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PURAVANTHIKE MELA

Culturally puravanthike mela is a very important ritual and art. The name puravantha signifies that they are the martial Guards long ago they used arms to protect the towns likewise the people who destroyed towns were called purandaras by some scholars. Some people identify the origin of the conflict and confrontation between puravantha and purandara way back in Harappa civilisation. Ancient Harappa’s shiva followers symbolised by pashupathi are puravanthas whereas indra and his followers were purandaras.

Caucasian vaidics who practiced Arya language couldn’t co- exist with parsis. Migrating through north west india they first encountered the people of Harappa civilisation. Some say Harappa civilisation is Dravidian while others argue that it is not. There is a culture speculation that that it might be kola- munola of Austro Asiatic origin. Another argument proposes that it is Gonad culture of proto Dravidians. Whatever the arguments it is true that the origin of the puravanthike has its roots in Harappa civilisation. It’s many truths are buried its the darkness of history this is the historical dimention of the puravanthike art. There are two mythical dimensions intertwined with puravanthike mela. First one is the veerabhadra (Eerabhadra) who was born of the shiva’s hair destroying the nireeshwara yaga Daksha, an Aryan king of that time. Second is ugra Narasimha killing shiva’s devote Hiranyakashipu. Angered by this shiva beheads Navasimha taking up sharbhavathara. Since both these puranic stories are connected with puravanthike mela puravanthas even today dress like Eerabhadra and enact the destruction of Daksha Yaga. Puravanthas who tell the odabus of Eerabhadra also tell the story in great detail about shiva’s ahavabhavathara Puravantha’s wear Eerabhadra’s Halage on their chest, skull of Narasimha killed by shiva around their waist is significant.

The dexterity with which puravanthike mela uses different deadly arms  perhaps symbolises events in our cultural history like destruction of daksha yaga. Attacks of indra and his co- horts, beheading of Narasimha through sharabhavathara. These are also symbol of wars and violence. Hence it is important and necessary to identity puravanthike as a martial art culturally. In this sense Veearaase, Veerabhadra’s Dance, Lingada Veera and kaase dance in south Karnataka are all martial arts of shaiva origin. there exists few differences in costume and performance costume of puravantha also reiterates the above points. Saffron silk Dhothara worn in Veeragaase style (in Some places they wear pyjama or chudidar also); saffron shirt is tied by a waist band; on top of it they wear galifa cloth; the frazzled edge of this cloth is decorative; a saffron headdress; from shoulder down they wear cobra jewellery like shiva; silver cobras; veerabhadra’s halage on the chest with a mirror attached to it. The skill of narasimha and others around the waist; a small protective sling bag, for the head long and untied artificial hair as worn in war field, panchamudras, rudraksha garlands around the neck, rudraksha wrist bands, thick vibhuthi smeared on the forehead; sword and trident in the hand, sometimes five metal arms with a lemon stuck on the sharp edge. Thus the every decoration and the costume of puravatha makes one feel that they are ready for war and evokes a kind awe in people waiting them.

Puravanthike mela is often organised independent of any occasion. But it is also organised during marriage procession, celebration of gods and other occasions, During the dance they say veerabhadras odabus. When they were describing the valor of veerabhadra a co-artist will utter “Khade.....Khade Bhalare aha” to encourage the story teller. Every line of the story is accompanied by samala. It is notable the even samala has the characteristics war instruments. Sanadi is also part of the mela. Dance also has war like movements with wielding swords, there are many ways in which the sword is wielded – like phani sword, Nabhi sword, Kanta sword, secret sword, they also stand in front of one another and hold lips, tongues of each other by the sword. A thread is inserted into the skin of the stomach and brough out at another point symbolising stiching of the soldiers wounded in the war field. Puravanthike Mela’s performance and  impact is very strong from Bijapura, Bagalakote to Haveri, Dharawada, Gadag, Hubballi, Ranebennur etc., in north Karnataka.

 

 

 

 

Last Updated: 13-06-2023 01:24 PM Updated By: Creator


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