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Pandav Lila

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Hindu tradition

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Pandav Lila orPandav Nritya (Sanskrit; literally "play of the Pandavas" and "dance of thePandavas" respectively) is a ritual re-enactment of stories from the Hindu epicMahabharata, through singing, dancing and recitation, that is practised in theGarhwal region ofUttarakhand, India.[1][2] Pandavas are the five protagonists in the epic and the village amateurs take on their roles and perform thelila outdoors, accompanied by the folk instrumentsdhol,damau and two long trumpets calledbhankore.[3] The performances, which can last anywhere from three days to a month in different villages, draw large crowds and are an important cultural highlight of the year.[4] The ritualistic drama features actors who often spontaneously become "possessed" by the spirits of their characters and begin to dance.[5]

History and format

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The origins of thePandav Lila are intermingled withHindu mythology . It has always been performed by village amateurs, and not professionals, and is usually sponsored by the Janman's (Kshatriya) Every village can have its own variation, and some may place a greater emphasis on singing or drama.[6] The performances begin at night and last till early mornings. The episodes from the epic are not necessarily performed in a linear order, as the intention is not to convey the epic's story but dance out or enact specific scenes that the artists or villagers are familiar with.[6] As the story progresses and the action intensifies, they begin to start earlier in the day and continue till morning next day. The most-awaited episode is often a battle between a father and a son,Arjuna and Nagarjuna, which is known by the namegainda (Hindi for rhinoceros), as it involves Arjuna killing the rhinoceros that belongs to his son.[4] The weapons used in the drama are worshipped and are never allowed to touch the ground, so they can retain their power, and are taken care of till the nextlila.[7] As it is practically impossible to enact the whole ofMahabharata, the longest epic poem in existence, the performers can choose their own episodes for enactment.[8]

Notes

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  1. ^Sax 2002, p. 21
  2. ^Sharma, Arvind (July 21, 2007).Essays on the Mahābhārata. Motilal Banarsidass Publisher.ISBN 9788120827387 – via Google Books.
  3. ^"ICHCAP | e-Knowledge Center".www.unesco-ichcap.org. Archived fromthe original on 2022-10-06. Retrieved2020-07-21.
  4. ^abSax, William S. (1997). "Fathers, Sons, and Rhinoceroses: Masculinity and Violence in the Pāṇḍav Līlā".Journal of the American Oriental Society.117 (2):278–293.doi:10.2307/605490.JSTOR 605490.
  5. ^Sax 2002, p. 23
  6. ^abAlter, Andrew (April 1, 2011). "Controlling Time in Epic Performances: An Examination of Mahābhārata Performance in the Central Himalayas and Indonesia".Ethnomusicology Forum.20 (1):57–78.doi:10.1080/17411912.2011.549362.S2CID 193246028.
  7. ^Beissinger, Margaret; Tylus, Jane; Wofford, Susanne; Wofford, Susanne Lindgren (March 31, 1999).Epic Traditions in the Contemporary World: The Poetics of Community. University of California Press.ISBN 9780520210387 – via Google Books.
  8. ^Sax 2002, p. 32

Bibliography

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External links

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