Monday, 26 February 2024

Target: HRH Diana Princess of Wales

 


 

As the curtain came down on ‘The Crown’, a television series based on the Queen and her family by the BBC I tried to understand why the British royal family attracted so much attraction, curiosity and extreme stalking by media. Of course, they once ruled the world and is known to be the richest monarchy in the world, following traditional pomp and ceremony even in this millennium. There is insatiable hunger for the various scandals, political drama and the emotional balance of the Queen amidst world turbulence. The dialogue in the documentary is sparse but sharp and moving. No family member is spared. Beginning from the Queen’s childhood, the Coronation, her children, the film ends at her passing. Media clips from newspapers and television as inserts add to the honesty of the script.

 

 

 


                                                                                                                  Courtesy BBC

 

On my 10th birthday, I was allowed to buy my first doll. Blonde and blue-eyed, I named her Diana. She was with me even after my marriage till someone stole her.

We had a lending library guy bring us magazines from UK and US. They had lovely photographs and news about the royal household and Buckingham Palace. I lapped up the coverage as many girls, boys and even adults did in the sixties. After Diana married into the family, it became an obsession. I regularly followed the goings on and on the first day on my visit to London, I stood staring at the gates of Buckingham palace with stars in my eyes.

Coming back to the series, I impatiently awaited the part when Diana will appear and eventually die in the car crash in 1997.

I saw with dismay how a naïve 19-year-old Diana was cheated into the marriage after having to publicly declare herself a virgin with no relationships. Is this really happening in a British family?

Diana is shown as isolated inside the place before the big day. No one to chat with or initiate her into training in the complex rules of royalty. Instead, the vicious women -the Queen Mother, the Queen, Anne, Margaret, and ladies-in-waiting make fun of her when she is confused about whom to bow to first and in what order. Anne of course, looks down on her in disdain while others are insecure in the radiance and beauty that Diana exudes.

Diana was from an aristocratic family known to the palace. She was a teacher in a playschool, living with a group of friends, and cleaning her sister’s rooms for pocket money. She was a trained ballet dancer and expert pianist. She fell in love with Charles and may be dreamed of a fairy tale wedding. But till the night before the wedding, she had misgivings but no one to share her fears with. Charles was all polo, sports, women, and parties. In fact, his beloved uncle Mountbatten encouraged him to ‘sow his wild oats’ but marry an innocent virgin ‘English Rose’.

There was tabloid news about Charles’s affair with Camilla and Phillip’s secret liaisons,

Maragaret who bemoaned her ‘number two’ position was jealous of her sister. The queen applied protocol when it came to her marriage. She fought back by behaving outrageously in public, drinking, dancing, smoking, and cracking unseemly jokes at parties. She had a few affairs, married, had children, divorced, and continued with her disgraceful behaviour. She continued to be HRH. She was never accused of playing the media and making headlines for the wrong reasons.

Charles and Camilla carried on their adulterous affair without a care. He was HRH till the end.

Anne who at first cared and supported Diana, soon preferred to support Charles, and poisoned the family against Diana.

The Queen Mother who was greatly annoyed that her status was cut short by her husband’s untimely death, was not too kind to Elizabeth or Diana.

 

George of course made headlines on international news after his unsavoury alliances came to light. Phillip himself was sidelined and insulted by the Queen Mother for his ambiguous lineage.

The Family was not perturbed by the open declaration of Charles’s passionate love for Camilla. She was a divorced woman with children and a year older than him. Their common interest for equestrian sports was one reason for their close bonding. She was no competition for Diana in the beauty, grace, and popularity department. But more mature, aware of world matters and an intellectual match for Charles who was much older than Diana.

The queen refused to listen to his pleas about his lack of interest in Diana and obsessive love for Camilla. Diana was considered more suitable to be a mother to the future king.

From their first appearance in public, Diana became wildly popular. The media ‘s attention to her every move, cameras flashing, loud calls of ‘Diana, Diana’ would make any one nervous. It was this popularity that irked other members of the family, including Charles. He was overshadowed during their overseas trips and people clamoured only for Diana. Flowers were for Diana. Newspaper headlines screamed Diana. Her shy smile, her beauty and sense of style were the main topics of discussion. The Family suspected her of enjoying the limelight and wooing the media. How was Diana responsible if she received the adulation.

Diana was used to ease diplomatic relations and as a pawn to build good relations for the government, but still accused for her time in the sun.

The queen refused to hear or respond to Diana’s pleas and tears when she desperately ran into her arms for solace. Charles was forgiven for everything as he was heir apparent.

Phillips is shown as considerate towards Diana and explained that her role as mother to a future king is more important. He advised fortitude and patience. At least he showed some kindness. Diana showered her sons with profound love and encouraged them to understand the world outside royalty.

The Family agreed to the couple’s separation and the subsequent divorce and even blessed Charles and Camilla’s wedding.

