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PAPER: 3

Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And Nritta, Different Bani-s, Present Status, Institutions, Artists

Module 22 Researchers, Critics And Scholars Of Bharatanatyam

Other than those who physically taught the art form of

Bharatanatyam, many scholars researched and wrote about it, thus

helping establish it formally. While gurus taught and dancers danced

and popularised the art, it was these few scholars in last 100 years

who made an impact and made the Bharatanatyam art form reach

the world outside through essays, articles, books, films and

documentation. We discuss here a few main ones who are national

and internationally accepted names. There is a whole generation of

youngsters who are trying to understand and advance the dance

form through research. But still, the major focus of anyone who starts

learning dance, remains on performance. We are yet to recognise the

fact that practice and theory of any art, any subject goes hand in

hand. One cannot exist without the other.

Dr. Kapila Vatsyayan / डॉ कपिऱा वात्स्यायन is a leading Indian scholar of classical Indian dance, Indian art and architecture and art

historian. She learnt Kathak and Manipuri and joined the Culture

Department under Education Ministry, Government of India. She

controlled many decisions and patronage systems of the Culture

Department at Shastri Bhawan, Delhi, during the 1970s-80s. She was

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the founding director of the Indira Gandhi National Centre for the

Arts, Delhi. She is the author of several books including Dance

Sculpture in Sarangapani Temple (1982), Traditions of Indian Folk

Dance (1987), Indian Classical Dance (1992), The Square and the

Circle of the Indian Arts (1997), Dance in Indian Painting (2004),

Bharata: The Natyasastra (2006), Classical Indian Dance in Literature

and the Arts (2007), Asian Dance: Multiple Levels (2011), etc.

Prof. Mohan Khokar / प्रो मोहन खोकर was a pioneering scholar, critic, historian and collector. He developed deep insights, sound instincts

and sensitive responses vis-a-vis this haloed cultural heritage of the

country. He acquired authority to discuss in depth and with

conviction, the nuances of any classical dance form – Bharatanatyam,

Kuchipudi, Kathakali, Yakshagana, Odissi, Kathak, Manipuri,

Bhagavatamela, etc. He wrote 5 monumental books Traditions of

Indian Classical Dance, Adavus in Bharatanatyam, Folk Dances,

Splendours of Indian Dance and Uday Shankar. He was the dance

critic for many distinguished papers, Indian and foreign. From 1958-

1960, he collaborated with Dr. Mulk Raj Anand in bringing out Dance

Specials of the Marg magazine. His illustrated note on Indian dances

in the Encyclopaedia Britannica was considered the best contribution

from Asia. He produced two documentaries on Kathakali and

Yakshagana for the University of Rome. Khokar served on the

UNESCO Commissions for Dance. His greatest legacy to posterity is

his priceless collection of archives which many prestigious institutions

like New York Lincoln Centre, Stockholm Dance Museum, and Indira

Gandhi National Centre for the Arts, Encyclopaedia Britannica use as

source material for their various projects. A special section of paper

material in the Collection is the vast amount of correspondence

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between Khokar and innumerable artistes, scholars and gurus of the

dance world. The Mohan Khokar Dance Collection is now taken care

of by his critic-historian son, Ashish Mohan Khokar.

E Krishna Iyer / इ. क्रिष्ण आयर was an Indian lawyer, freedom-fighter, dancer and activist who were responsible for popularizing the dying

art of Bharatanatyam in South India. His involvement with the

Bharatanatyam revival movement began when he joined a theatrical

company called Suguna Vilasa Sabha and learnt Sadir, a sensuous and

less respectful form of Bharatanatyam practised by devadasis.

Krishna Iyer founded the Madras Music Academy and teamed

with Rukmini Devi to save the dance form from dying out. Krishna

Iyer also patronized Carnatic music and wrote as an art critic for

the Indian Express, Dinamani / ददनमणी and Kalki / कल्कक. Krishna Iyer vehemently protested against Muthulakshmi Reddy’s attitude

towards Sadir in a series of letters published in the Madras Mail and

sought to give the dance form a measure of respect by proposing a

resolution at a 1932 meeting of the Madras Music Academy to

rename it as ‘Bharatanatyam.’4 Through his exceptional writing skills

he induced the public to understand the aesthetic value of the dance.

