Responses to
Vidwan Guru
Muthukumaran Pillai:
Stalwart
and saint of Bharatanatyam
- Ashish Mohan Khokar, Bangalore
e-mail: khokar1960@gmail.com
Based on archival materials from
The Mohan Khokar Dance Collection
Amongst his first pupils at Kalakshetra was
Radha Sriram. Dandayudhapani Pillai, Chockalingam Pillai, Ramaiah
Pillai, Subbaraya Pillai, Kittapa and Ellappa were all later star gurus
who groomed, trained and made the next generation of dancers like
Vyjayanthimala, Padma Subrahmanyam, Yamini Krishnamurthy, Indrani
Rahman….
Muthukumaran Pillai had a special liking for Ramaiah and taught him choicest items to pass to his students.
(After receiving these responses, the above 2 sentences have been deleted in the article to maintain the correctness of information.)
- Team Narthaki, Nov 28, 2024)
*
In my memory, my grandfather, Vazhuvoor Ramaiah Pillai (Vazhuvoorar) did
have some discussions with Rukmini Devi about Bharatanatyam. Being
older to him, she would call him informally by his first name. While
many senior gurus met casually and exchanged news and information about
their art, my grandfather did not, at any time, work or learn in
Kalakshetra. My father, Guru Vazhuvoor Samraj also had no connection
with Kalakshetra.
- Vazhuvoor Palaniappan (Nov 26, 2024)
Founder-Director, Vazhuvoorar classical Bharathanatya Art Centre, Coimbatore
Son of Vazhuvoor Guru Samraj, Grandson of Vazhuvoor Ramaiah Pillai
*
Recently, I had an opportunity to read the article dated August 30, 2009
in ‘Narthaki’ presented by Mr.Ashish Mohan Khokar on Vidwan Guru
Muthukumaran Pillai titled, ‘Stalwart and saint of Bharatanatyam’.
Firstly as per the article, Vazhuvoor Ramaiah Pillai was never trained
by Pandanallur Meenakshisundaram Pillai or Kattumannarkoil Muthukumara
Pillai and there was absolutely no necessity for this since Guru Ramaiah
Pillai was one of the direct inheritors of the ancient Vazhuvoor baani
or tradition handed over to the succeeding generations by their
ancestors for several centuries now. Even though Guru Ramaiah Pillai had
a lot of respect and regard for these Gurus, there was no reason for
getting benefited by their association rather than being blessed by them
which the former treasured always.
Vazhuvoor baani is the most ancient baani and is envisaged with its
distinct characteristics and much acclaimed artistic features. The list
of their accomplished ancestors carrying this tradition for centuries
now include Nagappa Nattuvanar, Veerappa Nattuvanar, Pithu Nattuvanar,
Samu Nattuvanar, Manikka Nattuvanar, Ramaiah Pillai, Samraj and so on.
Vazhuvoor Ramaiah Pillai came to Madras in 1930’s and was choreographing
in movies when Rukmini Arundale was introduced to Bharatanatyam by E.
Krishna Iyer. Hence the message in this article that Guru Ramaiah Pillai
learned from Kalakshetra is a mere blunder. However, Guru Vazhuvoor
Ramaiah Pillai was requested by Rukmini Arundale to teach there which
was declined by the master owing to his busy schedules. Guru Ramaiah
Pillai had the most number of meritorious students under his baton that
included Anandhi-Radha, Kamala Laxman, Hemamalini Arni, Vyjayanthimala,
Kanaka Srinivasan, Komala Varadhan, Padma Subrahmanyam, Chitra
Visweswaran and so on and virtually ruled over the dance world during
his times.
While narrating history, it is important for anybody to invest time and
effort on research and at any cost never attempt to manipulate the facts
according to personal preferences and privileges. In this article while
tracing the history of the doyen Guru Kattumannarkoil Muthukumara
Pillai, I am unable to comprehend as to why the author has misled the
readers thru his personal fantasies on the history of yet another most
revered Guru Vazhuvoor Ramaiah Pillai.
It is an established fact that Kamala Laxman had her initial stint of
dance career under Guru Muthukumara Pillai who owing to his old age was
unable to continue teaching her and recommended to continue her training
under the baton of Ramaiah Pillai. However, Muthukumara Pillai in no
way interfered or suggested anything and it was absolutely not necessary
for him to involve himself on the teaching part of Guru Ramaiah Pillai
as mentioned in this article. Exactly to quote here, Ashish Mohan Khokar
writes, “Muthukumaran Pillai had a special liking for Ramaiah and
taught him choicest items to pass to his students.” Now can Ashish Mohan
Khokar elaborate on what exactly was taught to Guru Ramaiah Pillai to
pass it on to Baby Kamala and can he further enlighten us as to who were
the other Gurus and what they taught Guru Ramaiah Pillai to teach his
other star disciples Anandhi-Radha, Kamala Laxman, Hemamalini Arni,
Vyjayanthimala, Kanaka Srinivasan, Komala Varadhan, Padma Subrahmanyam,
Chitra Visweswaran and so on?
The entire world is aware that Vazhuvoor Ramaiah Pillai belonged to a
hereditary artistic tradition with accomplished hierarchy of Gurus
teaching from one generation to another in the name of Vazhuvoor baani
for several centuries now and it was absolutely not necessary for
anybody from outside to teach them whatsoever. Such write-ups only go to
prove that people like Ashish Mohan Khokar are not interested in the
facts behind our ancient dance tradition and the several baanis that
existed since time unknown. Even if at all they turn their head towards
this, they are interested in only those baanis which have become extinct
without any successors. The ancient Vazhuvoor baani still remains
carried forward by its Gurus and disciples.
