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A loving second home!

 Young boys pick drumstick at the garden they look after at the AIM for Seva student home in Anaikatti

Computer lab at the girls' home

Chhatralayas for tribal children across the country aim to give them a better chance in life.

Eight-year-old Krishnadas no longer needs to travel 14 km through dense jungle to get to school every day.

Savithri, who used to study by the light of dim oil lamps, now has access to electricity from solar power.

Nandakumar, the son of a railway porter, dreams of becoming an IAS officer.

It is late evening. Several girls are busy studying in a typical South Indian style courtyard surrounded by rooms. The walls are decorated with colourful paintings done by them, and their mattresses and personal effects are neatly stacked inside the rooms. There is a sense of cleanliness and discipline.

This is the scene in a chhatralaya, or student’s home, for tribal children in Anaikatti near Coimbatore, run by AIM for Seva, an initiative of Swami Dayananda Saraswati of Arsha Vidya Gurukulam. The first chhatralaya was started in 2000. Today, there are 90 chhatralayas in 14 States across the country, from Karnaprayag to Kanyakumari. They are supervised by well-trained people with a passion for serving the needy.

With a twinkle in his eye, Swami Dayananda Saraswati recalls the incident that sparked off the project: “We were constructing a water pipeline from the forests to the plains for the local people when a tribal woman mentioned that it was impossible for their children to come to school as they had to travel a long distance through the jungle, which swarmed with elephants. This was the trigger which made us start the All India Movement for Seva.”

The very first chhatralaya was, in fact, set up in Anaikatti. It was a single-storeyed student’s home, accommodating 100 boys studying from second to twelfth standard. Another one was soon built for girls.

“Most of our young ones are first-generation school goers,” says Velumani, the warden of the boy’s home, “and required some guidance. In spite of my NGO background, it took me a while to learn how to work with them. Now I am enjoying the work.”

Typically, the children’s day starts at 5 a.m., and in an hour they are ready for prayer, followed by breakfast and study time. They are off to school by 9 a.m., and return around 5 p.m. After evening prayers, they sit for studies and go to bed at 9 after a healthy and sumptuous dinner.

Who takes care of the daily maintenance of these chhatralayas? The children themselves. As Bhagyam, the warden of the girl’s home, explains, “They do the cleaning, wash their own clothes and vessels, and help in the kitchen to cut vegetables. This helps them become more responsible and independent. There is a group leader for every standard who helps the other students.”

“All the akkas take good care of me,” says little Sindhu Bharati, 8, the youngest in the Anaikatti girl’s home. “They help me in washing my clothes, and doing my hair. I am learning a lot from them.” She has been here for three years.

Clarifying this arrangement, one parent explained, “My daughter seldom falls sick and likes engaging herself in all the activities.”

Surrounded by hills, both the chhatralayas offer a scenic view, and have enough open space to grow vegetables. As all the children are trained in gardening as a part of vocational training, the garden is a busy place. Fourteen-year-old Nandakumar proudly points out, “We have grown and maintained jackfruit trees, gooseberry trees and onions.” The girls grow tomato and lady’s finger in their garden. The girls get tailoring lessons as well.

Equipped with 14 computers, the home ensures that the children also acquire a basic knowledge of computers. “Twelfth standard students who have taken computer science in school teach the others about its use in our computer lab,” says Velumani. “A few volunteers from outside also come and help them,” adds Bhagyam.

There are plenty of other activities on offer. While there are classical dance, music and sloka classes, the air also reverberates with the sound of foot-thumping tribal dances accompanied by tabla, drums and harmonium, all played by the children. “Every year we have a cultural programme where the girls and boys showcase their talent in music and dance,” says Bhagyam.

The AIM for Seva movement receives financial support from the NRI community, and some individuals within India, but more aid will make it possible to implement the larger vision they have. Swami Dayananda Saraswati says he would like to establish chhatralayas in every district of the country, as children in many parts of the country do not have access to education. The need is very high, he says and is hopeful of making it a reality.

“We have approached government departments, private entities and corporate sectors for funds,” says Sheela Balaji, secretary of the AIM for Seva movement. “We hope they will come forward and support us.”

With dedicated members and more likeminded individuals contributing to the cause, the long-term vision of the programme appears promising.

Loka hitam mama karaNeeyam

Transcendental experience

Ideas, influences, artistry and study combine ingeniously in Sudharani Raghupathy, who talks about her artistic journey.

