Editing Pūrvaraṅga (Prelude) in Bharatanāṭya

[[File:Purvaranga.jpg|thumb|Deities placement in ''Pūrvaranga vidhi'' of ''Nāṭyaśāstra'']]
''Śuddha Pūrvaraṅga'' or ''Raṅga Pūjā Vidhānam'' or ''Raṅgadaivatapūjanaṁ,'' the third chapter of Sage ''Bharata''<nowiki/>'s ''Nāṭyaśāstra'', elaborates regarding the ritualistic worship of the (newly constructed) stage or performance area before starting off with the performance. Stage was considered as a sacred place; in order to ward off the evils, to protect the artists and to contribute to the success of the play, deities were placed in all directions with Brahma in the centre. Based on the ''śloka-s'' 22 – 33 which elaborate on the placement of various deities, ''Gandharvā''-s, ''Ṛiṣi-''s, ''Vāstu'' deities, etc installed on the stage, a pictorial representation of the same is given here.

== Rituals in prelude ==
''Pūrvaraṅga vidhi'' - meaning, ‘the preliminaries of a play’ of ''Nāṭyaśāstra'' narrates about the procedure of rituals to be followed before starting the play/performance on the stage. The rituals like ''Jarjara''<ref>Indra’s weapon</ref> ''Pūjā, Nāndī'' (Benediction) etc attribute to the success of the play, overcoming the ''Vighna-s'' (obstacles). Sage ''Bharata'' also refers to Actors paying obeisance to Brahma; worshipping ''Brahma'' (''Brahma maṇḍala'' - ''Brahma''’s circle) using flowers in the following ''śloka'':

'''''“puṣpāñjalyapravargasca kāryo brāhmōtha maṇḍale'''''

'''''raṅgapīṭhasya madhye tu svayam brahmā pratiṣṭitaḥ”'''''<ref>Śloka 71, chapter 5 </ref>

This translates to, ''“Then the Director should offer flowers in Brahmā’s Circle (Brāhma-maṇḍala) which is another name for the centre of the stage where the deity is supposed to be present.”''<ref>Pg.85, chapter 5</ref>

In the later stage of this ritualistic procedure called as ''Citra Pūrvaraṅga''<ref>''nṛtta'' sequence involving energetic, acrobatic movements with hand gestures and foot work</ref> meaning Mixed Prelimineries, ''Bharata'' says that the white flowers should be scattered all over the stage and the ''Aṅgahāra-s''<ref>Series of movements of the hands and the feet</ref> should be performed by the dancers.

'''''“siddhā kusumamālābhirvikireyuḥ samaṅtataḥ'''''

'''''aṅgahāraiśca devyastā upanṛtyeyuragrtaḥ”'''''<ref>Śloka 152, chapter 5</ref>

Dr Manmohan Ghosh translates this as, ''“[And in the mixed Preliminaries thus begun] clusters of white flowers should be scattered all over [the stage], and the Aṅgahāras should be performed by [dancers dressed as] goddesses.”''<ref>Pg 96, chapter 5</ref>

== Format of Prelude in ''Bharatanatya'' ==
Having known about the significance of these pre-performance rituals, are these ritualistic worships practiced in ''Bharanāṭya''? Are these procedures relevant in a ''Bharatanāṭya'' recital today!? 

=== '''Puṣpāñjali''' ===
''puṣpa''+''añjali'' meaning holding flowers in the hand; offering prayers and oneself to the ''Raṅgādhidevata-s''. Though it has its roots in the Temple dance tradition, it is an invocatory ''nṛttabandha'' (Pure dance composition) in current times; indicates salutations to the stage (centered by Brahma) where the dancer offers flowers for removing the obstacles and prays for a successful dance recital.

Following the tradition of ''Nāṭyaśāstra'', the post ''Bharata'' period text called ''Abhinayadarpaṇa'' authored by ''Nandikeśwara,'' also documents about starting the performance with a prayer, praising Lord ''Gaṇapati'', the sky and praying to the earth. One should pray to the Goddess of ''Raṅga'' who brings out the ''Bhāvā''-s and ''Rasā''-s to the ''Pātra'' (actor/dancer).<ref>Śloka 31-32, ''Abhinayadarpana''</ref>  ''Abhinayadarpaṇa'' mentions the ''śloka'' for ''Puṣpāñjali'' in the following way,

''“'''vighanāṁ nāśanaṁ kartuṁ bhūtanāṁ rakśṇāyaca |'''''

'''''Devanām tuṣṭaye cāpi prekśakāṇām vibhūtaye ||'''''

'''''Śreyase nāyakasyātra pātrasaṁrakśṇāya ca |'''''

