Abiding passion for dance

THE VETERAN Prof. C. V. Chandrasekhar, is a multi-faceted artiste, who has stood the test of time and still continues with renewed spirit and enthusiasm in the field of Bharatanatyam as a senior performer. A teacher, singer, composer, choreographer, producer of dance ballets, and above all, a well respected academician, he has held the position of Dean of the Dance Department at the University of Baroda. For all those who have had the opportunity to witness the performances of C. V. Chandrasekhar in the last couple of years, after he settled down in Chennai, it would have provided an atmosphere of tranquillity and serenity, the old world charm and grace that is practically absent in present day recitals.

C. V. Chandrasekhar, who recently completed 50 years of career in the field of Bharatanatyam shared his thoughts and views about the art in an exclusive interview. Excerpts:

You have been away from the dance scene for many years now. In the last few years, you have been performing, teaching and guiding younger artistes. What is your impression of the current scene?

The scene seems very enterprising. Many of the present-day dancers are bright, promising and enthusiastic; they are well equipped and dedicated, but the style has changed enormously. First of all, the approach to the art form has become profit- oriented, unlike in the olden days, and the attitudes have changed vastly. During my early days at Kalakshetra, the students learnt for the pleasure and joy of the art, but today, the focus of the dancers has shifted. I do admit that there is no decline in the spread of the art but, I do strongly feel that the classical element has been diluted.

What was your experience at Kalakshetra and what took you to Benares?

My student days at Kalakshetra are unforgettable. I was exposed to an aesthetic atmosphere which has paved the way for my artistic fulfilment. I had wonderful opportunities to interact with eminent artistes in the field of music and dance. I joined Kalakshetra in 1945 and had my Arangetram in 1950. Although I joined mainly for vocal lessons, my interest in Bharatanatyam induced me to take up that course. I remember while we were living in Delhi, Smt. M. S. Subbulakshmi came there for a concert and visited our house at that time. Radha, who accompanied M.S., was impressed with my interest in dance and taught me "Kandaadundo Kanna Pol", which I presented later in front of Rukmini Devi. She was impressed by my performance and immediately I was admitted to the dance course. Along with training, I completed my academic education and graduated in Sciences after which I continued with my Masters in the same field. I taught at Kalakshetra for a short period in 1956 before going to Dehradhun were I taught Dance, English and Biology, a strange combination indeed. Later, I moved to Benares for a Ph.D. in Botany at the Benares Hindu University, which I couldn't complete. There too I had to teach Biology, but all the while my passion for Bharatanatyam was intense. On one occasion, after seeing my performance at the campus, I was selected to represent the University Youth Delegation to China. Sir C. P. Ramaswamy Iyer was then the Vice-Chancellor of BHU. While at Benares, I also taught for seven years at a dance school run by the Theosophical Society there. For 15 years, I lived in Benares with my wife Jaya.

Kalakshetra has produced several successful dancer couples, some of whom have become well-known. You and you wife Jaya are probably among the early ones to follow this pattern.

My wife Jaya was a senior disciple of Lalitha Shastri, herself a product of Kalakshetra. While I was in Benares, Jaya also happened to live there and she was teaching dance at the Krishnamurthi Foundation School. Ours was an arranged marriage and we continued our jobs there, until I decided to take up a faculty position in the dance department at the Baroda University. Jaya has been my constant artistic companion.

Teaching dance full time is a great responsibility. How did you involve yourself and what was your contribution as a teacher?

The dance department was quite strong at the university and I had to equip myself well to cope with the curriculum. It provided a great opportunity for me to study the different texts. To head a department, I had to do a lot of academic work. I really enjoyed those years Although there was hardly any chance to perform, I was working on several productions, specialised in teaching texts and did a lot of travelling. Just as I took Bharatanatyam closer to the people of Benares, at Baroda also, I brought the audience there much closer to this glorious dance of South India, incorporating Hindi lyrics, poems and text into the existing format.

Your interest in Sanskrit has been a great advantage, especially when you composed for dance ballets based on prominent Kavyas and Natakas in Sanskrit. Could you elaborate?

While at Benares, I met several Sanskrit pundits. With the help of Dr. Premlata Sarma, Jaya and I used to interpret the practical aspects mentioned in the Nartana Adhyaya of Sangita Ratnakara, through its translation. Not only that, under a banner called Abhinaya Bharati, we presented productions of Sanskrit works. We staged "Meghadutam" and "Malavikagnimitram" of Kalidasa, "Uttara Ramacaritam" of Bhavabhuti at well known platforms. We had such learned audience in Benares, that once in 1978, when we were enacting the play, "Uttara Ramacaritam," a particular dialogue was forgotten by a character and the members of the audience did the prompting spontaneously.

Later, I composed a number of ballets, among which "Pancha Maha Bhootha, based on verses from "Abhinava Bharati" on the Five Elements, "Bhoomija" - depicting Ramayana through the eyes of Sita, "Aarohanam" - a thematic presentation of Evolution (concluding with Buddha Avatara), and "Aparajitha", were noteworthy.

Music plays an integral part for dance. While staying in North India, did you use Hindustani music for your productions?

At Kalakshetra, I was trained in vocal music by stalwarts like Budalur Krishnamurthi Sastrigal, Madurai Subramania Iyer, Mudicondan Venkatarama Iyer, and M.D. Ramanathan. We had the opportunity to listen to the famous Dagar Brothers. Up North, I was exposed more to the Hindustani system, which I started using and adapting for Bharatanatyam-based ballet productions. While in Benares, I listened to prominent musicians who influenced me to a great extent. Whether it is Carnatic or Hindustani, a performance gets a boost only if there is good music accompanying it. I was always mesmerised by the signing of the exquisite padams of Kshetrayya by Jayammal, the mother T. Balasaraswati and Mylapore Gowri Ammal. Their singing emotionally enhancement the dancing of these compositions.

Can you comment on your identity as a male dancer?

First of all, where is the need for distinguishing between male and female in dance. A dancer is an artiste. He or she enacts the different emotions suitably to make the audience feel one with the composition. In this kind of a Ekaharya approach, only skill matters. A male dancer can depict a female character in a more feminine way than even a female dancer. In the same way, we do see female artistes dancing with a masculine touch. Hence, it is needless to say that male dancers certainly have a firm identity in the field of Bharatanatyam.

NANDINI RAMANI

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