Kollata Nartana

The Acrobatic Dance of Ancient India – Rope‑Walking, Sword Feats & High Pole

🤸‍♂️ Utpluti Karaṇas | ⚔️ Swords & Shields | 🎋 Bamboo Stilts | 🥁 Drums & Trumpets | 🧗‍♂️ Dombas & Kolhātikas

Among the many deśī (regional) dance forms described by the 13th‑century scholar‑warrior Jaya Senāpati in his magnum opus Nṛttaratnāvalī, none is more breathtaking than Kollāṭa Nartana. While Perini captured the heroic spirit of warriors, Kollāṭa was the domain of acrobats, street performers, and wandering troupes who defied gravity with breathtaking feats on rope, pole, and blade. This ancient form – a precursor to modern circus arts – was performed at temple festivals, royal courts, and village squares across the Deccan. Today, its echoes survive in the rope‑walking Dombarāṭa of Andhra, the Karla Kolāṭṭam of Tamil folk traditions, and even the acrobatic displays at contemporary Indian jātras. This article gathers every detail about Kollāṭa from the Nṛttaratnāvalī and traces its fascinating evolution.

🔹 Etymology & Historical Context

The word Kollāṭa (also spelled Kolaata, Kolāṭṭam) is derived from the Dravidian roots kol (stick) or kollu (to strike, to hit), combined with āṭa (play/dance). It refers to a group dance or acrobatic performance involving sticks, staves, and rhythmic striking, which is still seen in the folk dance Kolāṭṭam of Tamil Nadu and Andhra (where dancers strike small sticks in rhythm). However, in the Nṛttaratnāvalī, Jaya uses the term to denote a spectacular acrobatic genre that includes tightrope walking, pole dancing, sword evasion, weight lifting, and high‑jumps – a far more perilous and virtuosic art.

Jaya classifies Kollāṭa under deśī nṛtta (indigenous dance) and groups it with other regional forms like Perani, Preṅkhaṇa, Rāsaka, Carcarī, Cindu, Kanduka, Bhāṇḍika, Ghaṭisani, Cāraṇa, Bahurūpa and Goṇḍalī. The performers were typically itinerant communities – known as Dombas or Kolhātikas – who traveled with families, set up temporary arenas, and amazed audiences with their physical prowess. These troupes are frequently mentioned in Sanskrit literature and inscriptions, often as recipients of temple grants or royal patronage.

📜 Epigraphical evidence: A 13th‑century inscription from the Kākatīya period (Malkapuram pillar) mentions the grant of land to a temple, including provision for “Dombas” and acrobatic dancers – confirming that Kollāṭa troupes were formally attached to temples.

🔹 Kollāṭa in the Nṛttaratnāvalī – A Complete Description

Jayapa’s description of Kollāṭa appears in the seventh chapter of the Nṛttaratnāvalī (verses 120–125 of the Deśī‑dance section, as per the critical edition). Although the original manuscript is corrupt at a few places, Dr. V. Raghavan has reconstructed the text using parallel sources. Below is a systematic compilation of everything Jaya tells us about Kollāṭa.

🎪 A. Classification & Character

• Deśī Nṛtta: Kollāṭa is explicitly listed as a deśī (folk/regional) dance form, distinct from the classical mārga style of Bharata.
• Uddhata (Vigorous) style: Unlike the graceful lalita movements of court dances, Kollāṭa is characterised by forceful, energetic, and often dangerous acrobatics. It belongs to the uddhata category of Tāṇḍava.
• Utpluti Karṇas: The dance extensively employs utpluti karaṇas – jumps, leaps, and aerial movements – which are also described separately in Chapter V of the Nṛttaratnāvalī as part of Deśī karaṇas.
• Performed by both sexes: Unlike Perini (which was male‑only), Kollāṭa troupes included men, women, and even children. Women often performed rope‑walking and pole balancing.

🤸‍♂️ B. Specific Acrobatic Feats Described

Jaya enumerates the core feats of Kollāṭa with remarkable precision:

• High rope walking (Rājju‑gamanam): Dancers walk, dance, or perform somersaults on a thick rope stretched high above the ground. Some would carry a parasol or a pot of water while walking.
• Pole acrobatics (Stambha‑krīḍā): A tall wooden pole (often greased) is fixed vertically; the dancer climbs it and performs balances, flips, or even sits on the top with one foot.
• Weight lifting (Gurubhāra‑dhāraṇa): Performers lift heavy objects – huge stone balls, iron rings, or even a yoke carrying two men – with their teeth, hands, or feet while dancing.
• Sword evasion (Khaḍgāvalī‑krama): A row of sharp swords is fixed with blades pointing upward; the dancer leaps over them or walks blindfolded through the array without injury.
• High jumps (Utpluti): Standing jumps over stacked rings, bars, or even over a kneeling human “horse”. Jaya notes that these jumps must be synchronised with drum beats.
• Spinning and pirouettes (Bhramarīs): Rapid whirling on one leg, sometimes while balancing a pot or a sword on the head.
• Stilt walking (Jhaṅga‑gati): Walking on bamboo stilts, often performing dances while elevated.
• Imitation of animals: Movements mimicking monkeys, serpents, birds, and elephants are woven into the acrobatic sequences, a feature also noted in Jaya’s description of Bhāṇḍika dance.

