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PAPER: 3

Detail Study Of Bharatanatyam, Devadasis-Natuvnar, Nritya And

Nritta, Different Bani-s, Present Status, Institutions, Artists

Module 31 Bharatanatyam In Films

Bharatanatyam would have not won instant popularity, when in

1940s it was delinked from the devadasi tradition and temple

settings to proscenium stage, had it not been for work of films and

film makers. Many film directors of the period made dance specific

films and also films that showed classical dance like Bharatanatyam

at length, setting off the film careers of dancers like Kamala,

Vyjayanthimala and E.V. Saroja. In fact, films in which classical dance

was used became a regular feature. Many gurus like Vazhuvoor

Ramaiah Pillai directed dances for directors like Subrahmanyam who

gave dancers and the dance a new platform. Their films took up

social causes and issues and also made inroads into psyche and

sociology of dance. Films like Uday Shankars Kalpana / were landmark films but they were on Indian dance per se, not any

one form, as Kathakali, Kathak and shades of Bharatanatyam had

been freely used.

There was a time when producers and directors making south Indian

movies insisted on having at least one classical dance based song in

their movies. The reasons were multipronged. One, the artistes

themselves hailed from the traditional families and with upcoming

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technology, they took to movies for singing and dancing like fish to

water. Second, the time period was infused with nationalistic themes

and showcasing traditional classical dance was one of the ways to

rejuvenate the pride of being Indian and its hoary past. Lastly, the

actors and actresses in early south Indian movies were trained in

classical music and classical dance, as this was a pre-requisite to

become a successful star. A good voice trained in classical music

ensured that they sang their own songs and a good rhythmic

knowledge ensured that the actor had the choreographic sense to

dance to the choreographers tune. Times have changed where

classical music and dance training for actors are no longer a pre-

requisite to become a star. Being someones son or daughter with no

training is enough! 1

A cursory glance at the movies made between 1940s to 1960s in

YouTube would make the current generation realize that classical

dance influenced film dances were popular. Discarding the presence

of filmy-classical dance in some movies, there are movies that have

showcased a more pristine classical dance that were choreographed

by traditional nattuvanars. There are two ways in which

Bharatanatyam in films can be analyzed.

1. Dances choreographed by nattuvanars either from traditional

or non-traditional background and danced by classically trained

dancers in movies. For eg: Choreographies of Muthuswamy

Pillai, Adyar K Lakshman, Vazhuoor Ramaiah Pillai, etc.

2. Dances performed by classically trained dancers and not

actors. For eg: Kamala Lakshman, Jayalakshmi Eswar, M.K.

Saroja, Vyjayanthimala Bali, Radha Burnier, etc.2

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In the Tamil film Dayalan / (1941), there were quite a few dance sequences performed by the noted dancer and well-known

choreographer of the day Kulkarni, his team and dancers such as

Rohini Dhanam and Usha Bala. Before Vazhuvoor Ramaiah Pillai

began to dominate the choreography space of Tamil cinema, Kulkarni

was active and in demand both in Tamil and Telugu cinema.3

Ramaiah Pillai was one of the first dance masters to get credit as

choreographer. His first film where he composed dance was

Adrishtam / (1930s). He composed the dance by accident because he happened to be on the movie set, where he was

chaperoning his younger sister Radha who was also acting in the film

at that time. The producer felt a Bharatanatyam sequence would be

apt for that particular dance sequence they were shooting and

locating a nattuvanar at such short notice was difficult and could

affect the budget. So, Ramaiah Pillai (who was the only person who

knew Bharatanatyam on the set) himself volunteered to compose

the dance! This coincidence provided him with the confidence to

seriously pursue the art of choreography and he ventured forth to

become a serious, full-fledged nattuvanar at that point. His first film

Adrishtam truly brought him adrishtam (luck)! The rest as they say

is history.

