If we hear the Thodaya mangalam,
"Jaya Suddha Puri Vasa ! Jaya Maha Gnana Sabhesa ! Jaya Gaja Samhaaresa ! Jaya Krittivaasesa! Jaya Jaya….!," in the early part of a Bharatanatyam performance, we can be sure the performer is from the Vazhuvoor school. This song invokes the blessings of Gnana Sahesa, the presiding deity of Vazhuvoor.
Basically, all teachers of Bharatanatyam have been training their students in the three N’s of bharatanatyam -- ‘nritta’ (pure dance), ‘nritya’( portrayal of the mood) and ‘natya’ (the dramatic element of dance). However, some dance gurus have branched out and evolved their own specific styles known as ‘Bani’. The ‘bani’ can be compared to the ‘gharana’ of Hindustani music, and most often takes its name from the town or village to which the guru belongs. The ‘Vazhuvoor bani’, the ‘Pandanallur bani’, the ‘Thanjavur bani’, the ‘Melattur bani’ and the ‘Kalakshetra bani’ are some of the popular banis prevalent in bharatanatyam now.
The ‘Vazhuvoor bani’ is an ancient bani, dating back to the Chola period. Vazhuvoor B. Ramiah Pillai (1910 - 1991), a scion of the Vazhuvoor School, popularised it by introducing a few changes, with a special focus on ‘lasya’, the feminine form of dance. He introduced many new items in his repertoire by choreographing ‘Rama Nataka Keerthanaigal’ of Arunachalakkavirayar, Bharathiyar’s songs, Kutrala Kuravanji and Oottukkadu Venkata Kavi songs.
The Vazhuvoor bani is characterised by elaborate movements, statuesque poses and a variety of positions on the floor. The abhinayas are subtle, more realistic and easy to understand and appreciate. With the torso slightly bent forward, the dancer is an embodiment of feminine grace and impresses with smoothly-flowing adavus and beautiful leaps.
Vazhuvoor Ramaiah Pillai
Ramaiah Pillai’s son Vazhuvoor R. Samraj worked with his father and later, trained several students with dedication. He believed in innovation and encouraged his students to improvise, without sacrificing the purity of the tradition.
Vazhuvoor R. Samraj
Vazhuvoor S. Palaniappan, the eldest son of Vazhuvoor Samraj started learning Nattuvangam from the age of 12 and accompanied his father in many concerts. Having had the privilege of watching his grandfather train great dancers such as K J Sarasa, Padma Subramaniam and Chithra Visveswaran, he imbibed the characteristic aspects and fine nuances of the Vazhuvoor bani. After moving to Coimbatore from Chennai, he runs two centres- Vazhuvoorar Classical Bharathanatya Arts Centre Coimbatore on Avanashi Road and Shree Vazhuvoor S. Palaniappan Fine Arts Academy in Singanallur.
Vazhuvoor S. Palaniappan
Vazhuvoor Palaniappan’s disciple Samyuktha Vasudevan’s arangetram was recently held at Kothandaramar Temple hall, Coimbatore. Petite and pleasing, little Samyuktha, all of 9, performed with great enthusiasm and confidence. She began with Mallari and after the Thodaya mangalam and Pushpanjali, presented a few lively items. She could transform herself into the naughty Krishna as well as the worried Yashoda with ease for ‘Pillangoviya Cheluva Krishnana’ by Purandaradasar.
The songs selected had variety and brought out the dancer’s skill in footwork, stage management and abhinaya. She danced with great energy and did not show any symptom of fatigue after the varnam, ‘Naathanai Azhaithu Vaa Sakhiyae’. Samyuktha looked like a decorated little Ambal when she performed ‘Sri Chakra Raja Simhaasanaeswari’.
For ‘Naathar Mudi Mael Irukkum’, she bent and swayed like a serpent obeying the notes from the Magudi. The thillana in Hameer Kalyani was sprightly with lively jathis and statuesque poses. The final item Kurathi dance was full of verve.
Well-known Mridanga vidwan Thiruvarur Bhakthavatsalam was the chief guest and Smt. Geetha Rajashekar was the guest of honour for the well-attended event. The orchestra was of a very high quality with Vazhuvoor S. Palaniappan on the nattuvangam, Jagadish on the violin, Suresh on the mridangam and Tanjai Vasanth on the flute. Bhavani S. Kishore Kumar sang with bhava and enhanced the appeal.