Both Bhagavata Mela and Krishnattam are traditional Indian dance-drama forms that celebrate the stories of Lord Krishna, albeit with distinct regional flavors. Bhagavata Mela originates from Tamil Nadu, while Krishnattam hails from Kerala. These art forms not only differ in their stylistic and performative elements but also in their historical and cultural contexts.
Historical Background
Bhagavata Mela
- Origins: Bhagavata Mela traces its origins to the 16th century during the Vijayanagara Empire. It was established by the Telugu Brahmins who migrated to Tamil Nadu.
- Development: It flourished under the patronage of Nayak rulers and continued to be preserved in the village of Melattur in Tamil Nadu.
- Purpose: Initially, Bhagavata Mela was performed as a part of temple rituals and festivals, particularly to celebrate Narasimha Jayanti, the birth of Lord Narasimha.
Krishnattam
- Origins: Krishnattam was created in the 17th century by the Zamorin of Calicut, Manavedan, who was inspired by the Krishna-centric poetic works and devotional movements.
- Development: The art form evolved as a temple art, primarily performed in Guruvayur Temple, and was based on the text "Krishnageethi" written by Manavedan.
- Purpose: Krishnattam was performed to narrate the life and exploits of Lord Krishna, from his birth to his ascension, over a series of eight plays.
Performance Structure
Bhagavata Mela
- Narrative: Bhagavata Mela performances are typically focused on the stories from the Bhagavata Purana, especially those involving Lord Krishna and his avatars.
- Format: The performances are usually held in the open air, in front of temples, and are characterized by elaborate storytelling, dialogues, songs, and dances.
- Music and Dance: The music follows the Carnatic tradition, and the dance incorporates elements from Bharatanatyam, particularly in the abhinaya (expressive) aspect.
Krishnattam
- Narrative: Krishnattam consists of a cycle of eight plays that chronologically narrate the life of Krishna, from his birth to his eventual ascension to Vaikuntha.
- Format: The performances are traditionally conducted in the temple premises, with a distinctive format that includes elaborate makeup, costumes, and facial expressions.
- Music and Dance: The musical aspect follows the Sopana style of Kerala, and the dance movements are more closely related to Kathakali, emphasizing mudras (hand gestures) and facial expressions.
Costumes and Makeup
Bhagavata Mela
- Costumes: Performers wear traditional South Indian attire, which includes colorful silk dhotis and angavastrams for men, and ornate saris for women.
- Makeup: Makeup is minimal but focuses on enhancing facial features to suit the portrayal of various characters, staying true to the Bharatanatyam style.
Krishnattam
- Costumes: Krishnattam performers don elaborate and colorful costumes that are specific to each character, similar to Kathakali costumes but distinct in their unique styling.
- Makeup: The makeup is intricate and vibrant, designed to represent various character types, such as gods, demons, and heroes, with each type having a specific color scheme and facial patterns.
Cultural Significance
Bhagavata Mela
- Religious Aspect: It is deeply embedded in the religious and cultural traditions of Tamil Nadu, serving both as a devotional offering and a cultural spectacle.
- Community Involvement: The entire village often participates in the preparation and execution of the performances, reflecting a strong sense of community.
Krishnattam
- Religious Aspect: Krishnattam remains a significant part of the temple rituals in Kerala, particularly in the Guruvayur Temple, where it is performed as an offering to Lord Krishna.
- Cultural Preservation: The art form has been preserved and promoted through dedicated institutions and by the temple authorities, ensuring its continuity and relevance.
While Bhagavata Mela and Krishnattam share the common theme of celebrating Lord Krishna, they diverge significantly in their performance styles, cultural contexts, and historical development. Bhagavata Mela is more closely linked to the Carnatic music and Bharatanatyam dance traditions of Tamil Nadu, whereas Krishnattam is deeply rooted in the Sopana music and Kathakali dance traditions of Kerala. Both forms, however, play an essential role in preserving and perpetuating the rich cultural heritage of their respective regions.