CHENNAI: Be it rendering the Tana Varnam to the melody of Kambodhi, or becoming a name synonymous with ‘Shuddha Nrittam’, or composing several themed repertoires, Bharatanatyam dancer-cumexponent Revathi Ramachandran has become a leading name in the world of Bharatanatyam.
Recalling what her guru Mangudi Dorairaj Iyer had predicted, she says, “I performed the Shuddha N
rittam repertoire during my arangetram when I just was nine. My guru blessed me and said that one day I will be known for it. Today, that’s exactly what has happened and I truly believe it’s because of his blessing,” she gushes.
From being a basketball player in college to excelling in painting, Revathi was multi-faceted, but chose dance over everything but says, “Even today, when I see someone play basketball, I feel like going and throwing. Basketball had been a part of my life for eight years and I believe my training in the sport helped in building my stamina for my performances too,” she says.
As we chat about her arangetram, and anecdotes of memories she still cherishes, an ecstatic Revathi walks us through her life. Excerpts follow…
Memories of your arangetram?
I had my arangetram in 1972. In fact, my mother fuelled my interest in it. She loved the dance and had a great admiration for Padma Subrahmanyam and her research work on the ‘Natya Sashthra’. She wanted her to be the chief guest for my arangetram and I was fortunate to have her grace my first step into the world of professional dancing. Also, Kothamangalam Subbu who wrote the cult classic novel Thillana Mohanambal presided over the event. Looking back at how enthralled I was about having such doyens in my arangetram still makes me smile.
When did you realise your calling in dance?
It was always there…I was constantly juggling between basketball and dance. I liked both…there used to be days when I had a dance show in the evening, but used to come home with a bruised knee after playing (laughs). But I never used to tell my mother about it and went on to dance anyway…I wouldn’t give up dance for anything. This made me think a lot about how my dance career would fare after marriage. So before marriage, I spoke to my husband, about letting me dance.
It was an arranged marriage and I told him that I am keen on dancing and he said yes and that it was my decision. That’s when I decided that he was the man! (laughs) It might sound a bit too much in today’s world…but back in the 80’s to have a father who said ‘don’t get married if you want to study’ and a husband supporting your dreams was a big thing! I was truly blessed and I took to dancing and basketball had to take a back seat.
Where was your first performance outside Chennai?
It was in Vishakhapatnam in 1976 at Bharathi Gana Sabha…we had to dance for over two hours and it was a dance drama. Back then, dance dramas or thematic performances weren’t popular and we were one of the few doing it. Only the Kuravanji dramas and the productions of Kalakshetra had group presentations… the world of dance has evolved over the years and looking back at it, one can tell the difference. After the 70s, when TV came, the number of people who came to watch our programmes dwindled. Solo shows became difficult for artists due to lack of rasikas. This is one reason why the duration of sola shows were cut to one hour.
How does it feel to have resurrected the Shuddha Nrittam repertoire?
I wouldn’t take credit for that… it was my guru who restored it in 1969 — he saw a devadasi perform it in a temple and, he was gracious enough to teach it to me. In Shuddha Nrittam, the stress is on the footwork and aligned to different time measures in various speeds. But many people are under the assumption that that’s the only thing I do (laughs). That’s one of the repertoires that I specialise in…but, of course, I am truly blessed that I have carried the training and legacy of my guru. Now, I am taking the legacy forward and teaching it to my students in my dance school and it’s a continuous process.
How did it feel to rub shoulders with the ‘prima donnas’ when you began your journey?
Well, I would say it was my good fortune. I had once gone to New Delhi to perform and I was personally associated with dancers whom I loved and admired seeing on stage — Padma Subramanyam, Sudha Rani and many other exponents. It felt like a blessing in disguise…I also had the opportunity to perform in front of Birju Maharaj in 2012, in Delhi.
When I was on stage, I saw him in the audience and was taken aback, I was surprised and nervous to perform in front of him, but he was taking photographs of the performance (laughs)… Later, I took his autograph and was thrilled to chat with him!
How do you choreograph a routine without compromising on the traditional elements?
For me, tradition is important and I hold on to what my guru has taught me…but I also try and bring new elements that are relatable to the present generation. Choreography is a process and it shapes into something bigger when you let ideas flow. So, if a student does something that is aesthetic and appealing to me, I don’t mind adding it to the dance. Dancing differs from person to person and it’s important for you to do what you believe is beautiful and aesthetic. Only when you are comfortable and love yourself during the performance will the audience feel it.