But Diana, who was stripped of many privileges and the title of HRH by Charles and was blamed for moving on and finding love in Dodi. She now had to curtsey to her young sons and everyone else.

Both Edward and Andrew had their own problems. Sarah Ferguson, Andrew’s wife brought more disgrace to the family and therefore divorced. Sophie, Edward’s wife had ‘an easy ride’ compared to Diana and was embraced with love by the queen. Sophie taunted Diana by imitating her fashion style and used the same designers to annoy her.

So though Diana became a ‘people’s princess’ with her charity work and helped cause the abolition of landmines, the palace never thanked her for her service. If she embraced a kid from a hospital in Angola, it was merely for show.

Her television interview with BBC was after Charles gave a similar interview, but he was not blamed for it. Instead, when he married Camilla, the media blushed and sighed at the victory of love.

The merciless and cruel paparazzi hurled insults and ridiculed her even as they pried into the most intimate moments. When she died at the age of 36, in a tragic car accident, the world missed a heartbeat and mourned for the loss of a dear princess. I remember those three days in August 1997 when I sat rivetted to the television screen showing the millions of flowers outside Buckingham Palace and people weeping at her funeral.

Dodi, Diana's companion at that time, died in the crash. His  father openly accused the royals of a plot to murder her. Diana had publicly stated that she faced many attempts on her life, including a brake failure in her car.. Charles could not marry a second time if his first wife Diana is alive.

Diana, the martyr, who had everything but nothing. Diana was the only target, others in the family were celebrated, condoned, and forgiven. The two actors who portrayed Diana were cast well. Three actors played Queen at different ages.

 

“Princess Diana was an unforgettable icon. She was loved by millions, and she still is, even decades after her death. Her funeral was heartbreaking, with millions of people out to mourn the exit of their favourite princess”.BBC

Key words: #Diana #People’s Princess #Charles&Diana #BuckinghamPalace #BBC #PrincessofWales #TunnelCarCrash #William&Harry #HRMElizabeth 

Sunday, 22 October 2023

 

SMT. UMA DEVI DUTT -My First Guru


 I visited Uma Devi ji on Guru Poornima in 2023 at the seniors home for assisted living and again on October 16, when my daughter Ruupa sang a few bhajans for her and other residents. It was heartening to see her enthusiasm and clear memory and speech at the age of 92. This year's Vijayadasami when we all remember our Gurus and pay respects and express gratitude to them, I was with Uma Devi Dutt ji and spent a couple of hours with her.






(Photo by V.Chandramouli taken in 1966 as a pre-arangetram photo session.)


I never lost touch with my first Guru till today. She too was kept updated with my activities. She attended my first student’s arangetram, the Bhagavata mela festival in Mumbai, and other performances which Adyar Lakshman Sir conducted.

This time she was in a nostalgic mood and told me about her parents and sister, Rema Devi. Her father began his career as a teacher but later became an officer in the General Insurance Company. He named them Rema and Uma and planned that one would become a doctor and the other a dancer. So, she was packed off to Kalakshetra where she continued her training under Rukmini Devi and Sarada Hoffman. Her idol was Chinna Sarada Teacher (Sarada Hoffman) and she never tired of speaking about her perfection, dedication, and teaching technique. Smt. Uma Dutt (nee Menon) hails from Kerala is a contemporary of Adyar Lakshman, Yamini Krishnamurthy, Prof. C.V. Chandrashekhar and Sanjukta Panigrahi. She has performed in Kalakshetra dance-dramas. She mentioned how Athai would admire her long thick tresses.

My family is closely connected with Kalakshetra and my cousin Kamala Rani was the first lady Nattuvangam and Vocalist for Kalakshetra. When she gave birth to her first born, she was in our home and I was just a week old. So, we had many visitors from Adyar.

I was fascinated with the beauty of the campus and the ideals it projected. There were no teachers of that Bani in Mumbai.

Even as a little girl I was obsessed with dance. Our house in Chennai was forever resounding with sounds of music and Veena. My mother Padma Swaminathan, sisters Kantimati and Banumathi were all learning music. Many well-known musicians visited us. Some of my cousins were dancers so there was a lot of dance going on among the girls.

My mother took me to see Martha Graham, Gopi Krishna, Birju Maharaj, Bala in Madras when I was six years old. I am so fortunate to have seen all the greatest dancers of our country from that time. This gave me a sound foundation to my artistic education. Our family is well-connected to Rukmini Devi and Kalakshetra. I was eager to join, but my father was not so sure.

In 1955 we moved to Bombay. The search for a dance teacher began. We were well connected to the Rajarajeswari gurus as both my sisters’ husbands were college friends of Shri Kalyanasundaram. So I was taken there and my tai ya tai started with the great Guru Kuppiah Pillai himself. I could not continue there as we shifted to Kanpur from 1958 to 1961. I had a spiritual soul connection to Guru Mahalingam Pillai whom I revere and is in my prayers even now.

