It’s time to give back, says Kalakshetra’s new director Revathi Ramachandran

The mantle sits elegantly on Revathi Ramachandran, who is determined to take the institution closer to the people

May 10, 2018 05:24 pm | Updated May 16, 2018 02:36 pm IST

 Kalakshetra’s new director Revathi Ramachandran

Kalakshetra’s new director Revathi Ramachandran

Revathi Ramachandran’s enthusiasm is infectious. The new Director of Kalakshetra is aware of the enormity of her task and is ready for the long haul. She has occupied a chair, which was vacant for nearly a year. Has that added to the pressure? “No, not really,” replies Revathi. “A system is in place and the affairs of the institution were taken care of by the Chairman and the Deputy Director,” she adds.

It may be too early to ask for a blueprint of her plan for the esteemed cultural icon but what according to her is first on the priority list? “Reach out,” pat comes the reply. “Yes, Kalakshetra is much more than dance. It is a movement thanks to the vision of Rukmini Devi Arundale. The multi-dimensional magnificence of the institution should be known to people,” says Revathi. “It is a well-known destination for dance but has equally strong moorings in music and allied subjects as well. More students should enrol themselves in these departments too,” she explains.

With the diploma earned at Kalakshetra, a student can now apply for a Master’s degree at the Madras University and Hyderabad University. Revathi considers it as a big step. “Thanks to the efforts of the Chairman, Gopalaswamy, this has become possible,” she says.

Revathi is not an alumnus of Kalakshetra. Does she feel the ‘outsider’ status could be a handicap?

“No,” replies Revathi, a disciple of Mangudi Dorairaja Iyer. And she would look at ‘outsider’ from two angles — as someone not trained in the bani of Kalakshetra and as someone outside its cultural ethos. “As a Bharatanatyam artiste, practising the art for over four decades, I have had a chance to observe different styles closely. And I have benefited from the teaching of several stalwarts, including those from Kalakshetra. So it is not alien to me. Having said that I do have to integrate myself into the ethos of the institution, which will happen in the course of time,” says Revathi striking a positive note.

Her spiritual leaning — she is devoted to Sri Dayananda Saraswati and his disciple, Swami Paramarthananda — gives Revathi a balance and poise, lending her stand a detached attachment.

“Will I ring in changes?” She laughs. And continues: “It is human nature to work in such a way that a given situation is turned comfortable, to one’s advantage, the way one likes it. But that is not always possible. One has to accept that reality and still function. Conflict arises in the absence of acceptance. I may have ideas but there is a Chairman and the governing body that take decisions. It is my duty to make the effort but oucomes should not affect my spirit. After all it is the proverbial reed that survives the storm.”

The appointment might cause a setback to her career. Is she prepared for that?

“Even when I applied, I was aware of this. And I don’t look at it as a setback. It is an opportunity to contribute, having taken so much from the art and society I should now put my knowledge to good use. I have the freedom to perform but this is a full-time job and I need to concentrate on the various strands, which go to make Kalakshetra the massive banyan tree that it is. So it is a huge step forward in my journey as a dancer-choreographer.”

Chennai 07-08-2014--- Revathi Ramachandran dance recital at Natyarangam at Narada Gana Sabha in Chennai.  Photo: K_V_Srinivasan

Chennai 07-08-2014--- Revathi Ramachandran dance recital at Natyarangam at Narada Gana Sabha in Chennai. Photo: K_V_Srinivasan

A follower of Advaita, Revathi cites the Upanishads in this context. “Personalities are categorised into three types — Bhoga, Gnata and Kartha,” she says. “While the first only receives and is satisfied when his needs are met, the second seeks knowledge. It is the third that performs — implements what he has learnt. I have received knowledge, support and fame all these years. It is now time to play the kartha role — to give back. I’m happy to do that.”

She speaks of LLIFE. L for Love, the shraddha you have for something. L again for Learning, the process of acquiring true knowledge (Rtha), I for implementation (with Sathyam or Truth as the backbone), F for Focus (yoga) with which the task is approached and E for Expand (beyond the basic). This, according to Revathi is the essence of action — oneness in thought, word and deed — which gives the deed and the doer credibility.

To an observer, Kalakshetra stands for pure art, which cannot be touched by changes. Did she also perceive it that way prior to her appointment?

“I have visited this institution on several occasions — as a learner and performer. And after applying for the post, I devoured whatever I could lay my hands on Kalakshetra and its founder. It convinced me that the institution is simply ‘Classic,’ which never goes out of fashion. It is for ever. Rukmini Devi created it with such vision, it does not have to embrace changes in order to stay relevant. She was an innovator with a conservative core. Time stands still here in a positive way.”

