Dance & Music

What Dance and Music mean to me!

The Initiation:  (Personal experiences, encounters and expressions)

Through Lord Venkatachalapathi’s immense compassion and grace, I have been very fortunate to have parents like Late Shri Parankusha Marthand and Shrimati Smriti Devi who nurtured in me the talent, interest and passion I had for Classical Indian Dance and Music. In fact it would be more appropriate to say that my parents kindled this interest in me by exposing me to classical Indian dance and music since my early childhood by giving me many wonderful opportunities of witnessing performances of great musicians and dancers in Delhi and Chennai.

My first experience of such a performance was when I was five years old. I witnessed Smt. Kamala Lakshman and Yamini Krishnamurthi performing Bharatanatyam in various festivals and conferences that were organized in New Delhi.  I was mesmerized and they became my idols. I was simply captivated by the sheer classical beauty and grace, rich expression, complex rhythmic tapestry, combined with an infallible strength and gentle restraint which added to the dignity, elegance and magnificence of Bharatanatyam. Then and there I decided that I wanted to learn dance.

Of course, as I a child I could not describe what I felt, but looking back now (after years of arduous practice, performing and teaching experience), I can express that it was a feeling that these great artists, through their unlimited Sadhana, were capable of transporting and uplifting the audience from the mundane level of day to day worldly ambitions, desires, needs, struggle and strife that life offers, to a sublime level of experiencing Spiritual Bliss. Such is the profound impact of Bharatanatyam on me  ever since I have embarked on my journey in search of my identity, my purpose and my existence, through Sadhana of Music and Dance…

In spite of all these years I must confess that I  have had mere “Glimpses” of such experience of Spiritual Bliss through the journey of my aesthetic endeavor and expressions.  In fact at times it was the audiences’ response like “your performance has been a humbling experience” that gave me the realization of such “Spiritual Glimpse” that artistic pursuit in general and for me dance in particular is capable of bestowing!!!

Initiation into Bharatanatyam :

Going back to reminiscing, my parents, on learning that I was determined to learn dance enrolled  me into Sangeet Bharathi (which was one of the première institutions of dance and music in the 1960s/70s) Mandi House, New Delhi when I was barely 5 years old. Incidentally, New Delhi’s Mandi House was and still continues the cultural hub of Delhi. A number of cultural institutions  like Sangeet Bharati, Triveni Kala Sangam, Shri Ram Bharatiya Kala Kendra, Kathak Kendra, NSD, Shri Ram Centre of Art and Culture, The Sangeet Natak Academy etc were and still are premier cultural institutions , to name a few. This was 20 years ago and since then many more institutions must have come up, in  and around Mandi House and elsewhere in New Delhi.

Since Sangeeth Bharathi and Triveni Kala Sangam were close to where we lived and I got admission in Sangeeth Bharathi  and  was initiated into the Pandanallur school of Bharatanatyam under the tutelage of Guru Pandanallur Swaminathan, (grandson of Meenakshi Sundaram Pillai, the doyen of the Pandanallur school of Bharatanatyam Style). “Come on Vijaya Dashami. It is considered an auspicious day for Vidyaarambham (initiation into learning)!!”  Said my first Guru. With Vijayadashami just two days later, I was thrilled at the prospects of starting my class. Thus began my tryst with Bharatanatyam.  Later in life, I had four gurus who taught me the various intricacies of Bharanatyam belonging to four different Baanis or schools.

On Vijayadashami, dressed in a maroon Kanchipuram Pavadai and Settai with a Kunjalam hanging down my tight braid, tiny  Jimikis dangling from my ears, kohl adorning my eyes, vermillion mark on my forehead and jasmine flowers adorning my hair, I scampered through the gates of Sangeeth Bharathi with my mother trying to keep pace with me. Beaming with joy at the anticipation of starting my first Bharatanatyam lesson I ran into the premises hurrying through the corridors looking for the Bharatanatyam classroom. There, nearly at the end of the corridor, was the door entering through which I came to the room filled with little students of my age and Guruji teaching them the rudiments of Bharatanatyam.