 

In 1961, we were fortunate to find my first Guru Smt. Uma Devi.

A small advertisement for Bharata Natyam classes in Kalakshetra style caught my eye and we went to the address given.

She is a striking personality- tall, statuesque, and strong aquiline features.  Most stunning was her luxurious knee-length hair which she sometimes wore as a braid. Her sense of dress was impeccable. Her straight-back posture and broad shoulders were very impressive.

She was so affectionate and kind that I immediately wanted to join.

She was from the early batch of Kalakshetra students, so I was very happy to learn that Bani.  For five years she taught me the entire set of adavus and a full Margam. She demanded the perfection and stamina that Kalakshetra bani demands. Although strict, she was encouraging and ensured that I never lost my confidence. I was transiting through the awkward teenage years and she understood my problems. During rest time, she would tell me stories about Rukmini Devi Athai, the classes and how beautiful the Adyar campus was.  She was a complete Guru in the sense that she advised me, a 12-year-old, on philosophy, how to develop a sense of appreciation and value virtues like honesty, sincerity, and hard work.

One piece of advice she gave me which I passed on to my students was-“Imagine that all the devatas are seated in front of you when you dance. Will you not give your best performance? Your dance is your worship and puja.”

 

Bombay (now Mumbai) is known for its heavy showers during monsoon. And the classes were at Marine Drive where the low walls near the sea would splash four feet high waves. But Uma ji never missed a class. She would come by train from Khar, and walk down a few minutes from the station. I always attended every class and most of the time I was the only student. Mr. Dutt, an advocate, would often come to take her home as he worked in Fort. Sometimes Dagar Brothers would be in the car.

Adyar Lakshman Sir was taking Vyjayantimala’s classes close by, so he would visit often.

She taught me the most difficult and lengthy Varnam in Dhanyasi (E Maguva) which had two thirmanams each after the Pallvai and Anupallavi. Tisra Alarippu, Kalyani Jatiswaram, Kshetrayya Padam in Anandabhairavi (Manchi Joochu), Kambodhi Padam (Padari Varugudu) and Thillana (Parasu). At that time Sabdams were not popular in Kalakshetra, so I never learnt one. Nana Kasar, dancer and Guru trained in Pandanallur style did the Nattuvangam for me. My Arangetram was held in 1966.

I must mention an incident which proved the Uma ji’s training was perfectly complying with Kalakshetra standards. At a cousin’s wedding, we met Kamala Rani, my cousin, who was the leading Nattuvannar and singer at Kalakshetra and her daughter.. Karaikudi Krishnamurthy, the legendary mridangam artiste was also present. She decided that both of us will perform the Dhanyasi Varnam together. We agreed, no rehearsal no hurried consultation. The duet was so perfect as though we had studied and practiced together. Again, I performed in Varanasi, two performances in one evening. Prof. C.V. Chandrasekhar was at the University. Again, no rehearsals, he knew all the items and I danced exactly as he sang. This is evidence of Uma Devi’s teaching skills and I offer my namaskarams to her in my mind all the time.





(Uma Devi at dance event. P.C. Jayashree Nair)


( Uma Devi's glorious tresses-PC Jayashree Nair)


(Uma Devi's performance at Tejpal Auditorium (Mumbai)in 1966-PC Jayashree Nair)




Uma Devi persuaded my parents to send me to Kalakshetra. I joined Kalakshetra from 1966 to 1970.

She held important posts during her career. HOD (Dance) at Baroda’s M.S. University, invited by Mrinalini Sarabhai to teach at Darpana, and then by Vyjayantimala Bali’s for her class. She continued to teach many students at her residence at Khar for many years.

 

I am grateful that my career in the arts began with Uma Devi ji. She laid the perfect foundation for me. I admire her for her spiritual attitude and as she mentioned, she was always spiritual in life and never found it necessary to follow rites and customs.

 

Thursday, 26 January 2023

Chembai Vaidyanatha Bhagavathar- A Divine Connect

 

 

 

                         Greatest Devotee of  Guruvayoor Shri Krishna 

 


Seen with Chembai Vaidyanatha Bhagavatar and his wife Alamelu -March 1973

 

Born in a family which had hoary connections with music and musicians, I had heard Bhagavathar’s concerts even when I was very young. My grandfather FG Natesa Iyer had close connections with all musicians, and Bhagavathar was one of them. His voice, like a melodious bronze bell, rang loud and true. His music went straight to the listener’s heart and mind and needed rapt attention as it traversed an amazing range. He had a huge fan following and students of all ages, caste, and creed regardless of gender. He gave music generously. His home in Chembai village or at Santhome in Chennai was always full. I met him in Chennai for the first time in 1970, when my fiancé took me to visit him. My in-laws had a close connection with him and were considered family. My fiancé was a special favourite of Bhagavathar. He sat in the thinnai, the patio of his bungalow and as our eyes met, there was a spark. He was profusely affectionate. I was overwhelmed in his presence, and I could feel his divinity touch me. A steadfast devotee of Guruvayoor Sri Krishna, you may have read stories about his mission to complete one thousand Udayasthamana puja in his lifetime. He completely approved of me! My fiancé and his family were not keen to support my passion and training in Bharata Natyam, but Bhagavathar openly defied them and reprimanded them.



