Bahurupa Nrtta (Bhahuroopa Nritham)
The Art of Many Forms – Quick‑Change Impersonation in Medieval India
Among the many deśī (regional) dance forms catalogued by the 13th‑century scholar‑warrior Jaya Senāpati in his Nṛttaratnāvalī, few are as theatrically sophisticated as Bahurūpa Nṛtta (the “many‑forms” dance). This was not a dance in the usual sense, but a form of popular one‑man theatre where a single performer – the bahurūpī – would appear in a succession of different guises, changing costume, speech, and mannerisms to represent a wide range of characters from kings and priests to merchants, soldiers, and even animals. Unlike classical drama with its codified conventions, Bahurūpa was realistic, improvisational, and often satirical. It was performed in temple courtyards, village squares, and royal courts across India. This article gathers every detail about Bahurūpa Nṛtta from the Nṛttaratnāvalī and traces its fascinating survival into modern times as Pagati Vēṣam (Daytime Impersonation) in Andhra Pradesh and Tamil Nadu.
The term Bahurūpa is Sanskrit for “having many forms” – from bahu (many) + rūpa (form, appearance). The dancer is called a bahurūpī – a master of disguise who can appear as any character from any walk of life. This is distinct from classical dance forms where the performer remains in a single role throughout. Bahurūpa is closer to what we would today call a “character actor” or “impressionist” – but with full costume and make‑up changes, often done in full view of the audience.
Jaya places Bahurūpa Nṛtta in Chapter VII among the deśī dances, after Cāraṇa Nṛtta and before Kollāṭa. His description is brief but rich, and he adds an important moral judgement: he disapproves of low, obscene performances that some Bahurūpa troupes present.
“Bahurūpa – This is a representation of a variety of characters of the world. The main player is a quick‑change artiste, versatile, and capable of speaking different languages. Jāya disapproves of lower varieties involving unbecoming actions and speeches.”
Jaya’s description of Bahurūpa Nṛtta appears in Chapter VII (verses 129‑132 of the critical edition, as per Dr. Raghavan’s introduction). Below is a systematic compilation of everything Jaya tells us.
🎭 A. The Essence – Representation of Many Characters
- Name‑giving feature: The dance derives its name from the fact that it is the representation of a variety of characters from the world (nānājagadākāra). The performer embodies different types – kings, ministers, merchants, Brahmins, soldiers, peasants, women, gods, demons, animals – in quick succession.
- Realistic imitation: Unlike the stylised gestures of classical abhinaya, Bahurūpa aims for realism. The performer copies the actual dress, speech, and actions of each character as seen in everyday life.
- Multilingual: The main performer is capable of speaking different languages or dialects – Sanskrit for priests, Apabhraṃśa or Prakrit for commoners, and regional vernaculars for local characters.
वेषभाषाक्रियाहीनं यथावल्लोकचेष्टितम् ॥”
(“Bahurūpa is so called because it takes on many forms of the world, with appropriate dress, speech, and actions, exactly as people behave in the world.” – Nṛttaratnāvalī VII.129, paraphrased)
👗 B. Costume & Quick‑Change Technique
- Full costume for each role: The performer has a trunk of costumes, wigs, masks, and props. He may change behind a curtain or even in full view, using sleight‑of‑hand and speed to delight the audience.
- Examples of characters: A king with a crown and royal robe, a Brahmin with a sacred thread and tuft, a merchant with a turban and weighing scales, a woman with a saree and jewellery, a soldier with a sword and shield, a beggar in rags, a holy man with ash and a trident, and so on.
- Masks and make‑up: For animals or demons, masks are used. For human characters, quick face‑painting with coloured powders.
🗣️ C. Speech & Dialogue
- Realistic speech: The performer speaks in the actual language and dialect of the character. For a Telugu farmer, he speaks Telugu; for a Marathi soldier, Marathi; for a Tamil priest, Tamil; for a Sanskrit scholar, Sanskrit (or a comically broken version).
- Improvisation: There is no fixed script. The bahurūpī interacts with the audience, cracks jokes, comments on current events, and even satirises local figures.
- Comic and serious roles: Some characters are played for laughs, others for moral instruction.
💃 D. Movement & Dance
- Not purely dance: Bahurūpa is more theatre than dance, but Jaya includes it among nṛtta forms because each character’s entry and exit involves rhythmic walking (gati), stylised gestures, and sometimes short dance sequences.
- Imitative gaits: The performer uses characteristic walks – a king’s proud stride, a woman’s gentle sway, a soldier’s march, an old man’s limp, a monkey’s crouch.
- Minimal music: A single drummer and cymbal player may accompany the entrances and exits, but the focus is on speech and costume change.
👥 E. Supporting Cast
- Not always solo: While the main bahurūpī is the star, he may be assisted by one or two other men and women who play supporting roles or help with quick costume changes.
- Group skits: Sometimes a short playlet with two or three characters is enacted, with the bahurūpī playing all roles in succession (like a one‑person show).
⚠️ F. Jaya’s Disapproval – The Lower Varieties
Jaya, a court scholar and military commander, expresses clear disapproval of certain types of Bahurūpa performances:
- Obscene or vulgar acts: Some troupes presented unbecoming actions (akārya) and speeches (kukathā) – likely sexual innuendo, crude jokes, or scatological humour.
- Low character types: Imitations of thieves, drunkards, prostitutes, or other “low” figures in a demeaning way.
- Jaya’s condemnation: He states that such lower varieties should be avoided (varjayet), and only the refined, respectable impersonations should be patronised.
This moral stance is interesting – it shows that even in the 13th century, there was a distinction between “high” and “low” folk entertainment, and Jaya aligned himself with the classical, courtly taste.
