PONDICHERRY DANCER KRISHNAMITHRA DANCED ON MUDPOT AND TEA GLASS

Pleasant Blending of Painting and Dancing

N.Nandhivarman

A French girl driven by burning desire to gain proficiency in Tamil Dance came all the way from France to the erstwhile French colony of Pondicherry. Her quest did not end in disappointment when she found a choreographer to teach her the nuances of dance with perfection. Pondicherry Tamil Sangam, the cultural hub in the town one evening was stunned to listen a French girl speak in Tamil with her own accent and dance her way to their heart. The girl stood on a pot and performed the “Kuda koothu”, a dance form that is spoken in Tamil epic Silapathigaram. These dance forms were in vogue much before the time of Tamil epic Silapathikaram. The mythology says that a King Vanan, who got infuriated by the love affair between his daughter and the son of Love God Manmathan also known as Kaman, put him in a prison. Perhaps there was no POTA in those days may be POLA (Prevention of Love Act) existed.

 To secure the release of Aniruthan, the son of Kaman, Lord Vishnu performed various peculiar dances known as “Vinotha Koothu” to distract the attention of the prison guard. The author of“ Pancha Marabu” Arivanar and Saint Thirumangai Azhvar in Nalayira Thivya Prabantham mention about Kuda koothu. This type of dance is nowadays called Karagattam. The folk dancers also call it Paanai Karagam in Tamil.  In Andhra Pradesh this is called as Karagalu and Pooja-kunitha whereas in Karnataka its own version of pot dance is called as Puttakunitha. In Madya Pradesh, Gujarat, Rajasthan, Sikkim they have pot dances with different names in different regions. French girl Benedict Doe stayed in Murugan’s house and learnt this dance in short duration. Murugan also teaches freely at the Tamil Sangam premises to students and had many stage performances to his credit all over India.

Those who had seen the late matinee idol M.G.Ramachandran and Padmini’s dance sequence in film “Mannathimannan” will remember how difficult it is to draw some painting by calculated and measured footwork while performing dancing. Painting in Tamil is known as Chithiram and hence this dance form is known as Chithira natyam. The 16 th century book written by Gangai Muthu Nattuvanar called Natanathi Vathiya Ranjanam narrates how this dance form emanated. At Thiruvalangadu a dance competition between Lord Shiva and Goddess Kaali took place and in that competition Lord Shiva performed Chithira Natyam. Lord Shiva had created 108 thandavas, i.e. dance variations to suit each and every occasion and in that 12 forms are unique. One of them is called “Uruthuba Thandava.” and that thandava is Chithira Natyam.

In Epic Silapathigaram’s chapter Arangetru Kaathai this dance is mentioned as Chithira Karnam. Panchamarabu speaks about Vinotha Koothu and one of its types is Chithira Natyam. Chithira Natyam has many varieties named after the pictures drawn by footwork.  In Radhabandam a dancer draws Temple Car, an Elephant in Gajabandham, a snake in Nagabandam, Eagle in Garuda Bandam, Elephant in Karikolam, Peacock in Mayurabandam, Lion in Simmabandam etc and these dances derived their names by the pictures drawn by the footwork of the danseuse. During 17 th century the Tanjore King Sagasi Maharaj in collaboration with a Poet Bharatha Kasinathan created a number of varieties of dances under the common title Vichithira Natiyam, that is peculiar dances. Thiagaraja Vinodha Chithra Prabandam and Sabdam Ennum Thala Sorkattu published by Thanjai Saraswathi Mahal speak about this dance under title Vichithtra Natya Marabu.

These dances were performed in court of the Emperor’s of Chola dynasty  . They spread a Rathina Kambalam, floor mattress of silk and put soft and wet sand over it. While the dancers dance their foot impression will create the picture they want to present to our eyes. Murugan’s students nowadays spread a sponge pad of 10 x 15 feet and pour ink over it. Then they cover it with a white cloth. While dance is performed the impression emerges. His disciple and impressive dancer Miss. L.R.Krishnamithra is also teaching dances freely at Tamil Sangam Pondicherry.  She performs with ease these Chithira Natyam and dances on the top of a clay pot, on the top of a 2 glass tumblers etc, winning numerable fans.

