Book Review Alaya
Vazhipattil “Chinna Melam” by SNA awardee Shri B. Herambanathan (Mridangam
Vidwan and Nattuvannar)
In March last year (2018)
I received a book from Shri Herambanathan, the eminent Nattuvannar of
Thanjavur. I met him first in 1993 when I visited Melattur Narasimha Jayanti
for the first time. It was he who invited me on the stage and honoured me. He
invited me on behalf of the Sangam to accept the Chair and guide them. During
the performances I was totally mesmerised by his singing the jathis in deep
musical voice. I had a sudden urge to run up and dance to his voice. The music
by L. Venkatesa Iyengar and his disciple Shri Radhakrishnan took the
performance to another level. It was difficult to decide whether to watch the
excellent dance or close my eyes and listen to the music.
He facilitated a meeting
with Revathi Amma (aka Doraikannu) a well-known dancer of the fifties.
Shri Herambanathan was
unable to join the troupe on the first visit to Mumbai for the first ever
Bhagavata mela Festival I curated in January 1994. But he was the main conductor
of all subsequent performances. As the Guru to all the Bhagavat mela artistes
for more than fifty decades he has a commanding presence which demands great
respect from anyone in his presence.
The book had a letter
hand written by him in beautiful handwriting appreciating my book Bhagavata
mela My Tryst with Tradition.
His book has a Foreword
by Shri Babaji Raje Bhonsle, the current senior member of the royal family. He
mentions the great service the Chinna Melam artistes have done for dance and
music since the Chola times. The Nayak and the Maratha kings too honoured and
supported the dancers, mridangam artistes, instrumentalists and nattuvannars
who were collectively known as Chinna Melam.
The first chapters
describe the divine origin of dance, the Cosmic Dancer Nataraja and deities
associated with dance and music.
In his chapter on
Abhinaya, he mentions a Sanskrit text called Rasa Bhandar. The text says
that a dancer must be very careful when expressing sentiments like Pathos or
Fear. These emotions generate negative expressions which affects society. A
person who wants to express Veeram or Valour must meditate on Sri Rama and
internalise his qualities to succeed in expressing this emotion. Quoting and
excerpt from the book, he reveals the secret advice Siva gives to Nandi- an
actor must be responsible and maintain aesthetic limits when portraying a
character. Or he will influence the viewer’s mind in a negative manner.
The main crux of the book
is the information of the role of Devadasi families and their duties in
temples. From service to Siva in the sanctum sanctorum to performing during
festivals, and performing the compositions of the royalty like Kuravanjis and
Pallaki Seva Prabandhams.
Shri Herambanathan’s book
is like a bell which is tolls loud and clear reminding the world of the immense
service of those artistes, their superlative talent and their status as
repository of our rich Thanjavur Bharata Natyam traditions.
The book has details of
important Nattuvannar families and the Devadasi dancers from the time of the
Tanjore Quartette. Profusely illustrated with photographs of rare vintage it is
an important text for dancers. It is definitely worth a translation into
English for those art lovers from other regions.
Published by Thanjavur
Heritage Arts & Cultural Academy,2016
Financed by Tamil Iyal Isai
Nataka Manram