As a good educationist he delivered a series of public lectures

including lecture demonstrations to educate people on the essence

of dance. His book on dance titled Bharatanatyam and Other Dances

of India and one on music titled Personalities in Present Day Music

are his two major works.

G Venkatachalam / जी वेंकटचऱम was an outstanding art critic of the pre-independence era. Born in 1895, Govindaraj Venkatachalam

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started his career as a journalist. He was for a time special art

contributor to New India, a daily newspaper which was being edited

by Dr. Annie Besant. He was also Assistant Editor of two art journals,

Theatre and Roopa-Lekha / रूि-ऱेखा. A regular contributor to various journals in India, America and Japan, he was the author of many well-

known books on Indian life and art like The Mirror of Indian Art,

Modern Indian Painters, Travel Diary of an Art Student, Daughters of

the Dawn, Pen Pictures and Sketches, Unheard Melodies, etc. His

book Dance in India, a rather sketchy and personal take on dancers

and dance forms, served as base material for many, before serious

and in-depth books on dance came after Independence.

With the help of a grant from the Rockefeller Foundation, Ragini Devi

/ रागगणीदेवी wrote Dance Dialects of India, aimed at creating a deeper understanding and appreciation of the Indian dance and its cultural

environment in India. In 1928, Ragini Devi published Nritanjali / न्रिताांजलऱ: An Introduction to Indian Dancing, the first book in English on Indian dance. Dancing in the Family (2001) authored by Sukanya

Rahman is about her mother Indrani Rehman and grandmother

Ragini Devi.

La Meri / ऱा मेरी was an American ethnic dancer, choreographer, teacher, poet, and scholar. She published a number of magazine

articles and books, including The Gesture Language of Hindu

Dance and Spanish Dancing. Usha Venkateswaran has written on Life

and Times of La Meri: Queen of Ethnic Dances.

Dutch dancer Saskia C. Kersenboom wrote Nityasumangali /

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न्रनत्सयसुमांगऱी: Devadasi Tradition in South Asia (1987) about devadasi participation in temple rituals, devadasi repertoire, and rites of

passage, through intense research work. Ram Gopal and Serozh

Dadachanji have together authored Indian Dancing.

When Nala Najan cut down on his dancing, he started to review

performances and wrote many articles with insight. His columns

about the New York dance scene in Sruti and Rasamanjari magazines

were eagerly awaited. He made a video titled Dances of India. “His

language was lucid and honest, descriptive and erudite, always

interesting and never pedantic. He was one of the few dancers who

made the successful switch to dance writing without sounding cynical

or bitter.”5 Nala’s writings were scholarly and he wrote extensive

private research notes.

Dr. V. Raghavan / डॉ. वी. राघवन (1908-1979) was a Sanskrit scholar and musicologist. He took his M.A. in Sanskrit Language and

Literature with Comparative Philology and four schools of Indian

Philosophy under Prof. S. Kuppuswamy Sastri; specialized in Alamkara

and Natya Sastras and Sanskrit Aesthetics and earned his Doctorate

in 1934-1935 from Profs. S. Levi, F.W. Thomas and A.B. Keith; studied

Sanskrit on the traditional lines also and won medals and prizes for

Sanskrit speaking and writing. He authored several books on music

and on aesthetics in Sanskrit literature. He is the author of about 120

works and over 1200 research papers in the fields of Sanskrit and

Indological research. Malavikagnimitra / माऱपवकाल्ननलमत्र Act-II with special reference to Malavika’s Dance (1964-65), South Indian Dance

and Dance-Drama (1964-65), Sri Narayana Tirtha / श्री नारायण तीथथ

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(1965), An Introduction to Indian Poetics (1970), Natyakalai / नाट्यकऱई (Tamizh, 1974), Ramayana Tradition in Asia (1980), Abhinavagupta and his works (1981), Kavya-Nataka-Samgraha / काव्य-नाटक-सांग्रह (2002), Splendours of Indian Dance (2004) etc are some of his many works.6 His monumental work Bhoja’s Srngara

