Natyacharya — Vazhuvoor Ramaiah Pillai Creative Master in Traditional Mould Part I pril 1945. India was still under was chosen by Kalki R. Krishnamurthi, tobacco. It appeared as though he was A British rule. A dance arangetram Anandhi's father. The music for the song planning to teach hereafter only such of was in progress on Tamil New Year's was composed by S.V. Venkatraman. those students who would bring him day in Mylapore, Madras. Bharatanatyam The song was sung by Tvl.S. Subbu- such wide publicity. Ramiah Pillai, you was then gaining new ground and there lakshmi. The dance was choreographed have certainly earned a name! Smart was a good crowd. by Vazhuvoor Ramiah Pillai, who also you are indeed!" wielded the cymbals. After performing various traditional Rao's observation was most astute. In items, the two girls making the debut If he hadn't already, Ramiah Pillai those days girls belonging to the elite danced to the song Aduvome pallu padu- must have realized that, in a combination families of Madras wanted to learn Bha- vome, a patriotic song by Subrahmania of new dances based on fresh themes and ratanatyam from Ramiah Pillai, or rather Bharati. It was an immediate sensation. Tamil songs and dancers drawn from their mothers wanted them to do so. While the line 'Sangu konde vetri reputable families, he had a foolproof Using this to his advantage, very soon uduvome'—we shall proclaim victory formula for success. What the girls did Ramiah Pillai established himself firmly blowing the conch—was being sung in on this occasion, in a sense, was also to in the art world. Hemamalini, daughter the background, in the raga Mand, the blow the victory conch for their guru of the senior police officer C.K. girls moved to the front of the stage and, Ramiah Pillai. Vijayaraghavan ; Hema. daughter of arching backwards, they portrayed The critics were full of praise for C.A. Ramakrishnan I.C.S. ; Vijaya, through gestures the blowing of the vic- Ramiah Pillai's achievement. One of daughter of Ramakrishnan's brother tory conch. The audience was thrilled them, E. Krishna Iyer, who had toiled C.A. Subramaniam ; Sarala, daughter of beyond words. hard from the mid-20's to save classical T.S. Duraiswamy of the TVS family; dance from being killed and who had Vyjayantimala, daughter of Vasundara The debutantes that evening were Devi—these were some who learnt Anandhi and Radha. The particular song significantly contributed to its revival, wrote : dance from Ramiah Pillai at this time. Ramiah Pillai was born to Parthiban and The cars belonging to their families Bhagyamma on 24 December 1910 in Vazhu- "Their [Anandhi-Radha's] exposition would wait for hours outside his home. voor. He lost his father when he was quite of Bharati's song Aduvome pallu padu- What the satyagrahis of the freedom young and was groomed by his maternal vome in duet was so vivacious and uncle, known as Manicka Nattuvanar, struggle later achieved, Ramiah Pillai with whom he stayed in Mayavaram (now inspiring that it carried the audience off attained without any sacrifice on his part. known as Myladuturai) for some years. He their feet, especially when they showed He rode in cars with a police escort. moved to Madras in 1938, mainly to train the gesture of blowing the conch of vic- The police van would pick him up and actresses to dance in films but he started tory and freedom .... The reason for the also drop him back after his tuition to training Bharatanatyam dancers for the dance theatre also. excellence of the girls' natya is to be Hemamalini Vijayaraghavan. Even if he sought not merely in their innate apti- was late for his classes of his other disci- Two years from now he will be completing tude and talents but in the genius of the 50 years of service as guru, nattuvanar and ples, he would always be on time for her choreographer in Madras where his son Vaz- nattuvanar who trained them. It speaks classes, although she did not—obviously huvoor R. Samraj now presides over the volumes to the credit of Mr. Ramiah Pil- could not—perform the dances he had Vazhuvoorar Classical Bharatanatya Art Cen- lai of Vazhuvoor, the nattuvanar who choreographed using patriotic songs, like tre established by the maestro. has given his best to the girls and com- Aduvome. Ramiah Pillai has travelled all over India bined in them precision in rhythm and conducting recitals of his disciples who variety and artistry in adavu jati patterns Even before these dance aspirants include many who have been prominent in and grace and refinement at every step." became his disciples however, Ramiah the field for many years. Pillai already had a star student in Baby Rasikamani Chidambaranatha Muda- Kamala. In the early 1940's, she was a The Bharathi Sangam recognized Ramiah Pillai's patriotism in choreographing and pre- liar wrote in Kalki: rising star. She had initially learnt Bhara- tanatyam under Muthukumara Pillai and senting on the dance stage such freedom "I am all praise for Natyacharya Vaz- made her debut in 1939 when she was songs of Subrahmania Bharati as Aaduvome huvoor Ramiah Pillai's knack in gauging pallu paduvome, when the poet's work had but six years old. She had also learnt been proscribed by the British. It presented th: children's mentality and potential Kathak from Lacchu Maharaj. She had him with a merit certificate and a silver and in instilling in them, with gentleness shield. danced in the film Ram Rajya. She was and encouragement, the nuances of the a twinkling little star already. And it was Other honours received by Ramiah PHtai art. Ramiah Pillai has introduced a new she who put Ramiah Pillai on the road include the title of "Natya Kala Kesari' (1948) genre in the world of dance. He has cho- to fame and fortune, by becoming his and the Sangeet Natak Akademi's award reographed exquisitely the Bharathiyar disciple and dancing all over India under (1966) and the title of 'Isai Perarignar' con- song Aduvome pallu paduvome, introduc- ferred in 1961 by the Tamil Isai Sangam of his baton. By the mid-40's, the Vazhu- Madras. He also received the President's ing jati-s, adavu-s and abhinaya." voor cult was well-established and award of "Padma Sri'. Editor Srinivasa Rao wrote in Ramiah Pillai had eclipsed many an old- Ramiah Pillai has served on the committees Naradar : time guru in popularity. of both the central Sangeet Natak Akademi "It looks as though [Ramiah Pillai] and the Tamil Nadu Eyal Isai Nataka Man- ram. He was active in the latter even from the has decided to continue canvassing the But it was not as though Ramiah Pillai time it was known as the Sangeeta Nataka elite and win laurels for himself. When I himself brought little to the winning Sangam and for some years served as its Vice saw him at Mylapore the other day, ticket. He brought to bear on his endea- President. He received the title of seated on stage, he seemed to be as full vours as a choreographer and teacher a Kala Sikhamani from it. of happiness as his mouth was with great family heritage, an aptitude and a willingness to undertake research, an ability to adapt and innovate, a deep commitment, great diligence, strict discipline, and a sense of humility mixed with piety. The family heritage apparently goes back several centuries. "The Vazhuvoor tradition has a hoary past," says Ramiah Pillai. We remember reading an article in which there is mention of the exist- ence of copper plates attesting to the Vazhuvoor family's prominence in the dance field. When we ask him about it, he recalls that the late T.N. Ramachan- dran, of the Archaelogical Department, once told him : "You must see the stone inscriptions in the Vazhuvoor temple." The story behind the reported copper plates and stone inscriptions is this. One of Ramiah Pillai's ancestors had taught dance to Princess Kuntavi of the royal family. In appreciation, the king had offered to gift some acres of land to him. At an Anandhi-Rodha recital Even though this gesture was in confor- mity with the practice in those times, the 'malar' of the Tamil Isai Sangam of stone inscription attesting to the tuition guru had respectfully declined the offer, Madras, Professor P. Sambamoorthi had nor the copper plates can be located. fearing that, if he did accept it, his also stated that stone inscriptions relating But, as we talk to Ramiah Pillai about family's progress in the arts field would to this event could be found in the his ancestors, we feel the vibrations of a be affected. He had therefore requested Vazhuvoor temple. great parampara or tradition handed that the royal patron instead gift the land down from one generation to the next. We find later that, although there are to the temple of Gnanasabhesa in Vazhu- some sculptures in the Vazhavoor temple Ramiah Pillai's eyes brighten as he voor. The king had complied. which are said to depict this ancestor talks about it. He who has been sitting Narrating this story in the 1961-62 teaching dance to Kuntavi, neither a hunched and tired all this while, sits up

Vazhuvoor: A Deserted kattu-s of the todayamangalam come to of it, the visitor suspects he can still hear mind as the visitor looks around and links the sounds of musk—the tinkling of ankle Village what is seen with what is sung. The presid- bells, the tat -tat -tat of the thattukazhi, the Vazhuvoor is about eight kilometres ing deity is also known as Gnanasabesar. soft beats of the mridangam and the sweet away from Myladuturai and set amidst the voice of a singer—from within the house, lush green of Tanjavur district's farm M.K. Karuppiah, an employee of the so strong is the association of ideas. Recal- lands. It has a temple and a temple tank, temple, gives the following information. ling the story of his ancestors narrated by both of a size impressively large for a small Vazhuvoor is a holy place sanctified by the Ramiah Pillai, the visitor also sees, in the village. The contrast is heightened by the appearance of the Lord as Gajasamhara- mind's eye, the figures of Samu Nattu- fact that there are hardly any people murthi to vanquish an asura who took the vanar and Manicka Nattuvanar, their fore- around. The village area surrounding the form of an elephant. The temple dates back heads smeared with ash, their top cloths temple is virtually deserted, reminding the to the llth century. A copy of the sthala tied around their waists, their hands visitor of Goldsmith's poignant description purana is not currently available. There is crossed before their chests, their heads of a deserted Irish village. A once well- a stone inscription attesting to the gift of bowed, coming out of the front door to peopled village, like many others which land to the temple by the then king, but offer worship to the temple deities being similarly boasted of flourishing cultural there is no stone cut concerning the teach- taken in procession in front of their house. activities, has lost a large percentage of its ing of dance to a royal princess by Ramiah inhabitants to the urban centres. Pillai's ancestor. A villager points to a 'tope'—a grove of A 1984 'Masi Magam' festival brochure trees—which encompasses a small shrine The temple has a large prakara or yard. he hands the visitor reveals that Vazhu- for Bala Murugan and laments: "That used The stone sculptures are lovely. Paintings voor Ramiah Pillai and his family continue to belong to them [Ramiah Pillai's family] on the wall illustrate incidents from the to maintain links with their ancestral vil- but, alas, they have sold it and moved sthala purana or the narrative of mytho- lage, despite having left it years ago. In away." historical events pertaining to the temple. that year, Jayanthi Rajagopal, a disciple of The presiding deity is Veeratteswaran and Vazhuvoor Ramiah Pillai, had given a reci- Not only 'them' but all the other artist- his consort is Elankilainayaki. In the tal at the festival. families have deserted Vazhuvoor where, todayamangalam traditionally offered by in the recollections of Ramiah Pillai, a the Vazhuvoor school of dance, they are Ramiah Pillai's ancestral home remains number of artists once lived and pursued respectively referred to as Krittivaseswara intact. It is an ordinary house with a slop- their vocation with devotion to the Lord and Balakurambika. The lyrics and sollu- ing roof of red tiles. But standing in front and reverence for tradition. and begins to talk spiritedly. Now and again he falters with emotion and tears well up in his eyes. He speaks first about his ancestral village and then about his grandfather Samu Nattuvanar and his uncle Manicka Nattuvanar, all with real reverence : "First I shall tell you about my village. It escaped the fury of pralaya [the great deluge] and is hence called Vazhuvoor [Vazhuviya oor—the village that sur- vived]. The village has existed through four yugas [eons]. In the sthala purana, it is referred to as Gnanapuri and Suddha- puri also. The deity of our village is Gnanasabhesar." He has a simple faith in puranic lore and talks of the four yugas casually as though they span just 40 years. In a voice tremulous because of age and fatigue, he sings the todaya- mangalam which he has presented at the beginning of thousands of recitals con- ducted by him : Jaya Suddha Puri Vasal Jaya Mafia Gnana Sabhesa! Jaya Gaja Samhaaresa! Jaya Krittivaasesa! Jaya!Jaya!" "In the evening the arati ritual would be performed for the Gajasamhara- Ramiah Pillai & his guru Manickam murthy," he explains. "This todaya- mangalam would be sung at that time responds. In these jati-s, there are sylla- and the rhythms of the suddamaddalam and tandava jati-s would be recited. bles—beejakshara-s—which have the would make even a person with no It would be fantastic. It would create an effect of mantra-s. There is a lot of dif- knowledge of these enjoy it all the same. ference between these jati-s and the illusion of Gajasamharamurthy actually "I have a cough and I get breathless, natya jati-s. The year I was awarded the doing the tandava. There are distinct but I shall recite it now nevertheless title of Isai Perarignar by the Tamil Isai phrases for tandava jati-s recited for the [Recites]: Lord's dance. There are various forms of Sangam, I recited these tandava jati-s at Siva tandava-s such as dwadasa tanda- the Pann research conference. The audi- Tarn tarn tarn kita thaka thakita vam, sapta tandavam and shodasa