'''''Āchāryaśikśāsiddharthaṁ puṣpāñjalimthārabhet ||”'''''<ref>Śloka 33-34, ''Abhinayadarpaṇa''</ref>

This ''nṛttabandha'' acts as ''Nāndīstuti'' comprising of ''śloka-s'' on deities like ''Gaṇapati, Śiva, Sarasvatī'' etc. The ''Puṣpāñjali śloka'' of ''Abhinayadarpaṇa'' itself is also danced for along with ''sollukaṭṭu-s''<ref>Joining of the syllables used specifically in dance</ref>

=== '''''Toḍayamaṇgaḷam''''' ===
As the name suggests, this is an auspicious invocatory ''kīrtana'' in the praise of a deity, popular in ''Bhāgavata meḷa'' tradition. Earlier it was said to be equivalent to the ''Nāndi'' of ''Pūrvaraṅga''; involved ''iṣtadevata'' ''stuti''. Legendary Bharatanāṭya dancer Dr. Padma Subrahmanyam says that, the ''adhipati'' of each direction is praised in this composition.<ref>''Todayamangalam section,'' ''Nrtya Marga Mukura'' authored by Dr Manorama B N</ref> In a ''Bharatanāṭya'' recital, ''Toḍayamaṇgaḷam'' follows the ''Bhajana'' ''sampradāya'' and finds its place in the first part of the dance recital. ''‘Jaya Jaya''’ is a very common phrase observed in the composition. 

=== '''''Mallari''''' ===
The term ''Mallari'' or ''Mallāri'' means procession of the deity. It was performed in temples to celebrate the victory of the God over the evil. ''Mallari'' was initially performed in ''Nādasvara'' tradition as a musical form before it found a place in the first half of a ''Bharatanāṭya'' recital. Consequently, the rhythmic pattern which suited the procession of the deity now has ''Mṛdaṅga'' syllables and are choreographed/danced for with ''trikāla'' ''jati''<ref>''Pāṭākśhara''/syllable composition in three speeds called ''Vilamaba, Madhya'' and ''Druta.''</ref>.

=== '''''Alaripu/Alārippu/Alarippu''''' ===
''Alar'' means flower/blossom. Unlike ''Puṣpāñjali'', flowers are not offered on the stage. This is the first ''nṛttabandha'' in the ''Bharatanāṭya'' ''Mārga''<ref>''Marga'' here meant as ''Khacheri'' Format  Recital format). </ref>. ''Alaripu'' has a distinctive feature of employing ''Añjali'' ''hasta'' in different positions to convey ''Praṇām-s'' to various Gods, Guru-s and audience. With ''Añjali'' hasta held above the head indicates salutations to the Supreme power/deities, ''Añjali'' in front of the forehead represents salutations to the Gurus and ''Añjali'' in front of the chest conveys salutations to the audience. Movements of the head up-till the feet is prevalent here, the eye movements are said to be salutations to the Sun and the Moon. It can also be understood that ''Alaripu'' being the first composition in a dance recital prepares (blossoms) the body and mind for the rest of the ''nṛtya'' that follows. ''Alaripu'', gives an auspicious beginning to the recital; this could be one of the main reasons for ''Alaripu'' to be the first in a ''Bharatanāṭya'' ''mārga''.

=== '''''Kauta'''''<ref>Detailed Research article by Dr Manorama B N on ''Kouta'' is available; explaining the method, lyrics and practicing tradition in different Indian dance forms.</ref> ===
Even though ''Kauta'' is not a part of the ''Bharatanāṭya'' ''Mārgaṁ,'' it is very popularly seen as an invocatory composition in current times. Originating from the temple dance tradition, ''Kauta/Koutam''/''Kautvaṁ'' is a composition that describes/praises the deity and the respective attributes. ''Kauta'' takes the name of deity it is composed on. Namely, Nateśa, Gaṇeśa, Subrahmaṇya, ''Navasandhi'' ''Kauta'' and so on. 

''Navasandhi'' ''Kautvaṁ'' was traditionally performed in all the nine directions while circumambulating the ''Garbhagṛha'' (Sanctum sanctorum of the temple) while the procession of the God is carried out starting from the main entrance of the temple. Dancers offer salutations to each ''dikpālaka-s''<ref>East – ''Indra'', Southeast – ''Agni'', South – ''Yama'', Southwest – ''Nir̥r̥uti'', West – ''Varuṇa'', Northwest – ''Vāyu'', North – ''Kubera'', Northeast - ''Īśāna'' and Centre - ''Brahma''</ref> and dance in each of the directions. This ''Kautaṁ'' has a specific ''Hastābhinaya'' (Hand Gestural representations) and ''Nṛtta'' as prescribed in the ''Āgama-s'' (Rule book on ritualistic practices). Each ''Kautaṁ'' is composed in the  specific ''Rāga'' and ''Tāḷ̣a'' that is favorable to each deity. 

