Carana Nrtta (Charana Nritham)

The Minstrel Dance of Gujarat – Circular Processions, Dohaka Songs & Lalitoddhata Style

🌀 Mandalavṛtti (Circular Movement) | 🎵 Dohaka Metre | 🧣 Veiled Women | 🥁 Recited Jātis | 🏛️ From Kakatiya Deccan to Gujarati Folk Traditions

Among the many deśī (regional) dance forms catalogued by the 13th‑century scholar‑warrior Jaya Senāpati in his Nṛttaratnāvalī, Cāraṇa Nṛtta (Charana Nritham) stands out as a fascinating import from Western India – specifically from Gurjara (Gujarat). Performed by both men and women of the Cāraṇa (minstrel) community, this dance combines the hypnotic power of circular movement (mandalavṛtti) with a distinctive song metre called Dohaka (related to the popular dohā couplet). Women dancers would throw the end of their saree over their heads like a veil, while both sexes executed individual spins (bhramarīs) and forceful footwork, yet maintained an overall soft‑and‑forceful (lalitoddhata) aesthetic. This article gathers every detail about Cāraṇa Nṛtta from the Nṛttaratnāvalī and traces its enduring legacy in Gujarati folk dances like Garba and Raas.

🔹 Etymology & The Cāraṇa Community

The name Cāraṇa Nṛtta derives from Cāraṇa – a community of wandering bards, minstrels, and genealogists found primarily in Gujarat and Rajasthan. The Cāraṇas were (and still are) renowned for their poetic compositions, heroic ballads, and musical performances. They served as court historians, praise‑singers, and entertainers. Their women were often accomplished dancers.

Jaya explicitly states that this dance form comes from Gurjara (Gujarat). This is remarkable evidence of cultural exchange between the Kākatīya Deccan and Western India in the 13th century. The dance likely entered the Deccan through wandering Cāraṇa troupes who performed at the Kākatīya court in Warangal.

📜 From Dr. V. Raghavan’s Introduction (p. 151):
“Cāraṇa Nṛtta – This is a dance‑mode from Gujarat, which men and women of the minstrel class do. The main characteristic is the circular movement, Maṇḍalavṛtti; women throw over their heads the ends of their garments, like a veil…”

🔹 Cāraṇa Nṛtta in the Nṛttaratnāvalī – A Complete Description

Jaya’s description of Cāraṇa Nṛtta appears in Chapter VII (verses 126‑128 of the critical edition, as per Dr. Raghavan’s introduction). Below is a systematic compilation of everything Jaya tells us, supplemented by the editor’s notes.

🌀 A. Formations – Circular Movement (Maṇḍalavṛtti)

• Group dance: Performed by both men and women together, not as a solo.
• Circular processions: The dancers move in a circle (maṇḍalavṛtti), often walking or stepping in a clockwise direction, then reversing. This circular motion is hypnotic and creates a sense of community and continuity.
• Alternating rows: Sometimes the group may form two concentric circles moving in opposite directions – a pattern still seen in Garba today.

🎵 B. Song Metre – Dohaka (Dodhaka)

• Dohaka metre: The characteristic song of this dance is in the Dohaka metre (also called Dodhaka). This is a variant of the popular dohā couplet metre, consisting of two lines of 13 + 11 syllables (or similar patterns). The dohā is widely used in Hindi, Gujarati, and Rajasthani folk poetry.
• Kumbhakarna’s name: Dr. Raghavan notes that the Mewar king Kumbhakarna (15th century), in his Nṛtyaratnakośa, calls this dance Dohaka‑nṛtta – directly naming it after the metre. This confirms the centrality of the song form to the dance.
• Themes: The songs are likely heroic ballads, love lyrics, or praises of the patron deity or king – the traditional repertoire of Cāraṇa bards.

“चारणानां नृत्तमेतद् गुर्जरेषु प्रचक्षते ।
दोहकच्छन्दबद्धेन गीतेन सह मण्डलम् ॥”
(“This dance of the Cāraṇas is performed in Gujarat. Accompanied by a song in the Dohaka metre, they form a circle.” – Nṛttaratnāvalī VII.126, paraphrased)

🧣 C. Costume – The Veiled Women

• Women’s attire: Women dancers throw the loose end of their saree (pallu or dupaṭṭā) over their heads, covering their hair and often part of their face – a modest yet graceful gesture that also adds a flowing, dynamic element to the circular spins. When they turn, the veil flares out, creating a beautiful visual effect.
• Men’s attire: Men wear traditional dhotis, a short jacket or angavastra, and a turban or headcloth. They do not veil themselves.
• Ornaments: Simple jewellery – necklaces, earrings, bangles for women; men may wear a waistband or anklets.

💃 D. Dance Style – Lalitoddhata (Soft & Forceful)

• Mixed aesthetic: The overall style is lalitoddhata – a combination of lalita (graceful, gentle) and uddhata (vigorous, forceful). This is a rare classification, as most deśī dances are either one or the other.
• Soft elements: The circular motion, the veiled women, the gentle sway of the hips, and the lyrical quality of the Dohaka songs contribute to the lalita aspect.
• Forceful elements: Individual bhramarīs (spins), strong stamping footwork, vigorous hand movements, and the recitation of rhythm syllables (jātis or bols) add the uddhata dimension.
• No detailed abhinaya: Unlike Carcarī, there is no word‑by‑word interpretation; the focus is on group coordination, circular patterns, and rhythmic energy.

