Divine art form — Bharatanatyam

The vigorous dance of the Hindu god Shiva Nataraja is Tandavam, while the graceful dance of Goddess Parvati is Lasyam. The Natyam of the divine Inseparables, the cosmic Nayaka-Nayaki, is the principal manifestation of eternal energy. Natyam is the fifth Veda, created by Lord Brahma and later descended to Earth. The earliest sources of Natyam known to humankind are sculptures, mural paintings, and frescoes in temples, depicting mythological stories from the Ramayana, Mahabharata, and Srimad Bhagavatam. Learning and practicing Natyam is a journey of becoming one with the Supreme.

Artistic Journey began…

Matha, Pitha, Guru, Deivam.

With the blessings of my spiritual guru, His Holiness Swami Shantanand Saraswathi, the founder of Temple of Fine Arts International, I began my journey in learning Bharatanatyam. A Guru is the guiding force who helps us understand the deeper insights of the Guru-Shishya relationship.

In 1986, I was initiated into Bharatanatyam by my mother, Smt. Durga Narayanamurthy, at the Temple of Fine Arts, Chennai. I learned the basic adavus and urupadis in a group class under Smt. Shyamala Balan at TFA. My debut performance took place during Swamiji’s birthday celebrations.

I was also privileged to be part of TFA’s grand dance productions staged in Chennai at Kamarajar Arangam — Ramayana, Taj Mahal, and Buddham Sharanam Gachhami. These productions were so mesmerizing that even the legendary drama wizard Sri R.S. Manohar was left flabbergasted!

With Swamiji’s Asirvadam, in 1996, I had my Arangetram at Rani Seethai Hall, graced by the presence of Sri T.T. Vasu, mridangam maestro Sri Guruvayur Dorai, and Sri Chellam Iyer — my maternal grandfather, who for decades performed Shardam for Sadguru Sri Thyagaraja Swami at Thiruvaiyar.

A few years before my Arangetram, I came under the guidance of Guru P. Suryakala, the International Dance Director of TFA, and a direct disciple of Sri K.N. Dhandayudapani Pillai. From that point onward, I had the fortune of learning Natyam individually.

Suryakala teacher is an exceptional artist who not only conducted Nattuvangam for my concerts but also sang for them. She has selflessly dedicated her teaching to the Temple of Fine Arts, embodying true devotion to the art.

Arangetram 1996 — Recieved the Graduation Certificate from HH Swami Shantanand Saraswathy in presence of Sri Guruvayur Dorai

Alma mater

From LKG to 12th grade, I studied at Padma Seshadri Bala Bhavan School, Chennai, where I participated in the annual anniversary celebrations every year. I was a recipient of a student scholarship for Bharatanatyam from Bharath Kalachar. The school management and teachers encouraged me by sending me to competitions, where I won prizes at the district, state, and national levels.

On the recommendation of my school principal, Smt. Hamsa Ma’am, I was selected to perform in Karthavyam, a dance ballet produced by Dr. Y.G. Parthasarathy Ma’am. This gave me the wonderful opportunity to perform alongside Smt. Y.G. Madhuvanthi. The dance productions were staged in all the leading Sabhas in Chennai.

In 1997, the production was sponsored by my dance school, TFA, to be performed in Malaysia and Penang, marking my first international performance.

Dream

Understanding my aspiration to establish myself as a solo performing artist, my father, K. Narayanamurthy (an engineer by profession), tirelessly met Sabha secretaries, submitting applications and requesting opportunities for me to perform.

From 1997, I began performing in the Margazhi dance festivals at various Sabhas in Chennai. In my initial years, the secretaries of Balaji Fine Arts, Mylapore Fine Arts, Kapali Fine Arts, Salangai Oli Trust, and Parthasarathy Swami Sabha generously provided me with opportunities.

One evening, while I was in the audience at my friend’s recital at the Ayyappan Temple, Suryakala teacher called me to the stage and handed me the Nattuvanga Thalam. It was a spontaneous opportunity, and for the first time, I played the cymbals.

“A teacher never teaches; students should inspire the teacher to teach!”— Ustaad Zakir Hussain

My search for knowledge did not stop. In 1999, I came under the guidance of Guru Pandanallur Kalaimamani S. Pandian. The person instrumental in making this happen was Mayavaram Sri T. Viswanathan, to whom I am forever indebted.