Chembai Vaidyanatha Bhagavatar synonymous with Shri Krishna Guruvayur Temple


He was in Mumbai once for a concert with his prime disciple Shri. Yesudas who was learning classical Carnatic music although he was a hugely popular star playback singer.

Our home was blessed with his presence for three days. Our humble two room flat was crowded with visitors, and he held court like a king, speaking to everyone, acknowledging their gifts, blessed those who prostrated before him and regaled them with his sparkling sense of humour. I was thrilled to cook for him, and he praised me for my newly learnt skill. His favourite dish was Keerai Molakkuttal (dal with spinach).  Shri Yesudas also walked in, humbly bowed to his master and stood in a corner. Despite persuasion he refused to sit in Bhagavatar’s presence. Then they both went to the other room and shut the door as they rehearsed together for almost an hour.

Early in 1973 we went on a road tour to the south in a Premier Padmini Fiat. Most people we met were celebrities for others, but family for us. In Chennai it was T.N. Krishnan, his father Narayana Iyer and family and MD Ramanathan.

We then reached Palghat where Mani Iyer and many other family relatives met me for the first time. We finally reached Chembai village and were guests of Bhagavathar for two weeks. He chased us out after breakfast to see the temples and other relatives but waited to have lunch with us. He and his sweet wife Alamelu would not have their meal without us.

The home and the garden were always full of students, organisers and fans. He had four concerts during the time and one prestigious award ceremony at Ottapalam. Wherever we went he was greeted like a divine being, streets were lined with fans, all palms joined and raised above their head. He could have had Plymouths at his disposal, but he preferred to sit in the front seat of our little Fiat. In other cars behind us were Jayan and Vijayan, Parameswaran Namboodiri and other relatives.

A remarkable concert was at Poomulli Illam from where his eminent student Raman Namboodri hailed. Here he was to perform with Shri Yesudas. We had just reached after an uphill drive. Within minutes, another car came up, this one was being pushed by none other than Shri Yesudas himself. He had folded his lungi and was panting as they reached. So unassuming and humble, I could not believe he was such a great internationally recognised star.

Our stay came to an end and as we took leave, Bhagavatar looked at me and said, “I have not given anything to you. Tell me what you want.”

I had noticed a small tanpura collecting dust in their attic. I had already set my heart on it. I pointed to the attic and the tanpura. Taken aback, he said, “That was used when I and my brother sang together. Take it.” So that is how I had the precious tanpura in our house all these years, proudly displayed in my living room, worshipped at Vijayadasami and used regularly.

After all these years, I had planned to return this precious heirloom to the family and had the opportunity to do so in January 2023.




Handing over the heirloom Tanpura to Shri Prakash Subramanian-8/01/2023

 




He could not attend our wedding due to prior commitments but in March 1973 came for the Shastiabdapoorthi of my father-in-law. We had arranged Bhagavathar’s concert with Palghat Mani (mridangam) and T. N. Krishnan (violin). It was an attempt from our family to unite Mani Iyer and Bhagavathar who had fallen out and did not speak to other for many years. He gifted  a gold pavitram ring to my father-in-law which was passed to Ranjan, my son. I presented this too to Prakash Subramanian, grandson of the family.

Saturday, 10 December 2022

Chellamma Subramania Bharati

 



                                            Smt. D. K. Pattammal & Indumati Raman


                                         Mahakavi Subramania Bharati & Chellamma


#AuthorIndumatiRaman, My family had close connections with many musical greats and other celebrities, and I have seen them at home as guests for dinner or even overnight stays when they came for concerts in the city. But I was personally close to Chembai Vaidyanathana Iyer and D.K. Pattammal who have stayed with me in my humble home and shared several anecdotes with me. I remember ones such poignant story Pattammal told me that stays with me even today. And that today Tamil Poet Mahakavi Subramania Bharati’s Birth Anniversary is the day to share this. Those who do not know who this extraordinary patriot was, do check Wikipedia.

Pattammal has always included Bharati’s patriotic songs in her concerts. But even more interesting, she has sung them during the freedom struggle, at public rallies, forcing the British government to warn her against rousing public emotions.