Prakasa / भोज गश्रांगार प्रकाश (1962), a treatise in 36 chapters dealing with both poetics and dramaturgy is the largest known work in

Sanskrit literary criticism and aesthetics. For this work and his

commentary, he won the Sahitya Akademi Award for Sanskrit in

1966. It was later published as volume 53 of the Harvard Oriental

Series in 1998.7

PV Subramaniam alias Subbudu / िी. वी. सुब्रमन्रनअम- सुब्बुडू (1917-2007) helped make dance history. In a career that spanned more

than 50 years, his acerbic wit, fearlessly bold comments and deep

knowledge of music made readers eager to read his views. He always

spoke his mind. Artistes both feared and loved him, the media

idolised him, and readers lapped up every comment of his. As a

performing arts critic, he lived a life akin to a political journalist,

surviving death threats, physical assaults, lawsuits and tempting

bribes with courage and humor. For someone who wielded

tremendous influence in Delhi (because of his weekly column in The

Statesman since 1950) and Chennai’s arts scene (with a range of

magazines and newspapers such as Ananda Vikatan and Indian

Express) thanks to his refined knowledge of Carnatic music and

classical dance forms such as Bharatanatyam, Subbudu made sure his

words and not artistes were remembered in his writings. Magazines

and newspapers made sure they advertised Subbudu’s association

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with them well in advance. Subbudu’s rise on the Indian arts scene

ran parallel to the growth of Indian performing arts in post-

independent India. The main reason for this was the democratisation

of arts. Subbudu has left behind a legacy of words that had the

power to make or mar artistes.8

Dr. B.M. Sundaram / डॉ बी एम ्सुन्दरम is a leading historian of South Indian dance and music. Hailing from a traditional family of musicians

that can be traced back over 40 generations, he has published

extensively on the performance cultures and communities of South

India. His research spans a broad range of methodologies from

manuscript preservation and editing to ethnography. His tireless

commitment to dance history in the Thanjavur region has brought to

light several pathfinding works, including Varna Svara Jati / वणथ ्वर जती, a unique text of devadasi dance compositions edited from manuscripts at the Thanjavur library. He is the author of major books

on cultural history in South India in Tamil including Tala Sangraham

(‘Compendium of rhythmic theory’), Mangala Isai Mannargal (‘The

kings of ritual music’), Marabu Tanda Manikkangal (‘Women who

gave the gift of tradition’), and Marabu Vali Perasarangal (‘The great

hereditary masters of the tradition’), a book on nattuvanars (dance-

masters) that received a major award from the Tamilnadu State

Government. He has authored the only existing biographies of

several prominent musicians of the late nineteenth and early

twentieth century, including Needamangalam Meenakshisundaram

Pillai, Thanjavur Vaidyanatha Iyer and Kanchipuram Naina Pillai. He

has also contributed a large number of scholarly works in English,

including The Advent of Lavani in Thanjavur, The Origin and Evolution

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of Nagasvaram / नाग्वरम, The Origin of Jalatarangam / जऱतरांगम, and a revolutionary essay entitled ‘Towards a genealogy of some

Thanjavur Natyacharyas.’

Shanta Serbjeet Singh / शाांता सरबजीत लसांह is a senior arts columnist and critic, author and cultural activist. She has served, for more than

twenty-five years as columnist, critic and media analyst for The

Hindustan Times, The Economic Times and The Times of India, India’s

most important mainstream dailies, in English language. As elected

Chairperson of APPAN, she has individually organized or helped

organize 8 international symposiums and festivals in several Asian

countries. Her publications include: ‘Indian Dance: The Ultimate

Metaphor,’ ‘The 50th Milestone: A Feminine Critique’ to mark India’s

fiftieth anniversary of Independence. ‘Nanak, The Guru’ and ‘America

and You’ (went into 22 editions) published by the United States

Information Service, India.

