Tzi'Mh/Bpss B Imc߃:: Tziobm (P/Nixbpw 'Cx/Msyøns Cwkpohnxhpw
Tzi'Mh/Bpss B Imc߃:: Tziobm (P/Nixbpw 'Cx/Msyøns Cwkpohnxhpw
Tzi'Mh/Bpss B Imc߃:: Tziobm (P/Nixbpw 'Cx/Msyøns Cwkpohnxhpw
1
tZi`mh\bpsS B´{]Imc߃ :
tZiobm[p\nIXbpw `cX\mSyØns‚ cwKPohnXhpw
kp\n¬ ]n. CfbnSw
""F\n°v hnizmkap≠v. Fs∂¶nepsamcn°¬ kz—amb BImiØn¬\n∂pw tImcns®mcnbp∂
agt]mse AXni‡ambn `qan°pta¬ kwKoXw ]Xs™mgpIpw. AXn¬ F√m Xmfhpw ebhpw
D≠mbncn°pw. AXn{]K¤cmb kpµcnIfpw kpµc∑mcpamb s]¨Ip´nIfpw BWvIp´nIfpw
\o≠ImepIfn¬ \rØw sNøpw........ CuPn]v‰nse ]ncanUpItf°mƒ D∂Xamb, {Koknse
]m¿Ønt\mWn\v AXoXamb, Hcp kwkvImcØn\pw CXphsc ImWm≥ IgnbmXncp∂ AeuInIamb
kuµcyØns‚bpw i‡nbpsSbpw aq¿Øo`mhambn Rm\Xv kz]v\w ImWp∂p≠v.... Hcp IcSpt]mepw
C√msX, ]mds°´pIfp≈ ]¿∆X\ncbnse DØpwKirwKØn¬ Hcp Im¬ Ib‰nh®v, CcpssIIfpw
A‰vem‚n°nte°pw s]k^n°nte°pw \o´n∏nSn®v, kpµcamb inc v BImitØ°v Db¿Øn,
s\‰nbn¬ Xnfßp∂ \£{XIncoShpambn Atacn° \rØw sNøpw.......' AXn¬ ap≥KmanIfpsS
kz]v\hpw hoc\mbIcpsS Ne\ßfpw D≠v. \oXnbpw IcpWbpw am\yamb \njvIf¶Xbpw D≠v...
\ΩpsS Ip´nIƒ Cßs\ \rØw sNøptºmƒ P\m[n]XysØ {]Xn\n[m\w sNøp∂ kpµc∑mcpw
kpµcnIfpambn Ah¿ hfcpw. CXmWv \rØw sNøp∂ Atacn°.''
˛ CktUmd U¶≥
BapJw
Hm¿ΩIfpw {]Xo£Ifpw CSIe¿∂ Hcp Ncn{Xk‘nbnemWv `cX\mSyw ¢m n°¬ \rØØns‚ tZiobamXrIbmbn
AcßnseØnbXv. CktUmd U¶s‚ kz]\wt]mse \rØw sNøp∂ cmjv{SssNX\ysØ°pdn®p≈ kz]v\߃ A∂v
ChnsSbpap≠mbncp∂p. cmjv{SPohnXØns‚ Ccpƒ]S¿∂ h¿Øam\Øn\pta¬ Hm¿ΩIƒsIm≠pw {]Xo£Iƒ sIm≠pw
]SpØpb¿Øs∏´ H∂mbncp∂p AXv. cp‹nWntZhn Acptfiens‚ [ym\mflIXbneqsSbpw _mekckzXnbpsS DS¬thK
ßfneqsSbpw tZiobXbpsS \mSyKrlambn `cX\mSyw amdnØo¿∂p. CXn\v ]n∂mse ¢m n°¬ ]Zhn AhImis∏´ C¥y≥
\rØcq]ßfpsS1 Ncn{XØns‚bpw PohnXØns‚bpw amXrImcq]ambn AXv ]cnKWn°s∏´pXpSßn.2 ‘CtX hSnhn¬, CtXNphSn¬’
F∂v F√m \S\coXnIfpw `cX\mSyØns‚ cwKPohnXsØ ]n≥]‰n.
h¿Øam\sØ Ncn{Xam°ns°m≠mWv cp‹nWotZhnbpw _mekckzXnbpw \rØw sNbvXXv. B]Øns‚ \nanjßfn¬
a\ neqsS an∂nambp∂ Hm¿ΩIsf IsøØn∏nSn°emWv Ncn{Xw F∂ {]kvXmh\sb3 Hm¿Ωn∏n°pw hn[w tZiNcn{XØns‚
\n¿ÆmbIk‘nIfnsem∂n¬ Ah¿ `qXImesØ IsøØn∏nSn°phm\pw AXn\v cwK]mTw Nabv°phm\pw {ian®p. F√m
Hm¿ΩIfnepw {]Xo£Ifpw Ie¿∂ncn°p∂XpsIm≠v, ChcpsS \S\hpw {]Xo£IfpsS hml\ambn.4 cmjv{SNcn{XØ°pdn®p≈
A`nPmXamb alXzm`nemjßfpsS XnIhp‰ \S\]mTambncp∂p cp‹nWntZhnbpsS \rØw. AXpsIm≠pXs∂ ]nev°meØv
C¥ybpsS cmjv{S]Xn]ZØnte°v BZc]q¿∆w hcth¬°s∏Sp∂ IemImcnbmbn cp‹nWntZhn Acptfi¬ amdnØo¿∂p.5
IebptSbpw IemImcnbptSbpw kzmX{¥yt_m[Øns‚ Db¿∂ inc mbncp∂Xn\m¬ cp‹nWntZhn B £Ww kzoIcn°pI
bp≠mbn√ F∂pam{Xw (Samson 2010:213). Hcp C¥ym°mcn°v e`n°mhp∂ G‰hpw hntem`\obamb ]Zhn \n¿Ωaambn Isømgn
™tijw Ah¿ AUbmdnse Iemt£{XØns‚ {]h¿Ø\ßfnepw kmaqlnItkh\ßfnepw apgpIn. A[nIsam∂pw
AIseb√msX, Hcp FXn¿]mcºcyØns‚ [z\nIfpb¿Øn, _mekckzXn At∏mgpw \rØw XpScp∂p≠mbncp∂p.
Hc¿∞Øn¬ cp‹nWntZhnbpsSbpw _mekckzXnbpsSbpw NphSpIfn¬ \n∂v ]ndhnsbSpØXv \rØtØ°mfp]cn,
\rØØns‚ Ncn{XamWv. \rØthZnbpsS Ncn{XØn¬ X߃°pw HcnSw Is≠ØpIb√ Ah¿ sNbvXXv. \rØØn\v Hcp
Ncn{Xw Nabv°pIbmWv. ]pXnb ImeØns‚bpw ]pXnb tZiØns‚bpw alXzm`nemjßsf NphSpIfnte°pw AShpIfnte°pw
]cmh¿Ø\w sNbvXv Ah¿ tZiNcn{XØns‚ \S\amXrIIfmbn. ]et∏mgpw XΩn¬ØΩnenS™pw Nnet∏mƒ am{Xw
XΩnenWßnbpw Acßn¬ Pohn®hcmbncp∂p Ah¿. F¶nepw `qXImeØns‚ {]`mh_nµp°fm¬ `qXnaØmb `mhnsb
s\bvsXSp°p∂Xn¬ Ah¿ ]ckv]cw XpWbmbn. Aßs\ Im©o]pcw kmcnIsfbpw I¿ÆmSIkwKoXsØbpw t]mse,
Z£nW`mcXØnse Ipeo\a[yh¿§Øns‚ kmaqlym`nemjßsf ]qcn∏n°m≥t]m∂ kmwkvImcnIhn`hßfnsem∂mbn
`cX\mSyw amdnØo¿∂p. ]mcºcyØns‚ aq¿ØoIcWhpw B[p\nIXbpsS BhnjvImc{]Imchpambn Htckabw \nesIm≈m≥
Ignbp∂ Iemcq]w. (Soneji 2010:xii).
H∂v : tZhZm-kn-Ifpw kZn-cm-´hpw
]sØmºXmw\q‰m≠ns‚ Ahkm\]mZßfn¬, Xangv ]mcºcyØn¬ thtcmSn∏S¿∂ \rØmhnjvImc߃ ]cnjvIcW
{]ÿm\ßfpsS sImSp¶m‰n¬ BSnbpebpIbmbncp∂p. cmPIobt{]m’ml\ßfptSbpw {]`p{]Xm]Ønt‚bpw ]n≥_eØn¬
\q‰m≠pIƒ \ne\n∂ \rØ]mcºcyØns\Xnsc B[p\nIXbpsS ‘kZmNmc˛[m¿ΩnIi‡n’ D{Kambn t]mcmSn6. ‘t£{Xm`nkmcnI’
(‘temple prostitutes’) tZhZmknIfpsS hnemkeoebmbnam{Xw ]cnKWn°s∏´ kZncm´Øn\v Cu {]NfihmXßsf {]Xntcm[n
°m\mbn√. tZhZmkn\rØhncp≤ {]ÿm\w (anti-nautch movement) D®ÿmbnbn¬ FØnbt∏mƒ a{Zmkv Khs◊‚ v t£{Xßfnse
\rØ{]IS\Øn\v hnet°¿s∏SpØn. B´Ønt‚bpw ]m´ns‚bpw ]mcºcysØ XeapdIfneqsS ssIamdns°m≠ph∂ HcpIq´w
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a\pjy¿°v A[aXzw Iev]n®pw AhcpsS Poht\m]m[nIƒ Fs∂t∂°pambn C√mbvasNbvXpw apt∂dnb ]cnjvIcW
kwcw`߃°v \q‰m≠pIƒ ]n∂n´ Hcp \S\]mcºcysØbpw kºq¿Æambn XakvIcn°m\p≈ _eap≠mbncp∂p. [m¿ΩnIambpw
Iem]cambpw A[x]Xn®Xpw Zp¿∫ehpsa∂v sImtfmWnb¬ B[p\nIXbpsS aqeyhnNmcw ap{ZIpØnb kZncm´sØ7 C\napX¬
X߃ ]n≥Xmßns√∂v a{Zmknse A`nPmXkaqlw s]mXp{]Xn⁄ FSp°m≥ XpSßnbncp∂p. ]cnjvIcWØns‚ KXnthKw
h¿≤n®v 1927˛¬ kmaqly{]h¿ØIbpw kv{Xo]cnjvIcWhmZnbpamb tUm. apØpe£van sdÕn a{Zmkv sePnt…‰ohv Iu¨knen¬
s]¨Ip´nIsf t£{Xßfn¬ ka¿∏n°p∂Xv \ntcm[n°p∂Xn\v hyhÿsNøp∂ Hcp _n¬ AhXcn∏n®p.8 Hc¿∞Øn¬
\q‰m≠pIƒ ]n∂n´ph∂ Hcp ]mcºcyØns‚ A¥naaplq¿Øambncp∂p AXv. CXn\p ]n∂mse, 1947˛¬ a{Zmkv sePnt…‰ohv
Akwªn ]m m°nb _n¬ {]Imcw Xangv\m´nse t£{Xßfn¬ ]Xn\mdv hb v Ign™ s]¨Ip´nIƒ \rØw sNøp∂XpXs∂
\ntcm[n°s∏´p. \nbaw ewLn°p∂h¿°v Bdv amkw XShpw A™qdv cq] ]ngbpambncp∂p \nbaw hyhÿ sNbvXncp∂Xv.
\q‰m≠pIƒ ]n∂n´ Hcp \rØ]mcºcyw Aßs\ B[p\nIXbpsS cwK{]thitØmsS Ip‰IrXyßfpsS ]´nIbnte°v \oßn!9
tZhZmknIƒ F∂ hn`mKw kµnKv≤amb kmaqly]ZhnbmWv ]Xns\´pw ]sØmºXpw iXIßfn¬ ssIbmfnt∏m∂Xv.