If her eyes convey fluid emotion when she demonstrates a padam, her graceful illustrations have dignity. Small wonder then that celebrated Bharatanatyam artist Sudharani Raghupathy’s winning combination of sheer artistry, diligence and study have brought her many awards. This month she completes 65 years in the Bharatanatyam field.

In a chat, she muses about her early years of learning Bharatanatyam and voices her philosophies:

My earliest recollections of learning natyam are of the time when I was three years old at Uthukudi in Pollachi district. Our neighbour and friend, Saraswati, a most cultured lady, would perform Tulsi puja for which she would sing Purandara Dasa Devarnamas. I can recall the sublime way she emoted during the song. It was at her urging that I began basic training in the art under her. The tales of Puranas that I learnt and the Harikathas performed in the village frame these tender moments.

My father moved to Bangalore, when I was around five. It was then that I came under the tutelage of U.S. Krishna Rao, an associate of my father. Following the advent of the legendary Guru Kittappa Pillai to Bangalore, I began training under him where I could I continue in the same bani.

My arangetram was presided over by the then mayor, where specifics such as the make-up and costume were kept to the essentials. The main piece I performed was the Khamas varnam, ‘Saminee Ramanave,’ a composition that is a litmus test for the dancer’s abilities.

Talking about this varnam brings to mind Vadhyar’s (Guru Kittappa Pillai) way of instructing me: the process of delineation and enlarging upon the poetic term. He would teach seated and after instructing me about the principal idea, he would then employ the method of suggestions and questions to help me expand on the idea.

When it came to technique, he was famed for his emphasis on the precise way of holding the spine. Learning in this style, one gained the knowledge of drawing vitality from the straight-backed stance.

Another association I cherish is that of the late Kamala Devi Chattopadyay, cultural ambassador. As I accompanied her on her tours to meet artisans, I imbibed a lot about textiles and handicraft. Rukmini Devi‘s positive guidance was another blessing I am proud of.

Precious memory

Among the concerts that I cherish, during the years that my literary and dance education progressed, was the one witnessed by Jawaharlal Nehru and the young Indira Gandhi in Bangalore during my school days. Years later when she became Prime Minister, she recalled this performance in a conversation with me in New Delhi. Another warm memory is my explaining the fine points of Bharatanatyam to a group of Russian artists in English. With Vadhyar by my side reassuring and guiding me, I demonstrated to them the niceties of Bharatanatyam - a trend setter for such sessions in those days.

After I had completed my Bachelor’s degree in Philosophy and Sociology, this experience helped me become the first Indian at the Randolph Macon’s Women’s College, Virginia, U.S. I majored in world history of dance and learnt the Martha Graham technique in modern dance, as well as western music from Elaine St Vincent.

How did I relate the stimuli of modern dance with my performance and choreography of Bharatanatyam? If control was drilled in, in Martha Graham’s system, the same concept of restraint was emphasised by Vadhyar - to depict themes not explicitly but in a refined way.

The engaging of the elongated bearing of the torso, the flow of grace from the back and the breathing skills in modern dance were useful pointers in my own art.

After coming to Chennai and my marriage, I had the good fortune to meet and develop further the art of abhinaya from doyennes such as Mylapore Gowri Ammal and Balasaraswati. I soon found that learning under them was anything but formal. After commencing with the primary piece, be it ‘Aasai Mukham Marandu Poche,’ or ‘Velavare,’ Gowri Ammal would launch into an hour-long elucidation of the same kirtanam or padam. I would watch astounded as her creativity took flight and she embarked on these fascinating descriptions.

To enhance my knowledge, I began to bring together jatis from gifted artists in the field. Such interactions with renowned elders and colleagues have sustained and strengthened me on the long road of my performing and teaching career.

As a teacher of the art, certain key areas that I stress on are sharpening the inner awareness that there is as much bhava in nritta as in abhinaya (though it is channeled differently), the moulding of the expression of the idea that arises within oneself and the training of the dynamics of the natyam. Yet, while the teacher can instruct, much depends on the urge that drives the learner. It is this passion that will take the art further than what is taught; otherwise the lesson will remain a pale imitation of the substance. I have carried forward these ideals through my institution Sree Bharatalaya, established in 1970.

The electronic media is a boon to the art. I have recorded for Doordarshan, both in the black and white era and later in colour in the 1980s, a series titled ‘A guided understanding of Bharatanatyam,’ which featured my students as well as sessions by prominent artists. My DVDs also shed light on the intricacies of the subject.

The book, ‘Laghu Bharatham,’ in three volumes, is a veritable encyclopaedia on the art. It is the result of years of my research and consultations with scholars and experts and the inputs of my students. The documentation of Arayar Sevai of Srivilliputtur was done with the same intensity.