“Some Bahurūpīs perform low, vulgar acts and speak indecent words. Such performances should be rejected by discerning patrons. Only those that depict noble characters and proper conduct are to be encouraged.”
Jaya was not alone in describing Bahurūpa. Several other texts from across India mention this form:
- Pālkuriki Somanātha’s Panditārādhyacaritra (Telugu, 13th century): In the long dance description (see Introduction, pp. 20-22), Somanātha mentions Bahurūpa as one of the dances performed at the Śrīśailam festival. He describes the performers as quick‑change artists who imitate celestial beings, demons, animals, and humans.
- Saṅgītamakaranda (Veda, 15th-16th century): Mentions Bahurūpa as a deśī dance form.
- Saṅgītasārasaṅgraha (Ghanasyāma, 18th century): Briefly describes Bahurūpa.
- Saṅgītakaumudī and Saṅgītanārāyaṇa (17th-18th century): Also include Bahurūpa in their dance chapters.
In Eastern Indian texts like the Saṅgītadāmodara (Subhaṅkara, 15th century) and Nātyamanoramā (Raghunātha Rath, 18th century), Bahurūpa is described as a variety of Tāṇḍava – an overly simplified definition that misses its theatrical essence.
The most remarkable aspect of Bahurūpa Nṛtta is that it survives to this day in the folk traditions of Andhra Pradesh and Tamil Nadu, known as Pahal Vēṣam (Telugu) or Pagati Vēṣam (Tamil) – meaning “Day‑time Impersonation” or “Daylight Performance”.
☀️ What is Pagati Vēṣam?
- Solo street theatre: A single performer (usually a man) travels from village to village, especially during temple festivals and fairs.
- Daytime performances: Unlike night‑time Yakṣagāna or Kūcipūḍi performances, Pagati Vēṣam is done in the open air during daylight hours, often on a raised platform or simply in a village square.
- Quick‑change: The performer carries a bundle of costumes, wigs, and props. He changes behind a curtain or by turning his back to the audience, astonishing them with his speed.
- Impersonation: He appears as a string of characters – a Brahmin priest, a Muslim nobleman, a British officer (during colonial times), a policeman, a bride, a beggar, a snake‑charmer, a goddess, a demon, and even a monkey or a horse.
- Speech: He speaks the dialect appropriate to each character – Telugu, Tamil, Urdu, or a mix – often delivering comic monologues and satirising local politicians, customs, or social issues.
- Minimal music: A single huḍukkā or dappu drummer and a cymbal player accompany him, providing rhythmic cues for entrances and exits.
The name Pagati Vēṣam itself is a Telugu/Tamil translation of “daytime form” – contrasting with night‑time dance dramas. The continuity with medieval Bahurūpa is unmistakable.
📉 Survival & Challenges
Today, Pagati Vēṣam is an endangered art. Only a handful of elderly practitioners remain in remote villages of Andhra and Tamil Nadu. Urbanisation, television, and changing tastes have eroded the audience. However, efforts are underway to preserve it:
- The Sangeet Natak Akademi has awarded several Bahurūpī artists (e.g., Sri B. Raghavaiah of Andhra Pradesh) for their contribution to this folk form.
- Cultural festivals like the Nimmalakunta Bahurūpa Festival (Kurnool district) are organised annually to showcase the art.
- Some modern theatre directors have incorporated Pagati Vēṣam techniques into experimental urban theatre.
“In one hour, I become ten people – a king, a beggar, a woman, a god. The audience laughs, cries, and applauds. When I change my costume in the blink of an eye, children gasp. This is the art of my grandfather’s grandfather – it must not die.”
🎭 Bahurūpa
- One‑person show (with assistants)
- Quick‑change of costume & speech
- Realistic imitation
- Multiple languages/dialects
- Satirical, comic, moralising
- Daytime performance (Pagati Vēṣam)
- Minimal dance – focus on character
🎭 Yakṣagāna
- Large troupe (10-20 actors)
- Single role per actor (no quick‑change)
- Stylised abhinaya, not realistic
- Kannada/Tulu – one language
- Mythological, heroic themes
- Night‑time performance
- Dance + dialogue + elaborate costume
🤡 Bhāṇḍika
- Clown, not character actor
- No costume change – always the clown
- Exaggerated, grotesque
- Animal sounds, not language
- Pure comedy (hāsya)
- Court or festival interlude
- Minimal dance – comic mimicry
📚 References & Further Reading
- Jaya Senāpati, Nṛttaratnāvalī, ed. Dr. V. Raghavan, Madras Government Oriental Series, 1960 – Chapter VII (Deśī Nṛtta: Bahurūpa, verses 129‑132) and Introduction (pp. 152, 225).
- Dr. V. Raghavan, “Later Saṅgīta Literature”, Journal of the Madras Music Academy, Vol. IV (1933).
- Pālkuriki Somanātha, Panditārādhyacaritra (Telugu) – for the 13th‑century description of Bahurūpa at Śrīśailam.
- Subhaṅkara, Saṅgītadāmodara, Calcutta Sanskrit College edition – brief mention.
- Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (Hyderabad, 1998) – includes a section on Bahurūpa and Pagati Vēṣam.
- M. Rama Rao, The Kākatīyas of Warangal (1978) – cultural context.
- B. Raghavaiah, Bahurūpa – The Art of Impersonation (unpublished memoir, Sangeet Natak Akademi archives).
- The Hindu, “Pagati Vēṣam – The day‑time impersonator’s vanishing act”, August 15, 2016.
- Telangana Today, “Bahurūpa – The original quick‑change artist”, March 3, 2021.
© For scholarly and educational purposes. All rights belong to respective sources.
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