Hcp `mKØv. A°mesØ CXc kv{Xohn`mKßfn¬\n∂v hyXykvXambn, kmaqlnIamb CSs]S¬tijn (social agency) ssIhcn®
hcmbncp∂p Ch¿. amXrKrlßfn¬ ]m¿°pIbpw D∂Xhn`mKßfnse ]pcpj∑mcpambn ssewKnI_‘ßfn¬ G¿s∏SpIbpw
sNbvX Ah¿ Hs´ms° A`ykvXhnZycpambncp∂p. Cßs\, hnemk]q¿Æhpw DØc`mcXØnse aucym\¥c `cWImesØ
KWnIIsf Hm¿Ωn∏n°p∂Xpamb D—rwJeXzw ]pe¿Øp∂hcpambncp∂p tZhZmknIƒ. X©mhq¿ sIm´mcw \¿ØIn(?)bmbncp∂
ap±p∏f\nbpsS cN\Iƒ ]pcpjtI{µnXamb lnµpkaqlØn\IØv tZhZmknIƒ ssIbmfnbncp∂ hn[zwkIamb
kmwkvImcnIÿm\Øns‚ sXfnhmbn Nq≠n°mWn°s∏´n´p≠v (Chakravorthy 1998:111). F∂m¬ adp`mKØv I¿°iamb
s]cpam‰˛kZmNmc hyhÿIƒ Cu kv{XoIƒ°pta¬ ASnt®ev]n°s∏SpIbpw sNbvXncp∂p. ]Xns\´pw ]sØmºXpw
iXIßfnse X©mhq¿ sIm´mctcJIƒ tZhZmknIƒ ]pe¿tØ≠ s]cpam‰acymZIƒ hniZambn {]Xn]mZn°p∂p. Ch
ewLn°m≥ apXncp∂h¿s°Xnsc I¿°iamb in£Iƒ \S∏nem°nbXn\pw th≠{X sXfnhpIfp≠v (Soneji 2010: XII). tZhZmkn
IfpsS hnemktemep]XzsØ°pdn®v {]Ncn°p∂ s]mXp[mcWIƒ°v hncp≤amWnXv.
tZhZmkn\rØsØs®m√nbp≈ B[p\nI kwhmZØn\v XpS°w Ipdn°p∂Xv 1875˛¬ BWv. B{‘bnse cmPZp{finbn¬
\n∂p≈ IµpIucn hotcienwKw (1878˛1919) Xs‚ sXep¶pamknIbmb hnthIh¿≤n\nbn¬ {]kn≤oIcn® teJ\amWv CXns‚
XpS°ambXv. "thiymep' F∂ io¿jIØn¬ ]pdØph∂ B teJ\Øn¬ A¥∏pc\rØhpw AXns‚ kwkvImchpw
{]_eambncp∂ cmPZp{µnsb "thiymKrl߃' Xnßn\nd™ \mSmbmWv hntcienwKw hntijn∏n®Xv. A¥∏pc\rØtØbpw
\¿ØInIsfbpw t{]m’mln∏n°p∂ ]pcpj∑msc ]cnlkn®psIm≠v "thiym{]nb' F∂ {]lk\hpw At±lw cNn®p.
sXep¶nse BZyamknIbmb hnthIh¿≤n\nbnse Cu N¿®IfmWv tZhZmko\rØhncp≤{]ÿm\Øn\v XpS°wIpdn®sX∂v
]dbmw. lnµp ]{Xm[n]¿ Bbncp∂ kp{_“Wy Aø¿ t\XrXzw \¬Inb ‘a{Zmkv lnµp tkmjy¬ dnt^mw Atkmkntbj≥’
tZhZmkn k{ºZmbØns\Xnsc a{Zmkv Kh¿Æ¿°v ka¿∏n® \nthZ\Øn\v A\pIqeamb A`n{]mbw kamlcn°m\pw
hotcienwKw ]cn{ian®ncp∂p. CXn\p ]n∂msebmWv tUm. apØpe£van sdÕnbpsS tZhZmko\rØhncp≤kacw i‡amIp∂Xv.10
t£{X \rØthZnbpsS Xntcm[m\w \rØw IpesØmgnem°nb tZhZmknIsf _m[n®Xv ]e\neIfnemWv. Hcp`mKØv
]pXnb thZnIfnte°v Ahcn¬ Nne¿ FØns∏´p; BImihmWnbpw {Kmat^m¨ sd°m¿UpIfpw Xpd∂n´ kwKoXthZnbnte°v.
adp]pdØmIs´ t£{X˛sIm´mc \rØthZnbpsS XI¿® ssewKnIsØmgnente°v Xncnbm≥ Chcn¬ hensbmcphn`mKsØ
t{]cn∏n®p.11 Ccp]Xmw \q‰m≠ns‚ Bcw`Øn¬ \¿ØInIfpw KmbnIamcpw Dƒs∏´hcpsS FÆw apºp≈ 17023˛¬ \n∂v 3527˛te°v
IpØs\ XmWt∏mƒ, ssewKnIsØmgnen¬ G¿s∏´hcpsS FÆw s]s´∂v s]cpInbXmbn kqkn Xmcphpw efnXbpw
Nq≠n°m´p∂p (Tharu & Lalitha 1998:145-46).
kZncn\pw tZhZmknk{ºZmbØn\pw FXnsc \S∂ apt∂‰ßƒ kv{XohntamN\{]ÿm\ambmWv kzbw Xncn®dn™Xpw
BZ¿imflIambn AhXcn°s∏´Xpw. kv{XobpsS amXrIm]Zhnbmbn Cu {]ÿm\߃ \n¿t±in®XmIs´, ho´Ωbmb
`mcybpsSbpw AΩbpsSbpw ÿm\ßfmWv . tZhZmknIfpsS hnhmtlXcssewKnIXbpw PmXn]ZhnbpamWv
]cnjvIcW{]ÿm\ßsf \n¿Æbn® tI{µLSI߃. Aßs\ kv{XohntamN\w F∂ Bibhpw AXn\mbp≈ BZy{iaßfpw
kvss{XWIma\Iƒ°pw kv{XoicocØn\pw taep≈ A[n\nthißfmbn amdnØocp∂, Atßb‰w sshcp[y]q¿Æamb
ÿnXnhntijamWv12, XangIØv DSseSpØXv (Hubel 2010 : 160-82).
CtX kabØpXs∂ XangIPohnXØn¬ as‰mcp {]_ekzm[o\w hf¿∂phcp∂p≠mbncp∂p. {ZmhnU{]ÿm\w.
{ZmhnU{]ÿm\w Xangv]mcºcysØ°pdn®p≈ A[n\nthimflI[mcWIsf ]p\¿hnNmcWbv°v hnt[bam°n. sImtfmWnb¬
[m¿ΩnIXbv°pw kZmNmcbp‡n°pw Iogvs∏´ \mKcnIa[yh¿§Øns‚ aqeyt_m[sØ ]e\neIfn¬ AXv Cf°n∏WnXp.
]mcºcysØ ]ngpsXdn™psIm≠√ adn®v ]e]e hnXm\ßfn¬ AXns\ ]pXp°n∏WnXpsIm≠mWv kzbw
B[p\nIoIcn°s∏tS≠Xv F∂ t_m[w {ZmhnU{]ÿm\w XangIØn\v \¬In. tZiobhmZNcn{Xw (Nationalist History)
C¥ybnseºmSpw Db¿Ønhn´ `qXm`ncXnbpsS AeIƒ A°mesØ XangIPohnXtØbpw Cf°p∂p≠mbncp∂p.
{ZmhnU{]ÿm\hpw Cu AeIfn¬ DubemSn. {]Xy£ambn bp‡n]cXbn¬ ASnbpd∏n®p\n∂t∏mgpw, XangI]mcºcyØns‚
hyXncn‡Xsb AXv ]e\neIfn¬ Hm¿Ωs∏SpØns°m≠ncp∂p. 13 Aßs\ sImtfmWnb¬ B[p\nIXbpsS
]cnjvIcWkwcw`߃°v Bcm[yambn XpScm\mImØ Hcp hyhlmcafiew ]Xnsb∏Xnsb XangIØv cq]s∏´ph∂p.
At∏mgmWv ]pXnb bpKw ]nd∂Xmbn {]Jym]n®psIm≠v cp‹nWotZhnbpw _mekckzXnbpw AcßnseØnbXv.
tZiob{]ÿm\Øns‚ hnjak‘nIfnsem∂n¬ Km‘nbpsS cwK{]thisØ°pdn®v s\lvdp Xs‚ BflIYbn¬ FgpXnbXns\
Hm¿Ωn∏n°p∂ hchmbncp∂p AXv. Ccpƒ\nd™ temItØ°v sh≈nshfn®w hogp∂Xpt]mse. ]ns∂ \ΩpsS \rØthZn°v
]gbXmbnØs∂ XpScm\mhpambncp∂n√; AXv ]gbXmbnØpS¿∂n´pan√. ]gbXn\v ]pXpPohnXw \¬IpIb√ Ah¿ sNbvXXv.
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]pXnbXnte°v ]gabpsS {]XoXnIfpw {]`mhßfpw CW°nt®¿ØpsIm≠v, Ncn{Xw Ft∏mgpw h¿Øam\Øns‚ AcßmsW∂v
Ah¿ Dd∏n°pIbmbncp∂p.14 AtXmsS `mcXob\rØthZn°v {]Xm]]q¿Æamb Hcp Ncn{Xw e`yambn. ¢m n°¬ \rØIebpsS
Xnct\m´w.
c≠v : `cX\mSyØns‚ Ncn{Xhn⁄m\obw
lnµpÿm\n kwKoXØns‚ Ncn{X]cnWmaßsf ap≥\n¿Øn kwKoXNcn{XImcnbmb Pm\In _mJvse ]dbp∂Xv
Ccp]Xmw\q‰m≠n\v apºv C¥ybn¬ ¢m n°¬ kwKoXw D≠mbncp∂ns√∂mWv15. ]m´ns‚ ]e hgnIfmbncp∂p A∂tØXv.
t£{XkwKoXw, sIm´mckwKoXw, kZntcm’hßfnse kwKoXw, \mtSmSn kwKoXw, Km¿lnIkwKoXw............ Cßs\ ]e
cq]ßfnembn ]S¿∂p]c∂ ]m´ns‚ temIw. AXnsem∂pam{Xambn imkv{Xobamb Hcmem]\]≤Xnbpw. ]mSm≥ am{Xa√
tIƒ°m\pw ckn°m\pw in£Ww th≠ Hcp ]m´phgn. ]e]e ]mcºcy߃°nSbn¬, Ahbnsem∂p am{Xambn, AXpw
\ne\n∂pt]m∂p. F∂m¬, ]n∂osSmcp L´Øn¬ AXmbn kwKoXØns‚ icncq]w; ‘imkv{Xob’]mTw. as‰√mw A\p_‘ßtfm
A]{`wißtfm Bbn. ‘imkv{XobamXrI’bm¬ Af°s∏tS≠ AkwkvIrXhkvXp°ƒ.
`cX\mSyØns‚ ¢m n°¬ ]Zhnsb°pdn®v BtemNn°ptºmgpw CXv {]k‡amWv. A\pjvTm\Øns‚ `mKambpw
A√msXbpw, sIm´mcØnepw Aºehf∏nepw KrlkZ pIfnepw a‰pw ]eXmbn XpS¿∂p t]m∂ \S\{Iaßfn¬ \n∂v GIcq]hpw
hyhÿm]nXhpw imkv{Xobhpamb Hcp \mSy{IaØns‚ Is≠Sp°embmWv `cX\mSyw \nehn¬ h∂Xv. sImtfmWnb≥
B[p\nIXbpw tZiobXbpw ]uckvXyhmZhpw ssItIm¿Øp\n∂ Hcp hyhlmcafiew P∑w \¬Inb \mSy{]Imcambncp∂p
AXv. B´Øns‚ _lpkzc߃°pta¬ Xebpb¿Ønb GIkzcw; GIcq]w. ]pXpXmbn Is≠Sp°s∏´ ]ga.
B[p\nIXbpambp≈ C¥y≥ apJmapJØns‚ A\¥c^eßfnsem∂v CØcØnep≈ tZiob]mcºcyßfpsS
]p\xÿm]\ambncp∂p. Z£ntW¥ysb kw_‘n®nStØmfw B[nImcnIamb tZiob]mcºcyØns‚ BIcambnØo¿∂Xv
\rØhpw kwKoXhpamWv.15 ]sØmºXmw iXIØns‚ Ahkm\ ]Xn‰m≠pIfnepw Ccp]Xmw \q‰m≠ns‚ BZy]Xn‰m≠pI
fnepambn \KctI{µnX A`nPmXkaql߃ kz¥w ]mcºcysØ°pdn®p≈ ]pXnb Nne {]Xo£IfpsS kΩ¿±w A\p`hn°m≥
XpSßnbncp∂p. A[n\nthiw, B[p\nIX, ]uckvXyhmZw F∂nhbm¬ \n¿Æbn°s∏´ Hcp hyhlmcafiew C°meØv \nehn¬
h∂p. hyXymkßsfbpw hyXncn‡XIsfbpw tX®pambv ® pIfbp∂Xpw kØmhXv I cWØn¬ A[njv T nXhpamb
kzmwioIcWX{¥w hgn GImflIamb D≈S°w Iev]n°s∏´Xpamb tZiob]mTßfmWv Cu hyhlmcØn\p≈n¬ ]mcºcyambn
Is≠Sp°s∏´Xv. CXns‚ ^eambn, \mtSmSn/¢m n°¬ (folk/classical) F∂ hn]coXZzµzw hn`mh\w sNøs∏SpIbpw AXns‚
AXn¿hcºpIƒ ]IpØphbv°s∏SpIbpw sNbvXp. tZiobamb kØmhXvIcWØn\v hgßmØhsb√mw \mtSmSn°eIfmbn.
