Arangetram

“Arangetram” – A Historical, Socio-Cultural Perspective

The word ‘arangetram’ is associated with the debut performance of a classical dancer. It originates from the word ‘arangam’ or ‘ rangam’ meaning ‘ a stage’ and ‘etram’ meaning ‘to climb’. It is a ritual or a custom where the dancer ascends the professional stage for the first time to present a full-fledged performance.

The earliest reference to this ritual is found in the Sangam literature (early Tamil literature) belonging to the Sangam period ( 500 BC – 500 AD). The Tamil epic Shilappadikaram (2nd century A.D) written by Ilango Adigal of the Chera Kingdom, gives details of the arangetram in the chapter called as ‘Arangettru kadai’. One of the protagonists in the epic, Madhavi, is a courtesan – ‘natakaganikai’ and this chapter narrates in great details the debut performance of the young professional dancer. After undergoing rigorous training for a period of nearly seven years under the careful tutelage of the dance master (adal ashiriyan), music teacher, composer, poet, yazh player, kuzhal player (flautist) and the percussionist, Madhavi is ready to be presented before the august presence to exhibit her talents at the tender, youthful age of twelve.
Madhavi’s arangetram takes place at Puhar, the capital of the Chola Kingdom, in the presence of the Chola King, the learned assembly and the citizens. On an auspicious day, the ‘talaikkol’ (it was invariably the shaft of the enemy’s umbrella seized in war and represented Jayanta, Indra’s son who according to legend, was cursed by Sage Agastya to be born as a bamboo stick) had to be bathed by the dancing girl with the holy waters brought in a golden jar after which it had to be garlanded and handed over with blessings to the State elephant. The State elephant was already appropriately adorned for the occasion, with ornaments. The musician – poet who sat on the top of the chariot would receive the talaikkol from the King and his group of five advisors would circumambulate the chariot and the elephant before handing over the holy talaikkol. All this was the accompaniment of the drum and other musical instruments proclaiming victory. The talaikkol was then taken in a procession round the town along with the entire paraphernalia after which it was placed in the theatre at its appointed place. After all musicians took their allotted seats, the dancer – Madhavi, stepped on the stage placing her right foot forward, taking her position beside the pillar on a right according to the ancient custom. At the end of her debut performance because of her excellence, she is presented with the talaikkol and honoured by the Chola King with the title ‘talaikkoli’. The dancer is now qualified to be called as a ‘professional dancer’ or ‘Natakaganikai’.

What one is made aware through the Shilappadikaram is the existence of a society wherein the arts of dance and music was patronized by both, the rulers as well as the affluent people of the society. Dance flourished as a profession. This tradition of the ‘arangetram’ which has been in existence even before 2nd century A.D is practiced till today – even in the 21st century A.D! It is indeed amazing to know that a custom has been in vogue for nearly 1800 years! Even today, the technical connotation of an arangetram has not changed although with the changing norms of the society the customs have undergone drastic changes. It is intended to be performed by a dancer who has completed her training in dance. It is considered a significant event in the lives of both, the teacher and the disciple. This tradition underwent further changes in the medieval period with the advent of the Bhakti Movement. The Bhakti Movement in Tamil Nadu and the whole of India, had such a strong hold on the minds of the people that its influence was seen in the flowering of all art forms like dance, music, literature, sculpture, painting and architecture.
Classical dance in the Indian tradition, like all other classical art forms, is rooted in religion. Dance and music were considered as one of the “Shodashopacharas” or the “16 rituals”. Classical dances like Bharata Natyam has a temple background. If today the art of Bharata Natyam is a throbbing art form, it is because of the devadasis (‘servants of god’) who dedicated their lives for the perpetuation and flowering of the tradition. ‘Dance’ for them, was a votive offering at the feet of the Lord, where the body was considered as the supreme vehicle to express bhakti. There are temple inscriptions and epigraphical evidences belonging to the medieval period that throw light on the social, cultural and professional life of the devadasis. The Brihadishwara Temple (Periya Koil) of Tanjavur, built by Raja Raja Chola (10th century A.D) employed nearly 400 devadasis for service in the temple.

The initiation of the young girl into the profession is accompanied by various rituals. The young girl who is to be dedicated to the Lord undergoes the ‘tali’ tying ceremony once she attains puberty. The ‘tali’ (or the mangalasutra) – the sacred thread associated with marriage is tied around her neck either by an elder devadasi or the priest. This marks the beginning of her professional life which involves a lifelong commitment towards ‘service to the Supreme’. She is now the ‘bride of Lord’ – the ‘Nityasumangali’ (Ever-Auspicious).

Thus we see that in Tamil Nadu and other parts of India the ‘arangetram’ – also called as ‘rangapravesha’ or ‘manchapravesha’ is usually performed after the completion of the dance training, when the dancer is ready to enter the professional field of dancing. In contrast to this, we get a totally different picture in Kerala. Unlike the other classical dance forms, the debut or ‘arangetram’ in Kathakali takes place after learning the preliminaries and a few minor roles. The reason for this early debut is to get used to the makeup, the heavy costumes and headgear.
After placing the ‘dakshina’ at the foot of the lighted lamp, the disciple is ready for the makeup. It is important for the Kathakali dancer to use the ‘Krishna mudi’ at the time of the arangetram. The ‘mudi’ is a conical shaped crown. The Krishna mudi is used to represent characters like Krishna and Rama before his coronation. The makeup includes the yellow Vaishnava mark (namam) in the centre of the forehead. It is the guru (teacher) who first applies the ‘vella manayola’ or the yellow paste used for drawing the namam of the forehead. The manayola is considered to have a mystic magnetic power. Before going on the stage, the guru ties the ‘Krishna mudi’ on the head of the disciple. This is a traditional ritual seen even
today. It is only after this arangetram that the student can learn further as well as perform small roles on the professional stage along with the troupe. Thus for a Kathakali dancer the arangetram is just the beginning of a long, arduous, artistic journey into the splendorous, magnificent world of Kathakali.

History thus shows us that irrespective of the fact whether the arangetram is performed after the training or before commencement of the dancer’s professional training, it was always intended to be just the stepping stone of the dancer desiring to embark on a never-ending artistic, educational voyage. It symbolizes the beginning of an artistic journey of enquiry and knowledge. The arangetram was never ever intended to be a Grand Finale!!!