tan- ence must have been a thousand strong. kitathakita davam. Dance would be performed All the oduvars who were present gave Tarn tarn tarn kita thaka thakita when the deity was taken out in proces- me a standing ovation. kitathakita Thaka ganga taddheem ganga tad- sion. You might have seen this in Tiru- "At the temple, these jati-s were not dheem varur. In Chidambaram also, during the recited by a single individual. The elders Margazhi festival, tandava jati-s are would lead. The sons and disciples "Have you ever heard ganga tad- recited." would follow in chorus. It is impossible dheem ?" he asks and continues in the for anyone to recite it all by himself. It He sits quietly, lost in thought and as same khanda nadai: would last about an hour and a half. It if viewing the Lord's procession in his would be recited in the tara stayi sadja Gathi tha dhana thanathajonu imagination. After all he is a dance mas- and would be in the raga Nattai. In the Jonutha dhimi kitaihaka thakita. ter who sees the dances in his mind higher octave it would go up to the before he trains his students to give He recites the tandava jati in Nattai gandhara, while it would reach the pan- expression to them. We have to prod raga with great enthusiasm for about two chama in the lower octave. The sollu- him from his reverie. minutes and then switches from khanda kattu would be recited with cadences. nadai to tisra nadai. Dheemtha dheemtha Have you ever used these tandava ja- The tandava jati-s are different from dheemtha tham. mallari. ti-s in your compositions for the dance It is mGSt enjoyable to listen to him. stage ? "The natyacharya of the village would We can even visualise the sandhya tan- "Yes, I have used them in one or two recite the jati-s, accompanied by sudda- dava (twilight dance) of Nataraja accom- places, where it was appropriate," he maddalam. The beauty of the sollukattu panied by Nandi playing the mridangam. But suddenly Ramiah Pillai stops and They did not play the instruments merely Perhaps that is the secret of his success as asks : "How will you write all this to make a living. a dance teacher both on stage and in down ?" "In those times, every village was home films. When he talks, he does so gently Lost in the beauty of the sollukattu-s to a number of musicians. Vazhuvoor and his voice is barely audible above the and his sonorous rendering and the vivid Veerasami Pillai, a famous nagaswara whirr of the overhead fan. He opens his picture of the tandava nritya, we hadn't vidwan, was among them. eyes now and starts talking again. really thought of transcribing these into "Tirumarugal Natesan, uncle of Tiru- "My grandmother Balambal was words. In any case, the beauty of the vaduturai Rajarathnam Pillai, was par- reputed to have been a good dancer. I sollukattu-s cannot be described. One ticularly adept in rendering brika-s. have seen her when I was a boy. I has to experience them by listening to Rajarathnam followed his style. Chinna remember she was powdering betel nuts them in the right atmosphere and with Pakkiri of Mannargudi was reputed to in a mortar at that time." There is an bhakti in one's heart. It is not customary have played even better than Rajarath- impish laughter in his voice when he to include tandava jati-s in Bharatana- nam. He used to play while the deity of says that. tyam. And perhaps there is none else Rajagopalaswamy was carried out in who knows these jati-s today. "Vazhuvoor Nagamma Amma who procession and I believe that after his learnt dance from Samu thatha was very "These have been composed in the death, others hesitated to take his place famous. She danced at every samastha- five nadai-s and all the various speeds," in the procession. These villages were all nam [princely estate] in Tamil Nadu. It he informs. "There will not be a single within a radius of ten miles around was the maharajas and princes who pat- harsh syllable like thakita kitathaki, Vazhuvoor." ronised and encouraged the arts. Dancers dhikkitta kitathaka." We can see very well how proud he is at Ettayapuram, Ramanathapuram and other samasthanams in Tamil Nadu were Ramiah Pillai goes on : about his family. Maybe they were wonderful artists. We want him to tell us patronised by them and awarded titles. "Now about my ancestors. There have more about the nattuvanars and dancers In those days it was customary to present been not only natyacharyas among them who belonged to his family and his the artists with gold thodas, chains and but also veena vidwans. And also mri- place. so on. dangam vidwans and nagaswaram and tavil vidwans. If a person had three or "There have been many dancers", he "Titles are common only now. They four sons, at best one among them who says, resuming the narrative, but pauses were not at that time," he adds with a had the right aptitude would be trained in as if to recollect. He adjusts his zari laugh. Also laughing, he says that the nattuvangam and launched as a natya- angavastram and closes his eyes. He is artists travelling from place to place had charya. This practice has been continuing very conscious of his appearance even at to ride oxens. Apparently, carts would for centuries. I know because the family this age. A true artist indeed! He walks not be used because not all places were history has been passed on to us by word with a limp because of a fall which connected by carriage ways. While those of mouth from generation to generation. caused a fracture of his thigh bone, yet who knew horse-riding could use horses, There's some substantiation also availa- he carries himself with dignity. He has others, like Siva, had to depend on the ble. always got along with all sorts of people. rishaba vahana or had to foot it. "My "The earliest ancestor I'have heard of is Nagappa Nattuvanar. There is also a Pithu Nattuvanar, named after Pitharan- nan, a local Vazhuvoor deity. Nagappa Nattuvanar's grandson by his daughter was Veerappa Nattuvanar. He was a great dance-master famed for his deep knowledge. My grandfather — and Vee- rappa Nattuvanar's grandson — was Samu Nattuvanar. A contemporary of Pandanallur Meenakshisundaram Pillai, he was well-versed both in theory and practice. I've a picture of him. I also have a picture of Manicka Nattuvanar, my mother's brother. My father was called Babji ; his real name was Parthi- ban. Mv mother was Bhagyamma. Samu Nattuvanar's daughter. "Musicians in our family included Vazhuvoor Muthuveer, a contemporary of tavil vidwan Needamangalam Mee- nakshisundaram. His father Ponnusamy played the mridangam. People used to be in awe of him. These were all musicians A family group : (sitting) Ramiah Pillai, Vinayakam, wife Gnanasoundaram (standing) disciple. who had reputations as matchless artists. Mani Pillai (brother) SamrajA his wife Kamala, disciple elders have told me how, even in the last their midst? dambal is herself about 70 years old now; because of her penury, the century, the Chinniah-Ponniah brothers "Sringaram there was not the kind of Government is paying her a pension came riding on oxen to worship in mundane sringaram you may be think- which I recommended. Vazhuvoor," he says, as if to emphasise ing about," he replies. "There is a beauti- he wasn't just telling a cock-and-bull ful form of sringaram. Natarajamurthy has "Jagadambal, Vazhuvoor Nagammal, story. himself performed sringara tandavam. Vazhuvoor Balambal, Tiruvarur Gnana- "Samu nattuvanar went to Mysore. There is indication in Agastya's sutra-s thammal, Tiruvalaputur Kalyani Ammal, Nagamma Amma danced there. The that the Bharatanatyam of today had its Tanjavur Veenabhashini Ammal — all maharaja wanted to see the dance again origin in Sringara Tandavam. This was these were famous dancers and were the next day. My grandfather was even before Bharata's time." more or less contemporaries. There were thrilled. In order to show his gratitude, one or two others. He goes off the track. It is difficult to he composed a tillana in the raga Surati bring his attention back to sringara in "Kalyani Ammal's dance was very on Chamaraja Wodeyar and had it per- royal courts. good indeed. Her guru was Suryamurthy formed the next day. At that time Poochi who was also the guru of Pandanallur Srinivasa Iyengar was the samasthana "Four thousand years ago, Raja- Meenakshisundaram Pillai. vidwan." sekhara Pandya, the ruling king, was in the habit of worshipping Nataraja at "I saw Veenabhashini Ammal only He sings a snatch from that composi- dawn. He wanted to learn dance. He was when she was old. Even then she was tion. Dhitham thiranaa dhiru thorn thira- told that he could learn it from Agastya very beautiful. She sang while doing naa valapu nilupa thaala jaalaraane. who was living in the Podhigai hills. He abhinaya. Her daughters Raja and Bala Chamaraja Bhoopathi gambhiraa. There learnt the art, but the strain of it left him danced too. She treated me like a son. is a catch in his voice and he pauses. physically exhausted. Pitying Nataraja, "There was one Andalammal in Tan- Recovering himself he adds :" Poochi he exclaimed Oh Lord! 1 got tired so Iyengar exclaimed Sabaash Samu. javur. Neither she nor Veenabhashini soon. How should you feel, dancing Ammal would rest content with what Thereafter the maharaja honoured my 1 forever with one foot raised ) At this, they were taught by their gurus. They grandfather and presented him with a Nataraja is fabled to have changed his thoda." were highly imaginative and creative. stance and to have raised the other foot. Then there was a dancer named Sara- We want to know if he has in his pos- Manickavachakar has sung about the dambal. I saw her do abhinaya — at session any of the ornaments given as deity lifting the other foot. Agastya's home. It was marked by 'talukku' and royal gifts. "No," he explains, "they Koothilakkanam was written for Raja- 'kulukku'—grace and verve." were sold for buying lands." sekhara. Agastya had a disciple called Koothan. who wrote the Kootha Nool. Ramiah Pillai now wanders on to Ramiah Pillai readily admits that he The Eyal Isai Nataka Manram in Tamil- dancers of a later period and, after refer- becomes emotional when he talks about nadu has published the text from the ring to the pair Bhanumati and Vara- the greatness of his ancestors. He gives palm leaf manuscripts relating to these." lakshmi and also to Swarna Saraswati no indication of an inflated ego but he is and Balasaraswati, arrives at Adyar and justly proud about them. He talks We remember a great Tamil scholar, refers to Rukmini Devi. "Raja Chandra- simply, reciting mere facts as he had M. Arunachalam, saying that Kootha sekhar produced a film called Raja heard his elders talk about these inci- Nool is a fraud. But we are not interested Desingh" he notes. "And Rukmini Devi dents. in Kootha Nool or Agastyar now. We danced in it, her husband Arundale pro- are interested in Ramiah Pillai and we viding a commentary. She did abhinaya Referring to the song composed by tell him that gently. Samu Nattuvanar extolling the Mysore for the padam/War/ varuhutu. I'm not maharaja, we want to know if narastuti "Yes, we were discussing my grand- sure this film was released but, when I or the praise of Man, is to be admired in father, weren't we?" he asks and gets was choreographing the dances for back on the track. "He trained a number a poet or a composer. He is piqued. another of Chandrasekhar's films, he of dancers who became well-known, like projected it on the screen for me. I have, "Is everyone a swami? Besides, it was Alamelu, Nagamma, Rukmini and Jaga- of course, seen Rukmini Devi perform customary for an artist to express his or dambal. The last-named was from on the stage also. I've seen all important her regard for the patron. This was a Madurantakam. Her bhavam was dancers. And I accept that which is respected practice. While the artists superb. Dhanammal who rarely generally sang in praise of god, it was good. One need not pick on the flaws. approved of anyone was pleased with That's my principle." still the practice to sing about rulers of her dance. Whenever Manicka Nattu- samasthanams, in order to please them. I vanar conducted Jagadambal's dance, We want to know how he became don't consider it was wrong. They were Dhanammal would watch for long hours interested in dance and who taught him. pious, sincere and upright and that is and extend her praise without fail. Jaga- Ramiah Pillai now talks about him- enough. Going through history you will dambal danced even when she was 70 self. find many a great composer had done years old. Don't be shocked! Didn't the same thing." "My grandfather Samu Nattuvanar Bala dance even after she had entered died when my mother Bhagyamma was her 60's? [It was from Jagadambal that We ask : how could a dignified only six years old. My father died young. E. Krishna Iyer first learnt Bharata- audience sit through a performance My uncle Manicka Nattuvanar, was my natyam and it was from her again that when a young danseuse sang and danced guru from my childhood. He was famous Ramiah Pillai himself learnt abhinaya]. expressing sringara or romantic feelings as a dance-master and it was he who A surviving grand-daughter of Jaga- towards the monarch who was also in trained a leading Ceylonese dancer of those times known as Ranjana. My was able to write jati-s automatically, pronunciation if one knows Telugu. A uncle's sons and I used to dance in the keeping time with the palm, to offbeat special master taught us Telugu from a silamba koodam which encompassed an cycles. Our masters would ask us to keep book called Pedda Bala Siksha. area 12 feet by 20 feet. Pictures of time with our palms and recite the jati-s. "We were very young and we used to Nataraja and other gods and the musical Just by watching and listening we would run out and play in between lessons! My instruments were on one side. The elders do it. This is an art learnt without our cousins all died young. New disciples would offer worship to them and then being aware of learning. came and went. we would start our lessons. There was no other place to conduct the classes and "We learnt music also. We had to "Our elders would take or send the therefore one lesson would follow the learn janta varisai and saptatala disciples to the temples to discharge other. We would break at one o'clock in alankara-s, we had to do akara sadha- hereditary