Bharat Ek Khoj 15: The Sangam Period and Silappadikaram, Part I

Bharat Ek Khoj—The Discovery of India
A Production of Doordarshan, the Government of India’s Public Service Broadcaster
Episode 15: The Sangam Period and Silappadikaram, Part I

With Pallavi Joshi as Kannagi, Rakesh Dhar as Kovalan, Anandi as Madhavi, Rekha Parmar as Mother. Choreography by Kanak Rele, Nalanda Nrityakala, Mahavidyalaya, Jayashree Nair, and Upasana Dance Akademi. Additional Play Back by Girishan, Geeta Eshwaran, Prem Kumar, Sethu Madhavan, Anitha Sheshadri, Shobha Ramchandran, S.R. Venkatesh, and Rajan Easwaran.

Nehru noted that in South India, for more than 1000 years after the Mauryan Empire had shrunk and finally ceased to be, great states flourished. Unlike the virtually land—locked North India, Southern India was especially noted for its trade by sea. They were also sea-powers and their ships carried merchandise to may distant countries. In the south, Chola, Chera, Pandiya, Chalukya and Pallava Empires were coextensive, from before the first century onwards, with their counterparts in the north. Since repeated invasions in North India did not affect the South directly, they led indirectly to many people from the north moving south including builders and artists, craftsmen and A artisans. The south became a centre of old artistic traditions and remained a stronghold of ancient culture for centuries.

The famous Sangam (confluence) literature providing a literary meeting point between the courts and the remote rural areas was a phenomenon of 4th to 1st century BC. With the resonant percussion playing of Mridangam, we witness some of the best Chola sculpture of statuettes and hear recitations of the Sangam poetry Agam verses of internalised romance and love; and Puram verses of ebullient ambience of festivities. Nehru cites the legend of the northern sage Agastya who went to south to establish bonds between the Aryan and Dravidian civilisations.

Silappadikaram was the most famous Tamil epic from around the 2nd century BC, by Prince Ilango Adigal, that has its tale rooted in the ordinary lives from the Chera and Pandyan kingdoms, and provides rich cultural knowledge to understand both ancient and modern south Indian thinking. The merchant Kovalan is married to an extraordinarily beautiful Kannagi and they live in a haven of bliss, till Kovalan sees a vivacious courtesan Madhavi displaying her classical dance in Mohiniattam style, accompanied by Sopanam music and instruments of Vina and Edekka. Kovalan is mesmerised and cannot resist bidding 1000 gold-coins to win over Madhavi. When, after her enchanting dance in Dasiattam (present Bharatanatyam) style, Kovalan holds Madhavi in his arms, the whole world is forgotten, let alone the pining Kannagi at home. When eventually Kovalan returns to his place of trade, the bulk of customers have deserted his thriving business. Despite disappointment and occasional efforts to get Kovalan back Madahavi continues her dancing for other chants.

Meanwhile a thoroughly repentant Kovalan returns home, all is forgiven by the faithful Kannagi and both set out for the far city of Madurai in search of new business opportunities.

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