Temples played an important role in Indian society. These temples were built not only for religious worship but also they were considered as community development centres. The construction of temples of each religion has its own architecture and resembles its own culture, customs, regional and religious influences of different periods.
Besides, the construction pattern of religious temples of each region provided ample evidence of each ruler’s taste with their involvement in art, culture and religion. According to their involvement in the culture and tradition, they built temples throughout India.
Inside the temple courtyard, various religious, cultural and ritual activities were carried out. These activities were directly involved with the moral and spiritual upliftment of the people.
For these purposes, certain halls were built to hold the kathapira sangaas (sermons). These kathapiara sangaas imparted the religious values and ethics. Similarly, to protect and promote the dance through religious worship, dance halls were built in Tamil Nadu, Orissa, Kerala and Manipur.
Sanskrit temple
They were called differently in different regions, such as Nat Mandapa, Natana Salai, Sadir Salai, Nanaveetha Natana Salai, Natya Mandapam, Nirtha Mandapam and Koothampalam. Koothampalam was the oldest model drama based dance hall inside the temple. This is one of the oldest Sanskrit temple drama theatres. (During those times dance and drama were considered as one art form).
The Chakayer were the performers of this art. The performance of the Chakayer was called Chakayikoothu which was an ancient orthodox form of entertainment. Chakayikoothu was an individual (solo) performance, but a group performance of Chakayer and Nangyaramma (female member of the Ambalavasi Nambiar caste) was called Koodiyattam. But the Koodiyattam and Chakayerkoothu were performed only at Koothampalam which directly faced the chief presiding deity of the temple.
The present Kathakali originated directly from the temple culture, but it evolved out of certain temple arts.
Earlier Kathakali troupes were maintained by the temples to perform during the temple festivals. Beautiful large and small pillars support the top roof. The ground base was filled with earth and rubble and covered with cow dung. Adjoining Koothampalam, a dressing room, was built for the convenience of the artistes.
This was called Niepathya. The Niepathya floor was always lower than the Koothampalam floor. The roof of the Koothampalam was carved with various figures of gods’and goddesses’. According to Bharatha Muni in the Natya Sasthra, various gods were carved in the halls to protect the hall from evil effects.
Koothampalam theatre looked very dull and dim to bring out the real effect of the performances inside the hall. Even while building the hall the chief architect (Sathapi), the master builder took various precautions to prevent the echo on scientific bases to control the vibration of the sound.
Permanent theatre
Small windows were kept to prevent the effect of the crosswind. Koothampalam was a permanent theatre built inside the temples.
In Manipuri, several Rasa Lila dances took place as a form of worship. Each temple had its own dance hall called Nat Mandapa. Even today Nat Mandapas are decorated with leaves, colourful flowers and white cloth. It is a large mandapam which can accommodate 2,500 to 3,000 people.
In Orissa Maharis held their dance at Nat Mandapa. There is a reference that at the sun god temple in Konarak dances took place. The temple was built during the 13th century with Nat Mandapa.
The Nat Mandapa was fully and thoroughly decorated with beautifully carved dancing figures. Now it provides an opportunity for dance researchers, art lovers and foreign tourists to enjoy the ancient Indian architecture.
The structure of Konarak temple resembles the sun god’s chariot driven by seven horses. The Maharis were allowed to perform not only inside the Nat Mandapa but also they were allowed to enter the inner temple under certain circumstances.
In Tamil Nadu, dance halls were built to promote dance and drama inside the temple premises. These dance halls were very well administered and maintained by the temple authorities.
Numerous inscriptions contain a wealth of information regarding the dance halls in temples. For instance, Naanaavitha Natana Salai was established in Thiruvadu Thurai Temple. A Nirtha Mandapam was built in Kachi Ekamparanatha Temple in the 15th century A.D.
During the reign of the Raja Raja Chola, the ninth year of his rule, a Sadir Salai was installed to promote the art. The Great Chola emperor Raja Raja Cholan who built the Thanchai Bragatheeswara Temple also built a Naanaavitha Natana Salai to promote the art and culture during his reign.
The Nat Mandapa was fully and thoroughly decorated with beautifully carved dancing figures.
Dance researchers
Now it provides an opportunity for dance researchers, art lovers and foreign tourists to enjoy the ancient Indian architecture. The structure of Konarak temple resembles the sun god’s chariot driven by seven horses.
The Maharis were allowed to perform not only inside the Nat Mandapa but also they were allowed to enter the inner temple under certain circumstances.