Kamala (Baby Kamala, Kumari Kamala, Kamala Lakshman) started

making public appearances as a dancer in 1938, when she was four

years old. She was barely 10 when she did her famous snake dance in

Jagadalaprathapan / (1944) choreographed by her guru Vazhuvoor Ramaiah Pillai. She danced in Sri Valli / to Munnam Avanudaya Naamam Kettal. She did a double role in the

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film. It was her film NaamIruvar / that would make an impact on Tamil cinema as it was full of patriotism

and Gandhian songs. Its dances helped to revitalize and legitimize

Bharatanatyam, creating a cultural revolution throughout the Tamil

speaking areas of India. Vadiveru Tirisoolam Tonrum Tonrum, Anthi

Mayanguthadi and a pure dance piece in Paarthiban Kanavu / (Tamil, 1960), Thaaye Yesotha Unthan in Kula Deivam / (Tamil, 1956), AadalKalai in Nane Raja / (Tamil, 1956) and are some of her notable dance numbers. In Kaana Kankodi

Vendum Kamala dances about Vishnu, Shiva, Muruga, Andal and so

on in KonjumSalangai / (Tamil, 1962). In the same film, Konjumsalangaioli is a beautiful number. Another interesting

piece Brahman thalampoda in the film is the dance competition

between Kamala and another dancer. The dancers actually paint

animals on the floor with their feet (This is seen in a few other dance

competitions in other films). Kamala and her sister Rhadha dance a

lovely duet Vikrama Rajendra in Bhakta Kuchela / (Malayalam-Kannada1961). There is even a DD documentary

Bharatanatyam made in 1954 featuring Kamala with dance

choreography by Vazhuvoor Ramaiah Pillai.

Guru Adyar K Lakshman directed and choreographed dance

sequences for three art films Subba Sastri / (1966) and Ananda Tandavam / (1986). In Hamsageethe / (1975) featuring dancer Jayalakshmi Eswar as a Tanjore dancer,

Lakshman shares choreography credit with Radhakrishna.

http://en.wikipedia.org/wiki/Nam_Iruvarhttp://en.wikipedia.org/wiki/Gandhism

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With his Guru Kanchipuram Ellappa Mudaliars permission, in 1962

Udupi Laxminarayan started a dance company Natya Manjari in

Chennai. There were not many male dancers those days. When he

started his dance troupe, he had no help coming in despite his

asking, so he had to do something to sustain his 25 member troupe.

In those days, classical dance was the base for film songs and dance

choreography. Thus, Laxminarayan entered the world of cinema as a

dancer and later directed dance in innumerable films. He has danced

in movies such as 'Raji My Darling,' 'Valliyin Selvan' and 'Paattum

Bharatamum.' A versatile performer, he danced as Manmadha in a

Rati-Manmadha sequence with senior Varalakshmi in 'Harischandra / ,' a Kathakali dance in 'Thirumalai Thenkumari / ,' and folk dances too to name a few. He has choreographed for a number of Kannada films including 'Purandaradasar / ,' 'Lakshmi Kalyanam / ,' the Shiva dance in 'Pon Oonjal / ,' Ramayanam song in 'Grahapravesham / ,' song with the baby in 'Galatta Kalyanam,' the train song in 'Sumathi en

Sundari' in which he also dances. Among new age films, he has

choreographed for 'Kaadhalan' and 'Jeans.' 4

Padmini's Bharatanatyam for Aadumaruljothi in Meenda Sorgam / (1960) is actually a stage performance in the film. Padmini-Ragini dance competition in Vikramathithan (1962) and

Padmini - Vyjayanthimala competition for Kannum Kannum Kalandhu

song in Tamil hit movie Vanji Kottai Vaaliban (1958) are still famous

today. Padmini even has a dance competition with the hero MGR

(who actually dances quite badly in the film!) in Mannadhi Mannan.

In the end, they draw animals with their feet. She has danced in films

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like Saraswathi Sabatham (1966), Thillana Mohanambal etc.

Aadumazahgeazhagu is a charming duet by Lalitha and Padmini in

Raja Rajan (Tamil, 1958). Padminis sisters Ragini and Lalitha

(together known as Travancore Sisters) have also danced in many

films, all sisters stunning audiences with their beauty and talent.