Dr. Sunil Kothari / डॉ. सुनीऱ कोठारी is a dance critic, publicist-writer, with many books to credit. He did his Ph.D in dance on Kuchipudi,

Bhagavata Mela Natakam and Kuravanji dance drama tradition with

reference to Rasa Theory as expounded in Natyashastra, and post-

doctoral research on Dance Sculptures of Medieval temples of North

Gujarat with reference to Sangitopanisatsaroddhara / सांगीतोिनीषत्ससारोद्धार. He was a dance critic for the Times of India group for 20 years (1960s-80s). He has put together books for Marg after

Mohan Khokar’s example including the second edition of

Bharatanatyam, Odissi, Kathak, Kuchipudi, Chhau Dances of India,

New Directions in Indian Dance, Damaru, essays on traditional dance

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and theatre, Photo Biographies on Uday Shankar and Rukmini Devi,

edited Sattriya / सत्सतररया Classical Dance of Assam. He has written several articles for national and international journals. He has also

won national awards and titles.

When S. Sarada / एस. शारदा attended Rukmini Devi’s dance rehearsals, she would notate the music and movements. Writing

down the dance was the inspirational work of Sarada and her

method is still followed in Kalakshetra. Sarada edited the material for

all of Kalakshetra’s dance dramas along with Venkatachala Sastry and

Adi Narayana Sarma. Among her numerous scholarly achievements is

her assistance to Tiger Varadachariar when he was composing music

for Kumarasambhavam / कुमरसांभवां, Papanasam Sivan for Andal Charitram / आांडाऱ चररत्रां , Kannappar Kuravanji / कणप्िर कुरवांजी , Gita Govindam / गीत गोपवन्दम, Sakuntalam / शाकुां तऱम, Matsya Avataram / मत्स्य अवतारम, and Kurma Avataram / कुमथ अवतारम. She also worked with Balu Bhagavatar of Melattur and Kalyaniammal and edited

Dhruva Charitram, Usha Parinayam and Rukmini Kalyanam and made

it suitable for Rukmini Devi. She helped edit and proof read

publications of Papanasam Sivan, Veena Krishnamachariar and

others. She also helped edit the musical works of Neelakanta Sivan,

the Keertanai Malai / कीतथने माऱ ई of Papanasam Sivan and Gana Manjari / गाना मांजरी , the works of Veena Krishnamachariar, all of which have been published by Kalakshetra. She helped edit the three

volumes of the Sangeeta Ratnakara / सांगीत रत्सनाकर and Mela Ragamalika / मेऱा रागमा लऱका, both in Sanskrit, published by the Adyar Library and Research Centre. She wrote Rukmini Devi’s

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biography titled Kalakshetra: Rukmini Devi.

Prof Parul Shah / प्रो िारुऱ शाह , Former Dean Faculty of Performing Arts as well as the Head of the Dance Department at the Maharaja

Sayajirao University of Baroda is perhaps the only Indian Performing

artist who received the Senior Fullbright Fellowship (1991). Her

research on the Analysis of Sthayi Bhava-s using Laban Movement

Analysis is path-breaking in the serious dance research. Since her PhD

on Rasa Dance of Gujarat in 1984, till now she has presented more

than 50 papers in internationally renowned dance bodies such as

CORD, JADE, IMACO, APPAN, WDA and many such. Her association

with UGC is very long in the area of dance curricula, testing and

research. The present project of creating E- Content for Performing

Arts-Dance is one of the most in-depth, extensive and futuristic

exercises in the field of Dance Education and Research.

Leela Venkataraman / ऱीऱा व्यांकटरामन started her career as a writer on dance, beginning as the dance critic for the National Herald in

1980, after which she was with another daily, The Patriot. Selected as

the dance critic for The Hindu when the paper began its Delhi edition,

she was with the paper for a long time. Her regular reviews in the

Friday Review column earned a reputation for being the most incisive

commentary on the dance scene in the capital and was looked

forward to with much eagerness and enthusiasm among art lovers.

Leela Venkataraman has written extensively for journals in India and

abroad. Among her publications are Indian Classical dance: Tradition

in Transition, Bharatanatyam: Step by Step, A Dancing Phenomenon:

Birju Maharaj and Indian Classical Dance – The Renaissance and

Beyond (2015). She is a regular contributor to Nartanam quarterly

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journal and Sruti magazine. In her career spanning three decades, she

has made a significant contribution to dance writing. She won the

SNA award for her contribution.