GIapJhpw tZiobhpamb ssieohXvIcWØn\pw kw{KlWØn\pw hgßp∂h ¢m n°¬]mcºcyØns‚ ]mTcq]ßfpambn.
imkv{Xobambn Nn´s∏SpØs∏´Xpw, apJy[mcmtZiobXbpsS kwkvIrX (kh¿Æ) kzcq]tØmSv hn\nabw km[yambXpamb
Hcp ¢m n°¬ ]mcºcyw Cßs\ ]WnsXSp°s∏´p.17 IeIsf ap≥\n¿Øns°m≠p≈ Cu tZiobkØm\n¿ΩmW]≤Xn,
]uckvXyhmZ]camb BibßfpsS {]`mhØm¬, B[ymflnIXbpsS Hcp B¥c[mcsb AXns‚ ImXembn ]cnKWn°pIbpw
sNbvXp.18
tZiob imkv{Xob\rØßfpsS hwimhenbpw A[ymflØns‚ B¥cafieØn¬ AXn\v Iev]n°s∏´ CShpw
IW°nseSpØm¬ kh¿Æ˛Ipeo\ a[yh¿§w Xt±iob \rØcq]ßfpsS ¢m nIvhXvIcWØns‚ \mbIXzw ssIbmfnb
sXßs\sb∂v hy‡amIpsa∂v Cµncm]ot‰gvk\pw Zthjv skmt\mPnbpw A`n{]mbs∏Sp∂p (2008:6) . ¢m nIv F∂ KWIev]\
AXns‚ A]c (other) ambn Ft∏mgpw Hcp \tSmSn (folk) ]mcºcyw Bhiys∏Sp∂p≠v. ChnsSbmIs´ Ipeo\˛a[yh¿§ tZiob
hmZnIfpsS ap≥ssIbn¬ \S∂ ¢m nIvhXvIcWw \rØkwKoXsØmgnen¬ ]cºcmKXambn Dƒs∏´p\n∂ kapZmbßsfbmWv
AXns‚ A]cambn ]cnKWn®Xv. _q¿jzm tZiobXbpsS `mhpIXzw Htc kabw A`nPmXhpw kh¿Æhpw B[p\nIhpambn
\ne\nev°m≥ sIev]p≈ tZiob]mcºcysØbmWv D‰pt\m°ns°m≠ncp∂Xv. F∂m¬ Nn∂tafhpw s]cnbtafhpw19 kZncpw
a‰pambn Z£ntW¥ybn¬ \ne\n∂ncp∂ Iem]mcºcyw as‰m∂mbncp∂p. PmXn_≤hpw IpesØmgnembn ssIamdnt∏mcp∂Xpw
Aimkv{Xobhpw Ie¿∏pIfp≈Xpw {]amWclnXhpw {]mtZinIhpw B[p\ntIXchpamb H∂mbncp∂ kZncns‚ ]mcºcyw.
tZiob]mcºcyØn\mhiyamb {]mNo\XbpsS ]cnthjtam {]amW`{ZXtbm ssieo]camb GIXtbm imkv{XobXtbm Ahbv°v
AhImis∏Sm≥ Ignbpambncp∂n√. G‰hpw anIhp‰Xmbncn°ptºmƒt]mepw Ah hnizmkytbmKyambncp∂n√.
tamiambt∏mgmIs´ Ah B`mkIchpambn (Peterson 2008:7). CØcsam∂n\v ]Icw tZiobXbpsS A`nam\Icamb \o°nhbv]mbn
]cnKWn°mhp∂ Hcp \mSy]mcºcyØns‚ hos≠Sp∏mbncp∂p ¢m nIvhXvIcWØns‚ XmXv]cytI{µw. `cX\mSyambn
AhXcn®Xv Cßs\ Is≠Sp°s∏´ ]mcºcyamWv.
{_m“WIpSpw_ßfnse s]¨Ip´nIƒ `cX\mSyw A`ykn°m\pw {]Ncn∏n°m\pw XømdmhWsa∂v C. IrjvWø¿
1930˛IfpsS XpS°Øn¬ Bhiys∏Sp∂Xv taev ] d™ ]›mØeØnemWv . `cX\mSyØns‚ ]p\cp÷oh\Øn\v
XpS°wIpdn®hcnsemcmfmb IrjvWø¿ kzbw Hcp hnZKv[\¿ØI\pw Iemhna¿iI\pambncp∂p.20 ¢m n°¬ Xangv]mcºcysØ
tZiob]mcºcyhpambn CW°nt®¿°p∂ ]cnt{]£yamWv `cX\mSyØns‚ Ncn{Xambn At±lw AhXcn∏n®Xv .
\mSyimkv{XØn¬ ]cma¿ihnt[bamIp∂ Zm£nWmXy\mSyw21 AXn{]mNo\amsW∂pw \mSyimkv{XØns‚ Imeambt∏mtg°pw
AXv C¥ybnepS\ofw {]Nmcw t\Snbncp∂Xmbpw IrjvWø¿ A`n{]mbs∏´p. kwkvIrX]mT߃ Cu \mSy{]tbmKØn\v
imkv{Xobamb GIoIrXcq]w \evIpIbpw ]n∂mse XangIØpƒs∏sS Cu tZiob\rØ]mTw XpScpIbpamWv sNbvXXv.
]nev°meØv hntZi A{IaWw Dƒs∏sSbp≈22 \nch[n ImcWßfm¬ Cu tZiob]mTØn\v DØc`mcX PohnXØn¬
{]_ekzm[o\amIm≥ Ign™n√. F∂m¬ XangIw Cu ]mcºcy{]hmlsØ Debnse Xo t]mse AWbmsX ImØp. Aßs\
XangIØns‚ ]ucmWnIXbpw `mcXobXbpsS {]uVnbpw HØnWßnb \rØ]mTamWv Ct∏mƒ `cX\mSyambn Acßnep≈Xv
4
F∂mWv IrjvWø¿ hniZoIcn®Xv (1957:11˛25).
{]mtZinIXsbbpw tZiobXsbbpw ka\zbn∏n°p∂ Cu Ncn{X]mTØn\v A\ptbmPyamb cwK]mTw Nabv°m\pw IrjvWø¿
{ian®ncp∂p. tZhZmkn \¿ØInIfn¬ \n∂v ssIh∂ {]tbmKßfpw Xangv, sXep¶v, kwkvIrX IrXnIfpw At±lw
AcßnehXcn∏n®p. CXneqsS kwkvIrX]mT߃°v {]mtZinIthcpIƒ Iev]n°pIbmWv IrjvWø¿ sNbvXsX∂v Pm\‰vjnb
A`n{]mbs∏Sp∂p (2008:174˛75). kZncns‚bpw tZhZmkn\rØØns‚bpw Xmhgn tZiobXbn¬ \n∂v thdn´X√. adn®v, Ah tZiob
\rØ]mcºcyØns‚ AÿnhmcamsW∂mbncp∂p IrjvWøcpsS \ne]mSv. Xangv˛kwkvIrX ]mT߃°v XpeyX Iev]n°pItbm
kwkvIrX]mTØn\v ta¬t°mbva Iev]n°pItbm A√ IrjvWø¿ sNbvXXv; kwkvIrX]mTØns‚bpw AXphgn tZiob
]mTØns‚bpw, {]`hambn Xangv ]mTßsf AhXcn∏n°pIbmWv. AXpsIm≠p Xs∂ \mSyimkv{XsØ, cp‹nWotZhn
Acptfiepw a‰pw I≠Xpt]mse `cX\mSyØns‚ {]P\I]mT (generative text) amb√ hnhcWmflI]mTambmWv Aø¿ ]cnKWn®Xv.
CØcØn¬ Xangv]mcºcym`nam\tØbpw kh¿Æ˛kwkvIrX tZiobXsbbpw kZncns\bpw hnf°nt®¿°p∂ Hcp Ncn{Xhpw
AXns‚ cwK]mThpw \n¿Ωn°m\mbncp∂p IrjvWøcpsS {iaw. Cu {iaw t\cnSp∂ G‰hpw henb sh√phnfnbmbn At±lw
I≠Xv kmaqlnIambpw kZmNmc]cambpw ]n≥\ncbn¬ \nev°p∂ tZhZmkn kv{XoIƒ Cu \rØ ]mcºcyØns‚ ssIhimh
Imi°mc\mbn \nesIm≈p∂Xv. D∂XIpePmXIfmb {_m“Wkv{XoIƒ `cX\mSyØns‚ ]TnXm°fpw {]NmcIcpambn
cwKØphcWsa∂ IrjvWøcpsS Blzm\hpw AXn\mbn \SØnb ]cn{iaßfpw Cu {]Xnk‘n°p≈ ]cnlmcambncp∂p.23
A`nPmXamb tZiob]mcºcyØn\v A`nPmXamb h¿Øam\PohnXw \evIm\p≈ {iaw.
[tZhZmkn kv{XoIsf Hgnhm°n A`nPmXIpSpw_ßfnse kv{XoIƒ `cX\mSyw ]cnioen°pIbpw AhXcn∏n°pIbpw
sNøWsa∂ Cu hmZw ]t£, {]apJ `cX\mSyNcn{XImc\mb hn. cmLh\v kzoImcyambncp∂n√. sImºnencp∂v \SpØ≠v
apdn°p∂Xpt]mep≈ {]hrØnbmbmWv At±lw CXns\ hntijn∏n®Xv. kh¿Ækv{XoIƒ \rØw ]Tn°pIbpw AXn¬ ssh`hw
t\mSpIbpw sNøp∂Xv \√XpXs∂sb¶nepw AXns‚ t]cn¬ \q‰m≠pIfpsS CSapdnbmØ \S\]mcºcyap≈ Hcp kapZmbsØ
\rØthZnbn¬\n∂pw ]pdØm°p∂Xv, BXy¥nIambn, B Iesb Zp¿∫es∏SpØpI am{Xta sNøq F∂t±lw Dd∏n®p ]d™p.
XßfpsS ssh`hw Ah¿ kz¥w ho´pap‰Øv ]mgm°n°fbWw F∂phcp∂Xv Bimkyamb ]cnjvIcWcoXnb√. am{Xa√,
Iebv°mbn kz¥w PohnXw Dgn™ph®h¿°v AXnep≠mIp∂ ssh`hw Km¿lnIPohnXØns‚ A\p_‘ambn Iem{]h¿Ø\w
sIm≠p\S°p∂h¿°v D≠mhpIbn√. AXpsIm≠v tZhZmknIfn¬\n∂pw `cX\mSysØ tamNn∏n°pI F∂ \hoIcWhmZnIfpsS
\ne]mSv AkzoImcyhpw IebpsS \ne\nev]ns\ kw_‘n®nStØmfw A]ISIchpamsW∂mWv hn.cmLh≥ A`n{]mbs∏Sp∂Xv.
cwKthZnbnse "\thm∞m\w' F∂ t]cn¬ `cX\mSyØn\v ]Icw SmtKm¿ cq]Iev]\ sNbvXXpt]mep≈ \rØcq]ßsf
B\bn°m\p≈ {iaßsf hn. cmLh≥ i‡ambn FXn¿Øp. kz[¿Ωw kztZin, kzcmPyw ˛ CXmWv bYm¿∞ \thm∞m\sa∂v
At±lw ]dbp∂p. A√msX SmtKmtdm a‰msc¶neptam cq]w \¬Inb IemhnjvImcßsf Ir{Xnaambn ]dn®p\Se√. tZhZmknIfpsS
\rØmhXcWw Ak`yhpw A«oehpambntØm∂p∂h¿°v ]Sn™md≥ kn\naItfmSpw AXnse \rØmhXcWßtfmSpw bmsXmcp
hntbmPn∏pan√ F∂Xv hnNn{XamWv. \thm∞m\w `cX\mSysØ \ne\n¿Øm\mhWsa∂pw at‰sX¶nepsamcp \rØcq]w ]Icw
hbv°m\mhcpsX∂pw hn. cmLh≥ ]d™p. s{]m^jWenkØns‚ A`mhw, \nehmcØI¿®, D]cnπhX, \rØhyhÿtbmSp≈
Iqdn√mbva, Xm¬°menI t\´ßfn¬ Xr]vXnbSb¬ ˛ Chsb IebpsS \thm∞m\ambn sX‰n≤cn°cpsX∂v At±lw Xm°oXv
\¬IpIbpw sNbvXp (Raghavan 2010 : 185-91).]
tZiobXbpsS amXrImNcn{Xw
tZicmjv{SØns‚bpw tZiobXbpsSbpw {]Xybimkv{Xw `cX\mSyØns‚ Ncn{X\n¿ΩnXnsb \n¿Æbn°p∂Xns‚
amXrIm]mTw I]nemhm’ymb\s‚ \rØNcn{XØnemWv ImWm\mhpI. 1974˛¬ C¥ymKhs◊‚ns‚ {]t£]W˛hnhc a{¥mebw
(Ministry of Information and Brodcasting) {]kn≤oIcn® `mcXØnse ¢m n°¬ \rØIeIfpsS Ncn{Xw (Indian Classical Dance) `cX\mSyw,
IYIfn, HUn n, IYIv, aWn∏pcn F∂o \rØcq]ßfpsS Ncn{Xhpw kmt¶XnIkzcq]hpw hniZam°p∂ {KŸamWv. apIfn¬
kqNn∏n®Xpt]mse, ¢m n°¬ \rØ]mcºcyØns‚ amXrImcq]ambmWv ChnsS `cX\mSyw ]cnKWn°s∏Sp∂Xv .