After one concert dedicated to Mahakavi’s memory, the hall was empty, and Pattammal and her team packed up to leave. She noticed one lady in the audience remained sitting, head bowed down. Pattammal gently enquired why she was not returning home. The lady replied, “I am Chellamma”. Pattammal hugged her and both dissolved into tears for a long time. No words were spoken. No words were needed. Chellama was the wife of the maverick national poet Subramania Bharati whose memory was being celebrated that day. She passed away in 1955.

Chellamma was widowed at 30. She was unlettered and had lived as the wife of who society called a ‘madman’. Now she was known as the widow of a national poet. It is due to her perseverance and vision that we have published works of Subramania Bharati, and his biography.  Her daughters, granddaughter and great granddaughter have kept the family’s flag of honour and respect flying high.

#DKPattammal #ChellammaBharati #ThangammalBharati #ShakuntalaBharati #Mahakavi # SubramaniaBharati #BharatiCentenary #TamilPoet #Patrioticsongs

Friday, 23 September 2022

Acharya Parvati Kumar's Abhinaya Darpanam-

 

Acharya Parvati Kumar’ Abhinaya Darpanam- A Treatise In Audi-Visual Form

(This article by Indu Raman was first published in SRUTI 91- April 1992 with contribution by Ram Aslesha)

 






Nandikeswara’a Abhinaya Darpana, believed to have been written between the 10th and 13 C is a slim volume of 324 shlokas in Sanskrit, which contains the essence of the scientific technique of gestures and movements of dance which underlies Bharat Natyam. In 1917, the Harvard University Press published an English translation of the work by Ananda Coomarswamy and Gopalkrishnayya Dusssirala called the Mirror of Gestures. The translation (later republished in India by Munishram Manoharlal Pvt Ltd) was based on a Devanagari transcript of the second Telugu edition of Abhinaya Darpana published under the editor ship of Madabushi Thiruvenkatachari of Needamangalam in 1887. The English translation made the legendary Nandikeswara’s work accessible to a larger universe of readers. So did the later translation of commentary of Manmohan Ghosh. But it is an old saying that a picture is worth a thousand words. It is the truth of this saying that must have moved Acharya Parvati Kumar of Bombay to attempt a visualisation of Abhinaya Darpana on the stage once again on 27 February.

 

Acharya Parvati Kumar had the credentials to undertake the challenging task. He studied Kathak, Kathakali and Bharata Natyam and obtained a thorough grounding in these art forms. Between 1947 and 1965 he choreographed over 20 dance ballets including the very well received Rhythm of Culture, Dekh Teri Mumbai, Discovery of India and Krishna Leela. He had also choreographed compositions for children. In the event Bharata Natyam has becomes Parvati Kumar’s passion. In 1965 he founded the Thanjavur Nritya shala, an academy whose training programme reflected his interest in teaching theory as well. He devoted himself to a study of the Nirupanas composed by Serfoji II, the Maratha ruler of Thanjavur and this resulted in his book Thanjavur Nritya Prabhanda and the choreography of the dances based on the compositions which were performed on the stage by his disciples. It was this bent for research that led Parvati Kumar eventually to a study of various treatises. Like Natya Sastra, Sangeeta Ratnakara and Abhinaya Darpana. He was particularly keen to discover the textual basis of Bharata Natyam. He recalled, “I reached the conclusion that the key text for Bharata Natyam as it is practised today is Abhinaya Darpana. My findings are upheld by the fact that many of the hand foot or standing poses I had learned were to be found exactly in the same form in Abhinaya Darpana. It bolstered my belief that Abhinaya Darpana alone qualifies as the text for Bharat Natyam.”  Acharya Parvati Kumar faced many problems in putting into practice his idea that the contents of Abhinaya Darpana should be presented on the stage. He disclosed that since each of the 324 shlokas contained in the work has a wealth of meaning. The effort needed to capture the profundity of each shloka was like trying to gather the ocean in a tiny vessel.

He added, “Since my intention was to bring to the lay person not merely the essence of each shloka but sometimes also to suggest the depth and shades of its meaning. I found the traditional musical setting restrictive.” With the help of Sumathi Parvati Kumar, his wife, disciple and teaching partner, he therefore composed music most appropriate to enhance the meaning of the shlokas. His objective was to present the highlights of the treatise in a way that the impact of the audio-visual presentation will be pleasing as well as instructive.

“In presenting the entire text,” Parvati Kumar explained further, “Our attempt has been to attain perfection.” Yet he is humble enough to volunteer that there could be other interpretations also. The programme book produced in connection with the latest stage presentation which took place in Bombay in February, had this concluding statement:

This dance composition of the Abhinaya Darpana by Acharya Parvati Kumar is his personal interpretation according to his understanding of the text.

There could be other treatments also. The same text could be worked upon and interpreted differently by others according to their needs and techniques their area or province. This dance creation of Acharya Parvati Kumar is only a beginning.

