Kamala Lakshman, a name synonymous with grace and mastery in Bharatanatyam, has graced the stage for over five decades and the silver screen for three. Born on June 16, 1934, she stands as a prime disciple of the legendary Natyacharya Vazhuvoor Ramiah Pillai, embodying the exquisite ‘Vazhuvoor Bani’ – a style celebrated for its elegance, finesse, and aesthetic depth. This interview delves into the illustrious journey of Kamala, exploring her early beginnings, her transition to Bharatanatyam, her remarkable career balancing dance and cinema, and her insightful perspectives on the evolving world of Indian classical dance.
From Kathak Beginnings to Bharatanatyam Excellence
When did your journey into the world of dance commence?
My formal dance training began in Kathak at the tender age of three and a half. I had the privilege of learning from esteemed Kathak exponents like Lachu Maharaj, Prof. More, and Sunderprasad. My debut performance took place in 1939 in Mumbai at the Astik Samaj on the auspicious Sriramanavami Day, when I was just five years old. During this early period, I also nurtured my musical inclinations by studying Hindustani music under the guidance of Shankar Rao Vyas.
What led you to transition from Kathak to Bharatanatyam, and how did this shift occur?
A significant turning point came through film producer Chandulal Shah and his wife Gohar Bai, pioneers of Indian cinema. Recognizing my potential, they offered me a position as a permanent child artist at their Mumbai studios with a substantial salary of Rs.100.00 per month. However, like many South Indian families during the onset of World War II, we relocated to South India in 1942. I was seven years old when we settled in Madanapalli, where I began learning Bharatanatyam under Kattumannarkovil Muthukumarappa Pillai, who was already a senior guru at the time. I learned a complete margam from him and had the opportunity to perform in Mayuram. As his travels for my performances became challenging, he recommended his relative, Vazhuvoor Ramiah Pillai, who was around 40 years old then, to further my training.
Balancing a Dual Career: Dance and Film
How did you manage to navigate and excel in both the demanding worlds of film and Bharatanatyam dancing?
Our move to Madras marked a new chapter where I trained rigorously under Ramiah Pillai and performed at the Mylai Samajam. My performance caught the eye of Sriramulu Naidu, who cast me in ‘Jagatalaprathapam’. Subsequently, AVM Studios approached us, and I went on to work in 10 to 15 films as a child star. Despite my burgeoning film career, dance remained my passion and priority. I consistently performed 4 to 5 Bharatanatyam recitals every month. My film popularity actually fueled the demand for my dance performances. It’s worth noting that dancers like Lalitha, Padmini, and Ragini rose to prominence much later in the scene.
The Hallmarks of Kamala’s Dance: Stamina and Poise
You are renowned for your exceptional stamina and your ability to hold poses for extended durations. Is this a result of a specific regimen or diet?
The ability to hold a pose for almost half a minute is something I consider a divine gift. People often inquire about special diets or exercises, but I am a pure vegetarian and have always maintained a simple lifestyle. However, I did incorporate stretching and bending exercises into my daily routine. This practice contributed to my ability to perform the Natharmudimel Irukkum Nalla Pambey, a piece that remains a personal favorite and a crowd-pleaser. Every day, I would dedicate time to exercise, both before makeup and shooting schedules, and again in the evenings if time permitted. These consistent workouts, sometimes lasting for one to two hours, were instrumental in developing my stamina and control in dance.
Pioneering Roles and Choreography
Were you the first dancer to portray Ardhanarishvara on screen?
While I performed the Shiva and Parvati dance with Gopi Krishna in the film ‘Kathavarayan’, and in ‘Naam Iruvar’, I portrayed both roles using camera tricks, the concept of Ardhanarishvara on screen wasn’t entirely new then. However, I did choreograph and train my student, Vivek Ramakrishnan, to perform the Ardhanari role, bringing a fresh perspective to this concept in Bharatanatyam.