{]mtZinIXbpsS ASbmfßsf G‰hpa[nIw Isømgn™Xpw (cp‹nWotZhnbptSbpw ]n≥XeapdbptSbpw ]cnjvIcWßfneqsS)
\mSyimkv{Xhpambp≈ kqNI_‘w ]pe¿Øp∂Xpw24 kwkvIrX_≤amb {]tab]cnNcWØm¬ apJy[mcmtZiobXbpsS
{]Xybimkv{XafieØn¬ CSwssIbmfm≥ H´pwXs∂ {]bmkan√mØXpamb \S\]≤Xnbmbn `cX\mSyw AXn\Iw
amdn°gn™ncp∂p. Cu km≤yXIsf kw{Kln®psIm≠v `cX\mSyØn\v tZiobNcn{Xw \n¿Ωn°pIbmWv I]nehm’ymb\≥
sNøp∂Xv.
Cusbmcp \n¿ΩmW]≤XnbpsS BapJambn Ncn{XmXoXImew apX¬ Ccp]Xmw \q‰m≠v hsc XpS¿®bp≈ Hcp
\rØNcn{Xw I]nem hm’ymb≥ AhXcn∏n°p∂p≠v. hniZmwi߃°∏pdw, B[p\nI tZi˛cmjv{SØns‚ Ncn{Xhpambn
CWßn\n¬°p∂ \mSyNcn{Xw \n¿Ωns®Sp°m\p≈ AXnse {iaamWv \ΩpsS At\zjWØn¬ {]m[m\ya¿ln°p∂Xv.
CØcsamcp tcJob Ncn{X\n¿ΩnXnbpsS ASnÿmsa∂ \nebn¬ C¥y≥ \rØ˛\mSy ]mcºcyßsf \mep Ncn{XL´ßfmbn
Ah¿ hIXncn°p∂p. {]mIvNcn{XImew apX¬ _n.kn. c≠mw iXIw hscbp≈XmW BZyL´w. lc∏≥ kwkvIrXnbpsS
Ahtijn∏pIfnsem∂mb \¿ØIn (dancing girl) bpsS inev]w25 apX¬ KplmNn{Xßfnse kqN\Ifpw thZ˛D]\njZv ]cma¿ißfpw
hscbp≈hbmWv Cu Imebfhnse \mSy{]tbmKßfpsS ASbmf߃. CXn\p]n∂mse hcp∂, _n.kn. c≠mw iXIw apX¬
F.Un. ]Xns\m∂v˛]{¥≠v \q‰m≠pIƒ hsc \ofp∂, c≠mwL´sØbmWv `mcXob \rØIebpsS {]XnjvTm]\thfbmbn
I]nemhm’ymb≥ ]cnKWn°p∂Xv. aucyinev]ßfnse \rØhSnhpIƒ apX¬ X©mhqcpw NnZw_chpw Dƒs∏sSbp≈
t£{Xßfnse inev]cq]߃26 hscbp≈h Hcp `mKØpw \mSyimkv{Xw, A`n\bZ¿∏Ww, kwKoXcXv\mIcw apXemb
imkv{X{KŸßƒ adp`mKØpambn hn]peamb Hcp \mSy]mcºcyØns‚ ASbmf߃ Cu Imebfhv _m°n h®n´p≠v. CØcw
`uXnImkv]Zßsfbpw {]amW]mTßsfbpw ap≥\n¿Øn `mcXob \mSy]mcºcyØns‚ kwÿm]\thfbmbn Cu ImeL´sØ
5
I]nemhm’ymb≥ hnebncpØp∂p. {InkvXph¿jw ]{¥≠v apX¬ ]Xns\´v hsc \q‰m≠pIfmWv aq∂mw L´Ønep≈Xv.
¢m n°¬\rØw {]mtZinI{]tbmK߃ hgn {]IminXamhp∂ ImeamWnXv. `cX\mSyhpw IYIfnbpw HUoknbpw aWn∏pcnbpw
IYIpw C°meØns‚ DXv]∂ßfmWv. Ahkm\L´w {_n´ojv A[n\nthiØns‚bpw tZiobamb ]p\cp÷oh\Ønt‚XpamWv27.
tImf\nhmgvN°mesØ XI¿®sb adnIS∂v B[p\nIhpw tZiobhpamb \rØcq]ßfmbn {]mtZinI ]mcºcy߃
hnIkn®ph∂Xns‚ IYbmWv Cu L´Ønt‚Xv. I]nem hm’ymb\s‚ Ncn{XmJym\Øns‚ ]cnkam]vXn aplq¿Øhpw CXpXs∂
(Vatsyayan 1992:1-8).
13
k≥am¿§njvTcpw Xo{hhnc‡cpamb, ssZhßsf thZnbn¬ sIm≠ph∂t∏mƒ _mekckzXn {ioIrjvWs\bpw apcpIs\bpw
t]mse eoemtemep]cmb ssZhXßsfbmWv \mSymhXcWØn\mbn sXcs™SpØXv. CXn¬Xs∂ apcpI≥ F∂ {ZmhnUssZhw
IqSpX¬ henb {]m[m\yw t\SpIbpw sNbvXp. Xangnse apcpIIo¿Ø\ßfpw sXep¶nse IrjvW]Zßfpw {]tXyIambn
sXcs™SpØpsIm≠v eoem]cXbn¬ thtcm´ap≈Xpw sF{µnbhpw NSpeamb Aaq¿ØXbv°∏pdw t]mIp∂Xpw icoc_Zv[amb
A`n\bØneq∂p∂Xpamb Hcp \S\coXn _mekckzXn hnIkn∏ns®SpØp (O’shea 2008:180). "aecps]mcbp∂Xpt]mse' F∂v
]ga°mcpsS Hm¿Ωbn¬ sXfnbp∂ AhcpsS cwK{]tbmK߃ Htckabw Cu eoem]cXbpsSbpw icoc_Zv[XbpsSbpw
DXv]∂ßfmbncp∂p. \S\NmcpXbpsS {ZmhnUs∏cpabmbn AXv `cX\mSyØns‚ Ncn{XØn¬ XpScp∂p.
cp‹nWotZhnbpsS Aaq¿Øamb AJne`mcXobXs°Xnsc sX∂n¥y≥ \S\]mcºcyw F∂ FXn¿\nesb
Db¿Øn∏nSns®¶nepw tZiobXbpsS Bhiyßsf A`nkwt_m[\ sNøp∂Xn¬ _mekckzXnbpsS B´{]Imcw ]cmPbs∏´n√.
`mcXobX F∂ k¿∆mt«jIamb aqeysØ _mekckzXnbpw AwKoIcn®ncp∂p. C¥ybnse hnhn[ \S\coXnIfnepw
\rØ]mcºcyßfnepw \neo\ambncn°p∂ aqeyambn Ah¿ CXns\ IW°m°n. {ZmhnUsat∂m Z£ntW¥y≥ Ft∂m
hntijn∏n°mhp∂ Hcp \rØ]mcºcyØn\mbn hmZn°ptºmƒØs∂, kwkvIrX]mcºcyØns\m∏w Xs∂ \n¬°p∂ Hcp
tZiob]mThpw ]mcºcyhpamWXv F∂v hmZn°m\mWv; kwkIrX˛{_m“W ]mcºcyØns‚ hn]coXamhm\√ Ah¿ B{Kln®Xv.
_lpkzcamb tZiob]mcºcysØ°pdn®p≈, As√¶n¬ _lpkzcmflIamth≠ tZiobXsb°pdn®p≈ Hcp ho£Wambncp∂p
AXv . CXpsIm≠pXs∂ Htckabw A{_m“W]mcºcysØ Db¿Øn∏nSn°p∂ Xangv Cssi kwLØns‚bpw
{_m“W]mcºyØneq∂p∂ a{Zmkv ayqknIv A°mZanbpsSbpw thZnIfn¬ {]Xy£s∏Sm≥ Ah¿°v km[n°pIbpw sNbvXp.
tIhe`‡nsb tI{µØn¬ {]XnjvTn°p∂ `cX\mSyw {_m“WyØns‚ \rØ{]ImcamsW∂v _mekckzXn Dd∏n®p]d
™ncp∂p. _mekckzXnbpsS Cu ho£Ww Ccp]Xmw\q‰m≠ns‚ BZy]IpXnbn¬ XangIØv Actßdnb ]cnjvIcW
kwcw`ßfpambn HØpt]mIp∂Xmbncp∂n√. Hc¿∞Øn¬ Ah¿Xs∂ apt∂m´ph® \rØkwhn[m\Ønse HØpXo¿∏pIsf
(choreographic reconcilations) A´nadn°p∂Xmbncp∂p Cu \ne]mSv. tZihpw {]tZihpw XΩnepw, kwkvIrXhpw Xangpw XΩnepw,
]mThpw {]tbmKhpw XΩnep≈ ]pXnb HØpXo¿∏pIƒ IqSnbmbmWv _mekckzXnbpsS cwK{]tbmK߃ hnIkn®ph∂Xv.
tZhZmkn]mcºcytØbpw irwKmctØbpw {]Io¿Øn°p∂ _mekckzXnbpsS \ne]mSn¬ Xs‚Xs∂ cwK{]tbmK
ßfpambpw, ]pXnb A¥co£hpambpw ISpØ sshcp[yap≠mbncp∂p. kZncnt\bpw AXns\ \ne\n¿Ønb tZhZmknIpetØbpw
{ZmhnU{]ÿm\߃ s]mXpsh IsømgnbpIbmWs√m sNbvXXv. sh≈mfkapZmbw Xs∂ kZncn¬\n∂pw `cX\mSysa∂
\nebv°p≈ AXns‚ ]cnjvIrXPohnXØn¬ \n∂psa√mw Gsd°psd ]n≥hmßn. tZhZmkn]mcºcyw Db¿Øn∏nSn°p∂
\¿ØInbmbn _mekckzXn am{Xta At∏mƒ Ahtijn®ncp∂p≈q. a{Zmkv ayqknIv A°mZanbpsS A`nPmXamb thZnIfn¬,
`cX\mSyambn kZncns\ ]cmh¿Ø\wsNøm≥ D’pIambncp∂ ta¬PmXn AcßpIfn¬, Xs‚ \rØmhnjvImc߃ _mekckzXn
AhXcn∏n°pIbpw sNbvXncp∂p. Cu \nebn¬ {]ISamb sshcp[yßfpsS \SphnemWv Xs‚ \rØ]mcºcyhpw AtX°pdn®p≈
ho£Wßfpambn Ah¿ \nesIm≠Xv.
IebptSbpw A\p`qXnbpsSbpw km¿∆euInIXsb°pdn®p≈ ho£W߃ D]tbmKs∏SpØns°m≠mWv _mekckzXn
Cu sshcp[yØn\v ]cnlmcw I≠sX∂v `cX\mSyØns‚ kmaqlyNcn{XsØ°pdn®v ]Tn®h¿ A`n{]mbs∏Sp∂p≠v. F√m
IeIfpw BflobXbpsS D∂XaqeyßsfbmWv e£yam°p∂sX∂v _mekckzXn hmZn°p∂Xns‚ kmwKXyw CXmWv. ]t£
_mekckzXnsb kw_‘n®nStØmfw Cu Bflobaqeyw `cX\mSyØn\v ssIhcp∂Xv sshImcnIXbneqsSbpw AXp\¬Ip∂
B¥cnIXbpeqsSbpamWv. Cu sshImcnIXbnep≈ Du∂¬ hgn `cX\mSyØns‚ {]mtZinI]mcºcysØ \ne\n¿Øns°m≠p
Xs∂ AXns\ km¿∆tZiobIebpambn _‘s∏SpØm≥ _mekckzXn°p Ign™p (Balasaraswathy 1991:23). tZhZmkn]mcºcy
Øns‚ alXzhXvIcWtØmsSm∏wXs∂ ]pXnbImehpambp≈ hn\nab߃ \ne\n¿Øm≥ AXv hgnXpd∂psImSpØp.