- Vazhuvoor Guru Saravanan (Nov 25, 2024) |
*
Sept 1, 2009
My good friend Ashish Mohan Khokar's
write-up on Kattumannarkoil Muthukumaran Pillai is quite interesting revealing
many facets of the artiste's life. The bani of Kattumannarkoil style is
also described well. I understand that he did not approve of the commonly-followed
saushtava sthanaka with a slight forward bent of the torso. He wanted the
dancer to stand erect. I have heard that if a student did not follow this
stance 'thatha' would strike his or her back with the tattukkazhi to make
it straight! Ashish may be able to throw some light on the veracity of
this statement.
- A Seshan, Mumbai |
*
Sept 5, 2009
Sri Seshan's story seems interesting
and part of "urban legends" that so pervade reconstruction of histories
(of gurus and dance legends). While both the guru's senior most disciples
(Ram Gopal and Rukmini Devi Arundale) are not around to verify, I checked
again with my mother, Guru MK Saroja, Tatha's prime disciple, and she was
appalled by even the idea of the guru beating anyone with the tattukkazhi
for not maintaining the desired postures for correct lines
and deliveries. She felt such stories may garnish dance tales but at times
also tarnish facts. History is made of either recorded evidence or literary
or archaeological or numismatic sources. In case of recent dance history,
it is easy to mix names and places and stories and facts. I'm glad narthaki
is visited by all ages and a senior like Sri Seshan reads my column and
reverts with interesting points. Many thanks for your sharing. Discussion,
after all, is the basis of our democracy!
- Ashish Mohan Khokar
|
*
Sept 6, 2009
I thank Ashish for taking time off
his busy schedule to verify the statement made by me. Documentation of
facts about artistes was neglected for a long time in our country leading
to the generation of gossips and unverified incidents in their lives. Dance
historians like Ashish, magazines like Sruti and websites like narthaki.com,
kanakasabha.com, kutcheribuzz.com,
carnatica.com, etc., help in rectifying the situation. I also did not believe
in the story about thatha knowing the kindly image that he projected.
I would only like to bother Ashish
to confirm that the Kattumannarkoil bani believes in keeping the torso
in an erect position in soushtava sthanaka and not bent, as is observed
in some dancers of other schools. Also does it discourage side-glance (Saachi
Drushti), as stated by one dancer in a TV interview a few years ago?
What impressed me in the pictures
of the late maestro was his wiry physical frame. He must have led a disciplined
life and done yogic exercises to maintain the body in such a strong condition.
It recalled to my mind the image of Guru Kelucharan Mohapatra, the Olympian
of Odissi. I attended his performance at the Shanmukhananda Sabha in Mumbai
a few years ago when he was in his late seventies. Besides his well-acknowledged
artistry his strong physical presence was felt by the audience. In particular,
I was amazed by the ease with which he could get off from a seated position
like dancers young enough to be his granddaughters without placing his
palms on the floor for support. This is something I cannot do although
younger than him! It is time dancers of both genders learn the importance
of keeping the body continuously in a trim condition for a long and successful
innings in their professional career. Now they have role models in C V
Chandrasekhar and Alarmel Valli.
- A Seshan |
*
Sept 6, 2009
Sri Seshan is very kind and correct
in his observations. Yes, the great guru Thatha kept a healthy body in
which resided a very creative, healthy mind. This is also partly because
of his spiritual regimen and observance of brahmacharya vrata (celibacy)
from as early an age as 27 and which, he maintained till his end at 86
years of age. He ate frugally, walked miles and did japa-puja for nearly
4 hours from 3am to 7am. He kept this regimen right till his end years.
And photos just cannot lie (though in this digitalised age they can be
altered!) but the great guru's frame was taut and tight. Mrinalini amma
has said in a recorded interview to me, that she could, as a youngster,
swing by his outstretched arms, so strong was he! His model should certainly
inspire modern day gurus, teachers and dancers and Seshan-ji is right that
very few like the great Kelubabu, Chandra sir and Valli-ma follow that
regimen and it shows! In their art, body and dance.
As to two technical points, the guru
is on record (in Mohan Khokar's booklet published in 1964 by SNA), that
the guru did not see dance in compartments and thus while the torso was
erect to maintain correctness of thigh muscles he did not curtail the usage
of Sacchi Drishti where warranted. It should not look un-natural or un-pleasing
was his mool-mantra. Most of his principal disciples do follow yatho hasta
tatho drishti principle. Any film on them proves that. (The bent torso
version according to available direct sources is the easy way out! Try
it! By doing so, while the body weight is distributed and stress reduced
from spine, it also leads to less flexion of upper legs. I've done and
seen it practically when I learnt from my guru Swarna Saraswati and her
student Shanta Raghvan at Bharatiya Vidya Bhavan in Delhi). I think, the
guru was more keen in Bharatanatyam as a whole, and saw it truly as a flowing
river and not a pool or pond. Unlike some later generations (of gurus and
dancers), who spoke more of "created banis" to perhaps look different or
score trivial points over whose guru was better or greater than theirs,
Thatha and his ilk just carried on with their mission of promotion of the
form, rather than worry about what they created, banis or otherwise. For
him and his generation of gurus, who had to reinstate and revive the art
and teach it to urban students, the art form was more important than even
themselves. Art is greater than all of us. And real gurus always teach
that. I wish I had met the guru myself and learnt more about Sri Seshan's
questions directly from the Master, but I was just born in 1960 when the
great guru passed away the same year.
- Ashish Mohan Khokar |
*
Sept 7, 2009
Thank you once again, Ashish, for
the wealth of information you have provided on the late maestro and his
bani that is not easily available elsewhere. Thanks also to narthaki.com
for providing a forum to share such ideas.
- A Seshan |
|