Relocation to the USA and Continued Influence
Some believe your move to the USA was a setback in terms of visibility in India. What are your thoughts on this?
I understand why some people hold that view. During the MGR government era, I felt a lack of encouragement and support for my art. Cultural organizations in Delhi also seemed to overlook the South, and despite my efforts to engage with bureaucrats, there was little progress. This lack of recognition, despite my dedication and hard work, was disheartening. In 1978/79, I first visited the US, and I recognized a need for a dedicated and experienced teacher there. This led to my decision to move to the US in 1980. Following the loss of my husband in 1983, I had to be self-reliant and build my life anew.
A Guru Figure to Many
Many dancers, including Chitra Visweswaran and Anita Ratnam, consider you their ‘manasiga guru’ (guru in spirit), even without direct tutelage.
It is deeply humbling to hear that many dancers feel connected to my dance and consider me a guiding influence. I feel honored and grateful for their respect and appreciation.
Gurukulam vs. Modern Dance Education
What are your observations on the differences between today’s dancers and those trained in the traditional ‘gurukulam’ system?
Learning under an experienced, senior dancer within the gurukulam system undoubtedly made a significant difference. However, the gurukulam system is less practical in contemporary times. Sadly, a lack of gratitude among some students towards their teachers is a growing concern. There are instances where students learn, establish their own schools, and even attract students away from their own gurus. This is something I have experienced personally and find disheartening, as I still hold traditional Indian values of respect and loyalty towards one’s guru.
Foreign Students and the Devotion to Dance
Do you perceive any differences in the approach to dance between foreign and Indian students?
Foreign students often approach dance with sincerity and diligence in practice, showing a strong work ethic and a desire to continuously improve. However, they sometimes lack the inherent sense of devotion (‘bhakti’) that is deeply ingrained in Indian students. They may also initially exhibit some stiffness, as their bodies are often trained for different forms like ballet, which emphasizes flexibility, or modern dance, which can be acrobatic. Facial expressions, crucial in Bharatanatyam, can also be challenging for them initially, as some Western dance forms prioritize body movement over facial muscle engagement. Footwork, another cornerstone of Bharatanatyam, may also require focused attention. However, these challenges are significantly minimized when foreign students begin learning Indian dance from a young age.
Male Students in Bharatanatyam
How many male students in the US are learning Bharatanatyam from you?
There is considerable interest among men, but currently, I have only one male student, Vivek Ramakrishnan, who is exceptionally talented. I have around 30 female students. My son is in the military and while he plays the mridangam, he has not pursued dance.
Contemporary Dance Students
What is your assessment of the present generation of dance students?
I believe that today’s dance students are performing exceptionally well and are very hardworking. There is a segment of students who are truly sincere and dedicated, and these are the ones who will undoubtedly excel and carry the tradition forward.
Dance Dramas in the USA
Which dance dramas staged in the USA do you consider the most impactful?
‘Jaya Jaya Devi’ stands out as the best among the dance dramas I have witnessed so far. ‘Lakshmi Prabhavam’ was not as compelling. I haven’t seen ‘Abhyaasa’, but I have heard positive reviews. ‘Annamacharya’ was, unfortunately, a disappointment.
Chennai December Season Performances
What are your thoughts on the trend of Indian dancers in the US performing in Chennai’s December season at their own expense?
For dancers in the US, performing in Chennai during the December season is often driven by the need for credible reviews. These reviews are crucial when applying for grants in the US, which are essential for funding dance drama productions. Building a strong reputation in their hometown, Chennai, can significantly enhance their credibility and recognition internationally.
Indian Dance Critics
What is your opinion on the standard of dance critics in India?
India, particularly Chennai, boasts some of the most discerning and knowledgeable dance critics. They possess a deep understanding of the art form and a genuine appreciation for artistic nuances. While some foreign critics also write about Indian dance, their level of expertise varies.
Awards and Recognition in Dance
What are your views on the numerous awards presented by Sabhas nowadays?