A¥naambn C¥y≥ tZiobXbv°v _lpkzcmflI]mTw Nabv°p∂ \mSy{]tbmKambn _mekckzXnbpsS \S\w amdnØo¿∂p.
^e{ipXn
enwK]Zhnsbbpw ssewKnIXsbbpw Ipdn®p≈ Xs‚ {]JymX\nco£W߃°nSbn¬ \mSy]cX (performativity) F∂ Bibw
PqUnØv _Sve¿ AhXcn∏n°p∂p≠v (1999:171˛90). enwK]ZhnbpsS hyhlmcafieØn\IØv \nc¥cambn Actßdp∂
\mSyßfmWv (performances) ssewKnIXsb km[yam°p∂sX∂v Ah¿ ]d™p. bmYm¿∞yw \mSy]camWv (performative); kØm]ca√.
`cX\mSyhpw Cßs\ \mSy]cambn \nehn¬h∂ bmYm¿∞yamWv. B[p\nIXbpsS B[mckma{KnIfn¬ NneXpsIm≠v
tZiobamb Hcp \mSy]mcºcyw ]WnsXSp°s∏´Xns‚ IYbmWXv. XpS°Øn¬ ]d™Xpt]mse B´{]ImcßfpsS Ncn{Xa√
AXv. adn®v B´{]ImcßfneqsS \nehn¬ h∂ Ncn{Xw. h¿Øam\w `qXImeØn¬ kz¥w apJw t\m°n°mWp∂XmWv Ncn{Xw
F∂ ]gb]mTØns‚ XpS¿®bn¬, `qXImesØ \mSyNcn{XØneqsSbpw ]WnsXSp°mw F∂v CXv \sΩ Hm¿Ωn∏n°p∂p. Aßs\
]WnsXSp°s∏Sp∂ `qXImeamhs´ \mSyØns‚ am{Xa√ cmjv{SØns‚bpw `qXImeambncn°p∂p. `qXImea√; `qX{]XoXn;
`qX{]Xo£.
14
Ipdn∏pIƒ
1. C¥ybnse ¢mkn°¬ \rØcq]߃ GsX√mamWv F∂Xns\°pdn®v JfinXamb Xo¿∏v ]dbpI Ffp∏a√. C¥y≥ \rØIebpsS
HutZymKnI Ncn{XImcnbmbn ]cnKWn°mhp∂ {]ikvX Iemhna¿iI I]nehm’ymb≥ `cX\mSyw, IYIfn, HUo n, IYIv.
aWn∏pcn F∂nhsbbmWv ¢m n°¬ \rØcq]ßfmbn ]cnKWn°p∂Xv. Ip®p∏pSn, b£Km\w, Nu, tamln\nbm´w XpSßnb
\rØcq]ßsfm∂pw AhcpsS ]cnKW\bn¬ h∂n´n√. hmNnIm`n\bØns‚ A`mhwsIm≠v Nu \rØcq]ßfpw hmNnIØns‚ AanX
{]tbmKØm¬ b£Km\hpw ¢m n°¬ \rØØn¬ \n∂pw AI∂p\n¬°p∂Xmbn I]nehm’ymb≥ ]dbp∂p. kao]ImeØv
Ip®p∏pUn `cX\mSyw t]mse Hcp ¢m n°¬ cq]amIm≥ {ian°p∂ps≠¶nepw \n¿ÆmbIamb Hcp ÿm\w AXn\v Ct∏mgpw
ssIh∂n´ns√∂mWv AhcpsS A`n{]mbw (Vatsyayan 1997:V-VI).
2. kØm]cambn `cX\mSyamWv `mcXob\rØsa∂pw as‰√m C¥y≥ \rØcq]ßfpw AXns‚ hIt`Z߃ am{XamsW∂pap≈ ho£Ww
`cX\mSy\thm∞m\Øns‚ h‡m°ƒ Dd∏n®v ]d™ncp∂p. "Essentially all Indian Dance is Bharata Natya, though only one school of art is
known by the name” F∂mWv cp‹nWntZhn Acptfi¬ CtX°pdn®v ]dbp∂Xv (2010:194). `cX\mSyØns‚ Ncn{XImc\mb hn.cmLh\pw
CtX\ne]mSmWv D≈Xv (2004:1).
3. “To articulate the past historically does not mean to recognize it ‘the way it really was’. It mean to seize hold of a memory as it flashes up at a moment
of danger” - Walter Benjamin : 'Theses on the Philosophy of History'. Thesis No: VI (Benjamin 1994:247). ]mcºcyØns‚ D≈S°Ønepw
]mcºcysØ hos≠Sp°m≥ {ian°p∂hcnepw hos≠Sp∏ns‚ aplq¿ØsØ \n¿Æbn® B]Øv kzm[o\w sNepØns°m≠ncn°psa∂pw
hmƒ´¿ s_≥ban≥ ]dbp∂Xpw (1994:247) `cX\mSyØns‚ Ncn{X\n¿ΩmWsØ kw_‘n®nStØmfw km[phmb HcmibamWv.
4. `qXImekw`hßsftbm A\p`hßsftbm \n wKambn Hm¿sØSp°p∂ {]{Inbb√ kvacW. k¶o¿Æhpw _lpapJhpamb Hcp
{]{InbbmWv AXv. kvacWm_nw_߃ h¿Øam\Øn¬ \S°p∂ kacWmkw`hØns‚ DXv]∂ßfmWv. kvacWmkw`hamIs´
XrjvWm{]hmlßfm¬ ]qcnXhpamWv. AXpsIm≠v Hm¿Ω `qXImeØns‚ \n wKhpw \njvIf¶hpamb ]p\cmb\a√. h¿Øam\Øns‚
{]Xo£Ifpw {]XymiIfpw `oXnIfpw A`nemjßfpw IqSn°e¿∂p\n¬°p∂ A\p`qXnÿm\amWXv. CtX°pdn®p≈ hniZamb
N¿®bv°v DZbIpamdns‚ ]T\w ImWpI (DZbIpam¿ 1994:33˛60).
5. 1977˛se samdm¿PntZimbn k¿°mcns‚ ImeØmWv cmjv{S]Xn]ZØnte°v cp‹nWotZhn £Wn°s∏´Xv. B £Ww \nckn® Ah¿
]n¬°meØv Xs‚ \rØhnZymebamb Iemt£{XØn\v k¿∆Iemime]Zhn \¬Imsa∂ k¿°m¿ hmKvZm\hpw \nckn°pIbp≠mbn
(cmPtiJc≥ 2005:24).
6. t£{X˛sIm´mcw \¿ØInIfpsS ‘A[x]X\sØ' ap≥\n¿Øn _wKmfnse \thm∞m\\mbI\mb tIihN{µsk≥ Hcn°¬ ]d™Xv
"AhfpsS arZphN\߃ `mcXØns‚ £bamWv'; AhfpsS ]p©ncn `mcXØns‚ acWhpw' F∂mWv (Chakravorthy 1998:111). CØcw
ho£W߃ ]n∂oSv tZiobm[p\nIXbpsS apJy{]tabßfnsem∂mb Km¿lnIXbpsS BZ¿ihXvIcWØn\v Aÿnhmcw
Nabv°pIbpw sNbvXp.
7. ]sØmºXmw\q‰m≠ns‚ HSphnepw Ccp]Xmw\q‰m≠ns‚ BZy]mZØnepw {_n´ojv A[nImcnIƒ tZhZmkn \rØhncp≤{]ÿm\Øn\v
]q¿Æ]n¥pWbmWv \¬Inbncp∂Xv. 1905˛¬ shbn’v cmPIpamc\v kzoIcWw \¬Iptºmƒ tZhZmkn\rØw D≠mIcpsX∂v
A[nImcnIƒ I¿i\\n¿t±iw \¬In. ‘I am entirely in accord with what is known as anti-nautch movement’ F∂mWv D∂X {_n´ojv DtZymKÿ
\mbncp∂ XgvÃ≥ CtX°pdn®v ]dbp∂Xv (Cited in Gaston 1996:210).
8. 1927-˛¬ a{Zmkv ayqknIv A°mZan ÿm]nXamb h¿jw Xs∂bmWv tUm. apØpe£van sdÕn a{Zmkv \nba\n¿ΩmWk`bn¬ {]tabw
AhXcn∏n®Xv. tZhZmknIfmbn k{XoIsf t£{Xßfn¬ ka¿∏n°p∂ NSßv \ntcm[n°p∂Xn\v _n√v Xømdm°m≥ \n¿t±in°p∂
{]tabamWv A∂v GIIWvTambn ]m m°s∏´Xv.
9. HcpXcØn¬ {_n´ojv sImtfmWnbenkw P∑w\¬Inb Ip‰hmfntKm{X߃ (Criminal Tribes) F∂ BibØn\v kam\amWnXv.
A[n\nthim[nImchpambn HcpXcØnep≈ HØpXo¿∏pIƒ°pw hn\nab߃°pw XømdmhmXncp∂ tKm{XhmknIfmWv AhnsS P∑\m
‘Ip‰hmfnIfm’bnØo¿∂Xv. ChnsSbmIs´ sImtfmWnb¬ B[p\nIXbpsS kuµcy˛kZmNmc k¶ev]hpambp≈ hn\nabßfpsS
A`mhamWv \¿ØnIIsf ‘Ip‰hmfnIfm’°nØo¿°p∂Xv.
10. a{Zmkv {]hniybnse BZy h\nXmtUmIvSdmbncp∂p apØpe£van sdÕn. kzX{¥]q¿∆ C¥ybnse BZy h\nXm\nba\n¿ΩmXmhv
F∂ ]Zhnbpw (a{Zmkv sePnt…‰ohv I¨kn¬ AwKw F∂ \nebn¬) Ah¿°v AhImis∏´XmWv. Km‘nPnbpsSbpw s]cntbm¿
cmakzman\mbvIcpsS kzm`nam\{]ÿm\Øns‚bpw A\pbmbn Bbncp∂ apØpe£van sdÕn kv{XoIfpsS imcocnI˛kmaqly˛BtcmKy
]cnc£WsØ ap≥\n¿Ønbp≈ \nch[n \nba\n¿ΩmW߃°v t\XrXzw \¬Inbn´p≠v. 1927˛epw 1930˛epw 1947˛epw Ah¿ \SØnb
CSs]SepIƒ hgnbmWv tZhZmknIfmbn kv{XoIsf t£{Xßfn¬ ka¿∏n°p∂ k{ºZmbw \ntcm[n°s∏´Xv.
11. ]cnjvIcW{]ÿm\w tZhZmkn kaqlØnse ]pcpj∑mcpsS kzXz[mcWIsfbpw ASnapSn am‰nadn®p. XangIØv "Cssi sh≈mf¿'
F∂ ]pXnb kapZmbkzXzØnte°pw B{‘bn¬ "kqcn_menP¿' F∂ kzXz]Zhnbnte°pw XßsfØs∂ ]cmh¿Ø\w
sNbvXpsIm≠mWv ]cnjvIcW{]ÿm\ßfpsS ]pXnbkΩ¿±ßsf tZhZmknkaqlØnse ]pcpj∑m¿ Dƒs°m≠Xv. Aßs\
BWØØns‚bpw kvss{XW ssewKnIXbv°ptaep≈ B[n]XyØns‚bpw ]nXrZmbØns‚ ]p\xÿm]\Øns‚bpw kµ¿`amtbm
AXn\mbp≈ kwhmZthZnbmtbm ]cnjvIcW{]ÿm\߃ amdnØo¿∂p. tZhZmknIfmb kv{XoIƒ H´pan°hmdpw Cu kwhmZßfn¬
\n∂v Hgn®p\n¿Øs∏SpIbpw sNbvXp (Soneji 2010 : xxii).
12. tZiobm[p\nIXbpw \thm∞m\hpw "kv{Xo{]iv\'Øn\v ]cnlmcw \n¿t±in®Xv amXrXzØns‚bpw Km¿lnIXbpsSbpw BZ¿ihXvIcWw
hgnbmWv. CXv `qXImeØns‚ khntijamb ]p\x{IaoIcWØn\pw AXphgn khntijamb ]mcºcy\n¿ΩnXnIƒ°pw hgnhbv°pIbpw
sNbvXp. kvXss{XWIma\Ifpw cXymflIXbpw CtXmsS Hcp h≥ {]Xn_‘ambn. Chsb ad®phbv°p∂ BJym\߃ kv{Xo
Ncn{Xßfmbn ]pdØphcnIbpw sNbvXp. sshZnIImesØ ZmknIsf ap≥\n¿Ønbp≈ CØcw ]mcºcy\n¿ΩmWØns‚ Ncn{Xw
DamN{Ih¿Øn (2006: 3˛35) hniZambn ]cntim[n®n´p≠v. tIcfob \thm∞m\sØ ap≥\n¿Ønbp≈ N¿®bv°v sP. tZhnIbpsS ]T\w
(2010:111˛162) ImWpI.
