CULTURE
Her spirit still reigns
Rukmini Devi inspired by Pavlova.
THE 20th Century can well be described as the era of the Renaissance of Indian performing arts. Nobody stood taller in this historic epoch than Rukmini Devi, whose life and times enveloped a wide range of interesting aspects of Indian life and culture. It is appropriate that her life and achievements as well as her contribution to society and the nation are fittingly projected to create a fresh awareness among the new generation of Indians who may not know of her greatness. Her inimitable creation — Kalakshetra, the centre for dance and allied arts, which is known beyond the shores of India, is the most tangible testimony to her vision and clear perceptions about our culture. Curious as it may sound, at present many of the teachers and all the students who assemble in this beautiful campus to learn, have never seen Rukmini Devi. Yet, guided by the old guard, they dance her choreography, sing her favourite ragas and paint the designs she approved. Her spirit reigns supreme in Kalakshetra, and hopefully, it will do so for a long while to come, for, she knew what is truly beautiful, and what isn't.
A comprehensive photo exhibition will take visitors on a journey of discovering Rukmini Devi's life at the Lalit Kala Gallery in New Delhi, from February 29. On the same day, President A.P.J. Abdul Kalam will release a photo-biography — written and compiled by Dr. Sunil Kothari with a foreword by former president R. Venkataraman, chairman of Kalakshetra foundation. The text explains some of the most interesting aspects of Rukmini Devi's long life, while the photos capture her at each stage of her life. The passage from the slender girl, posing shyly with her husband George Arundale, wearing a Kanjivaram saree in the orthodox South Indian way, to the glamorously adorned Bharatanatyam dancer, to the silvery haired animal lover is an interesting summary of her life.
The idea of putting her advent into the performing world in perspective, by displaying photos of important contemporaries of the early 20th Century like Uday Shankar, Ram Gopal, and Balasaraswathi on the one hand, and Anna Pavlova, Ted Shawn and Ruth St. Denis, on the other, is most edifying for people interested in the last 100 years of Indian dance and its influence world-wide.
THE HINDU PHOTO LIBRARY
Continuity of artistic traditions at Kalakshetra.
The role of the Theosophical Society, Annie Besant and George Arundale in Rukmini's life is well known and finds prominence in the exhibit and the book. What is important is the international influence on her artistic life, ranging from her dressing up like Pavlova to dance as Radha, her attempts to be a ballerina, also inspired by Pavlova, and her observation of Ramayana performances when touring South East Asia.
A woman of many parts, the "World Mother" of the Annie Besant years, transformed herself into the beloved "Athai" (paternal aunt) who virtually adopted all her students. But her school was only a base from which all her interests emanated. A staunch supporter of vegetarianism, a lover of animals, and a nominated member of the Rajya Sabha for two terms, Rukmini Devi's stature grew with age until her name was even considered for the post of President of the nation. She did not want to take on such high office and remained content over presiding over a colourful artistic institution to which heads of state, diplomats, famous artists and innumerable art lovers were drawn.
A woman of extraordinary good taste, she built a temple-like theatre after the Kerala temple performance space, the Koothambalam. Today the sound of ankle bells rings in this haloed place where not only students but also great stalwarts feel honoured to be invited to perform. The photo exhibit and the book record every facet of Rukmini Devi's life and take us on a journey of discovery. Dr. Kothari's efforts in sourcing various archives should be commended. The capital is the first Indian city, which will host the exhibit and also witness a weeklong series of performances of the Kalakshetra dance-drama repertoire.
The great gurus who helped Kalakshetra grow, E.Krishna Iyer who championed part of the early renaissance of Bharatanatyam, and Rukmini's own early performances make the exhibit and the book a moving testimony to a bygone era. A highly photogenic person, Rukmini has been captured at her best, both as a dancer and as a beautiful woman who wore her collection of temple jewellery like a princess. Her interest in handloom weaving is best seen in her own saris, which have been replicated at the Kalakshetra looms many times over.
The Banyan tree metaphor has often been used in the context of Kalakshetra whose original campus was in Adayar close to the famous tree in the Theosophical society. Rukmini Devi moved her school, and the weaving centre further south to the present vast grounds, taking with her a sapling from the old banyan tree. It has grown as a full fledged tree now and stands testimony to the continuity in the great artistic and humanistic traditions that the great lady nurtured all her life, leaving an undying legacy for her sishyas to continue.
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