🎋 From the Nṛttaratnāvalī (Chapter VII, as translated by Dr. V. Raghavan):
“In Kollāṭa, some walk on a rope high as a palm tree, others whirl around a pole, some lift mighty weights, others leap through rows of flashing swords. The ground resounds with drums, trumpets, and clashing cymbals. Thus they display their art, wondrous to behold.”

🥁 C. Music & Instrumentation

Jayapa provides a detailed list of instruments that accompany Kollāṭa:

• Drums: Mṛdaṅgam (barrel drum), Huḍukkā (hourglass drum), Paṭaha (kettledrum), Maddala (a larger double‑faced drum).
• Trumpets & wind: Kāhalā (long curved trumpet), Śaṅkha (conch), and sometimes Flute.
• Cymbals & percussion: Tālam (small hand cymbals), Karaṭā (large brass cymbals), Ghaṭam (clay pot) for rhythmic accents.
• Rhythmic syllables: The dancers themselves often recite jātis (like ta ki ṭa) or sing short rhythmic phrases while performing, adding to the percussive texture.

Unlike court dances, Kollāṭa music was loud, fast, and repetitive, intended to drive the performers into a state of heightened energy and to excite the crowd.

🧣 D. Costume & Props

Although Jaya is less detailed about costume for Kollāṭa than for Perini, some features can be gleaned:

• Minimal upper covering: Male acrobats often performed bare‑chested or with a simple waist‑cloth (kaupīna). Women wore tight‑fitting sari‑like garments tucked between the legs (ardhoruka) to allow freedom of movement.
• Ankle bells (Ghargharā / Nūpura): Essential for rhythmic clarity, especially during jumps and turns.
• Headgear: Sometimes a turban or a simple cloth to protect from sun; women might wear flowers.
• Props: Rope (hemp or cotton), wooden pole, iron rings, swords, heavy stone balls, bamboo stilts, and balancing sticks.

👥 E. Performers & Social Context

• Itinerant troupes: Kollāṭa was performed by Dombas (also spelled Dombas or Domba) – a nomadic community traditionally associated with acrobatics, music, and basket‑weaving. They moved from village to village, setting up performances during temple festivals (jātrā) or fairs.
• Kolhātikas: Śārṅgadeva’s Saṅgīta Ratnākara (13th century) uses the term Kolhātika for such acrobatic dancers, describing them as experts in weight‑lifting, pirouettes, rope‑walking, knife‑dancing, and sword‑arrays – exactly mirroring Jaya’s description.
• Women & children: Entire families participated; young girls often performed the rope‑walking, while young boys did stilt‑walking.
• Royal & temple patronage: Inscriptions from the Kākatīya and Vijayanagara periods record grants of land, grain, or money to Dombas attached to temples, indicating that Kollāṭa was considered a legitimate temple offering (rāgabhoga) alongside other arts.

🔹 Sculptural & Literary Parallels

Although no complete sculptural series of Kollāṭa exists like the Chidambaram karaṇas, many medieval Indian temples contain individual panels depicting acrobatic dances:

• Rāma Temple, Ramappa (Warangal): Among the bracket figures, one shows a male dancer walking on a tightrope while another beats a drum below – a perfect visual of Kollāṭa rope‑walking.
• Hoysala temples (Belur, Halebidu): Several friezes depict acrobats balancing on poles or forming human pyramids, reminiscent of the stambha‑krīḍā described by Jaya.
• Pālkuriki Somanātha’s Panditārādhyacaritra (Telugu, c. 13th century): This work contains a long description of dances performed during the Mahāśivarātri festival at Śrīśailam, including “walking on bamboo stilts”, “moving on one leg”, “whirling like tops”, and “jumping through sword arrays” – clear references to Kollāṭa.
• Basavapurāṇa (also by Somanātha): Mentions “Kolāṭa” as a dance performed by devotees during Basava’s marriage celebrations, indicating its popularity among Vīraśaiva communities.

🗿 Quote from the Panditārādhyacaritra (translated from Telugu):
“Some walked on bamboo stilts, some danced on one leg, some on their knees, some moved forward in a seated pose. Others wheeled around like tops, imitating birds and serpents, while drums and trumpets resounded.” – This directly parallels Jaya’s description of Kollāṭa.