duties. They would com- the afternoon, have lunch and rest a lit- kam. It was a 'must' to learn Tevaram mand : Ele, go to the temple. When so ordered, I would go to the temple and recite the jati-s and play the cymbals. Singing hymns was one of the shodasa upachara-s. The odhuvar would sing and I—or whoever else was sent to the temple — would join in. The tala would be played solo and it would be followed by instrumental music. Thereafter the dance. Each would last about two or three minutes. All the upachara-s had to be gone through before we could return home. Our elders shared the salary and the paddy received from the temple with the disciples. "In the Perumal temples, pasuram-s used to be sung and we joined in. It is this that later on inspired me to set pasuram-s like Pachai ma malaipol meni in the varnam format." Suddenly Ramiah Pillai sits up as though he is going to utter something extraordinary. What he does is tell us about his moving to Madras, a turning point in his life. "I, who spent the time thus between my home and the temple, came to Mad- ras in 1938 all of a sudden. Before that I spent some time in Mayavaram. I assisted my uncle in teaching there. As long as he was alive. I never taught any- thing on my own. He used to say : Ele, teach the adavu-s. And I would. If he asked me to supervise silambam, I did that. I started on my own only after I came to Madras. Raja Chandrasekhar, the film director I mentioned before, invited me to come to Madras and teach dance to those who performed in films. Jagadambal Apparently, no one else was forthcom- tie. The classes would resume at four and Tiruvachakam. We used to sing a ing. My elders permitted me to go and I o'clock and continue till seven or eight. I few varna-s. Kriti-s came later. agreed. It was then that I started in films. conduct my classes now in the same Kshetrayya's pada-s had not come into There was no studio in Madras then. pattern. vogue at that time. It was only after I Films had to be shot in Calcutta. Later "I learnt everything that was taught had started pursuing my career as a the Newtone Studios opened in Madras. there in that silamba koodam : adavu-s, natyacharya that I learnt his pada-s and Films were shot there too. Whenever jati-s, sastra-s, everything. The girls their significance. there was a dance sequence in films, I learnt only dance. We would watch "We learnt Telugu as part of our was called in. them. To those of us who were being dance training. The Tamil language lacks trained for nattuvangam, other things Sanskrit sounds ; Telugu has them. It is "Whatever I taught and choreo- were taught too. At a very tender age I easy to learn Sanskrit and its correct graphed was pure Bharatanatyam. Not to Ramiah Pillai & orchestra Kamala at first. She came later. Her par- ents requested me to teach her. Prior to that, she had danced in one or two films. Muthukumara Pillai & Ramiah Pillai I remember that she had learnt Kathak. At that time I was very busy in films. Since there were no other dance teachers, I was in great demand. A dance sequence for the heroine would be improvised. Films owed their popularity to dances. I had to compose an approp- riate dance for the given situation. Then I had to teach the dance, attend rehear- sals, attend shooting. I had to teach even those who had never learnt dancing, but I taught only so much as was required. And I taught in a manner which made learning easy. Yet it would take four to five months for a performer to learn foot movements, hand gestures, facial expres- sions and the mudra-s. This done, I would add the finer touches which would render the dance more appeal- ing." Among the actresses he taught this way were T.R. Rajakumari, K.L.V. Vasantha, M.V. Rajamma and Pasu- puleti Kannamba. In the film Ashok Kumar, Kannamba danced to the hit song, Unai kandu mayangata perka- lundo, rendered in Bhairavi by M.K. Thyagaraja Bhagavatar. Many others—such as Yogalakshmi and Kuchalakumari — also learnt from Ramiah Pillai to dance in films. As far as dance sequences in films made in the South were concerned, Ramiah Pillai had a virtual monopoly then. He was the dance director in almost all AVM films. "They never called anyone else," he says. "There was no one else! Besides, I commanded respect. I never behaved in such a 2a Sa-3-59 manner as to attract disrespect or to cause displeasure. In speech and beha- He started teaching Anandhi and the snake charmer and his wife. In it, I viour, I was pleasant. I had no rival at Radha after violinist Kumbakonam Raja- devised a sequence where the snake that time. Only after a number of years manickam Pillai played the role of ho- charmer is bitten by a snake. The wife did dance masters from the North arrive nest broker and got the girls' parents and curses it. [He sings the song]. Then the on the scene." him together. At the suggestion of T.K. snake comes back and removes the poi- Chidambaranatha Mudaliar (TKC) who son. This was a ballet. Both girls were "I was so busy in films, I had no time was a close friend of both Sadasivam beautiful. And danced well. I have com- for tuition really. One of the first I took and Kalki Krishnamurthi, Ramiah Pillai posed ballets for them in a 100 films or as a Bharatanatyam student was a girl composed dances to ancient Tamil poet more." called T.M. Pattammal. She was sent to Kamban's verses and taught them to me by a genius of a nattuvanar named Hemalata and Vijaya were entrusted Anandhi and Radha. He choreographed Tirukazhukundram Doraiswamy. He had to Ramiah Pillai by their mothers who new Tamil varna-s too for them. taught Pattammal and when he couldn't were ardent admirers of Bharatanatyam do it any longer because of old age, he Children of other elite families were and who liked his style after seeing sent her to me. I conducted rehearsals soon placed under his tutorial care. "Fol- Anandhi and Radha perform. The girls and then recitals for her. I taught her lowing Anandhi and Radha, I got plenty had been learning from Muthukumara some items of my own. She danced in of students, plenty," says he, savouring Pillai but he had become too old to con- some films too—in Maya Machindra the memory of those times. "Film direc- tinue as their guru. So the mothers and Daksha Yagnam I think. Anandhi- tor K. Subramaniam brought to me Lali- quickly turned to Ramiah Pillai. Radha and Kamala and others came tha and Padmini when they were young. afterwards. Vyjayantimala learnt from I taught them for a short while. Then Vijaya's mother recalls the events for me from her eighth to her sixteenth year. Mahalingam Pillai taught them. I com- us. "He started coming home to teach. Then she became a film actress and the posed all the film dances for them. I also He said : Since they have learnt under teaching stopped." composed several ballets. For instance, Muthukumara Pillai, the adavu-s are

As mridanga vidwan in a cinema With violinist Govindaraja Pillai A 1940 portfolio With Nehru :(ltor) Samrqj. Ramiah Pillai, Kamala A Radha neat; we can conduct their arangetram in Muthukumara Pillai. This is reflected Anandhi. "We could not make out that six months. And he did what he claimed. in his recollection of the older master. he was manipulating the dolls with a He taught in the most satisfactory "He has taught several disciples. Very black string. Even now when I think of manner. He was very sincere in those neat in work. He has even taught Mrina- it, I laugh." days." lini Sarabhai. Even at the age of 70 and 80, he used to demonstrate the steps. Jigara ki jana jalimka.. . was it some kind of gypsy language ? We don't Vijaya (Rajan) and Hemalata (Sarma) Thambi, watch. Let me dance a little, he know but it is a fact that Ramiah Pillai tell us that Ramiah Pillai was a very would say and then dance. He would taught gypsy dances to his young wards. good teacher. Vijaya: "He never got recite the jati-s and dance. I would For instance, he composed a dance to angry, never scolded us. At the same exclaim, Anna, enough, enough and verses from Kutrala Kuravanji selected time he was strict and did not allow our entreat him to sit down." by TKC and Radha performed it. Some attention to wander." Hema: "We were Ramiah Pillai was indeed a good time later President Rajendra Prasad about eight and nine. Sometimes he teacher and intuitively understood child- came to Madras. The city's mayor who would explain the meaning of the songs, ren, according to Anandhi. One day held a civic reception for him recruited but I cannot say we understood the sub- Radha and Anandhi came home from Hema and Vijaya to give a one-hour tleties of the pada-s. We did what we school and M.S. Subbulakshmi told them dance recital. Vijaya's parents requested were taught to do." Vijaya again: "On that the dance master was waiting for Kothamangalam Subbu to choose the some days he came only after 8.30 p.m. them. Home then was Kalki Gardens, a verses from Kutrala Kuravanji and set Both of us used to dance sleepily. We sprawling house. The girls went looking them to tune. He did gladly, and Ramiah learnt Manavi, the Sankarabharanam for him. There was a small, rather dark Pillai used them to compose dances varnam, and the pasuram Pachai ma space between the balconies and Pillai more or less like in a dance-drama. malai pol meni which was already com- was sitting there on a blue dhurree. Since he composed appropriate jati-s for posed by him in the form of a varnam "Have your tiffin and come back quick; performing in between songs, it was a with teermanam-s in between. Almost let's watch a recital," he said. The girls combination of classical and folk dance. all the songs he taught us were in Tamil were quite excited. Another four or five This ballet was appreciated by the large and we learnt only one Kshetrayya children joined them. It was dusk. There gathering at the civic reception. Vyjayan- padam from him." And Hema again: were two tiny dolls at the centre of the timala later learnt it and performed it "He would say Don't keep your hand so dhurree. "Watch the magic," the master many times. stiffly. Muthukumara Pillai's style is said. As he sang, Jigara ki jana jalimka, different Such stiffness is not required jigara ki jana, the dolls danced in He was never picky. He was very broad- rhythm, jumping up and down. He was Vijaya's mother recalls that Ramiah minded." seated at a distance some three feet away Pillai taught with a lot of interest when from them. "We were amazed," says the children learnt the kuravanji dance. Ramiah Pillai had a lot of respect for "He composed on the spot. He com- posed jati-s in a novel manner. The Of course, it never did to an extent ing, imparted to her dance his own dis- abhinaya also came out beautifully. Even that it affected his standing in the dance tinctive style and taught her new items. though the dominant rasa was sringara, world In any event, a good number con- Ramiah Pillai is quick to concede that he introduced humour here and there. tinued to learn dance from him. Kamala is his most distinguished disciple That was not all. He offered suggestions "Hundreds learnt [dance] from me," and that she helped him to acquire a regarding the dress and the make up. We he says, when pressed recently to furnish great reputation. did not, at that time, know much about a list, "but I haven't kept any records. make-up. We learnt it step by step." She E.V. Saroja was another early student Everybody knows about those among also says: "He had lots of imagination. and she made a mark on the stage as them who have become famous." His rendering of jati-s fell pleasingly on well as in the cinema. Abhayam (Bala- the ears. He added dignity to nattuvan- His son Samraj is the one he has muralikrishna) also learnt dance from gam." But .. . as his name and fame groomed to serve as the pontiff of the Ramiah Pillai around that time. spread wide and the demand for his ser- Vazhuvoor school or tradition. But, Among those who learnt Bharatanat- vices increased even further, he became among dancers, the most famous one is. yam from the maestro in the 1950's and erratic. Avers she: "Gopalakrishnan, one of course, Kamala. She was brought to later—and became well-known as per- of his students, had a good voice. He him when she was seven years old. Since formers— are Kanaka Srinivasan, used to sing for the recitals. Ramiah Pil- her first Bharatanatyam guru, Muthu- Komala Varadan, Padma Subrahman- lai started sending him for the rehearsals. kumara Pillai, was a traditionalist and an yam and Chitra Visweswaran. Swami- When he lost interest in this manner, the expert to boot, Ramiah Pillai did not malai Rajarathnam, who is among the number of his students also started have to teach Kamala from the basics. foremost nattuvanars today, K.J. Sarasa decreasing." So he gave finishing touches to her train- and S.K. Kameswaran also cut their teeth under Ramiah Pillai's drill. Of the disciples of the latter period, Kanaka Srinivasan. who now lives in New Delhi, has remained completely faithful to the Vazhuvoor style, even Visiting President Radhakrishnan : Malathi (now wife of Sevanti Adityan), Ramiah Pillai though she has been adding her own and Samraj creativity to the dance learned from the master. Similarly, Kamala's sister Radha has also remained true. Chitra Visweswaran's dance has undergone mutations while Padma Sub- rahmanyam has herself stated that what she now dances is something else that has evolved out of her own scholarship and vision. In some cases, former chelas of the vadyar from Vazhuvoor have been taken over by other gurus who have given them their own distinctive stamp—for better or worse. And there are many who claim to belong to the Vazhuvoor school, whether they have anything to show for it or not. Ramiah Pillai taught his daughters also to dance and "such things as arange- tram were done," to quote him. But they didn't take to a performing career. To quote him again : "I felt that it was suffi- cient if my disciples danced. I saw no purpose in my daughters doing it. From the age of five my children remained in the silamba koodam. In a few years, they helped in conducting my classes. But my daughters stopped with that. Both of them are married now. While Samraj continues the family tradition, my younger son Vinayakam, who learnt on his own to play the mridangam as well as to conduct dances, is a light-music » 5 .

