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This is the second article in a series of articles by Lakshmi Viswanathan focusing on the nattuvanars of a bygone era. Sections of this article were previously published in July 2020. In this article, Jeetendra Hirschfeld has provided invaluable input and editing, enhancing its quality and depth. Image of Pandanainallur C. Subbaraya Pillai courtesy of Sathir Dance Art Trust © 1989.
Chennai, June 2022 (revised in June 2024)
By ‘Nritya Kalanidhi’ Guru Lakshmi Viswanathan
After the passing of my nattuvanar dance master, Kanjivaram Ellappa, in 1974, I felt a deep sense of loss. I did not seek out another dance master but instead took the help of various gurus, teachers, nattuvangam artists, and others. Whenever I interacted with the old-time Nattuvanars, I sensed an urgency to document their work and identities, feeling that their time was limited. I submitted proposals but could not secure support from arts institutions. Finally, in 1996, the Sangeet Natak Akademi agreed, but they wanted me to document only two personalities: Pandanainallur C. Subbaraya Pillai and dancer Kumbakonam Bhanumathi.
Because I was well-known as Ellappa’s disciple, the nattuvanar gurus treated me with affection and friendliness. Guru Subbaraya was conducting his school at home in his village, and he seemed glad to do a documentary with me in charge. My approach was simple. I wanted to cover three aspects: first, his lineage; second, the basic technique of his style and his involvement in the process of conducting. Subbaraya did not want a recording of a stage performance or a big orchestra. The basics suited both his idea and mine. He also chose two of his current students, Anurupa Arvind and Sangita Balaji, to demonstrate. It was left to him, knowing that the Nattuvanars had a mind of their own and did not like to be told what to do. I merely acted as the interviewer and interlocutor to highlight some obvious technical details that dancers could recognise. Lastly, I wanted to give a glimpse of Pandanainallur village, the Pasupatiswarar temple, the devotion of the families to the deity, their offering of a sacred hymn, and the home of Subbaraya with its typical atmosphere and ambience of a bygone era.
In my interview, it becomes clear how the intricate family links and close marriage ties among the Nattuvanar families were influenced in the 20th century by the apex figure, ‘Nātya Kalānidhi’ Pandanainallur Meenakshisundaram (1869-1954), who was a godfather to many of them. His expertise in music, dance, musical instruments, and languages spread throughout his extended family. This influence shaped Subbaraya, making him a chip off the old block. “Thaata”, or grandfather Meenakshisundaram, was a fountain from which they all drew, assimilating what they could.
Subbarayya explained to me the teaching methods of Meenakshisundaram. While learning, his grandfather would lay down all the necessary fundamentals of the technique. At the beginning of training, the focus was on gaining steadiness and firmness. Until Layasuddham is established, students must perform the steps firmly. It should appear firm to spectators, but each step should fall in place with ease and grace, with correct body posture. Some students, as they grow, understand this balance of firmness and grace, while others only maintain the firmness.
Generally, the method of teaching by nattuvanars never involved demonstration. According to Subbarayya, if the teacher dances, he will concentrate on his dancing rather than focusing entirely on the student. The teacher must sit and observe every detail of the Adavu directly in front of him to ensure the correctness of the movements. This method also prevented uniformity or copying of the teacher. He further explained that the transmission of dance to students can only be mastered by vidwans from musical families. Without an understanding of music, teaching is limited and cannot be creative. Subbarrayya explained: “To set the dance for a varnam, the swaras would first be sung while indicating suitable adavus with hand gestures. Whenever there was a new idea, we paused and synchronised it with the swara. We would seldom repeat the same idea in a composition. It was important to learn by heart from thatha, and we were not allowed to note anything down. This is why even today, he can recall easily with just a given cue”.
Over the years, I have visited Pandanainallur on numerous occasions, primarily to explore the magnificent Pasupatiswarar and Adikesava Perumal temples. On two occasions, I made an extended visit to interview Pandanainallur Jayalakshmi (1940-2017), a star disciple of Meenakshisundaram, who composed countless pieces for her, knowing that she could do justice to his finest creations. The most well-known are the pada varnams “sarasudu” (raga vachaspati, adi) and “inta kōpamēlarā” (todi, adi). Eventually, Jayalakshmi caught the attention of Maharajah Shanmuga Rajeswara Sethupathi of Ramnad, a lineage known for its patronage of musicians and dancers. Enthralled by Jayalakshmi’s dance and beauty, he proposed marriage to her.
In the 1950s, I had the privilege of witnessing Jayalakshmi dance for the first time in the splendour of her home. Occasionally, she graciously invited a select group of friends to watch her dance. My memory of attending one of these performances is still vivid. My sister, Sujaya Menon, and I accompanied my mother, Alamelu Viswanathan. Upon entering her residence on Cenotaph Road, upstairs in a spacious hall, Jayalakshmi exuded grace. I distinctly remember Jayalakshmi dancing the Tanjore Quartet varnam “manavi cekonarādā” of Ponnayya in the raga Sankarabharanam.
Subbaraya explained what set Jayalakshmi apart from her successors and even the Renaissance dancers. It was an innate temperament she possessed. Subbaraya explained that Jayalakshmi had a unique way of depicting moham (desire, love) through a reflex movement of her upper torso, perfectly synchronised with hand gestures and facial expressions. This simple yet eloquent movement embodied shringara (romantic love) with artistic authenticity. Despite Rukmini Devi’s attempts to imitate this dance movement, she confided in Subbaraya that she could never replicate it precisely as Jayalakshmi did.
In my last conversation, Subbaraya, who upheld the esteemed name of Pandanainallur and its significant role in Natyam for many years in a humble manner, without seeking any commercial gain, uttered these heartfelt words: ‘I am the last in this parampara,’ leaving me deeply moved.
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‘Nritya Kalanidhi, Guru Lakshmi Vishwanathan (1944-2023)
I am deeply grateful for the invaluable interactions I have had over many decades with numerous hereditary dancers, nattuvanars, and musicians, who have greatly enriched my understanding of their art form. Among the devadasis and musicians, I must express my appreciation for individuals such as Mylapore Gowri Ammal (1892-1970), Thanjavur Brinda (1912-1996), Thanjavur Muktha (1914-2007), Thiruvidaimarudur A. Rajalakshmi (1917-2003), Tanjore Balasaraswati (1918-1984), Kumbakonam Bhanumathi (1922-2006), Tiruvarur P. R. Thilagam (b. 1926), Pandanallur Jayalakshmi (1930-2017), Tiruvidaimarudur Ammani Ammal, and others, whose names are known to me.
Similarly, I extend my gratitude to the exceptional nattuvanars and musicians, including Pandanallur Chockalingam (1893-1968), Kutralam Ganeshan (1906-1979), T. Sankaran (1906-2000), Kanchipuram Ellappa (1908-1974), Vazhuvoor Ramaiah (1910-1991), Thanjavur K. P. Kittappa (1913-1999), Pandanallur C. Subbaraya (1914-2008), Thanjavur K.P. Sivanandam (1917-2003), V. S. Muthuswamy (1921-1992), Pandanallur Swaminatha (1925-2015), Pandanallur Gopalakrishnan (1938-2015), and Thanjavur B. Herambanathan (b. 1942). Their guidance and expertise have been invaluable in deepening my knowledge of this art form.
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“Nattuvanars of a Bygone Era: Pandanainallur C. Subbaraya Pillai”
By Lakshmi Vishwanatan / Inputs and Editing by Jeetendra Hirschfeld
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