Through dance Murugan spreads his message of National integration and resolve against terrorism. The songs composed for the dances choreographed by him, and translated into English and Hindi are woven together in one dance titled National Procession to Abolish Terrorism and it is perfomed in 3 languages at the same time in succession. “We have forgotten our mother of United India after independence; in this occasion we have to gather to pray to Her to drive terrorism” so ends his appeal. But this traditional dance forms are adapted to inculcate apt messages of our times which is a laudable exercise. Reviving dances spoken in our epics and blending of dancing and painting in unique fashion highlights the greatness of the Tamil’s past which is relived in present by numerous young dancers getting trained continuously as a stream by the Tamil Sangam under Murugan’s and Krishnamithra’s guidance. Miss Krishnamitra is a dancer who has lot of talent which had to reach the world stage. If that happens not only she will be famous, the world will know about the greatness of Tamil dances.

Courtesy :   21.8.2004 : NEW INDIAN EXPRESS

MGR DOCUMENTARY ON KUMARI KANDAM LOST : TRACE TAMILNADU URGED :2006

TRANSLATIONS OF SANGAM CLASSICS IN SANSKRIT

“The Hindu” dated : 21st April 1995 under the title :Multi – linguist par excellence wrote : "Tamil and Sanskrit are but two mediums that reflect the same image of pan-Indian  culture’’. says scholar S.N.Srirama Desikan

The Sangam classics and Subramania Bharathi’s works, Kamba Ramayanam and Thirukkural, Naaladiyar and Thiruppavai, Silappadikaram and the poems of Avvaiyar, are among the literary treasures that have been meticulously translated into Sanskrit by Srirama Desikan in a labour of love, a monumental work of half a century. Many of the volumes have an English exposition as well, lucid and apt, displaying yet another linguistic dimension of this grand old man of translation. Srirama Desikan’s tour de force, a pioneering work is the translation of the ancient Ayurveda texts from Sanskrit into Tamil.

As Honorary Special Officer, Ayurveda Translation Wing, Department of Indian Medicine and Homoeopathy, Government of Tamil Nadu, Srirama Desikan has in the past 12 years worked to bring out the Tamil translation of the Ahstanga Sangraham, the Charaka Samhita (three volumes) and the Susrutha Samhita, comprising in all an awesome 25,000 slokas and totalling 5,397 pages. The magnificent compilation includes description of procedures, chemical compositions of the herbs, sketches of surgical tools and photographs of medicinal plants.

As for literature, the scholar has contributed to the sphere in a myriad ways. While he was research officer in the Kendriya Sanskrit Vidya Peeta, Tirupati, he wrote a 1000 page thesis a comparative study between Sanskrit and Tamil from the Vedic times to the present and from the Sangam age to the modern, drawing parallels and pointed out similarities between the two languages and literatures.

The scholar’s passion for elaborating on the common link between Sanskrit and Tamil has resulted in a number of carefully researched articles in leading newspapers and journals where he has expounded this theme.

 “I even translated the Kamba Ramayanam into Sanskrit. In fact, Rajaji, who released the book, wondered at the felicitation function why one should translate a work which itself had been inspired by Valmiki’s Sanskrit epic. I gave him a fitting reply about Vedanta Desikan who rendered the Alwar Pasurams into Sanskrit – the Dramido Upanished Saram. Rajaji laughed and while wrapping the shawl around me quipped in his inimitable styles that like a mother-in-law serving food to the daughter-in-law even while chiding her, he was honouring me.” Sriramadesikan also undertook a massive comparative study between Kamban, Valmiki and Tulsi.

In 1983, the Chief Minister M.G.Ramachandran impressed with Srirama Desikan’s translation of the ‘Thirullural’ gave him the assignment of making Ayurvedic texts easily understood in Tamil Nadu.

Ashtanga Sangraham. Charaka Samhita and Susruta Samhita, all Sanskrit books on Ayurveda; Tirukural; Naladiar, Subramania Bharati’s works from Tamil to Sanskrit, Pathypattu (Sangam Literature work) into Sanskrit, Ettuthogai (Sangam Literature), Silapathigaram, Andra Kavi Vemans’s works into Tamil and Sanskrit…. The list is endless and the subjects varied. Sriramadesikan passed away recently but his family can be approached.

I would appeal to the Central Institute of Classical Tamil to bring out the Sanskrit Translation of Thirukkural, so that those who know Sanskrit will understand the greatness of Saint Thiruvalluvar , a universal poet par excellence. The Sanskrit Translation of Naladiyar too should be published and the moral codes of Tamils be known to Sanskrit scholars.