15
13. sshZnI˛{_m“WnI ]mcºcyØn¬\n∂pw `n∂amb as‰mcp `qXImesØ°pdn®p≈ CØcw [mcWIsf Dd∏ns®Sp°m\pw AXphgn
tZiobmht_m[Øn¬ ]nf¿∏pIƒ krjvSn°m\pw A[n\nthi i‡nIƒ BZywapXte {ian®ncp∂Xmbn kpanXv k¿°m¿ ]dbp∂p.
1886 se a{Zmkv k¿∆Iemimebnse _ncpZZm\NSßn¬ {]knwKn°th a{Zmkv Kh¿Æ¿ ]d™Xv At±lw D≤cn°p∂p≠v : ""You are
a pure Dravidian race. I should like to see the pre-sanskrit element amongst you asserting itself rather more."(Sarkar 1999: 57-8).
14. “The classical dance styles of contemporary India are the reconstructions of the fragments of antiquity. On one level they have great antiquity which links
them with the past, on another they are contemporary and recent.... each time recasting the past, but not the past.” (Vatsyayan 1992:2).
15. lnµpÿm\n kwKoXØns‚ B[p\nIoIcW{]{Inb tZiobXbpsS kΩ¿±w aqew A[ymflØns‚ {]Xybimkv{XØm¬ ]qcnX
ambnØo¿∂Xns‚ Ncn{Xw Pm\In _mJvse hnhcn°p∂p≠v. hnjvWp ZnKw_¿ ]epkvI¿, hnjvWp\mcmb¨ `SvJmsfi F∂nh¿
t\XrXzw \¬Inb lnµpÿm\n kwKoXØns‚ B[p\nIoIcWw C¥y≥ tZiobXbpsS aXmflI[z\nIƒ°v Iogvs∏´v ]epkvIdns‚
A[ymfl{]Xybimkv{XsØ kzmwioIcn°pIbmbncp∂psh∂v Ah¿ hy‡am°p∂p (Bakhle 2005:3-19). _mekckzXnbpsS \mSy{]Imc
tØ°mƒ Ihn™ tZiobam\w cp‹nWotZhnbpsS AhXcW{IaØn\v ssIh∂Xpw, kpµcmw_mfns‚ kwKoXtØ°mƒ Fw.Fkv.
kp∫e£vanbpsS kwKoXw alXzhXvIcn°s∏´Xpw CXns‚ XpS¿®bn¬ a\ nem°mhp∂ ImcyamWv.
16. kh¿Æhpw kss{XWhpambn \n¿Æbn°s∏´ cmjv{SssNX\ysØbmWv B[p\nItZicmjv{Sw AXns‚ Iem]mcºcyambn hos≠
Sp°m≥ {ian®Xv. CXv apJyambpw ActßdnbXv D∂XIpePmXcmb kv{XoIfpsS icocØnepw imcocØnepw ¢m n°¬ \rØ˛kwKoX
]mcºcy߃ BteJ\w sNbvXpsIm≠mWv. {_m“Wkv{XoIƒ \rØw ]Tn°phm≥ ap∂n´ndßWsa∂v C. IrjvWø¿ Bhiys∏´Xns‚
{]IcWhpw CXmWv (Soneji 2010 : xxiv).
17. tZiobXbpsS hyhlmcafieØnectßdnb ]mcºcy\n¿ΩmWØns‚ anI® amXrIIfnsem∂mbn IY°ns‚ ¢mknIvhXvIcWsØ
ImWmw. DØc˛]q¿∆ `mcXØnse sshjvWhkaqlßfnepw Pbv]q¿, eJv\u, _\mdkv, apKƒ sIm´mcßfnepw thtcmSn∏S¿∂ Cu
\rØcq]w ¢mknIv ]Zhn ssIhcn®tXmsS ap…ow]q¿∆ C¥ybnse sslµht£{Xßfn¬\n∂v ]ndhnsbSpØ H∂mbn
hniZoIcn°s∏Sm≥ XpSßn. GImflIhpw sslµhhpamb \rØ]mcºcyambn IYIv ¢mknIv cq]am¿÷n®p. AtXmsSm∏w IY°n\pw
{hP]mcºcyØnse cmkeoebv°pw XΩn¬ KmVamb _‘w Btcm]n°s∏SpIbpw sNbvXp (Kothari 1988: 17).
18. sImtfmWnb¬ B[p\nIXbpsS hyhlmcafiew C¥y≥ tZiobXbv°v khntijamb Hcp B≤ymflnI aqeyw {]Zm\w sNbvXncp∂p.
kzm[nImcØns‚bpw kzbw]cym]vXXbptSXpamb Cu A¥cnIafiew A[n\nthiØm¬ If¶s∏SmØXpw CSapdnbmØXpamb
H∂mbmWv hnebncpØs∏´Xv. ¢m n°¬ IeIfpw kmlnXyhpw Cu B¥ctemIØns‚ BhnjvImc{]Imcßfmbpw hniZoIcn°s∏´p
(Chatterjee 1996: 12). Aßs\ ¢m n°¬ Iem]mcºcyØns‚ hos≠Sp∏v A[ymflØn¬ ASnbpd® tZiob]mcºcyØns‚ Xs∂
hos≠Sp∏mbnØo¿∂p.
19. kZncns‚bpw a‰pw AIºSnbmbn D]tbmKn°s∏´ncp∂ hmZyhrµhpw H∏w B \rØcq]hpamWv Nn∂tafw. arZwKw, Xmfw, apJhoW
F∂nhbmWv CXn\p]tbmKn°s∏´ncp∂ hmtZym]IcW߃. ]nev°meØv ¢mc\‰pw ChtbmsSm∏w Dƒs∏´pXpSßn. D’hm
tLmjßfpsS `mKambpw A√msXbpw \S°p∂ tLmjbm{XIfn¬ D]tbmKn°s∏´ hmZyhrµamWv s]cnbtafw F∂dnbs∏Sp∂Xv.
\mKkzcw, XIn¬, Xmfw, H´phmZyw F∂nhbmWv CXnep]tbmKn°s∏´ncp∂ hmZy߃.
20. C. IrjvWø¿ `cX\mSyØns‚ Hcp amXrIm]mTØn\v cq]w \¬IpIbpw AXns‚ tkmtZmlmcW{]`mjW߃ (demonstrations) a{Zmkv
Dƒs∏sSbp≈ \Kcßfn¬ \SØpIbpw sNbvXncp∂p (O'shea 2010:298).
21. ""NXp¿∆n[m {]hrØnkvXp
t{]m‡m \mSy{]tbm‡r`nx
Bh¥o Zm£nWmXy N
]m©meo sNu{UamK[o''
(\mSyimkv{Xw 14 : 33)
(\mSyhrØnsb Bh¥n, Zm£nWmXyw, ]m©men, Hu{UamK[n F∂nßs\ tZit`Zw ap≥\n¿Øn \membn Xncn°p∂p \mSyimkv{Xw.
Z£nWmXy¿°v \rØw, kwKoXw, hmZyw Ch A[nIap≠mIpsa∂pw AwKm`n\bw efnXhpw a[pchpambncn°psa∂pw \n¿t±in°p∂p).
22. km{amPyXz Ncn{Xhn⁄m\obw (Imperiologist hsitoriograpgy) P∑w\¬Inb ap…ow C¥y, C…manI A[n\nthiw XpSßnb Bib߃
tZiobmht_m[Øn¬ F{XtØmfw BgØn¬ CSw]nSn®p F∂Xns‚ DZmlcWamWv CØcw hniZoIcW߃. C. IrjWøcpsS
hnhcWw apX¬ C‚¿s\‰nse kzX{¥ hnhctiJcamb hn°n]oUnb `cX\mSysØ°pdn®v \¬Ip∂ hnhcWØn¬ hsc CXv XpScp∂p.
Hcp`mKØv Zm£nWmXyw F∂v \mSyimkv{Xw hnhcn°p∂ \rØcq]Øn¬ `cX\mSyØns‚ thcpIƒ Is≠Øm≥ {iaw \S°ptºmƒ
Xs∂bmWv adp`mKØv AJne`mcXobamb \rØcq]w BZnImew apXte ChnsS \ne\n∂ncp∂psh∂pw hntZi B{IaWw AXns\
C√mXm°pIbmWv sNbvXXv F∂pw hmZn°s∏Sp∂Xv. F√m h¿Øam\ ]cm[o\XIƒ°pw ImcWambn C…mans\bpw ap…nans\bpw
{]XnjvTn°pI F∂ bp‡n tZiobm[p\nIXbpsS At_m[ambn XpScp∂Xns‚ ASbmfamWnXv.
23. "Bharatanatya was still in the hands of exponents of old professional class with all its possible and lurking dangers pointed out by social reformers. The
efforts of the present writer were turned towards steadility taking it out of their hands and introducing it among cultured family women of respectable
class" (Krishna Iyer cited in Soneji 2010 : xxiv).
24. `cXap\nbpsS \mSyimkv{XsØbpw A`n\hKp]vX≥ AXn\v ]Xns\m∂mw \q‰m≠n¬ Na® hymJym\tØbpw `cX\mSyØns‚
kmt¶XnIkzcq]Øn¬ Dƒt®¿ØpsIm≠mWv Ccp]Xmw iXIØns‚ XpS°Øn¬ kZncns‚ "A[x]X\sØ' adnIS°m≥
]cnjvI¿Øm°ƒ {ian®Xv. (Chakravorthy 1998 : 107)).
25. ‘\¿ØIn’ (Dancing Girl) F∂t]cn¬ Adnbs∏Sp∂ lc∏≥ inev]w bYm¿∞Øn¬ GsX¶nepsamcp \rØ\nesb (posture) {]Xn\n[m\w
sNøp∂XmtWm F∂ Imcyw hfsctbsd kwiIcamWv. lc∏≥ tI{µßfnsem∂n¬ \n∂v e`n® \·bmb Hcp s]¨Ip´nbpsS
inev]amWv Dancing Girl F∂v Adnbs∏Sp∂Xv. hkvXpXm]camb hnhcWw F∂Xnep]cn Be¶mcnI \maIcWw F∂\nebnte AXns\
]cnKWnt°≠q. sjdo≥ cXv\mIsct∏mep≈ ]pcmhn⁄m\ob hnZKv[¿ IqSpX¬ hn]peamb Hcp inev]hyqlØns‚ `mKambncn°Ww
CXv F∂v IcpXp∂p≠v. kam\cq]ap≈ as‰mcp inev]Øn\v Ugly Sister F∂mWv Ah¿ t]cn´ncn°p∂Xv F∂Xpw ChnsS
Hm¿Ωnt°≠XmWv. (Ratnagar 2002:81-84).
16
26. \rØÿm\ßsf inev]cq]ßfnemhnjv°cn°p∂ t£{X߃ C¥ybnepS\ofap≠v. F¶nepw X©mhqcnepw NnZw_cØpw Cu
k{ºZmbw ]caImjvTbnseØp∂p F∂p]dbmw. \mSyimkv{Xw \memw A≤ymbØn¬ {]Xn]mZn°p∂ IcW߃ apgph≥ ChnsS
inev]cq]Øn¬ Bhnjv°cn°s∏´ncn°p∂p.
27. kZncn¬\n∂pw `cX\mSyØnte°p≈ ]cnh¿Ø\sØ°pdn°p∂Xn\v ]p\cp÷oh\w (revival) F∂ ]ZamWv km[mcWbmbn D]tbm
Kn®phcp∂Xv. F∂m¬ CXv XnI®pw A]cym]vXamb Hcp hnhcWamsW∂v ]e \rØIem\ncq]Icpw Nq≠n°m´nbn´p≠v.
]p\cp÷oh\Øn\∏pdw AXv \S\{IasØbpw kmlnXy˛Km\tiJcsØbpw BIam\w ]pXp°n∏WnX ]p\¿\n¿ΩmWhpw (re-
construction) `cX\mSywF∂ ]p\¿\maIcWhpw (re-naming) ]mcºcyLSIßsf ]pXpXmbn hn\ykn°p∂ ]p\xÿm]\hpw (re-
storation) sIm´mc˛t£{X thZnbn¬\n∂v B[p\nIcwKthZnbnte°p≈ ]p\¿ÿm\\n¿Æb\hpw (re-situation) ]mcºcykaql
߃°p]Icw ]pXnb hn`mKßsf {]XnjvTn°p∂ ]p\cmhmkhpw (re-population) F√mw Dƒs∏´ AXnhn]peamb Hcp k¶o¿Æ
{]{Inbbmbncp∂psh∂v amXyp Ae≥ ]dbp∂p (Allen 2010:206).