Kamaia was Vazhuvoor Ramiah Pillai's star student. During for Kamaia. From 1942 he was Kamala's guru. He polished a recent visit to India from the U.S. where she now lives, she whatever she had learnt already. And also taught new items. spoke to SRUTI about her training under Ramiah Pillai. Her He took a lot of interest in teaching her. mother Rajam also joined in to make some observations. KAMALA Amma would also ask Isn 7 this song good ? and Excerpts : ask him to compose dance for the same. He would select RAJAM Kamaia danced in Hindi films when she was only songs on his own as well and compose dances. three and a half years old. In the beginning she learnt Kathak RAJAM Later Kamaia herself suggested to him songs by from Lacchu Maharaj. We brought him to Bombay for her Swati Tirunal. You know, she learnt music under Narayana sake. We found some more students and a class was started. Nivas and secured two diplomas. The first to teach Bharatanatyam to Kamaia and to start her KAMALA 1 used to learn compositions like the Dasavatara on tai ya tai was Muthukumara Pillai. During the World varnam. Vadyar would compose the dance. He would cho- War II evacuation, we left Bombay, came south and stayed at reograph the adavu-s and compose the sollukattu jati-s. Madanapalli. I arranged to bring Kattumannarkoil Muthu- kumara Pillai over to Madanapalli, found him a house and RAJAM If he said Do this adavu or do that, Kamaia would arranged to have him teach dance. He taught one complete do it at once. margam. He was the one who taught Manavi che kona KAMALA Sometimes I would ask him : Is it nice if I do like radha, Kamala's arangetram took place in Mayavaram. It this ? He would reply : // is good, Kamaia. Let's have it that was held at the municipal hall. Muthukumara Pillai con- way. Very broadminded. He was very fond of me because he ducted it. But he had become too old and couldn't take care thought I danced well. He also received a lot of recognition of all the recitals. So, one day he suggested on his own : because of me. "There is a boy called Ramiah. His sollukattu-s are very good. Maybe you should try him. One day he brought RAJAM He won recognition only because of her. over Ramiah Pillai who was at that time teaching Anandhi KAMALA Whatever he taught one day, I would repeat and Radha in Madras. Then he started doing nattuvangam exactly the very next day. There would be no mistake. He Ramiah PUlai Conducting Kamaia's recital in Salem, 1949

29 Ramiah PUlai, AntmtharamaDikskUar, Radha, KamalaA theirmother Rqjam would say Well done! I would feel thrilled. I would practise pies say that he used to give suggestions regarding costumes and many times. I had a lot of respect for him. Even now 1 have a make up. lot of respect for him. There is none to equal him in nattu- RAJAM Perhaps he did. It was not required in Kamala's vangam. He is unique. The calculations in the teermanam-s case. would be accurate. If he repeated kita thaka thari kita thorn, there would be absolutely no error. He did not like patch- KAMALA He could not sing like a senior vidwan. But he has work. The thadhinginathom would fall into place exactly deep knowledge of music. He knows which raga is appro- where the song is supposed to commence from. He would not priate for which song, or which rasa. He would correct and try to fill gaps with a thaka or thakita. train the accompanying vocalists and direct the other accom- panists on the various instruments. He directed the orchestra Tell us about the adavu-s. Did he depart from the traditional efficiently. We never had to worry about it. Our job was to ones and do any innovation ? go to the stage and return after the programme was over. He KAMALA He and I have together formulated some new spared us from all other problems. But he had no patience for adavu-s. There are some adavu-s which are very similar to rehearsals. Don't worry, you '11 do well, he would say. I used each other. I would try some variations of them and perform to feel scared. I would practise alone by myself and perform in front of him. Such as doing an araimandi adavu in a full at the recital. That would result in his having to follow me standing posture or do it in full mandi, or do it with a bend during the programme. or a slant. As he thought out the movements during choreo- Did he teach differently for films ? graphy, I would do these variations. He would be pleased very much. He would not consider it impertinent. KAMALA Certain modifications are required for films. There is a space alloted as camera area. The dance should be res- How would he teach bhava (facial expressions) ? tricted to this. Hand gestures and facial expressions should KAMALA He would teach it very well. He would demon- come out beautifully. Close-ups should come out well. If you strate the abhinaya beautifully. For instance, take Kshe- stretch the arm it might fall outside the frame. My guru was trayya's Vadevvade in Bhairavi. He would teach a variety of an expert in choreographing within these constraints. Some- sanchari bhava-s for it. As we danced, new ideas for sanchari times he would leave it to me. The choreography in Konjum bhava-s would occur. We would thereafter keep improving it Salangai was mine. He said it was good. ourselves. Did your Bharatanatyam get adversely affected because you Did he give ideas for costumes ? were also taught for films. KAMALA All that was Amma's work. Stitching dresses, KAMALA Not at all. We never did on the stage something colour combinations, make-up, all these were attended to by that was prepared for the films. The audience would ask for her. Vadyar's other disciples too would seek Amma's advice it, but we wouldn't comply. on these matters. We are not referring to that. Because of the change in technique, Maybe you didn't need this. But the parents of some other disci- did anyone suggest that the quality of your classical dance per- fonnances had gone down ? books and by research. That is all. His credo was that it was sufficient to put all the efforts into learning to dance, that it KAMALA No. The quality did not go down. You may even was not necessary to learn theory. He never tried to teach put it this way. Classical dance became popular through teermanam-s. We used to learn them as we performed. I used films. Rukmini had danced Yaar undanai pol aadaripavar to recite it with the talam. His [Ramiah Pillai's] brilliance is and Chindhai arindu vaadi in Sri VallL These appealed to the apparent in the varna-s he composed and taught. Pannagen- people very much. No one can say they were not classical. dra sayana, Kamala jasya, Sadhinchane, Naadhanai azhaitu Likewise Aaduvomepallu paaduvome and Vetri ettu thikkum vaadi, Nee inda maayam, Karunai seitida, Sakhiye nee inda etta were first danced by Radha-Anandhi. I danced these velayil, Pachai maamalai pol meni, the Ata tala varnam in very songs in AVM's film Noam Iruvar. In Sivakavi and Sri Sankarabharanam—these were choreographed and taught by Valli and other films, was the dance anything but classical ? him. My stage performances were not affected because I per- formed in films. The quality of dance was not diluted for films. The standard depends on the performer and her capa- Did he get angry when teaching ? bility. isn't that so ? What is taught should be assimilated and KAMALA He would scold us. If he threw away the thattu- executed. If a film star who doesn't know dancing performs, kazhi, it meant he was very angry. But he would calm down the result would be according to her standard. immediately. He used to show a lot of affection. He would Did Ramiah Pillai himself compose Natanam adinaar com- bring us pattas [crackers] for Deepavali. He would crack pletely ? jokes and entertain us. He would recite with tala the lines 'Jabeel kulaamba gubeel gubeel' and make us roar with KAMALA Yes. laughter.

