Indian Acrobatic sculptures
Acrobatics, literally meant “to walk on tip-toe,” or “to climb up”. In the past it refereed to the specialized and ancient art of jumping, tumbling, and balancing. Later the use of an apparatus like poles, one-wheel cycles, balls, barrels, tightropes, trampolines, and flying trapezes came to be included. It is a skill that can be executed perfectly only after a continuous periods of practice and one requires a highly flexible body with good stamina. It is special because, not everyone can do it. These days, Circuses or reality shows carry such movements.
Textual reference
Bharata’s Natyashastra[1] and post Bharata texts also gives us an indication of the possible acrobatic movements in its vocabulary as Karaṇa and Utpluti Karaṇas. Many ancient texts such as Sangīta ratnākara a treatise written by Śar̥ngadeva, Nritta Ratnavali[2], a treatise written by Jāyasenapati indicates many Desī nṛtta-s which are might have inspired these sculptures. Sculptures have been carved as a reference to Indian forms like Dombarāṭa, Kusti (Wrestling), Mallayudha too.
Acrobatic movements in Temple sculptures
Acrobatics were not new to India. The martial art, Kalaripayaṭṭu, said to be the mother of all martial arts, has many acrobatical movements. The fact that they are found in temples, is a testimony to the notion that acrobatics were a common element in the society of those times; and Temples have encouraged it.
In figure 1- Two men creating a circle by holding one of each other’s legs. Both the men have stretched their left leg to form the line in between and their right leg creating the circle. Both their hands are holding each other’s legs. This requires high flexibility and the lower man requires the strength to balance the man in air.
In figure 2- A man is balancing the other man hanging over his stomach. The man in air has his legs around his shoulders and interlocked with his other leg. Even one of their hands are locked. They create a plus like pattern.
fig 3 - Sculpture in the pillar of Lepakshi temple, Anantapura district, Andhrapradesh. In this figure the body is completely off the ground. He is carrying the weight of his entire body with hands and his chin placed on the hands which are crossed together. This is similar to the Gangāvataraṇa Karana and Śīrșāsana of Yoga. Such poses are evident in Kalaripayaṭṭu as well.
The sculptures clearly indicate the strength, flexibility, stability, power and energy required to execute such difficult stances with precision. The perfect pose is possible only when everyone involved gives their best. These poses not only require physical strength but also require mental stability and concentration. Even if one is found weak, the whole pose might crumble like a fortress of cards. The cheer and applause from the audience should not distract the performers.
The perfect rendition of such movements and poses creates a sense of awe and makes one wonder how much of effort and seamless hours of practice must have gone into creating a sculpturesque pose like this. Heartfelt gratitude to the sculptors, who preserved these poses on stone for posterity. It is but through these evidences, the skill of our ancestors who, without much claim to fame, did their duty with utmost dedication, can be seen.
Indian Art forms of Complicated movements
Dommarata –
Dommarāṭa/ Ḍombarāṭa is a historic folk dance, involving both men and women who perform dance together as a group. Women dance in rhythm with special steps, while men balance wooden sticks made of Bamboo or other wood forms, on their shoulder. Other men slowly climb the wooden sticks and balance themselves, in tune with the rhythm.
Mallakamba
It is a traditional sport, originating from the Indian subcontinent, in which a gymnast performs aerial yoga or gymnastic postures and wrestling grips in concert with a vertical stationary or hanging wooden pole, cane, or rope. The word Mallakhamba also refers to the pole used in the sport. The pole is usually made from sheesham polished with castor oil.
Kusti (Indian Wrestling)
It is a form of wrestling contested in South Asia. The words pehlwani and kushti derive from the terms pahlavani (heroic) and koshti (wrestling, lit. Killing) respectively, meaning Heroic wrestling.
Malla yuddha
It is the traditional form of combat-wrestling originating in India. Malla-yuddha incorporates wrestling, joint-breaking, punching, biting, choking and pressure point striking. Matches were traditionally codified into four types which progressed from purely sportive contests of strength to actual full-contact fights known as Yuddha. The second form, wherein the wrestlers attempt to lift each other off the ground for three seconds, still exists in south India.
Additionally, Malla-yuddha is divided into four categories namely, Hanumanti – concentrates on technical superiority, Jāmbuvanti – uses locks and holds to force the opponent into submission, Jarāsandhi – concentrates on breaking the limbs and joints while fighting, Bhīmaseni – focuses on sheer strength.
Western acrobatic styles :-
In 1859, Charles Blondin’s crossing of Niagara Falls on a tightrope, rekindled public interest in aerial gymnasts and acrobats. This was how the concept of acrobatics was first introduced in modern times.
Acrobatic movements in many Western activities like-
Contemporary – a dance form where the dancer performs graceful movements along with tricks involving balance of hands and legs.
Cheerleading – is an activity in which the participants (called cheerleaders) cheer for their team as a form of encouragement.
Contortion – Performance art in which performers called contortionists showcase their skills of extreme physical flexibility.
Corde lisse – Aerial circus skill or act that involves acrobatics on a vertically hanging rope.
Gymnastics – Sport that includes physical exercises requiring balance, strength, flexibility, agility, coordination, and endurance.
Figure skating – Sport in which individuals, pairs, or groups perform on figure skates on ice.
Authored by Deepthi R. Bhat, Bengaluru. as a feature article title ''Indian Acrobatic sculptures'; Published by Noopura Bhramari – An IKS Centre, As a part of Nr̥tyaŚilpa Yātra Internship programme.