28. ""Bflm\p`qXiwko
]ckw{ibh¿Æ\mhntijkvXp
hnhn[m{itbm ln `mtWm
hnt⁄bkvtXzIlmcy›''
(\mSyimkv{Xw 20:95)
F√mhcpsS `mKhpw HcmƒXs∂ A`n\nbn°p∂Xns\bmWv GIlmcyw F∂v \mSyimkv{Xw hnh£n°p∂Xv.
29. A`n\bZ¿∏WØn¬ afiet`Zßsf°pdn®v ]dbp∂XmWv A¿≤afiesØ°pdn®p≈ BZysØ {]mamWnI]cma¿iambn IcpXn
t∏mcp∂Xv. C¥y≥ \rØ]mcºcy߃s°√mw _m[Iamb ASnÿm\\nebmbn CXv ]cnKWn°s∏Sp∂p. Acafiew F∂pw
D°cafien F∂psa√mw ]cma¿in°s∏´pt]m∂ Cu \ne I]nehm’ymb\s‚bpw a‰pw ]n¬°me hniZoIcWßfn¬
km¿∆euInI\rØ`mjbpsS B[mcamIm≥t]m∂ a´n¬ PmayXob kw⁄mhenIfnte°v ]cmh¿Ø\w sNøs∏Sp∂p≠v:
“(In) the arthamandali position, the feet are sideways and kness also bend sideways..... The entitre movement pattern is built from the first movement in
which the feet are turned sideways, the knees are bent and the arms either extended out or placed firmly on the waist. In terms of geometrical design the
dancer is trying to achieve a series of triangles. The line joining the two shoulders may be conceived as the base of one triangle and the waist as the
imaginery apex of the inverted triangle. From this apex a second triangle is conceived with the thighs as the two sides and the line joining the two knees
as the base of this triangle. The third triangle is formed by the space covered by the two calves and the line joining two knees. The arms reinforce this by
forming other triangles on either side - the extended arm forming one side of the triangle and the line joiningh the hand to the knee suggesting the second
side.” (1992:25)
A¿≤afien°v ]Sn™md≥ ¢m n°¬ _msebnse demiplie˛t\mSv kam\X Iev]n®psIm≠v I]nemhm’ymb\≥ Cu \nesb
km¿∆euInI \rØ`mjbpsS ASnÿm\ambpw hn`mh\w sNøp∂p≠v. (1992:26)
30. "It is true that the solo dance was only one of the many classical forms prevalent in South India; it is also true that the solo dance was at best a part of the
Bhagavatamela Natakams of the region. How ever it would not be incorrect to say that the ekaharya laysa of the Natyasastra was a distinct form and the
solo Bharathanatyam is a direct descendant of this form. Whether the dancer was the devadasi of the temple or the court dancer of the maratha kings of
Tangore, her techinic followed strictly the patterns which has been used for ages. The only difference between the temple dancers and the court dancers
seems to have one of attitude" (Vatsyayan 1992: 22-3).
31. 1866˛\pw 1888˛\pw CSbv°p≈, c≠v ]Xn‰m≠ne[nIw hcp∂ Imebfhn\nSbn¬ {^m≥kv, Cw•≠v, P¿a\n F∂nhSßfnse
]uckvXyhn⁄m\nIfmb ]finX∑mcmWv \mSyimkv{XØns‚ iIe߃ ]ebnSßfn¬ \n∂mbn Is≠ØnØpSßnbXv. 1894˛¬
]fin‰v Imin\mY ]mfipcwK ]qc_v, ]fin‰v inhZØ F∂nh¿ tN¿∂v \mSyimkv{XØns‚ h¿Øam\]mTw {]kn≤oIcn®p. CXn\p
]n∂mse C¥ybnse \rØmhnjvImcßsfsb√mw \mSyimkv{Xhpambn IÆntN¿°p∂Xn\pw AJne`mcXobamb Hcp \mSy{]tbmK
Øns‚ Ncn{Xw \n¿Ωns®Sp°p∂Xn\pap≈ {ia߃ h≥tXmXn¬ Actßdn. tZiobXbpsS hn]pehyhlmcßfnte°v
{]mtZinImhnjvImcßsf kzmwioIcn°m≥ t]m∂ ]mTcq]w F∂ \nebn¬ \mSyimkv{Xw tZiob]mcºcyØns‚ amXrIm]mT
ambnØocpIbpw sNbvXp.
32. `cX\mSy°t®cnbpsS `mKamb i_vZw (Aemcn∏v, PXnkzcw, i_vZw, h¿Æw, ]Zw, Xn√m\, t«mIw F∂nßs\ Ggv LSIßfmWv
Ct∏mƒ `cX\mSyØns‚ AhXcW{IaØnep≈Xv) {]mYanIambpw tZhh¿Æ\bmWv. CXv IqSpX¬ cXn`mham¿÷n®v cmP˛{]`ph¿Æ
\bmbpw amdmw. CØcØn¬ a\pjy{]Io¿Ø\ambn amdm≥ Ignbp∂XpsIm≠v ap…nw sIm´mcßfn¬ CSw In´nb C\ambn CXv
amdnØo¿∂p. Cu CSw ]n∂oSv CXns‚ kwKoX{]tbmKØn\v hgnXpd∂Xmbpw kqNn∏n°s∏Sp∂p (Lynton 1995:10).
33. PmhfnIfpsS kwKoXinev]Øns‚ Dev]Ønsb°pdn®v c≠v {]_eamb BJym\߃ \nehnep≠v. BZytØXv A\pkcn®v ]sØmºXmw
iXIØn¬ ssakq¿ sIm´mcØnemWv CXns‚ ]ndhn. ssakq¿ cmPm°∑mcmbncp∂ IrjvWcmP˛NmacmP shmUbm¿amcpsS
]cnc£WØn\p Iogn¬ X©mhq¿ \m¬hcnsemcmfmb Nn∂øbmWv Cu Km\߃ Nn´s∏SpØnbXt{X. as‰mcp hniZoIcWap≈Xv
kzmXnXncp\mfns‚ ImeØv XncphnXmwIq¿ sIm´mcØn¬ Nn∂øbpsS CfbktlmZc\mb hSnthephmWv PmhfnIƒ Nn´s∏SpØnbXv
F∂mWv. ssakq¿ sIm´mcØnse c≠v lkvXenJnXßsf ap≥\n¿Øn, BZytØXmWv IqSpX¬ hnizk\obw F∂v \rØNcn{X]
TnXm°ƒ IcpXp∂p≠v (Soneji 2910 b : 89).
34. tUm. apØpe£van sdÕnbpsS ]nXmhv Hcp {_m“W\pw amXmhv tZhZmknhn`mKØn¬s]´hcpw Bbncp∂p F∂mWv `cX\mSy
KthjI\mb AarXv {io\nhmk≥ ]dbp∂Xv. F∂m¬ apØpe£vansdÕnbpsS PohNcn{XImc\mb sP. \cknwl≥ AhcpsS amXmhv
{_m“Wkv{Xo Bbncp∂p F∂v hy‡am°p∂p≠v.
35. djy≥ _mse \¿ØInbmb A∂m]mhvtemhbpsS (1881˛1931)temI]cyS\w _msebpsS B[p\nIoIcWØnepw ]p\cp÷oh\Ønepw
\n¿ÆmbI]¶mWv hln®Xv. antj¬ t^mIn≥ (Michel Fokin) kwhn[m\w \n¿∆ln® Dying Swan t]mep≈ GImwK\rØ߃
A[p\nIamb emhWymflIXbnte°p≈ _msebpsS IS∂phchmbn ]cnKWn°s∏Sp∂p≠v. \rØØns‚ A°mZanI\nbaßsf
Imcyambn ]cnKWn°mXncn°pIbpw A\\ykm[mcWamb \rØ]mShw {]ISn∏n°pIbbpw sNbvXp Ah¿. Hc¿∞Øn¬ B[p\nIamb
17
hy‡nKXm\p`qXnsb ¢m n°¬ _msebnte°v B\bn°pIbmbncp∂p A∂m ]mhvtemh. 1928˛¬ A∂m]mhvtemhsb ]cnNbs∏´
cp‹nWntZhn e≠\n¬h®v ¢ntbm t\m¿Zn (Cleo Nordi) bpsS Iognepw djy≥ _mse A`ykn°p∂p≠v. ]n∂oSv 1934˛35 ¬ X©mhq¿
\m¬hcn¬ {][m\nbmb Nn∂øbpsS ]n≥Xeapd°mc\mb ]¥\√q¿ ao\m£nkpµcw]n≈bn¬ \n∂v `cX\mSyØnepw Ah¿ ]cnioe\w
t\Sn (Soneji 2010 : xxix).
36. {]mNo\{Kokns‚ \rØkwkvImcØns‚ ]p\xkrjvSnbmbncp∂p CktUmd U¶s‚ (1877˛1927) BZ¿ihpw kz]v\hpw. \rØw Bflm
hns‚ A\p`qXnIfpsS {]Imi\ambncn°Ww F∂v IcpXnbncp∂ Ah¿ ]Sn™md≥ _msesb Bflobambn iq\yamb A`ymk{]IS\
ambmWv I≠Xv. {]IrXnbpsS XmfsØ DSeneqsS {]Imin∏n°p∂ ss\k¿§nI\rØambn Ah¿ Xs‚ \rØ{]tbmKsØ hnIkn∏ns®
SpØp. Hc¿∞Øn¬ ]Sn™md≥ \rØØns‚ ¢m n°¬ {]amW`{ZXbvs°Xnsc, sshb‡nIm\p`qXnbpsS Imev]\nIthKßsf
{]XnjvTn°m\mWv CktUmd U¶≥ {ian®Xv. Xs‚ \rØmhnjvImcßfn¬ CXv hnPbIcambn \ndth‰m≥ Ah¿°v Ign™psh¶nepw,
Hcp \rØhnZymebw ÿm]n®v Cu coXn°v XpS¿®bpw imizXXzhpw \¬Im\p≈ {ia߃ ]cmPbs∏SpIbmWp≠mbXv.
37. 1924˛¬ Xntbmk^n°¬ skmssk‰nbpw B\n_k‚pw tN¿∂v "temIamXmhv' (World Mother) F∂ ]Zhn Nm¿Øns°mSpØXns\
ØpS¿∂mWv cp‹nWo Acptfi¬ "tZhn' F∂v t]cnt\msSm∏w ÿncambn D]tbmKn®pXpSßnbXv.
38. `cX\mSyw F∂t]cns‚ ]nXrXzw hn. cmLh\n¬ Btcm]n°s∏Smdps≠¶nepw Cu \maIcWw hnjaw]nSn® Hcp {]iv\amWv.
]pcµcZmks‚ Io¿Ø\ßfnsem∂n¬ Z£ntW¥y≥ \rØsØ `cX\mSyw F∂v ]cma¿in°p∂Xns\ ap≥\n¿Øn ]Xn\©mwiXIw
apX¬t° `cX\mSyw \ne\n¬°p∂Xmbn hmZn°s∏Sp∂p≠v. ]n∂oSv L\w IrjvWøcptSbpw kp{_“Wy`mcXnbptSbpw cN\Ifnepw
Cu ]Zw CSw t\Snbn´p≠v. hn. cmLh\√ C. IrjvWøcmWv `cX\mSyw F∂t]cv ]pXnb \rØ]mTØn\v \¬InbsX∂pw hmZap≠v.
GXmbmepw 1930 Ifn¬ ]gb kZncm´Øns‚ ]cnjvIrXcq]w `cX\mSyw F∂v hnfn°s∏´pXpSßn F∂Xv X¿°clnXamWv. 1805˛¬
cmLhømNmcn {]kn≤oIcn® teJ\Øn¬ Cu t]cv ImWmw.