 

Acharyaji’s Abhinaya Darpanam was first performed on the stage in 1986 in Delhi under the aegis of the Indian Council of Cultural Relations and in Madras under the auspices of Sri Krishna Gana Sabha. The recent staging in Bombay coming after a gap of six years, was the third. It coincided with the Guru’s 72nd birthday. The dancer presenting Acharya Parvati Kumar’s visualisation of the work on the stage on all three occasions, was Sandhya Purecha (seen in all the accompanying photographs). A student of folk dance at first, she later learnt Bharata Natyam under Acharya Parvati Kumar while simultaneously studying Sanskrit and earning an M. A. degree from the University of Bombay. She participated in the research work carried out by her Guru. That actually led to the creation of the stage presentation of the Abhinaya Darpana. Today, besides pursuing a career as Bharata Natyam Artiste, she also teaches young children. The credit for the success of the stage version of belongs as much to the disciple as to the Guru.

 

P. S. Bombay is now Mumbai and Madras is Chennai.

 

Thursday, 9 June 2022

History of Thanjavur Maratha Royal Family-Part II

 

History of Thanjavur Maratha Royal Family-Part II

 

Tulja ji’s compositions in Marāthi and Sanskrit are evident in the texts authored by him:-Sangīta Sārāmritam, Nātya Vedhagama, Mantra Jyothisa, Dhanvantri Vilasa, Vyāakhyanive are texts of a high standard of scholarship. The Punnainallur Māriamman temple was built by him and consecrated by his spiritual guru Sadaśiva Brahmendra.

Tulaja I’s works consists of 13 padas in praise of Chandramouliswara, the family deity. He moved to Mahādevapattinam. Here he built a temple to Varahāswami. He authored Śivakāma Sundari Parinaya nātakam which recounts the story of Parameswara’s marriage with Parvati.

      Ekoji II was the fifth king to ascend the throne. He was the eldest son of Tukkoji I Mahārājā and Hamsāmbā. Ekoji II was named after his grandfather.  Also known as Bavasaheb, he wrote the Marathi yakshaganam ‘Sakuntalnatak’. This yakshaganam was revived when the Sangam staged my production in 2001 with collaboration of a Mumbai ensemble. Ekoji also composed Ramayana in Dwipadas or couplets. He ruled only for one year and despite ill health bravely fought and won a battle with Chanda Sahib. His wife Sujan Bai ruled for two years after him before falling victim to political enemies.

 

After Sujan Bai’s death, the kingdom was in chaos. The next heir Pratapasimha Raje devoted his life to restoring stability in the kingdom and was involved in major conflicts with the British and the French.  A scholar of Sanskrit and Marāthi he wrote on Puranās, Bhāgavatam, theatre, and Kāmaśāstra.  He has eleven nātakas in Marāthi to his credit. Melattur Vīrabhadrayya, the prime composer of Swarajati and Thillana, and Mātrubhuta Kavi were his cherished proteges. Muddu Palni, a famous dancer, poet and scholar wrote the erotic work Rādhika Santavanam and Saptapādalu, a translation of Āndal’s Thiruppāvai also attracted great honours and lavish gifts. His son Tulaja II ascended the throne after him.

A warrior and scholar like his ancestors, Tulajā II patronised scholars of Sanskrit, Telugu, Marāthi and Tamil literature and poetry. He was an accomplished Veena player. Considered the golden period of Carnātic music and dance, the court was shining with composers like Arunāchala Kavi Rāyar, Veenā Kālahasti Iyer, Rāmabrahmam, Rāmaswāmi Dikshitar, Sonti Venkataramanayya, Mahādeva Annāvi and Subbarāya Oduvar (father of the Tanjore Quartet) enjoyed patronage and honours in the Marātha court. His adopted son Serfoji II aka Sarabhoji II was declared his heir. The musical Trinity Syama Sastri, Muthuswami Dikshitar and Tyagabrahmam lived during this time.

The most accomplished and versatile Raja of the Thanjavur Marātha line, Serfoji II ascended the throne when the British had reduced Indian kingdoms to tribute-paying servants of the East India Company. Apart from his varied interests like medicine, allopathy, āyurveda and alternative systems like Unāni and Siddhā, he patronised all the fine arts. His most valued contribution to our country was the expansion of the Saraswati Mahāl Library established by Sevappa Nayak, which now became stocked with texts, manuscripts, and printed books from all over the world. He enrolled for western music and his lessons used to arrive from London. He included western musical instruments and commissioned a band which played his own compositions. He encouraged Vadivelu to learn the violin which came back to our country in its westernised form. He made extensive expansion and renovation in the Brihadīswara temple, including building the Vināyagar shrine. He also built a printing press in 1805 witthe fonts made in stone. He composed many pieces for dance and had notations written for each. Serfoji Maharaja ‘s accomplishments need an entire volume. He ruled for 34 years and died at the age of 54 years.