You performed the snake-charmer dance, Naadar mudimel. Did He was very particular about his appearance. After complet- he teach you that also ? ing his puja he would apply vibhuti and kumkum to his fore- KAMALA He taught me the dance for the siddhar song. Later head and wear a zari dhoti and silk shawl. Adorned thus, he on I remember he taught differently for the film. would electrify the atmosphere by his mere presence on the stage. He had a majestic mien. And he was a very dignified What were the tillana-s he taught you ? master. He had an endearing manner in moving with people. He would never imagine that he knew everything and that KAMALA Tillana-s in Kanada, Khamas, Kedaram, Samu others knew nothing. He would try to find the good points in nattuvanar's Kedaram, Surati. Apart from these, also in each person and try to learn them. If you said something that Athana and Sankarabharanam which are especially beautiful. was good, he would accept it. He had real humility. Among All these were taught by him. his disciples, there were many who stayed in his house, grew up there and learnt the art and went on to become famous. Hasn't he also composed sabdam-s ? K.J. Sarasa is one of the important disciples who learnt this KAMALA Yes. AH the existing sabdam-s were in Telugu. As way. E.V. Saroja also stayed in his house and learnt. we needed Tamil sabdam-s, he composed them himself. As for example, Venu gananai and Aadum maydthanai. Dance What do you consider is his major contribution to the art of need have no language problems. But when a new varnam or Bharatanatyam ? padam is composed, in Tamil or whatever, it only enriches the art. It cannot be denied that the enjoyment is more if the KAMALA Vadyar alone is responsible for popularising Tamil song is in a familiar language. What a wonderful piece is the pada-s. He introduced Tamil varna-s. He would choose a Dhanyasi varnam Nee inda maayam\ What depth! How suitable kriti, add jati-s and choreograph it in such a manner beautiful is the Kambhoji varnam Naadhanai azhailu vaadi that the abhinaya sequences and the jati-s would occur alter- Vadyar was proficient in Telugu. If he composed for a Sans- nately. Many Tamil songs became famous because he com- krit lyric, he would go about it only after learning the correct posed dances for them in this manner. meaning. He would ask a Sanskrit pandit to explain the meaning to him. He took the trouble to find out the various He did not stop with this. In regard to alarippu, I would say shades of meaning of a song. He was never casual about it. that he was the one who introduced the currently-in-vogue manner of singing sollukattu-s in Natai, Sankarabharanam and such raga-s. There are several pieces where he has com- All those who have learnt from your guru have left him. They posed sollukattu-s set in raga-s. For instance, in Kuravanji, fix up their own accompaniments and perform on their own. others would sing the opening sollukattu-s in the top sadjam, Any comment ? but Ramiah Pillai would render them musically like a mal- KAMALA Some nattuvanars don't get good students, but lari. They would fall very pleasingly on the ears. how many fine disciples my guru has had! Talk of luck! It seems there are a number of Ramiah Pillai's disciples in Several nattuvanars were envious of him. All his students America today. Do you know them ? were good. None was substandard. Padma Subrahmanyam, Chitra Visweswaran, they are famous even today. KAMALA Yes there are. But there are also a few who likely never even saw Vadyar. but they proclaim they have learnt from him and carry on their profession. This is because he is Did he teach you theory ? respected the world over. But I'm afraid these persons will KAMALA Not much. We learnt theory by learning from spoil Vadyar's name. 31 Hemamalini Ami & Her Guru An Enduring Relationship

Hemamalini Ami, who lives in Hyderabad, was a student of the Vazhuvoor school of dancing. Ramiah -Pillai during the forties. Daughter of C.K. Vijaya- But didn't you learn pada-s from Balasaraswati'! raghavan, who was then the Inspector General of Police in Madras, she was brought to Ramiah Pillai for training Yes! I learnt 25 pada-s. There was no question about ber when she was six years old; earlier, she had started learn- supremacy in doing abhinaya, especially to Kshetrayya's ing Bharatanatyam with another dance master named Kan- pada-s. nappa Pillai. She also studied with T. Balasaraswati for two years, learning pada-s. She danced under Ramiah Pillai's Did Ramiah Pillai object to your learning from Bala ? baton for nearly 15 years. Her devotion to him is very deep Not at all. On the contrary, when I did abhinaya to the and the guru-sishya relationship has continued uninter- pada-s that I had learnt from Balamma, he used to feel rupted to this day. She was very happy to talk to a SRUTI very happy. He was unusually broadminded. When Bala- staffer about her guru. The following are excerpts : saraswati presented Sarabhendra Bhupala Kuravanji at the Museum Theatre in Madras, I was Vasantavalli and Bala Please give us your overall appreciation of your guru's con- herself did the part of the kurathi or gypsy. Ramiah Pillai tribution. came to see this kuravanji and praised the production. Bharatanatyam was put on the map of India by Ramiah What are the special features of the Vazhuvoor school of Pillai, with his prime disciple Kamala dancing in all the dancing in your view ? cities of India. He made Bharatanatyam interesting to all kinds of people, without sacrificing the classical form. His The style is sculpturusque and crisp. Ramiah Pillai has choreography was excellent. Probably he didn't know that always held that it is not only the abhinaya that should be word then, but he made people sit up and watch. The way expressive but also the nritta. That is why his style is so he built up the performance was unique. Nowadays graceful. Today there is nobody to compare with his way dancers offer everything that has to be seen during the first of rendering the solukattu and teermanam-s. part of the programme. But rasikas who watched the He was an excellent teacher. This too paved the way for his dancers trained by Ramiah Pillai knew that the best was success. He composed according to the talent and maturity yet to come till the end. He had personality and stature and of his pupil. he added dignity to nattuvangam. I consider myself solely his disciple. I never had the inclination to break away from My sister Padmini and I learnt music from Mayavaram Krishna Iyer. Padmini used to sing pada-s for my perfor- mances. We learnt music from Maharajapuram Viswana- tha Iyer also for sometime. Master realised how deeply we were interested in the arts. Therefore, in my recitals, when I started doing pada-s, he encouraged me to sing. He also saw to it that I had a mike. Did you ever feel that he didn't give you enough tune for rehearsals or teaching ? Not at all. He never cut down my rehearsal time. He taught me with affection. His affection for all of us and his trust in my father was phenomenal. He used to look up to my parents. There was a bond between them. As my father was the IG of Police, we were looked after very well wher- ever we went. He always remembered thai and appreciated the way my parents treated him. Do you keep in touch with him now ? Yes. I am teaching Bharatanatyam to 30 young girls in Hyderabad. I don't call it a school; I teach only those who are really interested. Master is very happy that I am keep- ing in touch with the art. He willingly helps me. It is such a joy to present my students to him. He has seen all my students dance. His son Vazhuvoor Samraj does nattuvan- gam for the arangetram of my students. I have been very lucky to have learnt this art from Ramiah Pillai. I acknowledge it. I feel his other students must also acknowledge it. Ramah Piliai, Samraj, wife Gnanasoundaram A Gurwuahan amiah Piliai does not perform nattu- the guidance of her guru forever, she R vangam for any of his disciples who might find it difficult to give rein to her are famous today. Kamala, Padma own imagination or to choreograph on Subrahmanyam and Chitra Visweswaran her own. She might be afraid that the all went their own ways quite a few guru would consider her impertinent. In years ago, as did Kanaka Srinivasan, the circumstances, those with new though she does have Samraj occasio- insights of their own born out of research nally wielding the cymbals for her. We and the urge to try out new ideas might ask Ramiah Piliai the reason for this. decide to slip away from the master's shadow. We ask Ramiah Piliai whether "It is not that I didn't want to do nattuvangam for them," he explains. he would have objected if any of his "The reason has to do with money. famous disciples had tried to introduce When they received 1000 rupees for a innovations or changes in what he had recital, they gave me 500 rupees. When taught them—even while they continued they received several times that, they to dance under his baton. wouldn't give me half of it any longer. They could find others who'd conduct "No," he replies firmly and then, their recitals for even two or three switching tense, he adds : "If they have a hundred. There have been recitals with- good idea, I'd gladly accept it. I'd ask out any nattuvangam even !" them to retain it. But if somebody tries to improvise something after learning by Could there have been other reasons half measures, I wouldn't accept it. You as well ? If a disciple continued under may bring your own recipe and cook it, but it should be edible and digestible." demonstration by Mudikondan [Venkata- about them. "Bharatam Narayanaswami We ask him for his comment on the rama Iyer] has also been recorded. Iyer never really approved of any natya- complaint voiced by some dancers, parti- "Someone who wants to do nattuvan- charya. Nor did he approve of any cularly the young, that 90 per cent of gam should learn all these —music, laya dancer. He used to criticise everybody. what they receive for a recital has to be intricacies, the sastra-s pertaining to By God's grace he was fond of me. You given away to the nattuvanar and the dance . . . the lot. A nattuvanar should teach well, he would say. He belonged to orchestra, and that usually what they are know how to set a tala in the five nadai-s, the Melaltur Bhagavata Mela tradition. left with isn't enough to buy even a how to pronounce [the jati-s], how to He used to dance in front of the deity saree. give the proper stress and intonation and Narasimhaswamy. Dance for him was a so on. Only then would the nattuvangam matter of worship. I haven't seen him " Maybe it's true in some cases," says dance but I knew he had imbibed the he, "but the front-rank dancers get paid shine. It used to be said : Half is the beats, half is the dance. The dance can sastra-s and hence the prefix 'Bharatam'. ten to twenty thousand rupees. They We would listen to him for hours when- shouldn't have any problem. Those who be impressive only if the nattuvangam is proficient. ever he dwelt on the sastra-s. He was receive much less may have difficulties, frank in speech. He used to criticise those particularly if they have to pay the sabhas "Obviously, there should be a separate who posed as nattuvanars. He would also to get the chance to perform, but course for training nattuvanars," he adds, pull up an erring dancer and ask : Why such people are few in number. For the probably recalling his own training. did you do that! Some persons didn't majority of successful dancers, the "The course intended for dancers won't therefore like him. income is quite good. They just don't do for this purpose." give it all up. They retain more than half "I knew both Pandanallur Meenakshi- the amount. Then, emphasising that intimate sundaram Pillai and Chockalingam Pillai understanding between master and disci- very well. I have watched the disciples of "Let me tell you about the custom in ples should guide recitals, Ramiah Pillai the 'periavar' [the older one] dance. The the old days. Then, the income was deplores the practice of dancers hiring adavu-s would be very neat. The rhyth- shared 50 : 50 between the dancer on the nattuvanars on an ad hoc basis : mic patterns would be crisp. He himself one side and the master and the musi- used to play the violin. He could also cians on the other. If there were four "Nowadays it seems nattuvangam can be provided by just anyone, properly sing very well. When he was 17 or 18 musicians, the master would divide the years old, he had sung for my grand- payment received into five shares, retain qualified or not. A dancer learns from someone, but has someone else conduct father Samu Nattuvanar's nattuvangam. one and a half for himself, pay one each If there was need for a singer from out- to the accompanists playing the mridan- her recitals and a new person provide the music. Or she learns from 10 different side, he was sent for. All the villages gam, clarionet or other instrument, and were within four miles. He has himself give half a share to the person providing people, demonstrates to someone else and asks him to conduct her recitals. told me : Thambi, when I was about sruti. He [the one providing sruti] also your age, your grandfather used to send had to eat, no ? He would, by the way, Some dancers come from out of town and hire someone locally to do the nattu- for me. I used to sing. I felt nervous to also wash the master's clothes and run sing after he did but he would urge me various other errands for him. This was vangam. There are many cases like these. It is as though whomever wields the on and complement me by saying: Good, the agreement. Every rupee, anna and you sing well." paisa would be shared on this basis. cudgel is the keeper of the law. In the circumstances, the conductor just keeps Tears well up in Ramiah Pillai's eyes "But let that be. Let me talk about time and the dance is just so-so The as he speaks of the Pandanallur 'thatha'. nattuvangam itself. A person doesn't connoisseurs surely know the difference." There is a catch in his voice and master it easily. He must know music momentarily he is unable to speak. He is and how to play some instruments, the We ask him his opinion about women doing nattuvangam and he responds obviously very deeply moved by his mridangam. Only then he would have memories