generally a sideward movement followed by semi-circle and parengs are the finale of a dance cadence like the tihas and thermana. Sometimes the spiral movements are performed were the dancer screws herself from the lower level to higher level. This is done with a grace and fluidity. The achongba is the jumping movement. All the lias are used in parengs and the different types of tālas are used in Manipuri.

The three bhangis connected with lāsya are bhangiparenga chongba, vrindhavan pareng and khurumba. The three connected with tāṇḍava are gosta bhangipareng, gosta vrindhavanpareng, gosta khurumbapareng. The tāla is very complex and the only the classical type which, we find exquisite survivals of composition such as hallisaka and carcarika, which are mentioned in the Sanskrit literature.[5]

Manipurī is generally classified into jagoi and cholo. Dancers in rāsalīlā and gostalīlā which is performed with both masculine and feminine elements is called jagoi. Chālis are performed in jagoi. Choloms are performed in saṅkīrtana. Puṅgcholo and kartālcholo is performed by male dancers using drum called puṅg and the cymbals. Cāris like sthitāvartā, adhyardhikā, mattallī, samotsarita mattallī and ākṣiptā are seen in these forms. Pādāpaviddha karaṇa can be seen in the gait of the gopā dancers and in dhrumel dance while playing the dhol drum and kartāl.[6]

Footnotes and references:

[1]:

Classical dances of India-Saroja Vaidyanathan.p.41.

[2]:

Indian Classical DanceKapila Vatsyayan p.42.

[3]:

Ibid.p.44.

[4]:

Ibid.p.47.

[5]:

Ibid.p.45.

[6]:

Karaṇas Common Dance Codes of India and Indonesia-Padma Subrahmanyam -Vol.II.p.103

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