When my turn came, I was a little shy and scared initially but soon I was totally engrossed in trying to learn everything I could within that very first class which lasted for half an hour. Beginning with the Bhumi Pranam which for a five year old seemed to be complex cluster of Mudras (hand- gestures) and Angasanchalanam (body movement) I was thrilled. But this joy gave way to excruciating pain in the legs and hands after my first class was over.  Surprisingly when I returned the next day for the class I totally forgot about the pain and took to the Araimandi, (half sitting posture) the foundation/basis of Bharatanatyam dance as if it were a natural posture that I was familiar with since long. No pain!! Only Joy!! I danced away the adavus (steps) and to my joy Guruji (my teacher) too was happy to teach me and felt that I was picking up fast. Within six months I was through with the Adavus. Shri Kittapaa Pillai, one of the great Gurus of the Pandanallur school and an uncle of Swaminathan Pillai Guruji also used to visit Sangeeth Bharathi whenever he came to Delhi. He was very kind to share with me the most valuable lessons in the Pandanllur school when I was quite advanced in my training. I am indebted to him that he  thought it fit to share those  valuable lessons with me.

Later, I also started learning from Sikkil Govindarajan Pillai who taught in Triveni Kala Sangam which was just adjacent to Sangeeth Bharathi. Thrice a week I used to learn the Pandanallur School and thrice a week the Sikkil School. Similarly I was very fortunate that Sikkil Ramaswamy Pillai, grandfather of late Govindarajan Pillai was present most of the time giving finer touches to our dance training and I learnt a lot about the subtleties of the Sikkil School from both of them.

Before my Arangetram, I also had the privilege of learning from Kalakshetra TR Devanathan who belonged to the prestigious Kalakshetra in Adayar. He came to Delhi and had a good following of students. He taught me the famous Huseni Swarajathi Emayaladi Raa, apart from the other dances of the Kalakshetra Maargam.

Meanwhile Pandanallur Swaminathan Guruji left Sangeeth Bharathi and Delhi. Then Guru V. Sadashivam who joined Sangeeth Bharathi in 1970 taught me an entire Maargam for my Arangetram. He also conducted the Arangetram. He was Smt. Kamala Lakshman’s Nattuvannaar for more than a decade before he came and settled in Delhi. Through him I was introduced to the rich dynamic technique of  footwork which was one of the highlights so unique to the Vazhavoor School. Mastering complicated rhythmic sequences and presenting dynamic footwork in my repertoire has been one of my forte. It is this aspect of the Vazhavoor School that attracted me the most.

My parents decided to take me to Chennai to Guru Ramaiah Pillai where, although I had the privilege of attending his classes, I could not complete a Maargam with him as my stay in Chennai was limited. How I wish I had that privilege of staying back for some more time and learn from him. Few years later he passed away and it was  a great loss not only for me but for all his Sishyas. I did not get an opportunity of being guided by him in my next visit and the loss was entirely mine!! But the little time that I had spent learning the nuances of the Vzhavoor school under his guidance, enriched my experience and expertise in the field of Bharatanatyam.

My association with Rukmini Devi Arundale:

My reminiscence on my initiation into Bharatanatyam cannot be complete without the mention of the great reformer, teacher and cultural icon Rukmini Devi Arundale. She was the founder director of Kalakshetra. She pioneered  in reviving this great dance form from near extinction due to many social and historical reasons,. She was a repository of tradition, culture, dance ,music and other ancient ethnic art forms. She had the uncanny capacity to present and project all art forms in and through modern tools of language and other medium of communication in the modern settings  with modern technology for the benefit of many scholars and artists of the modern age.

Her Kalakshetra was the home of dance, music, academics as well as dancers musicians and academicians.Reinstating the value and dignity of Art forms in general and of Bharatanatyam dance form in particular, the purpose, ambition and dedication of her life was clear to everybody who entered the portals of Kalakshetra. To me and all her students of Kalakshetra she was the epitome of Indian tradition,culture and heritage and dance and its associated art forms was a way of life for her. Her holistic approach to art and life vibrated in all corners of this school. All that she represented, was etched in every nook and corner of the surroundings of this cultural institution. She was extremely successful in getting across this message to her colleauges as well as students.