of the grand old man. Then he Maya' at his finger-tips. He must learn without hesitation. "A number of women do it. I see some of them doing it wipes his tears away with his upper cloth and master the tala intricacies also. I'm and resumes his recollections. sure you know about the 35 tala-s and skillfully. But I don't think there is the 108 tala-s. The majority of the tala-s anybody who is exceptionally good. "My grandfather was very fond of in the 35-group have less than 30 Sometimes it is even jarring. It is a diffi- Meenakshisundaram Pillai. The latter akshara-s or syllables. Since the 108 cult job. But the weilding of the cymbals never forgot this. He said to me once : tala-s consist of six anga-s [divisions], the is not up to the standard. Most of the Thambi, whenever your grandfather sent syllables are played on the mridangam. akshara kalam [duration of syllable for me, I would drop everything and rush Many of them sing well but the feminine count], is longer. For example, in the to him. I liked to watch him conduct He voice does not have the weight of a male wielded the cymbals well In the same Simhanandana tala, each avarta [cycle] voice. Also, it is very difficult to keep contains 128 akshara-s. Some years ago way, we had mutual regard for each time with cymbals singing simul- other. I gave a demonstration of this tala, recit- taneously." ing the jati-s, over AIR when K.C. "There was a felicitation for him Thyagarajan was the music producer Ramiah Pillai was well acquainted [Meenakshisundaram Pillai] in Kumbha - there. The programme was recorded. with nattuvanars like Bharatam Naraya- konam at which Kamala danced. Three Someone can request AIR to rebroadcast naswami Iyer, Meenakshisundaram Pil- thousand rupees were collected. On that it. Not for the sake of my fame but it lai, Chockalingam Pillai and Dandapani occasion, we were together for two or may be of interest and use to several. A [K.N. Dandayudapani Pillai]. He speaks three days and had long conversations. He told me all these at that time. Having watched Kamala's dance he said. Thambi, it is very good. I have seen this style with your grandfather. I have seen Manicka Nattuvanar conduct I see only now the special features and bhava aspects which I had seen in the dance of Madurantakam Jagadamba Amma and Vazhuvoor Nagamma. He blessed me. [Ramiah Pillai sheds tears again]. He was a genius. Well versed in Telugu. There are very few who know music, language, dance and nattuvangam like Meenakshi- sundaram Pillai did. Pillaival knew Sanskrit as well. Nowadays people don't even learn Tamil. They are satisfied if they can do conceits. "Chokalingam Pillai also had regard for us. He used to come home. He taught at a dance school in Egmore. Among his students there was one Kausalya who danced particularly well. [G. Kausalya later served as Collector of Customs. She died in an air crash.] After her, I haven't seen anyone of that calibre among his disciples. "Both were good natured. They were free from envy and jealousy. That is why it was possible to know them so closely." We wish to know whether there were any links between the dance masters of Tanjavur and those of Vazhuvoor. "The Vazhuvoor tradition is an ancient one ; it is unique," Pillai asserts. "The Tanjavur family came into being only during the times of Serfoji Maha- Pandanallur Meenakshisundaram Pillai & Ramiah Pillai raja. Pandanallur Meenakshisundaram you know, he went to Kalakshetra in that of the senior vidwans in the field. Pillai has himself told me about this. The Adyar for Rukmini Amma and stayed The institution nurtures the art He Tanjavur Quartet—Chinniah, Ponniah, there for a few years. One day he came stayed there for some time before he Sivanandam and Vadivelu used to live in home and said to me : Thambi, I am not came away." Mannargudi. Their father Subbarayan able to stay in Madras. I am going to my Since he is now talking about Kalak- was an oduvar. When the Maharaja native place. Shortly thereafter Chocka- shetra, an institution which has given the went to that town he heard them sing lingam Pillai also left Kalakshetra. It was lead in producing beautiful dance- and brought them over. They learnt nattu- at that time that Nagaswaram Veeru- dramas, we ask if the growing popularity vangam, music and veena from samas- sami Pillai told me that a person to do of the dance-drama has affected solo thana vidwan Mahadeva Nattuvanar. nattuvangam was required by Kalak- Bharatanatyam in any manner. He The latter had a son too. He was also a shetra. I said I would arrange for it. emphatically denies any adverse impact samasthana vidwan. But why elaborate There was a boy called Dandapani and adds : on this now? We had no artistic links [Dandayudapani] in Mayavaram. He with them. There were no ties by was the son of the nagaswara vidwan "There's nothing wrong in doing marriage either." Karaikal Natesan. I told Veerusami dance-dramas. I have myself choreo- The history he narrates is obviously about that boy. Later I wrote to him and graphed and produced them. . . . Kut- based only on karna parampara, the oral asked him to come over to Madras. trala Kuravanji, Kumaresar Kuravanji, tradition. He continues : When he did, I told him : "There's a job Kapilai Natakam. . . .A variety of "There is a lot of difference between for you at a place where people like bhava-s can be more easily depicted in a the Pandanallur and Vazhuvoor styles. Meenakshisundaram Pillai and Chocka- dance-drama and audiences enjoy such They knew it, even as I know it. There's lingam Pillai have taught You can have fare but there should be an undercurrent nothing wrong in it, Pandanallur Pillaival it but don't work there with just a salary of devotion. Also one should know how once told me. in mind Stay at least for three years. to select themes suitable for dance. All "He [Meenakshisundaram Pillai] lived You can improve your knowledge. Train subjects are not suitable for dance- in a manner befitting a natyacharya. As yourself to wield the cymbals. The style is dramas. Formerly the Kuravanji alone was done as dance-drama. It was done were according to sastra-s had been instrument with a pitch of AVi. One in the temple in Tanjavur. Jati-s were given up. I worked to reintroduce them. Kuppuswami used to play for the recitals included in suitable sequences and "For example, the 108 karana-s, once of my disciples. There were many in recited in the top sadjam. I have wit- in vogue, had been neglected. I did Tanjavur who played the clarionet quite nessed it. I was inspired to try out new research, I studied the sculptures in the well. Those were the days when there ideas. My concern was to beautify it Tanjavur and Chidambaram temples. All were no mikes. Hence more volume was even more. Following me, my son Sam- the 108 are there. I taught them to my required even though there were no raj has taught dance-dramas to his disci- students. crowds like today's. The natyacharyas ples. They have earned a good name too, also sang. Even dancers would pause to Alii Tirumanam was very popular. "It was I who started the practice of a listen. Connoisseurs would enjoy both dancer striking sculpturesque poses. "That lady [at Kalakshetra] nurtured the singing and the dancing. Affluent the art admirably. She started when she "But there are rules regarding what persons would give gifts on the spot to was no longer young and learnt dance should be done and where. And how. the natyacharya as well as to the with sincerity. To the end she toiled hard Whatever the dancer does must be dancer." to nurture the art. It is something to be beautiful. It is not right to lift the hand or Ramiah Pillai denies he has created happy about. The adavu-s performed the leg unnecessarily. anything new. He admits only to having there are neat. After all Meenakshisun- "Teaching these things must be done carried out certain modifications and daram Pillai and Muthukumara Pillai systematically. And with care. For teach- reintroduced certain aspects which had taught there, didn't they? Abhinaya is ing karana-s, line drawings should be existed previously but had been also taught very carefully there. Kalak- prepared and the students trained to discontinued — and these only in accor- shetra is indeed a place where great pains follow them. Appropriate songs and jati-s dance with established norms and with- are taken in training the dancers." should be choreographed, for if only out deviating from tradition. Ramiah Pillai is, however, not sure karana-s are done, it'd be like a circus. "Like I brought back into vogue the that more than one dance form should The karana-s should come with bhava, teermanam-s," he says citing yet another be taught by any one school. raga, tala. They should be taught only to example. "The teermanam-s are mainly those children capable of executing them ; those which were composed by the "When a school teaches Bharata- others shouldn't be taxed. Movements elders. Sometimes I added some new natyam, it must teach that alone. One appropriate to each person should be ideas to them." master for Kuchipudi, one for Odissi and selected and taught so that the result will one for Kathakali mean that students Ramiah Pillai did choreograph many be beautiful. If a student is unable to new dances, especially to songs in Tamil. would be tempted to learn all. All styles execute a particular movement, suitable will get mixed. The lay spectators are not He talks about them in response to our modifications may be made. But the stu- request. aware of the difference and the integrity dent should be made to practise to of each art form gets diluted. In my achieve competence. "For Papanasam Si van's Nee inda opinion it is not right to mix Bharata- maayam in Dhanyasi raga, I composed natyam and Kathakali for example. "This is how my imagination worked. everything including the sollukattu. The Those who learn Bharatanatyam should I didn't do anything in a vacuum. jati syllables are old, though. learn that alone. There is no art about "It is not enough to be aware of all "There is great beauty in both the which you can say, Enough, I have these. The teacher must have a sound learnt everything. You can learn Bhara- knowledge of music, must be able to padam and javali, as far as their music is tanatyam for a whole lifetime. Kathakali sing. My guru used to start teaching both concerned. This cannot be denied." is also like that. I have seen all dances. music and dance together. My uncle and Maruhari taalalenura .... [He sings but Each has a beauty of its own. Like grandfather both would vary the singing is interrupted by a cough.] Once I knew flowers created by God. But you must according to the context. One should not a number of javali-s like Sarasamulaade, learn only one style. Aren't there maha- sing softly in a context which calls for but I have forgotten them now." He says vidwans who have learnt Carnatic music assertiveness. One can sing Athana plain- he slowly gave up teaching Telugu pada-s alone? If you learn a bit of Hindustani tively or in anger or to express valour. and javali-s in favour of Tamil pada-s. also and make a mixture of both, will it The meaning of the song should be con- We ask if this led the cognoscenti to feel -^ really work out? It is not right for stu- veyed properly. Yes, those who dance that his disciples' programmes had dents to say I will do this and I will do must know to sing. They must teach in become less attractive. that also." such a way that they develop in the stu- "Absolutely not," he says, "Instead dents a sound knowledge of music We ask Ramiah Pillai what are the they could understand and appreciate the within a space of five or six years. I have items better. A lot of Tamil speaking changes or innovations he introduced kept the musicians with me at home, people started to understand what the through his teaching and conducting. He instructed them to sing each song as it dances were all about. As far as I was responds at length. should be sung and then made them sing for recitals. concerned, I received several honours for "I have certainly not given up any- this step taken by me." thing that is traditional. I have only built "Do not know how it was in the We want to know whether he started on them further. olden days? Flute was the main accom- to teach Tamil songs only because others "As a result of my studies, I felt paniment to the concert. [Earlier it was like TKC and Kalki prodded him or improvements were possible. I found the mukhaveena]. Somehow the clario- whether he himself felt the need for this that some aspects of earlier dance which net came also to be included. It is an change. Ramiah Pillai doesn't hesitate to (Continued on page 44) sivam saw the programme and highly praised this item. I felt very happy about it." Ramiah Pillai's experiment and its deemed success notwithstanding, we are not convinced that Tyagaraja's kriti-s are suited for dance. For it is a long- accepted axiom only those songs which are laden with deep raga-bhava, which are slow-paced, which have few words and not too many sangati-s are suited for dance. Tyagaraja's kriti-s were com- posed for singing only. When abhinaya is done for the pallavi of Sadinchane, it appears disjointed. We turn to another subject and solicit Ramiah Pillai's opinion on whether, these days, there is not a tendency to make a drama of a padam and introduce needless story lines, thus undermining the sophistication and delicate expression of sanchari-s. Ramiah Pillai admits that in With Ravi A mala & Uda_ • Shankar. A mala learnt a couple of items from Pillai a way this is true and deplores it. answer. yanam and Arunachala Kavi's Rama "They do all sorts of things without "If there is merit in what others sug- Nataka compositions. knowing what is meant by sanchari gest, shouldn't we accept it? My reper- "But that didn't mean that I ignored bhava. Properly, it is to delineate a sub- toire included Manavi che kona rada. Telugu altogether. A dance-worthy song, ject matter through a number of varia- Sivan translated it into Tamil as Karunai whatever may be the language, if done tions. But now they take up a story and seidhidalahadha and it was good. Later with imagination will turn out to be it becomes excessive. Maybe they don't when Anandhi and Radha danced to the good. I have taught abhinaya even for think it is drama, but they want to excel line 'Tiru maada Mayilai nagaril tigaz- Tyagaraja's kriti-s. Even a Pancharatna in sanchari and indulge in it. Even nectar hum Kapaleesa' at the Mylai Sangeetha kriti I have conducted as a varnam. I was in excess is lethal. Sabha conducted by C.V. Narasimhan of motivated to do it since Tyagaraja has "When you depict Valli kanavan [Val- the Indian Civil Service, it was appro- composed it as swara-sahitya in the var- li's husband], you may introduce ges- priate to the place and occasion. That nam pattern. It came out quite credit- tures to show how Valli and Murugan and the fact that the audience could under- ably. But it is not sufficient if I create it saw each other. You should not start the stand the words were the reasons for the out of my imagination. Those who dance story right from the scene where Valli is appreciation it received on that day. it should also do it with feeling. Follow- born to a deer. You must ponder whether Tirupugazh Mani T.M. Krishnaswamy ing me Samraj also teaches the varnam a scene should be done long or short and Iyer offered very high praise. Even I was based on the Pancharatna kriti to his do it accordingly. That is where the surprised. After this I taught my students students. Jayanthi Rajagopal performed teacher's skill is seen. songs from Tevaram and Kamba Rama- it at a recital in Coimbatore. MS & Sada- "In the past there were people who could appreciate both dance and music. Not that there aren't any today, but there were select audiences then. They could understand each aspect and praise. it. We could therefore do abhinaya elabo- rately, taking a line from a song. For example :' Yera dani joochi yendhendhu tala chevu', which means : 'Hey you, why do you look at her and indulge in all sorts of wild fancies? It is not right'

