She reads the palm and hand of the heroine. The plot of the second part is unfolded on the earth itself. The lyrics written in simple Tamil was an asset in understanding the depiction of the sancharis that were following the method of Vaakyartha Abhinaya. Kuravanji poems are used in famous dance forms like Bharatanatyam where dancers perform the roles of Kurathi and other characters as depicted in the poetry with recitations of the poems with music. February Learn how and when to remove this template message. Sahityam of this drama is published, but original music is not traceable. The character of Kurati appears in the first part itself to contrast and balance ideal images of the heroine, the hero and the Sakhi-s.

The Ragas used in Kuravanji Natakas are all Rakti ragas and have powerful appeal. The head was decorated with flower garlands. She asks her friends to identify the person coming in pavani. Her maids try to console her. Play is completed by benedictory song. It gives a chance to put the Divine coming to life in our own worldly setting.

Kuravanji Dance Dramas – Something about dance

In first part it is pravesham of Kurati, her further description of hill country, her tribe and talents. Her folk is engaged in hunting thus getting food and means for life. The plot of the first part bears features of classical story of highly spiritual love-based devotion and surrender. She proclaims her talents like to make rope out of sand and to draw strands out of stone.

She also points out her capacity to do impossible things like pierce mustard seed and make seven seas flow though it, change black color of a cow to white, etc. Tyageshar kuravanji The author of this work is not known, but he seems to have lived during the time of Mahratta ruler Sahaji Maharajah After usual invocatory verses the heroine, Madanamohini appears on the stage in company of her friends. Her maids try to console her. Story line of Kuravanji based on example of Kuttrala Kuravanji All Kuravanji-s have the same story line, which could be outlined as follows: Madamohini dreams as if she is united in wedlock to Lord Muruga.


As tribal hunters, migrating from place to place, kuravas are fearless, risky and independents people. Thus, first part of the play inherits classical features of Aham poetry and Sangam epics, where the persona of the heroine and the hero are archetypal, and their relationships are idealized models of human love, affection and sympathy.

Initially, Kuravanji were performed at temple and temple precincts, where the mandapas, night sky and holy spirit of the temple created the unique dramatic atmosphere of magic. In her distress she rebukes the moon and Cupid and addresses the sea. The second part is based on Kurati and Kuravan relations completely.

Interesting feature is that the hero himself does not appear on the stage, his presence is imaginary, thought all passion and fuss of the play is constructed round his personae and influence. It gives a chance to put the Divine coming kuravajni life in our own worldly setting. Pallu of sari was decorated kuravanhi golden border. After an extensive research, Rukmini Devi revived this production with a small group of her students at Kalakshetra in The term “Kuravanji” refers to a woman born in “kuravar” gypsy family.

She implores the clouds, winds, birds and the moon to carry her message to the hero. Sahityam of this drama is published, but original music is not traceable.

Thirukutrala kuravanji

Hariprasad needs to be complimented not only for enunciating the lyrics with clarity for the viewers to follow the rich poetic imagery but also for his melodic musical kuavanji.


The story revolves around the heroine Vasanthavalli, who while playing with her sakhis sees a procession of Lord Siva and falls in love with the resplendent form.

Kuravanjis are old Tamil dances in which a Kurathi — a kuravznji is an essential and important character of the story. It is in praise of the Deity Tyagesar of Tiuvarur temple. She reads the palm and hand of the heroine.

‘Kutrala Kuravanji,’ a fine blend of classical and folk art

He constructed a platform called Kuravanji Medai in the big temple at Thanjavur for holding Kuravanji performances during the annual festival. Kuravanji dance Dramas According to 1a play written in verse form is known as Kuravanji.

The hero belongs to heavenly world of Gods, semi gods, kings and great heroes; the heroine and her Sakhi-s — to fance world of civilized human settlements; and Kurati and Kuravan — to hills, forests, tribes, i. Kutralanathar is the Lord Shiva deity present kutralaa the temple at Kutralam, a waterfall near the Tirunelveli town of southern India.

It have been performed at Kuttralam. Ramani March 01, This article is an orphanas no other articles link to it. The gypsy woman appears. This is story of human couple in situation of argument, separation, jealousy, opposition and concealment. She comes out playing ball and sakhis join her. It is one of 96 prabhandha-s and belongs to Natakatamizh. Kurati herself belongs to earthy reality, she symbolizes power and strength kuravanj the nature itself.