Kalakshetra was her dream, ambition,purpose and dedication. As students of Kalakshetra,we were equally clear and dedicated in participating, practising, projecting and propagating  her dreams,ambitions, ideals and ideas of putting Bharatanatyam on a pedestal of dignity and divinity by invoking and evoking the divine form and content of this great dance form . This is what she dedicated her life  for and established Kalakshetra in order to pass on these ideals and values from one  generation to another. More than three generations now have continued to cherish,  nurture, nourish and replenish these dreams and ideals…… Everyone who is in anyway associated with Kalakshetra is honorned to pass on the great legacy of Rukmini Devi to the future generations through the Guru Sishya Parampara .

My association with her though brief  broadened my horizons on dance, its place and purpose in life  and our reason to participate, practice, project, present and propagate it the way she wanted it to be. It also exposed me to deeper questions on how and why one should pursue Bharatanatyam at the height of its magnificance and depth of its greatness which she ardously revived and reinstated against all odds in a society ridden with superstitions and narrow prejudices that forbade women of high birth and respectable families to pursue this great dance form in the early 20th century.  She firmly believed that with rentless practice and study through humility,devotion and dedication, Bharatanatyam  would see itself on the pinnacle of glory once again, and that students should  practice and project it as a form of worship. By late 70s when I came to Kalakshetra it was  already at its height of fame and glory as one of the unparalled institution of Performing Arts and Fine Arts.

Atthai as wel all fondly and respectfully addressed her was very kind and supportive of my devotion to Bharatanatyam so much so that she went out of the way to allow me to come to Kalakshtra whenever it was possible for me to do so all the way from Nainital, Uttarakhand ( then Uttar Pradesh), where I was studying. So I visited Chennai four months in the winter months and practiced dance in Kalakshetra.

Usually a student is required to be a resident in Kalakshetra and learn and practice there. But she allowed me to come down to Kalakshtra intermittently and practice there. She herself taught me  with great devotion and love and words cannot express my gratitude nor can I ever repay in any way the most valuable treasures that she passed on to me by way of imparting lessons. In fact Atthai and Kalakshetra have  been a great source in moulding my personality not only as an artist, but also as a human being . Such was Rukmini Devi’s multi faceted personality compassion and my immense luck ………!!!

Of course I  cannot compare myself to the other students who have lived their entire lifetime studying and serving Kalakshetra in various capacities, in the tru spirit of this great institution. Moreover, since I was not enrolled as a regular alumni of Kalakshetra most of the students may not even be able to place me as part of Kalakshetra!!!

However Rukmini Devi  was not only a great artist but a great human being ……….. Although  my stay in Kalakshetra did not last long because as  a special case  she allowed me to come and join Kalakshetra out of the regular course. After she passed away naturally this arrangement could not continue and my connection with Kalakshetra ceased to be (though only on the physical plane). In  spirit I still consider Rukmini Devi Arundale  and  as one of my greatest inspirations and  Gurus, while I continue to consider myself as part of Kalakshetra  although I never lived there continuously or stayed on there after Atthai’s demise.

Although my own dedication, learning process as well as practicing, performing and teaching continues even to this day without a trace of diminishing devotion and fervour, I have always  realized that just like I had lost a great deal when Guru Ramaiah Pillai passed away, Rukmini Devi’s  passing away too was a great loss to me and my pursuit of learning  Bharatanatyam in his school as well as Kalakshetra !!!!!

My Tryst with Kuchipudi :

While these losses brought a sudden halt to my learning Bharatanatyam with Gurus Ramaiah Pillai and Rukmini Devi, an unexpected ray of hope and encouragement came my way from very different quarters. During my stay in Chennai, I was extremely fortunate to have had the rare opportunity to learn and practice Kuchipudi under the tutelage of great Kuchipudi Maestro and Guru, Vempati Chinna Satyam. We students addressed him as ‘Master Gaaru’ with reverence. It was in New Delhi in the year 1972 that I had the opportunity of meeting him and Smt. Sobha Naidu, the great Kuchipudi exponent. After witnessing her performance in Sapru House, New Delhi, she became my idol. I was inspired to learn Kuchipudi from Master Gaaru.