Chennai, 09/05/2018 : Revathi Ramachandran, Dancer and Choreographer, Director of Kalakshetra. Photo : S. R. Raghunathan

Chennai, 09/05/2018 : Revathi Ramachandran, Dancer and Choreographer, Director of Kalakshetra. Photo : S. R. Raghunathan

The learning curve

Music and dance have always been part of Revathi Ramachandran’s life. “It was mother’s passion for dance that put me on the track,” says Revathi. Jaya Venkatraman was a student of MLV and was clear that her daughter Revathi should be well-versed in fine arts. “You know, amma learnt dance from Ranjan. So enterprising she was. Would have been the happiest to see me here,” says Revathi.

Revathi loves learning and she is matter-of-fact about it. “Constant enquiry keeps the mind agile,” she says. Her journey has been a seamless quest — for knowledge and new skills. A student of vainika the late Kalpagam Swaminathan, Revathi came under the tutelage of Bhagavatulu Seetharama Sarma, who taught her nattuvangam. She joined Sarma’s Kalapitam, which enriched her repertoire. Besides she learnt Kuchipudi from Vempati Chinna Satyam and abhinaya nuances from Lakshmi Viswanathan. Padma Subrahmanyam opened the door to Natya Sastra. “I attended her workshop and the stunning work of Bharatamuni came as a revelation to me,” says Revathi.

Bhagavatamela Fellowship (1987-88) offered by the Ministry of Human Resource and Development enabled her to take a close look at one of the oldest forms of dance theatre. Revathi considers it a blessing to have had opportunities to work with Nandini Ramani, Sudharani Raghupathy, Chitra Visweswaran, Narasimhacharis and so on. An empanelled artiste of the Indian Council for Cultural Relations (ICCR) and a graded artist of the Doordarshan Kendra, she has travelled widely making performance tours, in India and abroad.

A keen sportsperson, Revathi was captain of Tamil Nadu State basketball team and led the squad against Rest of India.

“I even worked with Indian Bank for a year and quit deciding in favour of Natya,” she informs. Unstinted support for her talent and aspiration came from Ramachandran and his family. “They encouraged me all the way. It was my father-in-law, who took care of the registration when Kalasadhana was started,” says Revathi.

It comes as a surprise when Revathi says Ramachandran’s family tree traces back to Rukmini Arundale. “Yes, Rukmini Devi’s mother Sesahmmal and Ramachandran’s grandmother Ponnammal’s father were siblings. The family Whatsapp group started buzzing with excitement once it was known that I was chosen Director,” laughs Revathi. That perhaps explains the steady progress Revathi’s daughter Manasvini is making in the field. Incidentally, Manasvini has taken over as principal of Kalasadhana, with Revathi relinquishing her role.

CHENNAI : 21-08-2015  :  Dance performence by Revathi Ramachandran and Manasvini K Ramachaandran 'Laya Nirupanam' at Baratiya Vidya Bhavan in Chennai. Photo: Special Arrangement

CHENNAI : 21-08-2015 : Dance performence by Revathi Ramachandran and Manasvini K Ramachaandran 'Laya Nirupanam' at Baratiya Vidya Bhavan in Chennai. Photo: Special Arrangement

It is rather unusual to have Mangudi Dorairaja Iyer as a dance teacher. “Oh, that happened because of the Vasan connection. My grandfather and S.S. Vasan were close friends. Vadhyar was a vital part of the arts section of Gemini Studio, taking care of dance and music. When it was time to initiate me the natural choice was Vadhyar,” explains Revathi, who conducts an elaborate programme in his memory every year.

Her guru passed away in 1980 and when Revathi approached Padma Subrahmanyam to continue her learning, the veteran advised her to adhere to the Mangudi bani. “There are few doing this tradition. So don’t think of deviating,” she said.

Revathi coordinated the production of a CD-ROM, ‘Bharathanatyam,’ apart from choreographing and directing the tele-serials — ‘Deiveega Tirumanangal,’ ‘Kodhai Paadiya Paavai’ and ‘Gnaana Parambarai.’Among the thematic presentations she choreographed are ‘Ambalathil Aadum Jyothi,’ ‘Aayar Kula Tilakam,’ ‘Jaya Jaya Bharatham,’ ‘Om Saravana Bhava,’ ‘Daayinee — the Eternal Giver,’ ‘Laya Nirupanam,’ ‘Brahma Atma Chakram,’ and ‘Jagat Paavani Ganga.’ She has received many awards notable amongst them being ‘Arsha Kala Bhushanam’ from Swami Dayananda Saraswathi. ‘Jagat Paavani Ganga’ will be touring the U.S. cities later this year.

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