Awards can serve as encouragement for artists to strive for greater heights. However, it is crucial that these awards are bestowed upon deserving artists by individuals who possess a thorough understanding of dance, music, and the dedication required to excel in these art forms.
Using Titles with Names
Is it necessary for artists to use titles like Kalaimamani or Nrithya Choodamani before their names?
Why not? What is wrong with it? I believe these titles carry weight and recognition within the field. Those who oppose the use of titles are often those who have not received them.
Preserving the Purity of Classical Styles
Do you believe classical dance styles should remain untouched by experimentation?
Traditional Indian dance styles, like Bharatanatyam, are built upon a foundation of specific movements. Different schools or ‘banis’ emphasize particular aspects of these movements, such as the Vazhuvoor bani or Pandanallur bani. Interestingly, the Natya Shastra, the ancient treatise on dance, contains movements that can be observed in diverse dance forms globally, including Odissi, belly dance, tap dance, Kathakali, Kathak, and Manipuri. Each region has adapted these movements according to their language and cultural context. When I watch different dance performances, I can discern how a particular movement is uniquely interpreted in Bharatanatyam, Mohiniattam, or Kathak.
Contemporary Movements in Indian Dance
What are your thoughts on contemporary movements being incorporated into Indian dance?
The integration of elements like Kalaripayattu can be effective in contemporary Indian dance. I recall a performance of “Annamaiyya” where a dancer moved like a snake across the stage – it was a compelling contemporary interpretation. The Narasimha avataram presentation I saw incorporated a blend of Kathakali, Kuchipudi, and Kalaripayattu, which was quite interesting.
The Proliferation of Dance Teachers
With the increase in dancers, there’s also been a rise in the number of teachers. How do you assess their quality?
The quality of dance teachers is varied; some are highly qualified, while others may not be. It’s a mixed landscape. Groups like Adyar Lakshman’s, K J Sarasa’s, C V Chandrasekhar’s, and Sudharani Raghupathy’s are all known for their excellence. Padma Subrahmanyam’s style is also remarkable, especially when she herself performs.
Running a Dance School in the USA
Having your own school in the US, you must be doing very well financially.
Contrary to common perception, running a dance school in the US is not a guaranteed path to wealth. Despite applying for grants, I have never received any. For families where both partners work, dance classes can provide supplementary income. However, for a single individual relying solely on teaching dance, making ends meet can be challenging.
Health Advice for Dancers
Do you have any health tips for aspiring dancers?
Discipline, first and foremost, is essential, and it starts in the mind. Accidents are unavoidable, but proactive care is crucial. I believe most dancers are mindful of their physical well-being. As the body ages, wear and tear is natural. Avoid pushing any body part to extremes or over-exercising, as this can lead to premature wear and tear.
Unfulfilled Ambitions
Do you have any unfulfilled ambitions?
I have been fortunate to receive numerous prestigious awards, including the ‘Kalasikhamani’ award from the Tamil Nadu State in 1967-1968, the Central ‘Sangeet Natak Akademi Award’ in 1968, the Presidential award of ‘Padma Bhushan’ in 1970, the ‘E.Krishna Iyer Medal’ from the Sruti Foundation in 1989, the ‘Nritya Choodamani’ by Sree Krishna Gana Sabha in 1989, the ‘Branta Professorship’ from Colgate University, USA in 1975, and ‘Sangeeta Ratnakara’ in 1993 by Bhairavi Fine Arts at the Cleveland Thyagaraja Aradhana. However, the ‘Padma Vibhushan’ remains an aspiration. Additionally, I have always wanted to create a film based on my life story – not a conventional biography, but a narrative blending true incidents with fictional elements. I believe audiences would find this format more engaging than a purely biographical approach, which can sometimes be less captivating.
Concluding Thoughts
* She was, is, and will always be THE dancer who inspired my generation to flock to dance schools. – Anita Ratnam
