In Odisha, the performance of the Gita Govinda is of paramount importance. It established itself as a devotional song suitable to be presented in the daily rituals of Lord Sri Jagannath in Puri by the 13th century. It was rendered by Brahmin Sebayats and female Devadasis known as "Bhitara Geyeni" and "Samprada". Some Mahari community members performed the dance near the inner threshold known as 'Kalahaat Dwara'. This has been going on without any interruption for 200 years. The performance of the Gita Govinda and Mahari Dance influenced other temples to start such a tradition. Temples across Odisha patronised this process, which is well-documented in Bhubaneswar, Kakatpur and Jajpur.
Jayadeva’s poem has influenced classical Manipuri dance as well, with the legendary Maisnam Amubi Singh, composing many classical solo dances based on the Gita Govinda. He was a member of the first batch of Sangeet Natak Akademi Award winners in 1956. An interesting connection exists between the Gita Govinda and Kerala. When it first reached Kerala, it began to be referred to as Ashtapadi – the poem of eight padas or couplets – and theatrical performances based on it were called Ashtapadi Attam. From Ashtapadi Attam developed one of Kerala’s most important dance dramas, the Krishnanattam. Attributed to Manaveda, the Zamorin of Calicut, Krishnanattam presents the life story of Krishna in a sequence of eight plays.
The composition of the Gita Govinda has inspired many classical music traditions. Its living continuity has contributed to the creation of a repertoire of contemporary classical music across every region of India. Its influence can be felt in Gwalior school; Odissi, which incorporates elements from both Hindustani and Carnatic styles; Sopanam in south Kerala, which originated in the temple theatres of Kerala; Carnatic music in south India systematically composed by Tyagaraja, Dikshitar and Shyama Shastri and Radhakalyanam from Tamil Nadu.
The Gita Govinda is also sung as daily offerings in the Puri temple, the Guruvayoor temple and temples of Manipur. Except for one or two, most of the ragas and talas mentioned by Jayadeva are still used in the Odissi music tradition. The original and its derivatives that evolved in Kerala, Tamil Nadu, Karnataka, Andhra Pradesh, Odisha, Bengal and Manipur make it evident that the singing of the Gita Govinda was popular in Vishnu temples throughout India.
Even today, in Odisha, it is also sung in Shiva and Shakti temples. The singing styles of bhajans vary. Still, the singing style of the Gita Govinda, corresponding to the dance and dance drama traditions, is peculiar only to Odisha and Manipur.
Pahari denotes ‘hilly or mountainous’. Pahari Schools of Painting feature towns such as Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu and others in the hills of western Himalayas, which emerged as centres of painting from the seventeenth to the nineteenth century. Following the 18th-century decline of the Mughals, Pahari paintings rose to prominence. Artisans of the Mughal empire sought newer pastures to evolve further and propagate their art. Famous among these were Kangra and Basholi, both of which were prominent styles of miniature paintings. Miniatures are small-sized paintings, generally done in watercolour on cloth or paper. Raja Sansar Chand and Raja Kripal Pal are associated with those schools.
While Basholi is well-known for its simplicity, Kangra is famous for its flamboyance. But themes involving the Gita Govinda and avatars of Lord Krishna are prominent in both. The rulers and the audience felt a genuine affection for the mischievous cowherd, and the tribulations of Radha had many sympathetic takers. Artist Pandit Seu had two talented sons, Manakuand Nainsukh. Their contribution to manoeuvring the style of Pahari painting from the simplicity of Basohli to that of Kangra is immense. Paintings based on the Gita Govinda constitute Manaku’s most outstanding set of works. The characters are divine and they enact the play on a philosophical plane, where Radha is a devotee or soul, and Krishna, the cosmic power, in whom she drowns. The love sport played here is rather human. In this painting, Radha is shown as feeling shy and hesitant as she approaches the forested area, while Krishna is seen eagerly waiting for her. This motif of different emotions of the Gita Govinda is depicted vividly is a hallmark of Pahari paintings.
Madhubani or Mithila paintings are native to the eponymous region in Bihar, distinct for their use of natural dyes and pigments to provide an eye-catching finish. Traditionally, the painting was done on freshly plastered mud walls and floors of huts but, over the years, it has moved to varied mediums, including cloth, handmade paper and canvas. Geometric patterns and freelance tracing of shapes, decided as per the interest of the artists concerned, are common. These were originally gender-specific paintings used by women to decorate their nuptial rooms, which eventually took a ritualistic turn over time.
Themes from the Gita Govinda were a favourite among the artists. As fertility images were preferred, artisans chose the poem because of the whirlwind course of emotions that Radha endures during the poem. Tales of the love story, including the pain of separation and the bliss of marital life, are prominently explored themes. These themes became a creative outlet for women in North Bihar to express their memories of joy, sorrow, hope and family life. They rose to prominence with time, gaining traction at the national level, where they earned renown for their unique perspective on Lord Krishna and Radha’s turbulent journey.
Eight-hundred years ago, a wandering poet in the eastern parts of India composed a devotional song in Sanskrit about...
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