]sØmºXmw iXIØns‚ {]mcw`Zibn¬ `cX\mSyØns‚ AhXcW{Iaw F¥mbncp∂p F∂Xns\°pdn®v cmLhøNmcnbpsS teJ\w
(A short account of the Dancing Girls, treating concisely on the general principles of Dancing and Singing, with translations of two Hindo Songs' (Soneji
(ed.) 2010: 3-12).) kqN\ \¬Ip∂p≠v. ‘taf{]m]vXn’ (Xmf{][m\amb BapJw) ‘tXmSbawKfw’ (cmas\ {]Io¿Øn°p∂ ‘Pb Pm\In
cma’ F∂ kvXpXn), X©mhqcnse cmPmhmb ]m¿∞n]knwls\ kvXpXn°p∂ "kemw Zcphp' (Hymn of Salam) F∂o BapJ`mK߃°v
]n∂msebmWv A`n\b{][m\amb ‘]Zw’, ‘h¿Æw’, ‘Io¿Ø\w’ F∂nh hcp∂Xv. B{‘bpsS XoctZisØ Nne kapZmb߃
\rØmhXcWØn\v Cu {Iaw Ct∏mgpw ]n¥pScp∂Xmbn Zthjv skmt\PnbpsS ]T\Øn¬ ]dbp∂p≠v. (Soneji 2008 : 238-312).
39. C. IrjvWøcpsS {ia^eambn 1931 am¿®v 15˛\mWv ]n.sI. PohcXv\w, ]n.sI. cmPe£van F∂nh¿ tN¿∂v a{Zmkv ayqkn°v A°mZanbn¬
`cX\mSyw BZyambn AhXcn∏n®Xv. CtXØpS¿∂p≠mb AhXcWßfnsem∂mWv cp‹nWotZhn I≠Xv. ]n.sI. cmPcXv\w, Fw.Un.
Kucn F∂nhcmbncp∂p A∂v Acßn¬.
40. B[nImcnIamb `mcXob`qXImeØns‚ Is≠Øen\v kam\amb kw`hw Xs∂bmWv B[nImcnIamb \mSy]mcºcyØns‚bpw
\rØcq]Øns‚bpw Is≠ØepIfpw (Chakravorthy 1998: 109).
41. cp‹nWntZhn cq]Iev ] \sNbv X hkv { XamWv Ct∏mgpw Npcp°w t`ZKXnItfmsS `cX\mSyØn\v D]tbmKn®phcp∂Xv .
(Soneji 2010 : xxx).
42. `cX\mSysØ ‘imkv{Xobamb’ cwKIebm°n hnIkn∏ns®Sp°pIsb∂Xv AXns‚ \hoIcW kwcw`ßfpsS XmXv]cyßfnsem
∂mbncp∂p. CXns‚ `mKambn _mseIƒ°v D]tbmKs∏SpØnh∂ teJ\ k{ºZmbw (labo notation) kzoIcn®vv `cX\mSyw Nn´s∏SpØm≥
Ccp]Xmw iXIØns‚ ]IpXntbmsS {iaw \S∂p. ]n∂oSv {]ikvX\¿ØInbmb ]flmkp{_“Wyw `cX\mSyØn\v X\Xmb Hcp
teJ\k{ºZmbw cq]s∏SpØphm\p≈ {iaw \SØpIbpw sNbvXp (Lynton 1995: 9).
43. Cu ]cn{iaØns‚ `mKambn X߃ ssIs°m≠ coXnIsf°pdn®v AhcpsS kwLmwKamb Fkv. imcZ ]dbp∂p :
"Three verses in praise of Nritya Ganapathi, Natarajan and Ambal were usually recited by a few of us from behind the curtains, before Rukmini Devi's
performances were started. At times Rukmini Devi also joined in the recitation. This paved the way for sanctifying atmosphere while the dancer created
later" (cited in Lynton 1995:25).
44. "People have Nataraja on the stage because I started it. People copy what I do. Dance is a form of worship. Why not have Nataraja? I am a person with
devotion and a religious person. It is not just there as a decoration" - Rukmini Devi Arundale (cited in Gaston 2010 : 279).
45. `cX\mSyw C¥y≥ kaqlØn¬ ssIhcn® CSw ]m›mXy\mSpIfn¬ _mte°v ssIh∂ ]Zhn°v kam\amsW∂v Nne \rØNcn{X
]TnXm°ƒ ]dbp∂p≠v. c≠pw as‰mcp ImeØns‚ AhinjvScq]ßfn¬\n∂v Is≠Sp°s∏´ "¢mknIv' cq]ßfmWv; \mtSmSn°eI
fn¬\n∂pw hyXykvXambn c≠ns\bpw hnebncpØp∂Xn\v kp\n›nXam\Zfi߃ D≠v; c≠ns‚bpw BkzmZ\Øn\v kmt¶XnI
]cn⁄m\w BhiyamWv; kaqlØnse A`nPmX˛Ipeo\ hn`mKßfpsS c£mI¿XrXzØn\v IognemWv Ccpcq]ßfpw \ne\n∂Xv;
c≠pw It®cnthZnIfnemWv (concert stage) Actßdnt∏m∂Xv; c≠nSØpw \¿ØInIƒ°v {]Xn^ew e`n°p∂p≠v; Zo¿Lamb
]cnioe\Øn\v tijamWv \¿ØInIƒ/\¿ØI¿ AcßnseØpI F∂nßs\ \nch[n kmZriy߃ `cX\mSyØn\pw _msebv°pw
XΩnep≠v. F∂m¬ `cX\mSyØns‚ ]q¿∆]mcºcyØn\p≈ aXmflIam\w _msebn¬ H´pwXs∂bn√. ]mcºcy \¿ØInIfm¬
]cn]men°s∏´ Hcp `qXImehpw AXn\n√. (Gaston 2010 : 273-74).
46. `cX\mSyØns‚ h¿Øam\PohnXw kZncns‚ ImeØp\n∂pw, 1940˛50 Ifnse \hoIcWL´ßfn¬ \n∂psa√mw `n∂ambn IqSpX¬
IqSpX¬ A\pjvTm\]cambnØocp∂ps≠∂ hna¿i\w Ct∏mƒ {]_eamWv. `cX\mSyØns‚ {]mNo\Xbpw ]mcºcyalnabpw
Dd∏ns®Sp°p∂Xn\pth≠n AXnse aXmflILSI߃°v IqSpX¬ Du∂¬ \¬Ip∂ coXn Ct∏mƒ hym]IamWv. sIm´mcØnepw
{]`paµncßfnepw t£{Xßfnepambn \ne\n∂ kZncns‚ cwKPohnXw aX]csa∂Xnt\°mƒ aX\nct]£ambncp∂p. F∂m¬
1940˛Ifnse \hoIcWw Cu aX\nct]£ ]mcºcysØ H´msI XakvIcn®v, t£{XtI{µnXhpw aXmflIhpamb GIam\Ønte°v
`cX\mSysØ kw{Kln°pIbp≠mbn. ]n¬°me\rØthZnbmIs´ Cu aXmflIam\Øns‚ ZrVoIcWØn\mWv hgnh®Xpw (Gaston
2010 : 276).
47. 1930˛50 Imebfhnse `cX\mSy]p\cp÷oh\Øns‚ tI{µÿm\Øv \nesIm≠ncp∂t∏mgpw _mekckzXnbpsSbpw cpKvanWotZhn
18
bpsSbpw PohnXw Hs´ms° sshcp≤y]q¿Æambncp∂p. tZhZmkn ]mcºcyap≈ IpSpw_ØnemWv _mekckzXnbpsS P\\sa¶n¬
cpKvanWotZhn {_mlvaWIpSpw_ØnemWv P\n®Xv. 1925 ¬ Ggp hb p am{Xw {]mbap≈t∏mƒ, AcßnseØnb _mekckzXn 1984
¬ 66˛mw hb phsc AhnsS XpS¿∂p. cp‹nWotZhnbmIs´ Xs‚ ap∏Ønsbm∂mw hb nemWv AcßnseØnbXv; 1935 ¬. 1950˛¬
U¬lnbnse AhXcWtØmsS Ah¿ cwKthZnbn¬ \n∂v ]n≥hmßpIbpw sNbvXp.
48. “Sringara stands supreme in the range of emotions. No other emotion is better capable of reflecting the mystic union of human with divine. I say this with
deep personal experience of dancing to many great devotional songs which have had no element of sringara in them. Devotional songs are of course
necessary. However sringara is cardinal emotion.” (Balasaraswathi 1991:24).
49. "The flesh which is considered to an enemy of the spirit, having been made a vehicle of the divine in the discipline of the dance and Sringara, which is
considered to be the greatest obstacle to spiritual realisation, has itself, we shall realise, become an instrument uniting the dancer with divinity"
(Balasaraswathi 2010 : 200).
50. "As far as I know, Bharata Natyam is Bhakthi. Tamil is Bhakthi. I believe, therefore, that Bhakthi and Tamil are part of the same tradition" (Balasaraswathi
2010 :197).
51. “I had definitely decided that the dance were essentially spiritual and I could not accept that which had gone away from the true spirit of Bharathanatyam”
Rukmini Devi (Cited in Gaston 1996 : 108).
52. “I learnt fully in the traditional way and with great love for the pure and traditional Bharathanatyam. I must say that I could not accept all I found. We are
very anxious to follow the traditional way, but within the tradition there are elements that are not permanent beauty, as well as those that have to be
discarded”. - Rukmini Devi (ibid).
53. Cu \ne]mSv aqew ]e kaImenIcmb \¿ØIcpambn cp‹nWotZhn A`n{]mb`n∂XbnemhpIbpw sNbvXp. cmPym¥c{]ikvXn t\Snb
cmwtKm]mens‚ Blmcyw Ah¿°v kzoImcyambncp∂n√. cmwtKm]m¬ CtX°pdn®v ]d™ A`n{]mbw IuXpIIcamWv :
“ I am going to follow the bonzes in the temple. I have a beautiful figure. Rukmini Devi used to say, ‘where did you get the idea of dancing naked ?’ and
I would say ‘where did you get the idea of going inside the temple with your eyes closed ?’ Look at the those bronzes. Siva is almost naked.” (ibid, 176).
54. cp‹nWotZhnbpsS \nebnes√¶nepw (Ah¿ BZyw Hcp tZiobhmZnbpw ]n∂mse am{Xw \¿ØInbpambncps∂∂v lmcnb‰v en‚¨)
A¥mcmjv{S {]ikvXn ssIhcn® \¿ØInbmbncp∂p _mekckzXnbpw. _mekckzXnbpsS t]cn¬ temI{]ikvXamb Atacn°≥
\rtØm’hØn¬ (Americn Dance Festival) Hcp ]pckvImcw Xs∂ G¿s∏SpØnbn´p≠v.
55. “ The nritta part is utterly breft of sensual movements......... With god as the centre, all those (erotic) emotions and feelings are also divinized (sic) and
elevated from the level of sensual to that of the spiritual” (Balasraswathi 1993:38).
{KŸkqNn
DZbIpam¿, 1994, 'kvacW, BflIYmJym\w, kv{Xo: h¿j߃°papºv˛s\ Bkv]Zam°nb Nn¥Iƒ', C.hn. cmaIrjvW≥ (FUn.),
kv{Xo, kzXzw, kaqlw: am[hn°p´n ]T\߃, tImgnt°mSv, ]q¿Æ ]ªnt°j≥kv.
tZhnI sP., 2010, Ipekv{Xobpw N¥s∏Æpw D≠mbsXßs\? Xncph\¥]pcw sk‚¿ t^m¿ sUhe]vsa‚ v ÃUokv.
\mcmbW]njmcSn, sI.]n. (hnh:), 1981, `cXap\nbpsS \mSyimkv{Xw, Xr»q¿, tIcf kmlnXy A°mZan.
_meIrjvW]n≈, tIkcn, 1984, "\S\Ie', hnPb≥ Fw.F≥. (FUn.) tIkcnbpsS kmlnXyhna¿i\߃, tIm´bw, kmlnXy{]h¿ØI
klIcWkwLw.
cmPtiJc≥ ]n,sI., 2005, al®cnXame (hmeyw 3), tIm´bw, Un.kn. _pIvkv.
Allen, Mathew Harp, 2010,"Rewritting the Script of South Indian Dance' in Soneji (ed.), Bharatamatyam, Delhi, Oxford University Press.
Arundale, Rukmini Devi, 1985, ‘Bharatanatyam Sastra in Practice’, in Leela Ramachandran (ed.), Bharatanatyam Yesterday, Today and Tommorrow,
Delhi, Suajtha Dinesh, pp. 17-28.
2010, 'The Spiritual Background of Indian Dance' in Soneji (ed.), Bharatamatyam, Delhi, Oxford University Press.
Bakhle, Janaki, 2005, Two Men and Music: Nationalism in the Making of an Indian Classical Tradition, Delhi, Oxford University Press.
2010, 'Bharat Natyam' in Soneji (ed.), Bharatamatyam, Delhi, Oxford University Press.
Benjamin, Walter, 1992, Illuminations, London, Fontana Press.
Butler, Judith, 1999, Gender Trouble: Feminism and the Subversion of Identity, London, Routledge.
Chakravarthi. Uma, 2006, 'Whatever Happened to Vedic Dasi?: Orientalism, Nationalism and Script of the past',Beyond the Kings and Brahmins of 'Ancient'
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