Serfoji II’s son Shivaji II ascended the throne. At this time the British had closed in completely leaving the Rajas as mere vassals. Shivaji II was a lover of music and dance. He encouraged Tamil literature. His court honoured many dancers despite the stringent rules regarding performance by temple dancers. He was the hero of many dance compositions. He was fond of Marathi folk music like #Lavanis and was bestowed the title of #Shahir. He had no heir, so the British slapped the #Doctrine of Lapse, meaning he had to surrender the throne to them. His wife Kamakshi had adopted a boy, but the British refused to accept him. As soon as he was dismissed, The British began to loot the Saraswathi Mahal Library. Kamakshi fought them bravely and forced them to return the treasures. The royal Thanjavur Maratha’s active rule came to an end in 1855 CE.

We must remember the brave Ranis, women behind the kings who commanded respect and were good administrators. The patriarch Shahaji Bhosle I, father of Sambhaji and Shivajiraje married Jijabai who was their mother. Circumstances forced Shahaji to engage in battles and finally he settled in Bengaluru. Jijabai remained in Pune to groom her son Shivaji who was showing potential to become a great warrior. Sambhaji spent his growing years in Bengaluru with his father and stepbrother Vyankoji. Shahaji married second wife Tuka Bai, mother of Vyankoji. Vyankoji married Dipamba who became an able guide and administrator in the Thanjavur court. She was diplomatic, intelligent, and eased the relationship between Shivajiraje and Vyankoji. Sujan bai, wife of Bavasaheb Ekoji II stepped into her husband’s shoes and ruled for two years facing threats and machinations against her. The internal politics and enemy forces finally eliminated her. Kamakshi the last royal wife of Shivaji II fiercely protected the Saraswati Mahal library from the British who looted the treasures after her husband’s death.

 

This is just an introduction to the #GoldenEra which our history books do not feature. The wealth of literary and cultural works left behind by these magnificent rulers is not seen in mainstream Indian history. WHY? The descendants of the Bhosle royal family continue to live in #SadarMahalPalace. The #ThanjavurMarathacommunity continue to preserve the ancient language. You will find some of them on social media quietly and modestly upholding the dignity of their ancestors. Bharata Natyam dancers and Carnatic musicians from the last three centuries till today have always paid homage by performing their compositions.

The #BhagavataMela is a tradition that has been honoured and supported by the Maratha royals. The yakshaganams composed by the rajas are fascinating pieces and specially written for dancer/actors. I realised that when I produced and staged the Marathi #Sakuntalanatak’ by #EkojiII in 2002.  My current research project (2021-2022) is translation of two Marathi yakshaganams into English with analysis and annotation. This may help those who do not understand the Sanskrit-Marathi of the beautiful Darus. I am looking forward to presenting an introductory lecture with dance and music later this year.

Key words

#TulajaI,# SarabhojiI #Pratapsinh # SerfojiII #ShivajiII

#PratapsinhSerfojiRajeBhosle #ShivajirajeBhosle #thanjavurMarathaPalace #SumitraRajeBhosle #RamachandraBKeskar #MarathiPandit

History of Thanjavur Maratha Royal Family-Part I

 

 

 

History of Thanjavur Maratha Royal Family-Part I

 

Shahaji Bhosle I, father of Chhatrapati Shivaji Maharaj moved to Bengaluru where he was awarded a large jagir. He had another son named Vyankoji who grew up in Bengaluru, fought many wars with his father. Sent to help the Thanjavur Nayak in a battle, he captured the throne of Thanjavur.

 

During Vyankoji Raje’s time Samartha Ramdas Swami visited Thanjavur. Swami Ramdas established the first Math Thanjavur Sri Bheemaswami Shahapurkar Math. This Math is today run by Shri Ramachandra Keskar Maharaj who is currently Marathi Pandit at Saraswathi Mahal Library. The Nine days preceding Sri RamaNavami is celebrated with dedication and Devotion. Today is Sri Rama Navami.

 

Samartha Swami Ramdas was on his way to Rameswaram. Halting at Thanjavur as a royal guest, he established Maths. In Thanjavur Katha Kalkshepam was popular at all festivals. Swamiji introduced abhangs and simple bhajans and abhangs. Musical instruments were added and this parampara is popular to this day. This came to be known as Harikatha. The rich contribution of Marathi kirtans in Carnatic ragas is an important feature of this time.

Vyankoji Maharaja inherited a famine-ridden region where the citizens were in distress and battles were raging all the time. Now people were afraid that a ruler who speaks a different language is going to cause more trouble. But Vyankoji (or Ekoji I) spoke Telegu and Tamil. He did not change the official language, which was Telugu, nor did he make any changes in the administration. Instead, he rebuilt canals, repaired faulty irrigation and restored peace. Very soon Thanjavur began to prosper, and the people appreciated his efforts. Soon he shifted his family to Thanjavur.