He starts singing in Devagandhari : 'Oorake adhi pakkaku rammante vachu- na'. His voice is feeble, yet it is obvious that he is enjoying the song. He stops abruptly and picks up the explanation. "The Gopi tells Krishna : That girl Presiding over conference of nattuvanars belongs to another household You beckon her with signs. Is it right ? This there. I just mentioned what has been may be shown through different types of happening, that is all. When foreigners gestures. Is it right to call her by such come to learn dance they put in a lot of signs ? may be one. Whatever you have effort. But their facial features are diffe- in mind is wrong, if you ask me is rent. Isn't bhava important for Bharata- another way of putting it. Here you may natyam ? I think that needs a special depict what goes through Krishna's face-cut. mind : What would be its outcome ? You may show wonder. / am worried about "We must feel happy about more what all these would lead to may be number of people learning the art. But I another sentiment. Thus it was custo- must tell the truth. Lot of people learn to mary to elaborate on the theme imagina- dance out of fancy. And they learn from tively. A padam would last an hour. The all and sundry. Hence the quality is dil- musicians would also improvise. The uted. Perhaps four out of a hundred audience would sit patiently, watching come out well-trained. We have to with appreciation. The recital would last derive satisfaction from that. But some- many hours. times good dancers give up the art. That is a very sad thing. Very sad indeed. "Apart from what has been taught by "I welcome anyone teaching what she our elders, we must also teach from our learnt from her guru. It is sufficient if one imagination to students who are capable. teaches faithfully what one has learnt in We must also train successors. Otherwise the proper manner. Then the art will the art will vanish. I have been doing survive." both." We ask him to comment on the Ramiah Pillai has not only helped change in dance since the days of Sadir quite a few youngsters to learn dance but executed by the devadasis. has given training to many in dance music and nattuvangam also. Two of his He says : disciples, Gopalakrishnan and Sarasa, "Dancers who dedicated themselves used to sing for the recitals. Both of them to the art lived then. Such people are were very young at that time. It was there now also. There were those then pleasing to listen to them and their voices who took it up merely to earn a living. used to blend well. Not only those who Today also there are dancers who do the learnt dance from him but also those same thing, no ? who were singing for the rehearsals and performances by his disciples, later on "In those days thin sarees used to be made a name for themselves as teachers. worn in 'kaccham' style, tucked between My students are there in Calcutta too. Gopalakrishnan who was talented and the legs. The performers used to dance Our people who live abroad come here earned a good reputation as a dance by gas light and petromax light. At wed- to learn. There is this student Shobana. teacher died young. S.K. Rajarathnam dings and in the temples the recital She is quite well-known in London. and K. J. Sarasa have many students. But would last not less than four hours. The Samraj goes to conduct her performan- Ramiah Pillai doesn't talk about them. performance would be at a sedate pace ces. There is another student over there, Probably he nurses a grievance because so that the expressions came out promi- Radhika. Both teach there. A month they left him. nently. There would be no set pro- before the arangetram they send their gramme. The nattuvanar would bid the Hemamalini Ami is running a school students here. To an extent they undergo dancer to perform whatever he fancied in Hyderabad. Samraj conducts the some corrections, have their costumes and she would. There would be requests arangetrams of her students. Hema, who stitched and get back to London for the from the audiences also. Dancing would learnt music from Mayavaram Krishna arangetram. Many girls have come to our involve a lot of exertion on the part of Iyer, herself sings. "I shall accept if school from Sri Lanka. Bharatanatyam is the dancer. They would be strong and knowledgeable people teach," says very popular all over the world. Nearly healthy. Do plenty of exercise to keep Ramiah Pillai. "I am, of course, proud of 30 of my students who have migrated to themselves fit. They would dance every- my disciples. They have spread the Vaz- the West teach dance. They run schools. day and not get tired. Now you see huvoor bani. Many of those taking up Their students also come a month before dancers retreating to the wings just after this bani visit me. If there are mistakes I the arangetram for the final polishing." performing two or three items. It was not correct them. They do the old items in like that before. They would go in only front of me. They learn new items. Even He is genuinely happy at the ripple after completing five or six items. Even if now they come. effect of his teaching. But, as if he is able the varnam lasted two hours, they would "Komala Varadan, Kanaka and others to read our minds as we wonder whether dance non-stop and then only go in for started learning from a very young age by merely going abroad the dance could coffee. be considered good, he adds : and learnt for seven to eight years. They "It is undeniably true that the art of are in Delhi and have earned a good "I don't mean to say that it is some- dance has improved in many respects name. They teach as well as perform. thing great to dance abroad or to teach since then. Many changes have taken place, mostly for the better." must be given a monthly pension. It was decided that it should be an amount of But from what he tells us, it is clear 50 rupees per month. Then it became 75 that, during the days of Sadir, there were Ramiah Piltai travelled extensively in rupees. In Kalaignar's [Karunanidhi's] those who earned and maintained search of materials suitable for new dance time it became 100 rupees. Under the compositions. He visited numerous temples in respect and admiration for the art as well rule of Puratchi Talaivar [M.G. Rama- the South. He also studied various authori- as those who besmirched it. As there are chandran] it has been increased to 150 tative texts on dance deeply. Based on this today. Vet there was an attempt to put search and research, he composed many new rupees. dances. down dancing as a social evil, along with the devadasi system. We ask him to "I suggested to Kalaignar that a lump According to Professor P. Sambamoorthi, comment. It was Dr. Muthulakshmi sum of 1000 rupees should be given to although these compositions have appeared novel, they have really stayed true to estab- Reddy who led the attack with determi- those who were very poor. He agreed lished tradition and they have served to nation, he notes in his reply. Dr. Reddy and said, / will allocate one lakh rupees. underscore Ramiah Pillai's creative ability to herself belonged to the devadasi tradi- Deserving persons may be paid from the show the old traditions in new light. tion. He continues : "There are people at interest earned He made arrangements In an article paying tribute to Ramiah Pillai all times who go wrong. Such people accordingly. were there before and are there now. when the Tamil Isai Sangam of Madras con- "I have also been a member of the ferred the title of 'Isai Perarignar' on him, Later on, what did they do about women central Sangeet Natak Akademi. At that Sambamoorthi made (he following additional who were acting in dramas ? What was observations : time artists from all fields would come done about women acting in the from all the States to receive the award. * Kuravanji and other dance-dramas cinema ? But dance itself has survived It would be pathetic to see many of drawn from Tamil literature have gained the onslaught. Support for the art revived them, very old and poverty stricken. I beauty because of Ramiah Pillai's choreogra- as some people did propaganda about phic contributions. Furthermore, dances thought, of what use is the award to such the special features of the art. There was which he composed for verses from Tevaram people ? So I brought up a resolution and Divya Prabhandam have become part a new demand. and parcel of the repertoire of his disciples. that they should be given a grant of He has also composed dances commendably "It was a golden age for the art when 10,000 rupees. The committee felt that for the songs of Muthutandavar, Marimutha I began my career as a teacher of dance. the financial position was difficult to give Pillai, Vedanayagam Pillai, Gopalakrishna effect to the resolution. Hence we deci- Bharati, Desigavinayakam Pillai, Oothukadu Artists came from respectable families Venkatasubba Iyer, Papanasam Sivan and which included excellent connoisseurs. ded to give 5000 rupees. But last year it others. The stigma vanished and the art came to was decided that 10,000 rupees would be regarded as divine. Such was the be given to the awardees. I received a * He has, besides, composed entirely on communication saying that the proposal his own a few tillana-s, jatiswaram-s and environment. This was certainly the will Tamil sabdam-s. of God. Since this is an art with good which I made when I was a member was traits, it came to be revered. The artists now being implemented. I felt very * Because of his respect for the purity and also came to be honoured. happy. greatness of the Bharatanatyam art, Ramiah Pillai has, in the selection of the compositions "E. Krishna Iyer contributed much to for teaching to his disciples, preferred those which emphasized the path of devotion. He the renaissance. He did considerable has justifiably earned a national reputation propaganda for Bharatanatyam. He pro- for eschewing vulgar and obscene elements. claimed that he himself danced. I have seen a photo where he is seen dancing on T. Sankaran has pointed out that, as a result of his studies of treatises and temple a pot. He learnt from Madurantakam sculptures, Ramiah Pillai introduced many Jagadamba Amma. He was good in A Master's Humility karana-s and stanga-s newly in the dances he research too. He had a sound knowledge taught his disciples. of the art. He would highlight the good The Indian National Congress used to conduct annually an exhibition and points, but would also point out the art festival on the Congress grounds flaws. He canvassed support for the art in Madras. In connection with this through writing in journals, through event in 1948, it was decided to confer speeches and by encouraging artists. the title of 'Natyakala Chakravarti' on "When the Tamilnadu Eyal Isai Nat- Ramiah Pillai. When he learned about aka Manram was started, it was known it, the master from Vazhuvoor was taken aback. He rejected the idea, as the Sangita Nataka Sangam. E. saying: "Even the Cosmic Dancer of Krishna Iyer was its Secretary. I was a Chidambaram is called only Nata-raja. member of it at that time. Right from the How can I accept the title of Chakra- time it was started I have been its varti which denotes a higher posi- member. I have also served as President. tion?" Respecting his sentiments, the You may ask me what I have achieved organizers changed the title to by continuing there." 'Natyakala Kesari' and he accepted it. He does not wait for us to ask, but goes on. "1 brought about a resolution that artists who are old in age and are poor "Similarly, it was I who introduced a giving importance to monetary benefits I vidwan of Ramanathapuram, has com- resolution that expert artists from various have taught several poor children. I have posed two songs in praise of Ramiah Pil- fields in Tamilnadu should be selected not taken any fees from them. I have lai. The following is their gist: every year and given awards. It was provided them with food and clothing decided that such persons would be and put them up in my house. This is Nataraja Murthy dwells forever besides honoured with a medal and the title of called 'Vidya dhaanam'. Many who Ramiah Pillai, who is revered by men of 'Kala Sikamani'. Later at the sugges- learnt thus are famous today. They are knowledge. Wherever Ramiah goes, it tion of Kalaignar, the title was changed quite well off. I feel supremely satisfied shall be prosperous with the blessings of goddess LakshmL to 'Kalaimamani'. when I see that. Some of them still have guru bhakti and hold me in high regard. These are what I consider as my Some don't. The world is after all like AN OLD STUDENT most important services in my life time. that." Translated from Tamil by Mind you, either for my school or for Sujatha Vijayaraghavan. myself I have not received any grant. Not Mahadeva Bharati, the samastana [Second part of a two-part article]