Master Gaaru told me that if ever I visited Chennai he would be happy to impart lessons to me. He stuck to his promise!! I was blessed to become his shishyaa and although my stay in Chennai was always limited due to my academic education in Nainital, he saw to it that I got all the opportunity to learn and practice under his careful tutelage as well as extra guidance from Smt Sobha Naidu (whom I respectfully and lovingly address as Sobha Akka), Smt. Bala Akka, Smt. Anupama Akka  and Smt. Sita Akka. I am indebted to Master Gaaru and these wonderful ladies and dedicated artists. Through sustained encouragement and patient teaching, love, care and  understanding they brought me face to face with one of the most scintillating, vivacious, graceful, dramatic and lyrical classical styles of Indian Dance : Kuchipudi.

What struck me was that not only Master Gaaru and his disciples were great exponents, extremely busy, very famous and very much revered mentors and performing artists, but they were extremely warm and loving people full of compassion and humility, which are the true qualities of a Maestro. The Kuchipudi Art Academy in Chennai was and still is an ideal home of the traditional Guru Sishya Parampara, of handing down the legacy of this great dance form from generation to generation. The perfect relationship and rapport that Master Gaaru shares with his disciples is exemplary!!!

Guru Vempati Chinna Satyam;  An Ideal Guru and Human Being :

Whoever enters the portals of this academy with a desire to learn Kuchipudi and its allied arts is immediately struck by the strict discipline maintained in imparting and receiving lessons. Yet one is drawn to the warmth, kindness and humaneness of approach that Master Gaaru and his entire team of assistants possess for the students. I was no exception in experiencing this warmth, love and care from Master Gaaru, though in terms of maintaining discipline in learning and punctuality he was very strict. He generously welcomed me and was eager to teach me.  Although I was just a child he took my eagerness and dedication to learn Kuchipudi very seriously. All he expected from me was an unswerving devotion to dance, sincerity and humility in learning and practicing. It was a true Gurukula system with with facility to stay and lean just like an Ashrama.

Master Gaaru is not only an ocean of knowledge in the field of his expertise as a choreographer, performer and teacher, but also an ocean of compassion and love.  His blessings and affection, care and concern had been palpable on many instances during my learning experiences and on many occasions during our long association with him. Many a time he cared and supported me out of his way just like a father would do. Endowed with gentle speech and demeanor and a towering and dignified personality, his actions and gestures spoke volumes of his greatness, goodness and nobility as a human being.

I remember vividly one particular incidence when I had a Bharatanatyam performance in Chennai and did not have anybody to conduct that performance. He not only offered his premises for preparing and practicing for that performance but he also offered help me by allowing his accompanists to perform for me. And, wonder of wonders! he himself came forward and offered to do Nattuvangam for me for my Bharatanatyam performance!! Not even for a moment did he hesitate and pause to think how the connoisseurs or critics would respond or react to his decision of helping me at this hour of need. He just could not see my father helplessly running from pillar to post trying to get the show going. Anyone else in his place might have weighed the pros and cons of offering such help especially when one is well established as a maestro in one’s own field of expertise, carefully nurturing and guarding the arduously built institution around oneself. But not so with Master Gaaru! He is an exception.  All he had in his mind was to help me and my parents out through our predicament. Lifelong we shall remember this kind gesture and have no words to adequately thank him and express our gratitude. And as my Guru, who introduced me to Kuchipudi, he opened doors of a world of possibilities that Kuchipudi as a classical dance form has to offer. He shall forever remain one of the most revered Gurus for me.

Here I would like to make a special mention about Sobha Akka. She has not only been a great inspiration to me as dancer but also an ideal elder sister  with her love and generosity extending much beyond teaching and sharing dance.  It was with great affection, concern, care and generosity that she helped us in trying to establish ourselves in Chennai during our first visit in the early 1970s. I mention this incident especially because I would like to emphasize once again that a truly devoted and dedicated artist, aspiring to attain great heights in expertise, fame and wealth thereof, first and foremost must essentially be a good human being. It is in this context that Sobha Akka comes to the forefront and occupies a special place in my heart. Her unassuming personality and loving quality full of beauty and simplicity, combined with, humility, devotion and dedication for her dance makes her a special person and commands so much of love and reverence from connoisseurs, critics, admirers, students and me!!!

Mention of Smt Bala Kondala Rao, Smt  Sita Kumari  and Smt Anupama as my seniors and guides will not be out of place here. I had not only acquired the art of Kuchipudi dance but   immensely benefitted by learning to be a better human being through the art of caring and sharing that they bequeathed to me. They had a profound impact on me not only as great exponents and guides but also as great human beings. My humble salutations to all of them!!!!