🔹 Survival and Modern Legacy

After the fall of the Kākatīyas, Kollāṭa slowly declined as a distinct genre. However, its elements survive in various folk traditions across India:

🇮🇳 A. Kolāṭṭam – The Stick Dance of South India

In Tamil Nadu, Kerala, and Andhra, Kolāṭṭam (also called Kummi or Kōl Āṭṭam) is a group folk dance where performers strike small wooden sticks in rhythm. While this is far less dangerous than the acrobatic Kollāṭa, the name and the rhythmic stick‑striking are direct descendants. It is performed during harvest festivals, Pongal, and village temple festivals.

🇮🇳 B. Dombarāṭa (Andhra / Telangana)

The Dombarāṭa (Dombara dance) is still performed by the Dombar community in the Rayalaseema and Telangana regions. It includes rope‑walking, pole balancing, and a unique “earthen pot dance” where the dancer balances several pots on the head while spinning. Some Dombar troupes also incorporate sword‑swallowing and fire‑eating. The Government of Andhra Pradesh and Telangana have occasionally sponsored Dombarāṭa performances to preserve this vanishing art.

🇮🇳 C. Circus & Street Acrobatics

The traditional Indian circus, which flourished in the 20th century (e.g., the Great Bombay Circus, Gemini Circus), owes much to the Kollāṭa tradition. Tightrope walking, pole acrobatics, and human pyramids were central to Indian circuses long before Western influence. Today, these acts are still seen in village fairs (melā) and during Dussehra celebrations.

📉 D. Challenges & Revival Efforts

Like many folk arts, Kollāṭa faces existential threats: decline of patronage, loss of traditional audiences, and the lure of modern entertainment. However, there are hopeful signs:

• Organizations like Kalasagaram (Hyderabad) and Potti Sreeramulu Telugu University have documented and revived Dombarāṭa performances.
• The Sangeet Natak Akademi has awarded fellowships to Dombarāṭa artists, recognising it as a rare folk dance.
• In 2023, a Kollāṭa sequence was recreated for a cultural festival in Warangal, using direct references from the Nṛttaratnāvalī – the first such attempt in decades.

As Dr. V. Raghavan notes in his introduction to the Nṛttaratnāvalī, “the rope‑walking and pole‑dancing described by Jāya are still seen in South Indian festivals, though their connection to the ancient art is often forgotten.” It is the task of modern scholarship and cultural revivalists to keep that memory alive.

🌟 From the Nṛttaratnāvalī (paraphrased):
“Thus the Kollāṭa dance, with its leaps, whirls, and wondrous feats, delights the eyes of the multitude. May it never cease to inspire wonder.”

🔹 Comparative Table: Kollāṭa vs. Other Deśī Dances in Nṛttaratnāvalī

🤸‍♂️ Kollāṭa

• Acrobatic / street / circus style
• Rope, pole, sword, weight feats
• Fast tempo, loud drums & trumpets
• Male & female performers
• Intended for festivals & fairs

💪 Perini

• Martial / heroic / Tāṇḍava
• Vigorous footwork, ash & cobra props
• Devotional, pre‑battle ritual
• Only male dancers (warriors)
• Performed in temples & royal courts

🎋 Preṅkhaṇa

• Swinging & jump sequences
• Utpluti karaṇas, bhramarīs
• Lighter than Kollāṭa, more choreographed
• Often part of Gondalī & Perani groups

📚 References & Further Reading

• Jaya Senāpati, Nṛttaratnāvalī, ed. Dr. V. Raghavan, Madras Government Oriental Series, 1960 – Chapter VII (Deśī Nṛtta: Kollāṭa, verses 120‑125) and Introduction (pp. 35, 153).
• Dr. V. Raghavan, “Later Saṅgīta Literature”, Journal of the Madras Music Academy, Vol. IV (1933) – includes description of deśī dances.
• Pālkuriki Somanātha, Panditārādhyacaritra (Telugu), Andhra Patrika Edition, 1930 – see the long dance description in the Parvata‑prakaraṇa.
• Śārṅgadeva, Saṅgīta Ratnākara, Chapter VII (Nṛtta), Adyar Library edition – for Kolhātika parallels (VII.1330‑31).
• Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (Hyderabad, 1998) – includes a chapter on Kollāṭa and Dombarāṭa.
• M. Rama Rao, The Kākatīyas of Warangal (1978) – for epigraphic references to Dombas and acrobats.
• V. Raghavan, “Bharata Nāṭya in the Kakatiya Sculptures” – unpublished lecture (available in archives).
• Telangana Today, “Dombarāṭa – The vanishing acrobatic art”, March 5, 2022.
• The Hindu, “A tightrope walk to fame”, July 18, 2019 – on modern Dombarāṭa practitioners.

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