Thursday, 28 May 2026

Kollur Mookambika Devi-2

 


 

Thousands of devotees throng the temple every year to ask for divine intervention in their life’s troubles or offer gratitude for the miracles Devi had wrought in their life. Parents carry their one-year-old kid to the Saraswathi Mahal for Vidyarambham or the first step to education. Singers and dancers offer seva at the temple as gratitude to Saraswathi Devi.






 

I first heard of the Mookambika Devi and her powerful aura in 2000. The first visit was in 2005 with my son Ranjan and daughter Ruupa. They both offered sangeet seva in Sri Krishna temple at nearby Udupi and in Kollur. The Saraswathi mandapam was empty and we could sit there for some time. Their musical journey took up speed after that visit, and they found a direction for their talent. A Bengali friend was in the ICU for over twenty days when I decided to do a night watch to give relief to the family. To my surprise, the very next morning her tubes were pulled off, and she could speak to me for an hour before the happy family rushed in to meet her. The friend, a singer herself, visited Kollur and offered the token of gratitude I had sent for Devi. Famous musician Ilayaraja and the golden voiced singer Yesudas are devotees. The most famous song Janani Janani from the Tamil film ‘Thai Mookambika’ composed by Ilayaraja, (lyrics by Vali) is now an eternal hymn.

 

 


 

I ascribe the many miracles in my life due to Devi. After a roller-coaster life, I found peace and a pathway opened for me. My children and I have a resolution never to pray for favours but accept life events as a gift from our Divine Mother Mookambika Devi. I am blessed  that I could visit the temple a few times, and my last visit was on my milestone birthday two years ago. Faith and devotion ensure tangible impact in life’s journey.





#Kollur #Mookambika #Sauparnikariver #AdiShankaracharya #Soundaryalahari #Chandragiri #Kodachadari #smilingseeker #MusicdirectorIlayaraja #Yesudas #LyricistVali

 

Kollur Mookambika Devi

  

 Kollur Mookambika Devi-1

 

The drive to Kollur Mookambika Devi temple is through a narrow road with dense forests on either side. The Sauparnika river flows by the side and we get glimpses and the rush of the flowing river through the trees on the right side of the road. There are many myths, legends and miracles associated with Devi, and it takes time to fully understand the mystery and powers of the sacred temple.

One of the well-known temples of Karnataka, and in proximity of Udupi Sri Krishna’s temple, the temple in Kollur is thronged by devotees who pray for blessings in their pursuit of arts like music and dance, education and knowledge. The Devi enshrines the powers of Durga, Saraswathi and Lakshmi on left side of the Lingam and Siva on the right.



                                   Devotees of all castes and faiths throng the temple throughout the year


The legend most well-known and revered by devotees is that of the demon Kaumasura who was observing Tapasya and practicing severe penance to gain matchless powers. The gods feared that he may indulge in destruction and mayhem with his power and appealed to the Divine Mother to intervene. Saraswati Devi took away his power of speech to he could not address the gods. Furious, the demon, now named Mookasura, continued to harass sage Kola Maharishi who was doing penance. Devi Durga drew on the power of the gods and vanquished the demon with her divine chakra and became known as Devi Mookambika.




                                                Details of dancing images on the chariot.

The revered proponent of Advaita Vedanta, Adi Shankaracharya, chose Kodachadari hills near Kollur to observe penance. Pleased with his penance and devotion, Saraswati Devi appeared before him and asked him for his wish.  Shankaracharya requested Devi to come to Kerala with him. Devi agreed with one condition. She will follow him, but he must never look back to see her. They began their journey, but at one time he could not hear her the sound of her anklets. In his anxiety, he forgot her one condition and had looked back to see why Devi had stopped. At that very location where Devi stopped, near Chandragiri Hills, is the exact location of the present temple. Devi now instructed Shankaracharya to construct a temple for her and install her idol with due ceremony.

 

 

Detail on the stambham



                                                   

The temple is a Jyotirlinga and the main deity is a Swayambhu Lingam (Manifested) that combines Shiva, Vishnu and Brahma on the right and the three Devis on the left. A golden line divides the Lingam.  This combined power of the major deities is the reason why the temple exudes a divine vibration.

The temple is also known as one of the seven Mukthi Stalas created by Vishnu Avatara Parasuraman.

Devi is worshipped in three forms every day. In the morning she is worshipped as Maha Kali who empowers power and courage. At noon, she is Maha Lakshmi who grants wealth and prosperity. In the evening Devi is worshipped as Maha Saraswati who is the deity of knowledge, wisdom and Fine arts.

 


The sacred stambham covered with golden plates and images carved on all sides 


The iconography of the Devi idol is unique. Devi sits in Padmasana under the Sri Chakra. Her eyes are in Shambhavi mudra which means her one eye looks upward and the other eye downwards. She has a Third Eye which symbolises Fire. She wears a diamond nose-ring and her earrings are Sri Yantras. Four hands are seen, two holding Shank (Conch) and Chakra (Wheel weapon), and the other two in Abhaya (protection) and Varada

(granting boons) hastas.

It is believed that Adi Shankaracharya wrote Soundarya Lahari at this location. He laid down the instructions for the rituals to be performed here, which has been followed for centuries. They follow the Vijayagama tradition or Tantric rituals. Four families have been given the rights to perform the rituals here. There is a powerful energy and divine vibration that engulfs one as one enters the temple precincts.

 


The sacred chariot rests. The wooden chariot has beautiful carved images on all sides.

The temple is a Jyotirlinga and the main deity is a Swayambhu Lingam (Manifested) that combines Shiva, Vishnu and Brahma on the right and the three Devis on the left. A golden line divides the Lingam.  This combined power of the major deities is the reason why the temple exudes a divine vibration.

The temple is also known as one of the seven Mukthi Stalas created by Vishnu Avatara Parasuraman.

Devi is worshipped in three forms every day. In the morning she is worshipped as Maha Kali who empowers power and courage. At noon, she is Maha Lakshmi who grants wealth and prosperity. In the evening Devi is worshipped as Maha Saraswati who is the deity of knowledge, wisdom and Fine arts.

 

The iconography of the Devi idol is unique. Devi sits in Padmasana under the Sri Chakra. Her eyes are in Shambhavi mudra which means her one eye looks upward and the other eye downwards. She has a Third Eye which symbolises Fire. She wears a diamond nose-ring and her earrings are Sri Yantras. Four hands are seen, two holding Shank (Conch) and Chakra (Wheel weapon), and the other two in Abhaya (protection) and Varada (granting boons) hastas.

It is believed that Adi Shankaracharya wrote Soundarya Lahari at this location. He laid down the instructions for the rituals to be performed here, which has been followed for centuries. They follow the Vijayagama tradition or Tantric rituals. Four families have been given the rights to perform the rituals here. There is a powerful energy and divine vibration that engulfs one as one enters the temple precincts.

 Read Kollur Mookambika -2 for more information and photos. 

#Kollur #Mookambika #Sauparnikariver #AdiShankaracharya #Soundaryalahari #Chandragiri #Kodachadari #smilingseeker #MusicdirectorIlayaraja #Yesudas #LyricistVali

 

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.