=== '''''Cūrṇike''''' ===
Smaller compositions that consists of praising the Lord and/or chanting the good deeds of the King are called ''Cūrṇike''. These are in the form of a prayer as well and sung in a specific ''Rāga'' (usually ''Karnāṭic Raga'' called  ''Ārabhi'') without repeating the verses. 

''Cūrṇike'' was very much prevalent in the ''Pūrvaraṅga'' (preliminary of a performance) of ''Sadir'' dance. Reciting ''Cūrṇike'' introduced the details about the performance to the audience and set the right environment for the performance to begin. This was in the form of an auspicious beginning, also involved ''Abhinaya''. Before the beginning of the performance, the dancer places her hand on the ''Mṛdaṅga'' and recited the ''Cūrṇike.'' In another traditional practice, the dancer would bring colorful sticks, place them in the center of the stage and pay obeisance.On returning back, ''Cūrnike'' would be sung in ''Ārabhi Rāga'' in one go with repeating the verses. 

Such ''Cūrṇike-s'' included praises on ''Bharata Muni,'' description of ''Raṅgādhidevatā'', description of the King/patron and so on. During the times of Mysore King’s rule, ''Cūrnike'' was initially recited/sung in ''Bharatanāṭya''. Later on it was danced for after the ''Raṅgapūja'' (worshipping the stage). 

From being a part of the ''Pūrvaraṅga'', this composition finds a place in the second half of the ''Bharatanāṭya'' ''mārgaṁ'' in the form of a ''stuti'' (prayer). It was also a traditional practice to present ''Cūrṇike'' in extempore style while lunch is served to the Brahmins on ''Pūja'' or ''Madhyanna Bhojana'' ( in between the Lunch time)  and such other special occasions during ceremony and rituals. This was a way to offer gratitude and satisfaction to the ''Paramātma'' within. Singing ''Cūrṇike'' is still in practice in Mogeri and other parts of South Canara. ''Rāga''-s ''Mālkauns (Hindoḷa i''s the equivalent ''rāga in'' Karnatic Music system'')'' and ''Bhimpalas (''equivalent ''rāga'' in Carnatic Music system is ''Abheri)'' are employed while singing ''Cūrṇike;'' and other ''śloka-s'' (Chants). 

== Contemporary practices ==
Thus, one can observe that the invocatory ''nṛttabandha'' in a ''Bharatanāṭya'' recital follows the concept of paying respect to the deities, thereby wishing for a successful performance. ''Mallari'', ''Toḍayamaṇgaḷam'' and ''Kautam'' are also invocatory compositions in a ''Bharatanāṭya'' recital today. ''Cūrṇike'' is mainly an ''Abhinaya'' composition based on a deity or a ''Nāyaka'' (Hero) and finds a place in the second half of the present day ''Mārgaṁ''. ''Alaripu'' is a unique way of starting a dance recital by using the bodily movements (hand gestures) to denote salutations. Flowers are held in hand or suggested using gestures in ''Puṣpāñjali'' and hence can be considered as a shorter version of ''Pūrvaraṅga'' ''vidhiḥ''.


'''References:'''

1.      Nagar, R.S. ''NāṭyaśāStra Of Bharatamuni''. Parimal Publications Delhi, 2012.

2.      Ghosh, Manmohan. ''Nāṭyaśāstra''. Chowkhamba Sanskrit Series Office Varanasi, 2012.

3.      Manorama, B.N. ''Nritya Marga Mukura''. Sanidhya Prakashana Madikeri, 2011.

4.      Ghosh, Manmohan. ''Abhinayadarpana''. Firma K.L.Mukhopadhyay,1957.

5.      Oral documentation from Dr Manorama B N - ''Śastraraṅga'' Internship offered by Noopura Bhramari.

6.      Dr. Manorama B.N. ''Bharata Nāṭyabōdhini.'' Noopura Bhramari and Kalagowri Publications Bengaluru, 2018.

7.      Oral documentation from Sri Gurumurty, Hindustani musician.


'''Authored by - Seema K S, Bengaluru; ; Published by [https://www.noopurabhramari.com/ NoopuraBhramari] IKS Centre- titled as 'Relevance of Pūrvaraṅga in Bharatanāṭyam'[https://www.noopurabhramari.com/relevance-of-purvaranga-in-bharatanatyam/]–, As a part of ''Śāstra ranga'' Internship programme.'''