9. Music and Dancing (in ancient India)

The three branches of arts, viz., natta, giya and vaiya were, as can be seen from the Vasudevahindi by Sanghadasa, most essential 1. Vasudevahindi by Sanghadasa, 68. 2. Ibid., 121, 127. 3. Vasudevahindi by Dharmadasa, II.177a. 4. Ibid., 204b, 209a.

415 for the courtezans. In the story of Dhammilla it is related how Vasamtatilaya, before starting her career as a ganika, had to give a dance recital in the court of the king 1. Dhammilla and other connoisseurs of music and dance were deputed by their clubs (gotthi) to act as judges, at the request of the king. The dance was performed to the accompaniment of vocal and instrumental music and was executed by the ganika according to the precepts of the science of dance. In this dance various movements of hands, face, eyebrows, and eyes pleased the spectetors. Suhiranna, daughter of a ganika, giving a dance recital at the Sirighara park, presented thirty-two varieties of dance (battisati-nattabheda). Her performance was presented probably for a previously fixed duration of time, for which a nalika was kept on the stage². A special type of dance performed by a dancer at the palace of the king of Camdanapura has been referred to as suinatta, in which real needles were kept on the stage 3. Sometimes, even in dance recitals or enacting the theme which was sung, singing had an important role to play. Vasudeva was entertained by a troupe of dancers 1. Vasudevahindi by Sanghadasa, 28-29. 3. Ibid., 293. 2. Vasudevahindi by Sanghadasa, 101.

416 in the service of the princess Piyamgusumdarl¹. They sang a song which was based on the story of a caravan travelling through jungles. The song was enacted (naccabhinaya) and was accompanied by instrumental music (giyavaiya) played on the murava, (drum), mukumda, vamsa (flute) and kamsaliya. Musical concerts, independent of dance, were also arranged. In a musical concert arranged in honour of the Jinas, Vasudeva sang a song along with the king of Bhaddilapura². In a musical competition, Gamdhavvadatta, daughter of the trader Carudatta, and Vasudeva both sing Vinhugitika while playing on a Sattasaratamti vina. The gitika was sung in the Gamdhara note³. and music. The Vasudevahindi by Dharmadasa gives more information about dance Vasudeva, who was proficient in these arts, instructed the troupe (pedaya) of king Bhanucamda in natta, gamdhavva and atojja on the lines of the Nattasutta of Bharaha, and on those of the Vidyadharas+. VhCP) 1. Ibid., 282. 2. Vasudevahindi by Sanghadasa, 212. 3. Ibid., 130-31. 4. Vasudevahindi by Dharmadasa, II.204b.

417 After hearing about Vasudeva's proficiency in imparting training in these arts, king of the Abhira country extended an invitation to Vasudeva to come to his court as a tutor to his daughter, princess Muttavali¹. Music and dance were patronised in the palace where the king was entertained by the troupe and awakened every day with music and songs in his praise by the bards. In princess Sasileha's palace, Vasudeva was awakened by those who played upon the sattasara-sibhanana, accompanied by vocal and instrumental music (gamdhavvatojia 2). It was also patronised by the affluent who entertained themselves with vocal music (gamdhavva) and dances presented by actors which was accompanied by instrumental music ³. Music was associated with the festive occasion like marriage where on the first night amorous songs were sung on the vina and vallaki 4. by the devotees in temples 5. The Theory of Music and Dance : Religious songs were sung On the theory of dance and music the Vasudevahindi by Dharmadasa has to offer more information than that in the Vasudevahindi by Sanghadasa An Vasudevahindi by Dharmadasa, I. 204b 1. ibid., 3. Vasudevahindi by Dharmadasa, II.188b. 5. Ibid. 2. Ibid., 196a. 4. Ibid., II.137a. also Vasudevahindi by Dharmadasa, II.158b.

418 extract incorporating, as the author of the Vasudevahindi by Dharmadasa calls it, summaries from Bharata's treatise on vocal music (gida-samkheva), instruments of music (aujja-samkheva) and dance (nattasutta-samkheva) appears in the Vasudevahindi by Dharmadasa1. The context in which this extract appears is when Vasudeva gives lessons to princess Muttavali of Vacchagumma in the arts of dance and music. 2 The author of the Vasudevahindi by Dharmadasa in the gidasamkheva tells us that sounds originate at the navel (nabimulubbhava) and are articulated at various places like the tongue (jiha), mouth (vayana), nose, teeth and lips. The seven saras, which are basic in music, have parallels in the cries of birds and animals: all notes have their parallel in peacock's note; Risabha in kakubha's; Rasabhi of the grave type in the goose's; Majjhima in Gavelaya's Pamcama in the cuckoo's%3B Chajjha in Sarasa bird's%; Nisada in Komca's; and sattama in the roar of an elephant. Similarly the sounds of instruments are said to be associated with sara-a: Se(a)jja with mudimga, Risabha with gomuhi, Gamdhara with samkha, Majjhima with jhallari, Pamcama with goviya, Dhevadaya with sadambara and sattama with mahabheri. Among the seven saras, only three,viz. 1. Vasudevahindi by Dharmadasa, II.209b-2lla. 2. Ibid., II.209b-210b.