Vyjayanthimalas dance to Kya kya kahoon re kanha in the 1958

Hindi film Piya Milan (Marma Veeran in Tamil, 1956) was

choreographed by V.S. Muthuswami Pillai and was as fabulous as his

direction of Vyjayanthimala in Chittoor Rani Padmini (1963). The

former appears to be a preserved example of the Sadir dance of the

devadasi. It wasnt only the court setting and the costume but also

the actual choreography and body language. He also choreographed

for Vyjayanthimala in Irumbuthirai (1960) and Patrani (Hindi,

1956).5

Muthuswami Pillai's star students, the cousin sisters Sayee and

Subbulakshmi were the best South Indian twin dance duo of Indian

cinema in the 1950s and 1960s. Their speed, precision, flexibility,

springing leg movements, and most of all their ability to dance

synchronized with each other were unparalleled. While Muthuswami

began choreographing for films around 1938, it wasn't until a few

years later that a fateful meeting with P.A. Periyanayaki (Sayees

aunt) introduced him to the young girls that would eventually

become his star students and be among the busiest artistes of their

time. Following the hit films Malaikkallan and Ratha Kanneer, a

spate of film assignments in several languages followed. It was an

odd situation with the dance teacher spending his entire time

teaching just two pupils. For a period of nearly seven to nine years

this is what Muthuswami Pillai appears to have done. What made

http://www.youtube.com/watch?v=-5iSbrJFiHIhttp://cinemanrityagharana.blogspot.com/2013/07/film-choreographies-of-nattuvanar-vs.htmlhttp://www.youtube.com/watch?v=X7oBW8QsHmghttp://cinemanrityagharana.blogspot.com/2010/10/my-favorite-twin-dances-in-classic.html

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them unique was their mastery of the difficult combination of speed

plus precision, their effortless movements in and out of seated

positions (half-seated araimandi, fully seated muzhumandi) and

mandiadavus and knee work, their flexibility and deep backbends,

and their lightning fast spins that gave them their "Pambara

Sahodarigal" (Spinning Top sisters) namesake.6

The lovely sisters Sai and Subbulakshmi have done some beautiful

duet numbers in Aplam Chaplam Chaplai Re in Azaad (Hindi),

Nayagar Pakshmadi inDr. Savithri (Tamil, 1955), O'AyyeO'Amma

and Neeli Megan in Mallaikallan (1954), Kadhaval Saathadi in

Ratha Kanneer (1954), Vazhiya Needozhi in Arivali (Tamil 1963),

Vizhiyoduvilayadumkalaichelvame in Karpukkarasi,etc. Such duet

numbers were known as twin dance in those days.

Veteran dancer M.K. Saroja has performed Bharatanatyam items in

Tamil films Krishna Bhakti, Paithiakaran and Nalla Thambi.

Rukmini Devis dance featured in the Tamil film Raja Desingu (1937)

and was advertised as one of its high points. Radha Burnier acted

and danced in the film called The River produced by Jean Renoir in

1948. In the 1982 Tamil film Kann Sivandhaal Mann Sivakkum,'

Bharatanatyam guru VP Dhananjayan gave a solo performance of

Nandanar Charitram' which unfortunately was edited to run for just

five minutes when the film was released. E.V. Saroja and L.

Vijayalakshmi were also popular dancers in films.

Nataraja Mudaliar and his wife Shakuntala were a popular dancing

duo known as Nataraj Shakuntala. Inducted into dancing by E.

Krishna Iyer, they had trained the 500 dancers who participated in

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the legendary drum dance in the film Chandralekha apart from

being involved in other films.

While in Madras, Tara Chaudhri danced in two Tamil movies. In

AVMs Vedhala Ulagam in 1948, she danced to the choreography of

Vazhuvoor Ramaiah Pillai. In Paarijatham, directed by K.S.

Gopalakrishnan in 1950, Tara was seen in the dance sequences. In

both the films, she shared the screen with the famous Travancore

sisters, Padmini and Ragini.7

Way back in 1948, there was actually a film called Devadasi about

the story of a poor girl begging on the streets being picked up by a

devadasi woman who changes the girls name and trains her in

Bharatanatyam and other dance forms. In films like Konjum

Salangai (choreography by Vazhuvoor Ramaiah Pillai, Kanchipuram

Ellappa, M. S. Ramasamy and Thangappan), Salangai Oli (about

tragedy in the life of a talented dancer, 1983) and Padmini starrer

Thillana Mohanambal (dancer and a nadaswaram player fall in love,

1968), Bharatanatyam is undercurrent in the entire movie.