Bharatanatyam, Kuchipudi and Karnatic Music :

While being trained into Bharatanatyam and Kuchipudi my father felt that it was essential for me to train for Karnatic Music as well since without knowledge in music my dance training was incomplete. It is in how we understand the literature, and music of a composition so that the soul, beauty and the artistic content of the composition can be precisely delineated in and through dance. Geetam Nrityam Vaadyam Trayam Sangeetam Uchyate!!! The combined knowledge of Music, Dance and Instruments t is known as Sangeetam. The word Samgeetam means “along with vocal music”!! It is dance and other instrumental music like flute, violin, veena, mridangam, sitar, pakhawaj and tabla etc., that go along with vocal music to make composite art form called  Sangeetam.

My introduction to Karnatic music was not new as the music involved in Bharatanatyam and Kuchipudi is Karnatic music. But I was introduced to Thyagaraja  Kritis through dance. It was the preparation for a performance for Thyagaraja Aaradhana festival in Ravindra Bharati Hyderabad that prompted me to take up Karnatic music seriously. Hence while I was busy with my dance training I was also initiated into the intricacies of Karnatic music in general and Thyagaraja kritis in particular by Smt  Sunderamma whom I consider my Guru. She gave me an in depth understanding of Thyagaraja Krithis and is a repository of knowledge in the field of Karnatic music and Telugu language. She did not believe in pursuing music aiming to attain name or fame, (which she attained anyway for her proficiency as a vocalist) but kept serving God through music in the true spirit of Thyagaraja in spite of giving innumerable performances. I was very fortunate to have been able to sit at her feet and understand in depth the meaning and emotional content of Thyagaraja Kritis in her lucid Telugu. Once I returned to NainiTal, I learnt music from Smt. Jayalakshmi Santhanam, (not be confused with the well known vocalist Smt. Jayalakshmi Santhanam in the field of Karnatic music) who also gave vocal support for a number of my performances. She is an exponent in Karnatic music in her own right and has set to tune many songs for my dance performances.

Thus while continuing my studies, serving God through dance and music, my journey through life became more fulfilling. There can be no better way of serving God than through one’s artistic talents He bestowes on us. In fact I feel we are answerable to Him if do not nurture and nourish the talents bestowed on us by Him to our full capacity. In serving Him, dance and music I have found true meaning and purpose of my Life !

Odissi beckons :

It was 1977 at the Krishna Janmasthali, Mathura and the occasion; Swami Haridas Sangeet Sammelan; an yearly music and dance festival held in the sacred Lila Sthali ( sacred place of Krishna’s pass times) Mathura and Virdaban. In this Sammelan, artists offer their humble devotion and obeisance to the Lord Krishna. Its an artists’ pilgrimage of the Four Dhams or the 108 divyadeshams ( pilgrim centers in India). In ones’ life time, every artist feels that no amount of sadhana (dedicated effort) is complete without getting an opportunity of offering one’s dedicated devotion to god through dance and music, in the holy abodes like Tirupathi, Vrindaban, Badari, Puri, Chidambaram, Tanjore, Khajuraho and Konark. Being invited to such festivals is a great honor for an artist who not only performs in front of a large spectrum of audience ranging from critics, connoisseurs to pilgrims coming from all walks of life, but also offers her humble offerings and prayers to the presiding deity through dance and music.

Performing at the Swami Haridas Sangeet Sammelan is one such rare occasion where I had the opportunity of participating and on the same platform which greats like Malavika Kannan, A. Kannan, Dr. Padma Subrahmaniam, Dr.Bala Murali Krishna, Shri.Raghunath Panigrahi and Smt. Sanjukta Panigrahi. In this program I danced both Bharatanatyam and Kuchipudi. This was the second time I saw Sanjukta Panigrahi performing Odissi. Needless to say, I was captivated by her dedication and dancing. She has made an indelible mark in my life as great and dedicated artist and person full of compassion and humility. After my performance in Mathura the previous evening, I wanted to go to Vrindaban the next morning, to hear Malavika singing before commencement of my performance. I was waiting on the hotel balcony ready to go, when Sanjuktaji emerged from her room radiating beauty, kindness and love. Though I was eager to talk to her, I was hesitant as she too was busy getting ready to go to Vrindaban. Suddenly, she turned to me and congratulated me on my performance of the previous night, with special compliments for the Varanam which was the central piece of a Bharatanatyam recital. Sanjukta Ji herself had been trained in Bharatanatyam from Kalakshetra and was an equally discerning critic and artist of that style too. Her kind and encouraging words filled me with renewed confidence and resolve in regard to my commitment to dance. Wonder of wonders when she said that my features had distinctive Bengali traits and my personality was suited for Odissi. She asked to give a serious thought about learning Odissi..  I was convinced that it was a call I could not ignore. She had lit the desire in me and  her encouragement, was like an indication from Lord Jagannatha which reinforced my determination to learn Odissi.