Guru Pandanallur S. Pandian, hailing from a traditional Nattuvanar family, is the son of Mridangam Vidwan Pandanallur Sri Srinivasa Pillai. My journey of learning under my Guru has now surpassed 25 years.

Guru & Shisya — The Learning process

Gradually, I began learning and practicing the pristine Pandanallur Bani. This style emphasizes a deep Aramandi stance, a straight torso, stiffness in hand gestures, firm footwork, and agility in movement. I used to have classes every day.

The first Urupadi my Sir taught me was the Navaragamalika Varnam, composed by the Thanjavur Quartet — “Saami Ninne Kori Naanura…” Pandian Sir teaches while seated. For instance, when choreographing a Chittaswaram or Charanam Swaram in a Varnam, following the tradition of senior Pandanallur Gurus, he sings the Swaram and seamlessly joins it with the Adavu.

In his teaching, Lakshanam (aesthetic expression) comes first, followed by Kanakku, Lakshyam (technique). His choreography includes cross-patterned Adavus. The central piece of my recital is often a Varnam composed by the Tanjai Nalvar (Thanjavur Quartet).

• Saami Ninne Kori Naanura — Navaragamalika, Rupakam

• Moogamana — Bhairavi, Rupakam

• Sakhiye — Anandabhairavi, Adi

• Indha Koopam Yelara — Thodi, Adi

• Mogalagiri Kondeen — Thodi, Adi

• Panagaatri — Ashtaragamalika, Rupakam

• Sarasuda — Vachaspati, Adi

• Sarasa Nine — Kapi, Adi

• Yee Mayalaadidira — Husseni, Rupakam

• Athi Moogam — Shankarabharanam, Adi

For more than two decades, the above Varnams have been a part of my concert repertoire. Pandian Sir constantly re-choreographs, and I re-learn. With new Jathi patterns, calculations, and ideas, his compositions feel as fresh as a newly blossomed flower.

In the earlier days, when Sir taught Nritta, he focused on the Adavus, but the calculations were not explained. Like a parrot, I performed exactly as he taught me, without questioning beyond his instruction. As the years passed, I began analyzing and understanding the Alavu, Aksharam, and Matrai Kanaku in a Jathi or Swaram. In Abhinayam, I started internalizing the Vakya Artham (the deeper meaning of expressions).

A dancer breathes through music. I had the privilege of learning Carnatic Music from Sri R.N. Ganesan. With Guru Pandian Sir’s profound teaching, I was able to play the Tattu Kazhi Manai and Symbols.

Consistent passion, practice, and performance — the three P’s — are essential for an artist to follow.

Osmosis — the gradual flow of knowledge from Guru to Shishya — is a process where the seed of teaching is deeply sown, elevating the student’s skills to their ultimate potential.

Gratitude to Art Patrons

I am always sincerely thankful to art patrons, Sabha secretaries, institutions, and senior artists for their support and encouragement of my artistic skills. My first monthly program under Kartik Fine Arts was in the year 2000, offered to me by the former secretary Sri Kartik Rajagopal. Presently, his son Sri R. Sekar continues to encourage me with opportunities.

In 2001, Smt. Nandini Ramani (former secretary of Music Academy) believed in my talent and gave me the opportunity to participate in the prestigious Spirit of Youth competition. I won the competition and received the Best Dancer MGR Award, as well as the Pandian Sir Best Guru Award.

Subsequently, in 2002, I had the honor of performing at the Platinum Jubilee celebration of the Music Academy, inaugurated by Dr. APJ Abdul Kalam. Smt. Y.G. Parthasarathy, the founder of Bharath Kalachar, and her family members have always been pillars of support, patronizing my art to this day.

Sri A. Natarajan (former Doordarshan Director) has provided me with numerous opportunities at Sabhas. Sri Ravichandran, secretary of Brahma Gana Sabha, and Sri Srinivasan, secretary of Pushpanjali Cultural Trust, have also been very supportive of me and my disciples by featuring us in their annual festivals.

Sri VV Sundaram invited me to perform in dance productions at the Cleveland Thyagaraja Aradhana Festival in the USA in 2014 and 2016, where I was honored with the Kala Ratna Award for my years of service to Indian classical art.