A Tradition Carried Forward: Continuity As Well As Change

t has always been like that. his successor if he felt a change or He agrees that there is a pro- mm I When one generation passes the innovation introduced by the latter blem but says that even youngsters reins on to the next, the handed- strained the bani, and in general innocent of understanding can be down tradition is carried forward making the benefit of his expe- taught to do abhinaya adequately. but subject to modifications, addi- rience available. It depends on the effectiveness of tions or deletions. teaching, he adds. However, he Samraj inherited the gaddi when admits in the end, that the young- When Vazhuvoor Ramiah Pillai he was hardly 25 years old. He is a sters cannot be expected to reveal took over the reins from his uncle vigorous 48 now — with a couple the maturity of dancers who have Manicka Nattuvanar, he effected of decades of front-line experience the capacity truly to understand some changes which reflected his behind him. He has already pre- the lyrics. own research findings, percep- pared a successor in Palaniappan. tions, imagination and skills of his son of 23 years. The youngster Samraj prides himself on his innovation. He resurrected certain presently assists him in teaching ability to teach effectively without aspects of dance which had been and has started conducting recitals. having to give a demonstration discarded by prior generations for He will take full-charge one day — except rarely. There was an occa- one reason or another. He reintro- and continue the tradition. sion in London, he recalls, when duced some disused teermanam-s he showed how he did this and and brought back the karana-s Change goes with continuity. there was much appreciation. In He rejects the implication of the criti- into vogue. He introduced some Tradition, in order to survive, his view, an instructor should be cism cited earlier and asserts that ideas of his own too : adavu-s per- must make room for the creativity able to give a dance student verbal performers can be trained to exe- formed in the sitting and half- of its new handlers and also instructions in a way the latter cute these adavujati-s effectively. sitting postures, sculpturesque respond to the dynamics of chang- understands them and then, as the Dance students today are like poses, etc. He started using kriti-s ing environment in order to retain student tries to follow, make glowing embers which can be for dance, e.g. Tyagaraja's Sadhin- its relevance. The trick, for its cus- necessary corrections. Judging by fanned to flame quickly, he con- chane. He choreographed new todians, is to accomodate the what we see on stage where many tinues. They are quick on the dances, especially to songs in changes while yet protecting the performers seek to project one uptake. Implicitly he rejects the Tamil, using Andal pasurara-s, central core of the tradition. bhava or another but not seldom frequently-voiced criticism that Swati Tiranal's compositions for end up offering a caricature of it, gurus today rush their students to dance and Bharati's poems. Samraj, too, has introduced we speculate aloud if students make their formal debuts—or Whether all these re-introductions, some changes and innovations. He shouldn't be using mirrors for allow themselves to be persuaded changes and innovations consti- feels they are for the better, learning and correcting mistakes. to agree to premature debuts—by tuted ' improvements' is a subject although not everyone may agree Samraj smiles and then explains saying that, whereas it used to take on which there may be differences with this self-assessment. the comment to Ramiah Pillai who four or five years in the old days of opinion but, by his own assess- hadn't heard it properly. Ramiah to take a student from the basics to ment, he did all these while yet Samraj is, of course, quite proud PiHai also smiles. staying within the broad contours of his inheritance. The Vazhuvoor the arangetram stage, it now took of the inherited Vazhuvoor tradi- bani, he says, is a vibrant synthesis only about two years. Apparently of 'attain' (natya) and abhinaya, We ask whether Samraj has not the average student is that smart. tion or bani. [SRUTI carried a stepped up the speed of adavu- detailed discussion of the Vazhu- "unlike the PandanaUur style "Of course," adds he, "there are which emphasises the former and jati-s? There are critics who feel never-do-well students too." voor bani in Issue 14 published in this has gone too far, so that many December 1984]. the Kanchipuram tradition which lays stress on the latter." dancers And it difficult to project The significance of what he the Vazhuvoor bani's grace while asserts is all the more noteworthy Ramiah Pillai virtually retired We ask : Isn't it true, however, executing them. Samraj explains considering that the typical dance from full-time teaching and con- that very few dancers are good in that what he has done is to cho- student today is able to devote ducting in the early 1960's and, both aspects? Can little girls and reograph new jati korvai-s which, only one hour a day to taking les- from about 1965 onwards, Samraj teenagers, who are hardly able to while yet retaining the kalaprama- sons and practising under the has been occupying the gaddi Pil- understand the deeper meaning of nam or tempo of the earlier jati-s, guru's guidance. And that too not lai has, however, not completely the lyrics of dance compositions, require changes in the adavu-s. everyday of the week. Perhaps the withdrawn ; he has stayed on as especially those that deal with The net result is an impression of better dancers did work more an emeritus professor, giving gui- sringara, be expected to do abhi- increased speed. There is more assiduously and practised for seve- dance and suggestions, questioning naya well? viruviruppu, but not greater speed. ral hours a day. Students were in training the students, they are my hands and fondle him, feed him she was picking up a heavy object not involved in the recital, can't milk and lull him to sleep—offers from the floor, with great effort, really be," he explains. "So, they an opportunity to choreograph a and was hurling it at the pitcher. I just keep time mechanically. They sanchari of this type. I introduced told her that won't do, that what are no better than machines that an upakatha — a side story — of was needed to make a little hole in play tapes back because, if there is Krishna's leelas or exploits. Did the pitcher was just a little stone. a lack of synchronization between anyone else do this before me? I She went up to my father and jati recitation and the performance don't think so. Anyhow, when I complained .... My point is, I do of the dancer, it is the dancer who presented this sanchari some 15 or welcome suggestions from my stu- has to adjust. Or else, they will 16 years ago, many said it should't dents but I can't accept them if have to start the sequence all over be done. There was opposition to they are not right. After all, the again. In these circumstances, it is it. Now, of course, everybody does guru is responsible for what his the mridangam player to whom a this kind of thing." disciple does on stage." dancer looks for guidance. The mridanga vidwans are good We return to the subject of his "Tyagaraja's Sadliinchane is accomplishments again. "Oh. yes", although I can't say they are equal another song to which this type of to those of the past who showed he remembers suddenly. "I can sanchari has been composed," he take credit for teaching different greater finesse in playing the drum adds. "For the line 'Devaki Vasu- for the dance.-' disciples to interpret the same deva kula'. By the way, there were compositions in different ways. objections to this too, for using a My father didn't do it, I started He now reverts to the subject of kriti for a dance. My point, how- Jati-s. doing this. This is not a case ever, is that it is all right to take up merely of making allowances for this kriti, or any other for that the different endowments of differ- "The jati-s of the Vazhuvoor matter, for a dance so long as the school are very intricate,"'he says, ent students. What I have sought nattuvanar and the dancer execute to do fa deliberately to show how a explaining that this has always it with bhakti. You know, MS been that way. "While the nattu- single composition can be inter- [Subbulakshmi] saw this item per- preted in many different ways. I vanars of other schools"—he in formed some three or four years fact says there are really only two think the results have been very ago and later told us that she was satisfactory." bani-s, those of Vazhuvoor and struck with wonder by it" Pandanallur—"recite the jati-s samam to samam, we recite them Samraj now tells us about the We suggest it should be very from samam to edam. Try asking dances he has choreographed for interesting to view, in one go, the others to do this. Why, even those the compositions of Oothakadu different interpretations projected who sit in front rows at our per- Venkatasubba Iyer and Periasami on a video screen. formances and try keeping count Thooran. "It was I who first cho- give up after a while. In 1983, I Samraj isn't finished with his Jayanthi Rajagopal reographed the dance for Oothu- think that was the year. I con- kadu's Ananda Naiana Ganapaii comments on Chitra yet. Presently forced to do so by great nattu- ducted a recital of Jayanthi Raja- bhavaye" he informs, with a note this has to do with the way she vanars in the old. old days. gopal at the Kapaleeswarar Tem- of anger replacing pride as he was projected as the standard- ple in Mylapore, here in Madras. adds : "But Chitra [VisweswaranJ bearer of the Vazhuvoor bani in Whether a student turns out to Haridwaramangalam A.K. Palani- one segment of the series on be a really accomplished dancer has been claiming credit for it. It vel provided rhythm accompani- was the last dance she learnt from parampara in dance telecast depends not only on her learning ment on the tavil. I've a video recently. "First, the narrator gave capacity and dedication but also me. Soon as she completed learn- recording of it. It shows how the ing it, she stopped learning from high praise to my father." he on the guru, Samraj continues. hands of even knowledgeable per- recounts. "Then the film showed Every guru must be getting good, sons in the audience froze in me conducting my disciple Jayan- bad and indifferent students but midair as they found it difficult to thi Rajagopal in a dance. Then, "By the way, it was I who only some gurus succeed in pro- keep track of the tala structure." abruptly, the scene cut to Chitra ducing outstanding performers, taught Chitra mostly, not my who, by remaining silent on a while others chum out mediocri- father." he continues. "But she point made by the commentator, ties. Quite intricate this, it seems, wouldn't acknowledge it. The gave rise to the impression that she though apparently it doesn't affect same is the case with L. Vijaya- and her school were the torch- A note of regret creeps into his the dance itself. lakshmi. It is like that with many." bearers of the Vazhuvoor bani. I He seems hurt. As we understand voice as he says this. While only a We ask : What are his contribu- think she manouvred the whole small percentage of learners can be it, he does most or all of the teach- thing." tions to the Vazhuvoor tradition? ing. his more famous father fa expected to be classy, he observes, He now lists them. The first of It is a pity that many who show given all the credit by the students course is the choreographing of This is his interpretation of great potential drop out along the (presumably for selfish reasons) new adavujati-s which give the the telecast. "But I am happy to way, for one reason or other. and he, the son, is treated like he is impression of speeding up the only a ghost. Father, Son and the have many of my father's disciples dance. This must be an improve- and my own keeping the Vazhu- He asserts that the situation is Ghost — that's the way it was, ment inasmuch as an old criticism voor bani upfronl." he says on a made worse by 'body-snatchers', though it is no longer so. "It's has been that while the Vazhuvoor note of reconciliation. gurus who entice good students human nature, I suppose," he nattuvanars recited fast jati-s, the sighs. away from a competent master by dancers didn't execute them sylla- We ask him about his disciples— offering all kinds of inducements. ble for syllable, with the result those who explicitly acknowledged Many promising students have there was an apparent discrepancy Remembering a question we had him as the master. Can he name ended up in blind alleys by suc- between the tempos maintained by asked about his attitude to disci- those who have come up well? cumbing to such blandishments, the two. ples giving their own ideas on how he adds. a dance may be executed, he now He hesitates a bit and then men- What else? Sanchari-s, yes. He talks about it. using an incident tions Jayanthi Rajagopal, Jayan- He also voices regret at the has pioneered the practice of involving Chitra as an illustration. thasri Rajaram, Radha Venkatra- practice of various dancers of interspercing discrete stories in the "It was when I was teaching her man. Sathya and Sobhana Jaisingh enlisting the services of ad hoc sanchari-s. he claims. "In Papana- Nee inda mayam I was show- (who fa in London.! conductors for their recitals. There sam Sivan's Enna lavam seidanai, ing her what to do to depict are more thattuvanars— those the line 'kaiyil yendi, seeratti, Krishna making a hole in the milk They too carry the flag for the who just keep time—than nattu- palooti, talatta, enna tavam pitcher hanging above. She said Vazhuvoor tradition, as do—as vanars today, he says. "Since these seidanai' — what good deeds did I she had an idea how to do it. did — his father's famous disciples. conductors have not been involved do to deserve to take [Krishna] in Demonstrating it, she made believe N. PATTABHI RAMAN