412 Majjhima' and Gamdhara have notes (gamapattata). -1 Sajja, Each gama has again seven mucchanas. The author of the Vasudevahindi by Dharmadasa further lists the six defects and eight merits in the mode of singing. Information as to how kesi, gori, sing kali, sama, kona (kana?), amdha and pimgala are, is also noted. Again the author refers to the origin of saras, and compares singing with various ways of lameting (rudiya)? The tanas which compose the expanse of suras are in all forty-nine in number³. In the summary of the natta, the author of the Vasudevahindi by Dharmadasa 4 enumerates thirty-two amgaharas 5, one hundred and eight karanas, sixteen pindibamdhas?, and four 1. cf. VD. III.18. 2. In this connection, it may be noted that according to Jaina Philosophy, vocal music is as good as lamenting, dance, mockery; ornament a weight%3; and all desires ultimately sorrow; Vasudevahindi by Sanghadasa, 105, 166-67. 3. cf. VD. III.18. 4. Vasudevahindi by Dharmadasa, II.210b-21la; also II.156a. 5. cf. Natyasastra (of Bharata) IV.28-33, 55-247. 6. Ibid., 34-55. 7. cf. Natyasastra (of Bharata) EV. 252-259.

420 recakas¹. He also enumerates in all sixty-four hand poses (cadusatthi) under three heads. These are asamjutta (asamyutah), samjutta (samyutah) and natta hattha (nrttahastah) 2. Though the author states that the hand poses enumerated are in all sixty four in number the total of all the positions of hands is more than the number specified ³. Music-experts : In the course of the narration, a description of the presentation of good vocal music and some dance recitals is also to be encountered. Vasudeva is represented to have so much intellect for appreciation that by simply listening to song of a singer he could tell whether the singer was a man or a woman and if a woman then of not 4. At one place what complexion and whether married or not 4. 1. cf. ibid., IV.248-59. 2. Vasudevahindi by Dharmadasa, II.210b-21la; cf. Natyasastra, IX, 4-7, 8-10, 10-16. 3. The number of asamjutta and samjutta is specified to be twenty-four and thirteen respectively. The rest i.e. nattas should be twenty-seven in number; but they are not so. The same discrepancy can be noted also in the case of the Natyasastra, See Chap. IX, Sts.11-16. 4. Vasudevahindi by Dharmadasa, II.99b.

421 he is described to have appreciated the music of a Vidyadhara princess and her companions. The maidens were singing to the accompaniment of the vina and kamsatalas. The singing was accurate in rhythm and was with sajja note (gama) and a mucchana of suddhasajja. It was devoid of the six faults and attractive because of its merits 1. Vasudeva himself describes his dance-piece presented in honour of the jinas. The dance was exceptional as it was accompanied by vocal and instrumental music complementary to the text which was being recited (geyapadha), embellished by seven (?) and nine sentiments (rasa), consisting of thirty parts (tisaibhae), with sixteen pimdibamdhas, hundred and eight karanas and thirty-two amgabharas². It also observed accurately the rhythm beat (tala) and equanimity of time (laya) ³. In another description of a dance presented by a vidyadhara princess, the dancer is described to have been flanked by two maidens beating cymbals for rhythm while the teacher stood behind them 4. Rasa, a variety 1. Vasudevahindi by Dharmadasa, II.40ab. 3. Ibid., 2. Ibid., II.156a. 4. Ibid., II.157a.