Sri Vellayapan (then secretary of Tamil Isai Sangam, Pollachi) invited me many times to perform in the annual dance festivals, not only in Pollachi but also in Madurai. Sri Sambandam (secretary of Chidambaram Natyanjali) gave me the divine opportunity to perform at the Natyanjali Festival at the Natarajar Temple, Chidambaram.

Spirit of youth competition , Music Academy — MGR award

Recitals

My performances at Nada Neeranjanam in Tirumala, Udupi Krishna Temple, ISKCON Janmashtami celebrations, Natyanjali Dance Festivals, and Tamirabarani Maha Pushkarani, performed with the blessings of His Holiness Vijayendra Saraswathi, as well as at Krishna Temple in Guruvayur, have truly blessed me with divine experiences that I will cherish throughout my lifetime.

My recitals in several countries, such as at the Indian Consulate in Dubai in 2008, the Cleveland Thyagaraja Aradhana Festival in the USA in 2014 and 2016, the 2014 Indian Consulate in Sri Lanka organized by ICCR, and the 2018 4th Tamil Economic Conference in Durban, South Africa, sponsored by the Department of Art and Culture, Government of Tamil Nadu, have given me the experience of performing for diverse audiences.

Performing under Rasavikalpam for the Sangeet Natak Academy in Kerala, at Government Music Colleges and Schools in Tamil Nadu, the Mahabalipuram Dance Festival, ICCR Horizon Series Programs, SZCC Silver Jubilee Celebrations in Mysore, India Habitat Centre and India International Centre in Delhi, the TED program at VIT College, workshop demonstrations under IRCEN for rural schools and colleges in Goa, Delhi, Punjab, Gujarat, and Tanjore, as well as through Spicmacay, are some of the most unforgettable experiences for me.

From the Cleveland Thyagaraja Aradhana Festival

Pandanallur school of arts

In 2003, with Pandian Sir’s guidance, I started the Pandanallur School of Arts, where I began teaching young aspirants to help them establish themselves as solo performing artists. In 2008, I conducted the first Arangetram of my disciple. Throughout my journey, I have never compromised on the balance between art and academics.

I am also a lawyer, having pursued a Bachelor of Law from Dr. Ambedkar Law University and a Master’s in Labour and Administrative Law from Annamalai University. However, my passion for Natyam led me to further my knowledge by joining a Master of Fine Arts program, followed by research in dance, eventually earning a PhD from Annamalai University.

Receiving her PhD Convocation certificate from Annamalai University

My desire for Natyam has absorbed me fully, as a learner, practitioner, and teacher. I see myself as a tiny drop in the vast ocean of this art form.

A tiny drop to the ocean

Swami Shantanand Saraswathi often said that serving art and artists is akin to performing an Ashwamedha Yagya. My father, inspired by Swamiji’s words, chose to follow this divine guidance, and his vision was wholeheartedly supported by his uncle, Sri K. Murthy, who hails from Tiruvidaimarudur, a small village near Kumbakonam. This led to the formation of the Marudha Natyanjali Trust in 2012.

One of our key initiatives is the annual Natyanjali Dance Festival, held on the auspicious day of Mahashivaratri at the Sri Mahalaingaswamy Temple in Tiruvidaimarudur. As part of the efforts, I had the privilege of constructing a permanent stage within the temple premises. This festival, which celebrates Bharatanatyam, has been inaugurated by several senior and esteemed artists, including:

• Prof. CV Chandrasekhar

• Smt. Meenakshi Chittaranjan

• Smt. Priyadarshini Govind

• Sri J. Suryanarayanamurthy

• Smt. Urmila Sathyanarayana

• Smt. Shobhana Bhalchandra

• Smt. Parvathi Ravi Ghantasala

• Narthaki Natraj

• Smt. Roja Kannan

The one-day festival curates performances from solo and group Bharatanatyam artists across various dance schools. It is an enriching experience where artists perform with live musicians, paying their tributes at the lotus feet of Sri Mahalingaswamy.

I have a long journey ahead. My prayer to the Almighty is to grant me the grace to remain forever under the shadow of my Guru, Pandian Sir. Art is legendary, and without any dilution, I shall pass on my little learning to my disciples, as they are the future generation of artists.

Keep diving into the great ocean of ART,Keep collecting the new pearls.Art, just for the love of it…