Vyankoji Raje gave up his throne to his 12-year-old son Shahji II. Shahji was born in Bengaluru. He had two younger brothers Sarabhoji I and Tuljaji I who were born in Thanjavur. This branch of the Maratha Bhosle family grew up in the south, speaking Tamil, Telugu, Marathi, and Kannada. They inherited love for poetry and interest in Shastras and spiritual literature. They were well-versed in Carnatic music. Though foreign invasions and petty politics continued to interrupt their lives, they remained focussed on their intellectual pursuits.

 

Shahji II named after his valiant grandfather, grew up to be the most revered of this dynasty. He fought wars, expanded his territory, and sheltered Shivajiraje’s son Rajaram who had to escape the clutches of the Mughals. He was a precocious child and displayed tremendous interest and talent in music and poetry. The musical dance theatre plays named yakshaganams, made popular by Vijayaraghava Nayak, impressed him. He studied Alankara Shastra, Natya Shastra, and Sanskrit literature. His book on ragas “Ragalakshanamu” compiles notes on ragas prevalent at the time.

Shahji Raje composed 20 Telugu yakshaganams, 20 in Marathi, 6 in Tamil, Vishnu Pallaki Seva and Sankara Pallaki Seva Prabandhams. besides several Tyagesa padams for dance. The Marathi play ‘Sankara Kali Samvadham is replete with Jatis, and Jakkini darus. He was a polyglot who was fluent in Marathi, Tamil, Telugu, Hindi, and Persian. He authored two texts Sabda Ratna Samanvayam and Sabdarathan Sangraham. The entire list of works is too long for this brief blog.

                                  

Shahji II encouraged other poets and scholars and honoured them in the court. Performances by musicians and dancers were a regular feature of the palace. His generosity to his peers was appreciated and he was given the title ‘Abhinavabhoja’. He donated an entire village named Shahjirajapuram (Tiruvisainallur) to 45 Brahmin Pandits so they could continue their philosophical works and ceremonial activities without disturbance. That Sridhara Ayyaval, the revered saint, has written Shahji’s biography in Sanskrit ‘Sahendra Vilasam’ shows us he was held in high esteem for his scholarship, talent, and religious faith.

Marathi theatre has a long-distinguished reputation for excellence and artistry. Do you know that Shahji II (1684-1711) was  the first Marathi playwright and is known as the Father of Marathi Theatre? When a troupe of Bhagavat Mela artists performed for the king of Sangli, he commanded his Minister Visnudas Bhave to produce similar natakams. Bhagavata mela was a composite performance with dance, music, and dialogue. The actors, all male, were trained dancers. Bhave quickly put together a drama ‘Sita Swayamvaram’ with the Brahmins in the palace kitchen. It was greatly appreciated but the songs and dialogue were impromptu and not written down. There was no dance as there were no trained dancers. Bhave’s play was staged in 1843.

Shahji II wrote all his works in Telugu script. The language is Marathi but written in Telugu script. While this was easy for local scholars to appreciate his work, later scholars needed to be fluent in three languages, Sanskrit, Telugu and Marathi. Telugu Pandit (late) N.Viswanathan (d 2006) learnt Devnagari script, and Marathi. He then spent 25 years of his career rewriting the Telugu script into Devanagari so Marathi scholars can now read them. Therefore, today the world has access to Shahji’s yakshaganams, padams and Prabandhams. My current project on Marathi yakshaganams is dedicated to this great Pandit. Any scholar who has done research on Thanjavur would have come across this modest Pandit who  shared his knowledge on the history of this vibrant city.

Shahaji II did not have any heirs to his throne. He is known to be dejected because of this. He prayed fervently at the #Tyagesa temple at #Thiruvarur and performed his religious duties diligently. He sat down for his midday meal only after the service at this temple was completed. Then a relay of bells will ring from the temple to the palace. When the last bell reaches his ears, he would sit down for his meal. He renounced the world and became an ascetic. His passing away at the young age of forty left the royal household and his followers in anguish.

Sarabhoji and his brother Tulaja were born in Thanjāvur. The three brothers grew up in this city. Sarabhoji sat on the throne and continued the good work left behind by his brother. Scholars like Giriraja Kavi and saints like Sadashiva Bodhendra were honoured in his court. He had no heir so the next in line was the younger brother Tulja ji I. He was the third son of Vyankoji I and was also known as Tukkoji.

Key Words

#ThanjavurMaratha  #ThanjavurSaraswatiMahalLibrary#Marathinatak #VisnudasBhave #SitaSwayamvar

#BhagavataMela #ShahjiIIFatherofMarathiTheatre #BhagavataMelaMyTrystwithTradition #AuthorIndumatiRaman #SwamiSamarthRamdas #SaraswathiMahalLibrary