Showing posts with label KN Dandayudhapani Pillai. Show all posts
Showing posts with label KN Dandayudhapani Pillai. Show all posts

Muthukumara Pillai On Screen in Kannika (1947), and Other Nattuvanars in Indian Cinema

Saturday, November 28, 2015
Thanks to two YouTubers who have uploaded songs from the 1947 Tamil film Kannika in the past few months, Bharatanatyam dance history aficionados can now witness on screen the nattuvanar Kattumannar Koil Muthukumara Pillai (1874-1960, also known as Muthukumaran or Muthukumarappa, of the village Kattumannarkoil aka Mannargudi or Kattumannargudi) at the age of 73 playing the role of a nattuvanar in the song "Natanam Adinar":

Muthukumara Pillai can be seen at 1:14, 1:58, closeup at 2:55, and 3:51 onward
(the lower quality version includes 2 more seconds where he begins to speak, but it's cut off!!)



How do I know it's him? I had read a while back in the September 1993 Sruti magazine feature on Muthukumara Pillai (for brevity, MKP) that when he was in Coimbatore from 1944-1947 teaching exercises and dances to young boys at a drama company, he "came in contact with Pakshiraja Studios and trained the proprietor Sriramulu Naidu's wife Saroja for her lead role in the film 'Kannika' [and] Muthukumara Pillai himself too made a brief appearance in the film." When I watched the recently-uploaded songs and compared the nattuvanar's appearance with known photos of Muthukumara Pillai, it was clearly him! Compare these stills from Kannika with a photo of MKP that I featured in my post on Muthuswami Pillai and that must have been taken in the late 1930s which were the years the young man on the right, Muthuswami Pillai, trained with MKP.

Left: Kannika  Right: Muthukumara Pillai [credit: Mohan Khokar]
This Kannika footage is incredible because Muthukumara Pillai belonged to the oldest generation of nattuvanars whose hereditary artistic practice was discovered in the twentieth century transformation of what we today call Bharatanatyam. What's more, he along with his contemporary Meenakshi Sundaram Pillai (also known as Pandanallur Meenakshisundaram Pillai, from Pandanallur village, for brevity MSP) are often remembered today as the two top-ranking gurus and nattuvanars of their generation who trained most of the first non-hereditary Bharatanatyam dancers who spread and popularized the art form far and wide. The two of them each trained such legends as Ram Gopal, Rukmini Devi Arundale, Mrinalini Sarabhai, and Kamala Lakshman.

Found: Vyjayanthimala's Other Bharatanatyam Dance in Chittor Rani Padmini (1963, Tamil)!

Saturday, March 22, 2014
In my first post on V.S. Muthuswami Pillai, the nattuvanar who among many things choreographed most of Vyjayanthimala's best Bharatanatyam in Indian cinema, I had discussed a beautiful Bharatanatyam dance of Vyjayanthimala's in the 1963 Tamil film Chittor Rani Padmini but lamented that I couldn't locate the second dance at the end of the movie she was said to have performed for the king.

Well! The dance has now been located, at the rich treasure house of Kandasamy Sekkarakudi Subbiah Pillai's YouTube channel, and it is fantastic! Whereas "Devi Vithayar Bhavani" depicts the dance of a devadasi inside a temple, "Paarthuk Kondirunthaaley Pothum" depicts the dance of a rajadasi at the king's court. Muthuswami Pillai choreographed the numbers differently; the former dance is restricted to a small physical space and the choreography is performed very precisely, but the latter court dance is snazzed up with expansive flourishes and speedy embellishments fit for the court. And what elevates it from so many other mundane and sloppy Bharatanatyam-inspired court dances in cinema is Vyjayanthimala's sheer talent and training.

The dance starts at 2:16 with a Bharatanatyam salutation (quite similar to that in New Delhi) and raises ones hopes of seeing classical choreography come to life on screen, but the next three minutes are a mix of abhinaya and "filmi classical" movements that reminds me so much of the way that Padmini danced in cinema, though Vyjayanthimala has a more methodical grace. At 5:10, some refreshingly-skilled tabla playing kicks off a four-and-a-half-minute, fast-paced, pure-dance segment in which Vyjayanthimala energetically mimics through dance the raaga-scaling vocal antics of Sivaji Ganesan's character in a "call and response" fashion. The speed she is performing at is too fast for a lot of the adavu-fusions, but despite that she manages to lock her limbs into place and create beautiful visual geometry. Look at her go! Only Kamala and Vyjayanthimala are capable of dancing Bharatanatyam in films with such speed while maintaining relative poise and form.

Starts 2:16

Wow! Of her film choreography that stays quite close to Bharatanatyam, this is her most energetic and exciting dance number! The knee spins at 8:20 are an interesting inclusion. I found the ending quite disappointing because the lazy footwork and editing didn't match the increasing excitement of the vocals and pace. Wouldn't some of this song's choreography have been spectacular in the epic danceoff in Vanjikottai Vaaliban!

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