Skip to main content

Guru Smt. Rajlakshmi Venkateswara and Padma awardee K N Dandayutgapani Pillai



Karaikal Natesa Dandayudhapani Pillai 

Karaikal Natesa Dandayudhapani Pillai is considered by many as one of the leading experts of Bharatnatyam. He received Padmashri award in 1971 for his contribution in dance.He received many awards like Natyacharya, Kalaimamani, Natyakalachakravarthy.  His book is called “ Aadal Isai Amudam”. 

Details

Birth 14 July 1921

Father A.K. Natesa Pillai

Place Karaikal Puducherry, India

Death 12 October 1974

Spouse Chandra Dandayudhapani Pillai

Children Dr. Uma Anand

Brother Dhakshinamoorthhy Pillai

His Work :  He joined Kalashetra as a teacher where he taught for a number of years. He was known to authored many compositions. He was a dance choreographer in many Telegu, Tamil and Hindi films. He founded Sri Rama Nataka Niketan in Chennai in 1967.  He always said ,” I am not interested in accumulating wealth from my artistic  commitments. My mission is to leave behind a treasure trove of Knowledge that can never perish”. He was obsessed with composing Jaati with dramatic pauses Juxtaposing forward movements with diagonal placements or sides movements and warming up the tempos gradually during the pattern kept up the visual interest in his techniques. His jaaatis were unique and strenuous to train built up a fascinating synthesis of perfection and Joy.  His teermanams has the clarity and were an aural delight and created a unique joy to dance.  He soon moved out of Kalashetra and assisted Chokkkalingam Pillai for brief period before joining the vetran Kattumannarkoil Muthukumarappa Pillai for nattuvangam training. He occupies the most precious place after the Thanjavur Quartet, whose Bharatnatyam repertorire  has  stood the test of time . Each of his compositions is endowed with unique features such as the lilting lyrical content, subtle incorporation of Raaga names and conveying exquisite poetic expressions of various sentiments. The amazing Navaragamallika Varnam, which can lift the viewer to a different plane is a sample of his extra ordinary skill as a composer. He was specially known for his production of dramas. Some of the popular ones are “Chitrambala Kuravanji”, “Silpadigram” ,”Sri Andal”, “ Sivagamiyin Sabatham”, “Padmavathy Srinivaasa Kalyanam”,  “Kaveri Thanda Kalai Chelvi”,  “Kumbesar Kuravanji”. His choreography in the Hollywood film “The River” is legendary. He always seemed to be an extremely unapproachable but he was a true generous teacher who shared his knowledge with all his students.  He was a vidwan in Gitam, Vaadyam and Nrityam. The Sanskrit saying fits him perfectly “ VIDVAN Sarvatra poojyate”.

Some renowned students  who learnt under him are  Sri Vidhya, J. Jayalalithaa, Hema Rajagopalan, Suganthi Sadayane, Nayana Shenoy, Adyar K. Lakshman, Uma Muralikrishana,, Vijayalakshmi Shetty Ahuja, Jaylakshmi Alva (his first disciple) , Geeta Chandran, Vyjayantimala Bali, J. Jayalaithaa and Srividhya, Yamini Krishnamurti and Padma Subramaniyum, Usha Srinivasan, Sheila Pathy, Adyar sisters, Suria Santanam and Chitra Subramani, Urmila Satanarayanan.  VAADYAAR as he was fondly addressed  taught Waheeda Raheman, Asha Parekh, Rajasulochana, Chandrakanta, Lata and Manjula for films. He conducted Bharatnatyam recietal as Nattuvanar for Sonal Mansingh and Jayalakshimi Alva in 1960s. 



Guru Smt. Rajalakshmi Venkateswara 

Rajalakshmi was born in an orthodox bhramin family in Chennai. She lived with her father’s sister in Chennai from an early age.  Shri K N Dandayudhapani Pillai used to conduct his dance classes in her aunt’s home in the ground floor and the family lived in the first floor. She officially started learning from an early age of 5. She would be effectionately called “ Kutti Raji”.  Her Guru was extremely fond of her and whenever he conducted the class, he would call her from the upper floor and ask her to sit beside him.  Thus she learnt many items just by watching the seniors  danace. She was the only child in the class as Vadiyar would only teach senior students (above the age of 18). She did her Arangetram at the age of 8 Years. Her Guru was adamant on this . This was an extremely rare occasion as Bharatnatyam was never taught to young kids in those days. So traditional and orthodox society criticised this step. However her performance received lots of praise and every leading newspapers in Chennai wrote an article on her. In all of Vadiyar’s dance production, Kutti Raji would play the role of small Krishna, Muruga etc. One such notable mention is she played the younger version of Vyjayantimala Bali in the dance drama called “Andal”. 

Kolkata : At the age of 11 years Rajalakshmi shifted to Kolkata to live with her parents.  When she was 13 years of age, Shri K N Dandayudhapani Pillai visited the city to conduct a dance programme of Vyjayantimala Bali. It was during this time that he adviced and kind of forced Rajlakshmi to start teaching Bharatnatyam to the Tamil people who had migrated from Tamil land to Bengal. He conducted a Dance program of Rajalakshmi in National High School for Girls (located in Deshapriya Park, South Kolkata) and laid the foundation of Natya Kalalaya .  Natya Kalalaya was officially started in 1949. 

Rajalakshmi has may achievements under her belt. She imparted training of more than 1200 students both Tamil and Bengali. She conducted over 200 Arangetrams. Her students have give innumerous performances in India and abroad nad many were covered by national Media. She was both creative and innovative and created a new style of dance that was not rigid and pleasurable to watch.  Dance  was her passion. She always mentioned “ We should dance for our own inner happiness and not to please others or to win awards or to male money”. “Like music dance is a spiritual sadhana. We should forget this world and lose ourselves in our dance. Only then can we experience the true peace and bliss of dance and become one with the ULTIMATE”.


Details

Birth 16th October 1936

Father

Place Tamil Nadu

Guru Padmashri Shri K N Dandayudhapani Pillai


 Trained under the able guidance of Padmashree Guru K. N. Dandayudhapani Pillai, she came to Kolkata and made this city her home. Trained many young dancers who went on to establish there school in many different cities. Just to name the few students Smt. Sujata Venkateswaran (US), Smt. Anita Nepal ( Australia), Smt. Padmini RadhaKrishnan ( Mumbai),  Smt. Prema Nagasundaram ( Mumbai), Smt. Nirupama V Chandrashekaran (US), Smt. Bhuvna Iyar ( UK), Smt. Vijay Lakshmi Roychowdhury ( Kolkata), Smt. Geeta Venkateswara ( Mumbai), Smt. Sharmila Lakshmipathi ( UK), Smt. Esha Banerjee ( Kolkata).

 

Comments

Popular search

Angalakshana Part 1 - Anga Pratyanga & Upanga

 The science of dance was extremely well developed in ancient India. The word  Angalakshana  refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body.  Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom.  Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga.  Charaka also proved the co relation of spiri...

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage.  Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called  Deva Hastas and AshtaDikpal Hastas.    Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the e...

Natya Shasatra _Slokas

Artist : Shilpi Nandi  "The joy of dance can not be explained or taught. It has to be experienced."  Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami  Brahamanaya Duthahrutham     I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me  by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu  Gurunamasya samsthithaha  Vakshasthaschaiva vipranaam   Sheshethwa niyamo bhaved     I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire...

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body...

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

              Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side.  Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Loo...

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow   Dampati Hasta   : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand.  Matru :  Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hast...