422 of dance has also been referred to¹. Musical Instruments : The musical instruments, apart from serving as an accompaniment to vocal music, were played upon on auspicious occasions 2 like marriage³ or anointing ceremony of the king 4, and on the battle field at the time of war war 5. Traditionally musical instruments have been classified in the Vasudevahindi by Dharmadasa into four divisions, viz. i) tata.i.e. instruments provided with strings, ii)vinata usually referred to as anaddha, i.e. instruments which are tied like drums, iii) ghana i.e. solid instruments like cymbals, and iv) susira,i.e. instruments having holes, e.g. a flute. The same classification has been followed : in describing the instruments referred to in the Vasudevahindi 1. Vasudevahindi by Dharmadasa, II.54b. 2. Vasudevahindi by Sanghadasa 56,273,281. 3. Vasudevahindi by Sanghadasa, 180, 280; Vasudevahindi by Dharmadasa, II.115b, 226b. 4. Ibid., II.133b. 5. Vasudevahindi by Sanghadasa, 207; Vasudevahindi by Dharmadasa,II.128b. 6. Ibid., II.210b; such a classification has not been referred to in the Vasudevahindi by Sanghadasa

423 ed String Instruments : The stringed instruments referred to in the Vasudevahindi are tamti, kacchabhi², vallahi³, vipamci 4 and vina vina 5 of two varieties such as sattasavatamti and chattisalakkhana Of these, the tamti possibly means any stringed instrument while the others, viz. vipamci, vallaki and were types of Vina, ie. Indian Lute. kacchabhi was a seven-stringed lute' in Vipanci and Kacchabhi was habh: In the so called as it was of the shape of a tortoise. Vasudevahindi by Sanghadasa, Vasudeva is described to have participated in a musical competition with Gamdhavvadatta in the city of Campa. Here to test his knowledge about musical instruments, Vasudeva was given different vinas having defects in strings, and wood from which their bodies were prepared. At the end, he was given a vina with seven strings (sattasaratamti) 8. In the same story it is told that vina played upon with a quill made of sandal-wood (camdana-kona) The vina of princess Muttavali has been described as chattisalakkhana,i.e. with thirty-six merits while the 10 was one used by Vasudeva was charmed with the spell of nagahidaya, after listening to which wild elephants became friendly with Vasudevall. 1. Vasudevahindi(F), 100. 3. Ibid., II.37a. 5. Vasudevahindi by Sanghadasa, 132. 7. See. Amara, 1.6.4. 9. Ibid., 131. 11. Ibid., II.206a. 2. Vasudevahindi by Dharmadasa, 1.38b. 4. Ibid., I.45a. 6. Vasudevahindi by Dharmadasa,II.209a. 8. Vasudevahindi by Sanghadasa, 132. 10. Vasudevahindi by Dharmadasa, II.209a. 9

424 Drums: Musical instruments referred to in the Vasudevahindi which can be grouped as those played upon by striking over,include large drum (kahala¹), tabor (padupadaha)² tambourine (murava) 3 and other varieties of drums like 6 mudimga", alimga-mudimga³, panava, damaraa?, padaha 8, 9 dimdimaka daddaraka 12 ' 11 gomuhi (Skt. gomukha), 10 : 13 14 dumdubhi makumda 15, bheri16, 18 ·19 ' or humukki (Skt.huduka ?) pukkhara bhambharava mahabheri 17 and hududa Only one ghana instrument, viz. kamsatalaya (i.e. cymbals) has been referred to' 20. Those of the susira type referred to are trumpet (tura 21 tudiva , 22 vamsa 25) and the couch (samkha 26). turiya 23), flute (venu 24, 1. Vasudevahindi by Dharmadasa, 1.38; II.128b,148ab. 2. Ibid., II.128b. 3. Vasudevahindi by Sanghadasa, 282- 4. Ibid., 18. 5. Vasudevahindi by Dharmadasa, 1.38b%; See also Amara 1.6.6 and Comm. 6. Vasudevahindi by Sanghadasa, 365. 8. Vasudevahindi by Sanghadasa, 56, 196; Vasudevahindi by Dharmadasa, 1.38b. 9. Ibid. 11. Ibid., II.209b. 13. Vasudevahindi by Sanghadasa, 56. 7. Vasudevahindi by Dharmadasa, 1.38b. 10. Ibid. 12. Ibid., II.133b. 14. Ibid., 274; Vasudevahindi by Dharmadasa, 1.9a, 38b; II.128b. 15. Vasudevahindi by Sanghadasa, 282; Vasudevahindi by Dharmadasa, I.38b. Vasudevahindi by Dharmadasa,1.38b. 16. Ibid.I.38b; II.133b. 19. Ibid., 1.9a. 17. Ibid., Il.209b. 18. Ibid., II.133b. 21. Vasudevahindi by Sanghadasa, 180, 281. 23. Ibid., 273, 280. 20. Vasudevahindi by Sanghadasa, 282%; Vasudevahindi by Dharmadasa, 1.38b; II.21lb. 22. Ibid., 196 24. Vasudevahindi by Dharmadasa, 1.45a. 25. Vasudevahindi by Sanghadasa, 282. > 26. Ibid., 56%; Vasudevahindi by Dharmadasa, 1.9a, 38b; 11.128b, 133b,148a, 209b.