Jayalakshmi Eswar played a Thanjavur dancer in G.V. Iyers Kannada

film Hamsa Geethe (1975). Swarna Kamalam (1988) starred

dancer Bhanu Priya with Dr. Uma Rama Rao as

choreographer. Nache Mayuri (1986) starred Sudha Chandran as a

dancer who triumphs with her artificial legs. Shankarabharanam

(1980) featured Manju Bhargavi. Sringaram featuring Aditi Rao

depicts the life of a devadasi in the 1920s, choreography by Saroj

Khan. Dance like a man (2004) starring Shobana is about two

Bharatanatyam dancers in the declining years of their professional

lives. Vara: A Blessing (2014) is about the daughter of a devadasi

(Geeta Chandran) who falls in love with a Muslim sculptor. O Friend,

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This Waiting! (2012) explores the life of the devadasi employing the

musical form padam as a narrative vehicle.

Though by no means exhaustive, the above mention of films, dancers

and choreographers is an indication of Bharatanatyams popularity in

black and white films era and the beginning of the color film years. In

present day films, we only get glimpses now and then of a

Bharatanatyam sequence like in Dalapati, Life of Pi to name a few.

Films on Bharatanatyam

Films and books on Bharatanatyam are plenty though not enough.

The reason is: it was expensive to document in 1930s to 1960s. Films

as a medium, even photography was very expensive. Film rolls even

for black and white photos had to be imported from abroad. It is

difficult to realize and understand this in todays digital age and click-

on-cell phone times but it is true!

Very few films remain of which Ram Gopals Aum Shiva and Uday

Shankars Kalpana shot in Madras at Gemini Studios (now Park

hotel) are milestones. In 1970s, Satyajit Ray made a debatable film

on Balasaraswati dancing by the beach, sari flying in face, but at least

its a record of the times and the great artiste. University of Rome

made one on M.K. Saroja in 1975. Films Division under theatre

directors like Balwant Gargi made one on Yamini Krishnamurthi in

1980s. Indus Valley to Indira Gandhi was made by Padma

Subrahmanyams brothers company Krishnaswamy Associates.

Many films were made for the television by many documenters in

60s and 70s. The list is too long to be enumerated here but Films

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Division catalogues can be conclusive. Sangeet Natak Akademi too

made documentation but only of its awardees. Doordarshan has

done yeoman service to documenting Bharatanatyam and many

films were made by Mohan Khokars protg Kamlini Dutt when she

joined DD CPC unit and made films for DD Bharati.

Sudharani Raghupathys TV serial Bharatanjali, an appreciation of

Bhartanatyam, the first of its kind on Doordarshan in 1981 (13

episodes in B&W) and 1989 (8 episodes in color), is one of her

superior contributions to dance. In 1992, Yamini Krishnamurthi

created a 13 part serial on dance called Natyamurti, which uses an

Indian temple as its focal point in each part to explore the

connection between temples and dance. Dance serial Aadellenum

Jeevandhi produced by Krishnaswamy Associates was originally

produced for Singapore TV 12 in 1998. TV channel Doordarshan

telecast this series from early August 2001 under the title When the

gods dance in English.

Nrithyodaya produced (for Doordarshan) a 13 segment TV serial

Bharatiya NatyaShastra directed by V. Balakrishnan based on

Padma Subrahmanyams research and script, and with her

appearance with a group of dancers from various styles. A milestone

in dance history is the actual performance of the 108 karanas of

Natya Shastra by Padma and her disciples in this film, inter-edited

with the karana sculptures of Tanjavur, Kumbakonam and

Chidambaram temples. The highest TRP ratings to DD dance series

was won by AshishKhokar-Sharmishta Pranab Mukherjee for Taal

Mel in 1995-96. Since then she has made one Beyond Tradition for

MEA Public Division, featuring Anita Ratnam and Malavika Surukkai.

Chennai based Tapasya Kala Sampradaya made Maraynuduvarum

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Marabugal in an effort to remind students and audiences of the

roots of a tradition that is fast disappearing. From Sadir to

Bharatanatyam (2012) made by Vivek Chauhan was commissioned

by Public Service Broadcasting Trust.

The most famous film on a dancer is Bala, a short documentary

made in 1976 by Satyajit Ray. Arun Khopkars film Sanchari (one

who moves in step) is on Bharatanatyam dancer Leela Samson.

Khopkar also made a film Pravah on Alarmel Valli. Malavika Sarukkai

in An Unseen Sequence directed by Sumantra Ghosal says the film

is about as much her journey as that of Bharatanatyam itself.

http://en.wikipedia.org/wiki/Documentary_filmhttp://en.wikipedia.org/wiki/Documentary_filmhttp://en.wikipedia.org/wiki/Satyajit_Ray

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