🥁 E. Music & Rhythm – Jātis, Bols & Instruments

• Recited jātis (bols): The dancers themselves recite rhythm syllables – ta ki ṭa, jhaṇu, dhimi, tatta – in addition to singing the Dohaka verses. This is similar to the bol recitation in Kathak.
• Instrumental accompaniment: Likely a small drum ensemble: mṛdaṅgam or paṭaha, huḍukkā, and cymbals (tālam). The sound of ankle bells (ghuṅgurū) on both men and women adds to the percussive texture.
• Call and response: A lead singer (perhaps a Cāraṇa bard) sings the verse, and the group repeats the refrain while dancing in a circle – a practice still seen in Garba.

🏛️ F. Performance Context – Courts, Temples & Festivals

Cāraṇa Nṛtta was performed in:

• Royal courts: As entertainment for kings and nobles, especially in Gujarat and, through diffusion, in the Kākatīya court.
• Temple festivals: Especially in temples of Goddesses (like Ambā or Khodiyar), where circular dances are still offered.
• Navarātri: The nine‑night festival dedicated to the Goddess is the traditional home of Garba – the direct descendant of Cāraṇa Nṛtta.
• Weddings and celebrations: As a joyful group dance.

🔹 Later History – From Cāraṇa Nṛtta to Garba & Raas

Although the name “Cāraṇa Nṛtta” disappeared after the medieval period, its essence lives vibrantly in the folk dances of Gujarat, especially:

• Garba: A circular dance performed by women during Navarātri, with gentle, graceful movements (lalita). Women wear colourful chaniya cholis and often cover their heads with a dupatta – exactly as described by Jaya. The songs are often in dohā or similar metres. Garba can be seen as the lalita evolution of Cāraṇa Nṛtta.
• Raas (Dandiya Raas): A more vigorous (uddhata) stick dance performed by both men and women in two facing rows or circles. The forceful stamping, spins, and rhythmic coordination are direct parallels to the uddhata side of Cāraṇa Nṛtta.
• Māṇḍa (Rajasthan): A circular dance of the Bhils and other tribal communities, with men and women dancing together – also a likely descendant.

Notably, Kumbhakarna of Mewad (15th century) called this dance Dohaka‑nṛtta, linking it firmly to the metre. This suggests that in Rajasthan, the dance was still recognised under its original name for at least two centuries after Jaya.

💃 Modern revival: In 2017, the Sangeet Natak Akademi featured a reconstructed “Cāraṇa Nṛtta” at its folk dance festival, performed by a troupe from Gujarat. The choreography was based on Jaya’s description and the living traditions of Garba and Raas. This rare performance highlighted the continuity of Indian folk dance across a millennium.

🔹 Comparative Table: Cāraṇa Nṛtta vs. Other Circular/Group Deśī Dances

🌀 Cāraṇa Nṛtta

• Circular processions (maṇḍalavṛtti)
• Men & women together
• Dohaka metre songs
• Women veil heads with saree end
• Lalitoddhata (soft + forceful)
• Individual bhramarīs + group circle
• From Gujarat, performed by Cāraṇas

💃 Rāsaka

• Piṇḍī‑bandhas (interlocking patterns)
• Women only (16,12,8), sometimes men
• Hindola rāga, Carcarī songs
• No veil – elaborate silk sarees
• Pure lalita (graceful)
• No individual spins – group formations
• Pan‑Indian, spring festival

🥁 Daṇḍa Rāsaka

• Two facing rows (not circular)
• Men & women, large groups
• No songs – instrumental + stick strikes
• No veil – simple dhoti/saree
• Uddhata (vigorous)
• Stick‑striking, no spins
• Harvest festivals, secular

📚 References & Further Reading

• Jaya Senāpati, Nṛttaratnāvalī, ed. Dr. V. Raghavan, Madras Government Oriental Series, 1960 – Chapter VII (Deśī Nṛtta: Cāraṇa Nṛtta, verses 126‑128) and Introduction (pp. 151, 225 for Kumbhakarna reference).
• Dr. V. Raghavan, “Later Saṅgīta Literature”, Journal of the Madras Music Academy, Vol. IV (1933).
• Kumbhakarna, Nṛtyaratnakośa (Jaipur edition, 1957) – where it is called Dohaka‑nṛtta.
• Śārṅgadeva, Saṅgītaratnākara – for general deśī dance classification.
• Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (Hyderabad, 1998) – includes a section on Cāraṇa Nṛtta.
• R. K. Yajnik, The Indian Theatre (1934) – on Cāraṇa bards.
• J. P. Ambegaokar, Folk Dances of Gujarat (1975) – for Garba and Raas as descendants.
• The Hindu, “Cāraṇa Nṛtta – A Gujarat dance in a Kakatiya text”, March 22, 2017.
• Telangana Today, “The circular dance of the Cāraṇas”, September 9, 2020.

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