With a firm grip on tradition
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His age is hardly evident as Subbaraya Pillai picks up the Thattukazhi. The 92-year old guru's commitment comes through as he talks to NANDINI RAMANI.
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C. Subbaraya Pillai. — Pic. by S. Thanthoni
``FOR ME Music and Dance are one and the same," says the veteran exponent of Nattuvangam, Natya Kalanidhi Pandanaindanallur (Pandanallur), C. Subbaraya Pillai, last of the golden link to the famed Bharatanatyam tradition, tracing its lineage to the great Bharatanatya-Sangita vidwan, Meenakshisundaram Pillai. Ninety-one year `young' Subbaraya Pillai, sitting in his dance class, situated on the rooftop of his house in Purasawakkam, sports his usual child like innocent smile that radiats warmth. The energy and enthusiasm could match that of a man in his prime years. He is evidently proud as he narrates the rigorous training he received under ``Thatha Meenakshisundaram Pillai."
``My predecessors and later myself composed Adavu network based on the musical pattern of the swara segments. The Tala frame work was never exploited too much for choreographing the pure dance sections, keeping in mind the great importance of music and its link to the beauty of arrangement of adavu patterns, all resulting in a smooth flow of visual poetry," says the renowned Guru.
``The moment I start teaching, I forget my age," says Subbaraya Pillai, while expressing his keen wish to show some of the choreographies of his forefathers. Prema Satish, a senior disciple, demonstrates as he sings extracts from various compositions. The firm grip on the Tattukkazhi as he recites the time-honoured jatis of this tradition, and his effort to create new structures for the existing framework to suit the skill of each student brings alive the ambience of the golden era of Bharatanatyam in all its pristine glory.
Subbaraya Pillai, son of the reputed Chokkalingam Pillai, (a relative and the first foremost disciple of Meenakshisundaram Pillai), is a picture of humility, happiness and contentment. His views on Margam (the traditional format of Bharatanatyam) and Manodharma are firm with the accent on proper Paddhati in training and its presentation without diluting tradition. ``I still follow whatever Thatha has taught me. Can I ever create something that he has not left for generations of dancers to come? Today choreographing according to one's own Manodharma (freedom to compose) means different things to different persons. Each has his/her own concepts, values and approaches. So I would rather not say anything." Much can be inferred from what he has not said.
``The form has changed in parts. Also, there are no more traditional Nattuvanars to initiate, guide and give orientation of this grand oral tradition. So, changes have come in. My appreciation and loyalty are only for those who strictly follow the deep nuances of a sampradaya as handed down by the great masters of this art, maintain it with the same integrity, remain steadfast and not compromise to suit the need of the hour." Further he asks, ``What is the problem in preserving the Paatantharam as given by the teacher?"
On aspects of loyalty, respect to one's own lineage, etc., the veteran with his typical smile says, ``I can only speak for myself! Those who learnt and are learning from me, have shown their respect and loyalty to me during their training or performing periods. Apart from that I have always been a stickler for discipline and self-respect and that has saved me from any unnecessary unpleasantness from any quarters."
Living a life that is happy and peaceful, rich with artistic experiences, and unshaken faith in his lineage, this pleasant conversationalist, bubbling with wit and humour, makes the occasion more memorable with his humility. ``Even now I don't know what I know," he says referring to his creative approach to Bharatanatyam.
The interview is over and the master raises his hand to bless. His unassuming nature, affection and his pleasant attitude leave this writer with mixed emotion. On the way back, mind and thought are filled with the poignant moments spent with the grand master. The bhava-filled singing of the Neraval of ``Antarangamaagattane" (from ``Athi Moham" varnam) haunts one for hours.
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