Abstract
ABSTRACTIn the forested countryside of Gwalior lie the vestiges of a little-known amphitheatre (akhārā) attributed to Raja Mansingh Tomar (r. 1488–1518). A bastioned rampart encloses the once-vibrant dance arena: a circular stage in the centre, surrounded by orchestral platforms and an elevated viewing gallery. This purpose-built performance space is a unique monumentalized instance of widely-prevalent courtly gatherings, featuring interpretive dance accompanied by music. What makes it most intriguing is the architectural play between inside|outside, between the performance stage and the wilderness landscape. Why then did it make sense to situate a ‘fortified’ amphitheatre amidst forested hills, away from the city? And where does this cultural arena stand in relation to the pressing political concerns of the day, anchored in the very same landscape? This paper examines the performative structure of Mansingh’s akhārā and argues that performance – as evening entertainment, hunting sport and military campaign – occupied a crucial place in Gwalior’s resilience throughout the fifteenth century and its changing perceptions from an infidel’s jungle refuge (mawās) to the axis of a culturally-refined region (sudeśa).
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