Lakshmi Vishwanathan / ऱक्ष्मी पवश्वनाथन ’s earliest research project was the Temple Dance of Tamil Nadu. She has since done few more

such grant-supported books. Roli Books, New Delhi commissioned

Lakshmi to write a biography of M.S. Subbulakshmi. Titled

Kunjamma-Ode / कुन्जम्मा-ओड े to a Nightingale (2003), this was the first book on the great vocalist with more than a hundred

photographs from her own album. In 2006, Lakshmi authored the

colourfully illustrated book Kapaliswara Temple - the Sacred Site of

Mylapore. In 2008, Lakshmi released her latest book, Women of Pride

- the Devadasi Heritage. Currently she is the editor of the Kalakshetra

Journal, which was originally published by the founder Rukmini Devi.9

Dr. Padma Subrahmanyam / डॉ िद्मा सुब्रह्मण्यम has numerous articles, research papers and travelogues to her credit like Bharata’s Art –

Then and Now, Bharatakkalai Kotpadu (in Tamil), Natya Sastra and

National Unity, Legacy of a Legend which is a collection of articles by

her and Bhagavad Gita for Dance. She wrote the script, scored music,

choreographed and personally appeared in the 13-segment film

Bharatiya Natya Sastra produced by Nrityodaya and directed by her

brother V. Balakrishnan which was telecast on Doordarshan National

network. Published in three volumes by Nrityodaya, Karanas -

Common Dance Codes of India and Indonesia is the fruit of her

decades of research. She has also written Epic Stories from Natya

Sastra (for Children) and Natya Sastra Itihasa Kadhaigal (for Children

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– Tamil).

Devesh Soneji / देवेश सोनेजी is the author of Unfinished Gestures: Devadasis, Memory and Modernity in South India (2012), a study that

examines the social history of women in devadasi communities over

the past two hundred years drawing from extensive archival and

ethnographic work. He is the editor of Bharatanatyam: A Reader

(2010), and co-editor of Performing Pasts: Reinventing the Arts in

Modern South India (2008). Prof. Soneji is also the co-founder and

director of The Mangala Initiative, a non-profit organization centred

on social justice issues for hereditary performing artists in South

India.

Ashish Mohan Khokar / आलशष मोहन खोकर served the Times of India as dance critic in Delhi for 20 years (Delhi from 1990 - 2000 and

Bangalore 2000 – 2009). He was the dance columnist for India Today,

First City and Avantika. He edits and publishes India’s only yearbook

on dance – attendance - and is curator of India’s largest dance

materials - the Mohan Khokar Dance Collection. He has written over

40 books on Indian arts and culture. He chairs the Dance History

Society of India and has pioneered academic dance, Discourses, with

Alliance Francaise de Bangalore. He is the most widely read dance

columnist from India on the internet.

Avanthi Meduri / अवन्ती मेदरुी is the convener of the first post graduate programme in South Asian Dance Studies launched at

Roehampton University in London in 2005. Her published works

include Rukmini Devi Arundale (1904-1986): A Visionary Architect of

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Indian Culture and the Performing Arts (2005), The transfiguration of

Indian/Asian dance in the United Kingdom: contemporary

Bharatanatyam in global contexts (2010), Nation, Woman,

Representation: The Sutured History of the Devadasi and her Dance

(1996), Bharatanatyam What are you? (1997) and History as an

image: mimesis and parody in Bharatha Natyam (1990).

There is not enough space here to give justice to all those who are

contributing immensely to the field. The Writers, Scholars and

Researchers in the field of dance research and writing have enriched

dance scholarship at large. Some of them are Acharya Parvati Kumar,

Dr Pappu Venugopal Rao, Dr. Amrut Shrinivasan, Dr. Nandini Ramani,

Dr Mandakranta Bose, Dr Arshiya Shethi, V R Devika, Smt. Manjari

Sinha, Madhavi Puranam and such. Apart from these there are

regional scholars who have written on Bharatanatyam in their native

language.

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