My generation holds as a repository all that was imbibed from the great masters of the art, the fruits of our own experience and a convergence of corresponding fonts of art and culture. Now, we wish to communicate and transfer these as precious legacies to the successive set of artists and students.

In recent years the internet has been gaining momentum as another medium of instruction. It transcends boundaries where classes of dance and music on skype are quite popular. The thirst for knowledge and learning capacity of the young generation is amazing and is a heartening sign for the art. One may ask, what is the place of the Teacher/performer and of Bharatanatyam in this environment?

I hold that while the computer is virtual reality, Bharatanatyam is the perceptible reality. One can replicate and communicate through the net, but when one actually performs ‘Krishna Nee Begane’ live, it ‘brings’ Krishna to the rasikas. This transcendental experience is what genuine art is all about. With these words, she underlines the essence of a great artist.

Recognition

A few of the prestigious awards given to her are Padma Sri, Central Sangeet Natak Akademi Award and Kalaimamani (Tamil Nadu State award). She will also be conferred with Natyacharya Award by The Music Academy at their annual festival later this year.

Italians and samskritam

Italians turn Sanskrit students

Sanskrit scholar A. Raja Sastrigal performs Kalasa Theertha on Italian couple Flavio and his wife who underwent training in Sanskrit hymns and mantras at a Veda Patashala in Karuvadikuppam in Puducherry on Saturday. —DC

Influenced by the spirituality and Hindu way of life, 23 Italians, including a couple from the Vatican, underwent a crash course in learning Sanskrit hymns and mantras at the Veda Patashala in Karuvadikuppam on Sunday. Amid vedic chants, A. Raja Sastrigal gave diksha to the Italians.

Raja Sastrigal, who conducted the coaching lasting three hours, said the team had come to Puducherry after undergoing basic coaching at the Vatican during his visit in 2009. Italians Flavio and his wife Spanio came to me several years ago after visiting my website, Raja Sastrigal told Deccan Chronicle, adding that the couple was eager to learn Sanskrit hymns and the Vedas. They felt that India is a karmabhoomi where alone they could have the efficacy of learning ancient Sanskrit hymns and mantras.

Inclined towards Hindu tradition and beliefs, the couple underwent a crash course in Puducherry after undergoing basic coaching in Italy during his visit. The team, comprising doctors, engineers and teachers, came to Puducherry referred by Flavio. Today, the team underwent practices in reciting Sri Rudra Chamakam, Rudrajapam, Srisuktham and the Upanishads. The team would visit Puducherry again a few months later for more intensive practices.

Raja Sastrigal said he was impressed by the correct pronunciation, phonetics and ebb and flow of the trainees in uttering the mantras like an Indian scholar would, adding that all of them also got sacred Hindu names. The training today lasted three hours and was imparted to the team eager to learn the deva basha (God’s language).

He also performed kalasa theertha ritual (sprinkling of holy water) on the trainees as per the rituals of Hindu religion at the end of the practice. The Veda Patashala was charged with spiritual ambience and the participation of the foreigners drew the attention of everyone.

KarNan again !

Calling the films of today as those that are magnificent only in budget and locations, and  not in content, actor Y Gee Mahendra said films like Karnan could never be remade with the charm of the original. This was at an event held to celebrate the Sivaji-starrer’s re-release recently, that has crosses over 150 days.

“Nobody can replace any of the actors of the 1964 film and it would amount to mockery if it is done,” he said.

The Sivaji-starrer was digitised and released by Divya Films and was running  to packed houses even till recently in multiplexes. The celebration was organised by the All India Sivaji Ganesan’s Fans Club and the actor’s kin, including sons Ramkumar and Prabhu, and grandson Vikram Prabhu were present on the occasion, along with film personalities.

Marudhu Mohan, who is doing his PhD on Sivaji Ganesan, said he met the actor way back in 1980 in Madurai and told him that he wanted to do a PhD thesis on him. “The actor asked me if I could do it. I first didn’t understand why he asked it,  but realised what he meant soon after I started my work. There is so much about the actor,” he said.

Chokkalingam of Divya Films said he wanted youngsters to see Karnan and thus came up with the idea of re-releasing the film in a digital format.

Technicians of the digitised version and heirs of actors who played important characters in the original were felicitated at the event. Actor Prabhu thanked all for their love for his father.

Earlier, Sivaji fans were enthralled by songs of their evergreen hero performed by UK Murali.

Raama-naaTakam