I returned to Delhi and enrolled myself as a student of Guru Mayadhar Raut at the Jagannatha Temple in Hauz Khas. Although Guruji was teaching in Shri Ram Bharatiya Kala Kendra, Mandi House, New Delhi’s cultural hub, I preferred the tranquil spiritual ambience of the temple, right under the sanctum sanctorum of the Lord Jagannath as an ideal setting for imbibing and absorbing the intricacies of Odissi . With great dedication, patience, affection and compassion Guruji taught me the rudiments and nuances of the Odissi Style. It was an unforgettable experience.

Guru Mayadhar Raut is a great Guru and a  wonderful human being. He would allow me to practice for hours together. No time limit, nor extra fees. Even though, I was paying him a very meager amount money was not at all an issue for him. He was solely interested in my learning and practicing Odissi as much I could. He asked me to take every opportunity to practice and expand my Odissi repertoire. Six hours of practice daily, for one year and he was convinced that I was ready to perform Odissi. Before my first Odissi performance Guruji conducted an elaborate Puja and blessed me saying that my personality was well suited for Odissi and that he was very happy to teach me and accept me as his Sishya. What more could I ask for?

Through Odissi, I also learnt, imbibed and absorbed Odissi music which is unique to Odissi dance and also, Gita Govindam, Champu Kavyas in Oriya, and many other songs and poems of great Oriya poets which otherwise I would have been bereft of learning, expressing and experiencing. The appeal of Odissi Music, Gita Govindam and the charm and sweetness of Champu and other Oriya poems are ineffable in words but are palpable when one is dancing and/or witnessing an Odissi dance performance.  Thus my dream of learning and dancing Odissi was fulfilled the day Guru Mayadhar Raut accepted me as his Sishya. My humble pranams (salutations) to Guruji for bequeathing to me this great tradition of Odissi dance and music and the vast ocean of literature that goes with it. All my preceptors are/were not only stalwarts in their chosen field but extremely good and great human beings and that is the quality which is most important in a true artist and a great Mentor.

Responses

  1. “In fact at times it was the audiences’ response like “your performance has been a humbling experience” that gave me the realization of such “Spiritual Glimpse” that artistic pursuit in general and for me dance in particular is capable of bestowing!!!”

    Swathi di- I could connect to these lines so much though I am not even 0 .00000001% of an evolved dancer that you are) .

    Would like to share an experience. Initially, when I was a kid, I used to be happy and proud when people used to praise my dancing- and especially if they would praise me infront of my parents. I would be proud that I got a chance to make my parents proud. A kids mind – hahaha !!

    Gradually, over the years when I grew, I started dancing just for the sheer joy and love for dancing. It was then that praises, popularity etc . seemed so petty. Sometimes I used to have a bad day and I would vent out all my sadness or anger through dancing. I even remember dancing to sad songs and letting out my tears 🙂
    And the same used to happen when I had a happy day or when I wanted to make others happy. I would just start dancing – sometimes beautifully and at other times like a crazy person. I even remember sometimes dancing like a young college boys – I am not sure if you have ever seen the ‘tapori’ dance :-))))))))))))))

    Dance had become my medium of expression and realization. I guess those who love dancing from the core of their heart, even if they are not perfect dancers, are blessed to experience this transformation.

    I just pray that I remain humble and truly devoted to dance even when I am 100 🙂

    Reenu

  2. Hi
    I am Tera John Padma Raos granddaughter( Your dads cousin). Can you please contact me


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