Spreading the wings of Kalamandalam Performing Arts and Research Centre

As Kalamandalam Performing Arts and Research Centre completes 50 years, Guru Thankamani Kutty, the force behind the institution, reflects on the journey that started from Kerala under the tutelage of the inimitable Vallathol Narayana Menon

May 18, 2018 01:20 am | Updated May 21, 2018 04:21 pm IST

DISSEMINATING KNOWLEDGE Guru Thankamani Kutty

DISSEMINATING KNOWLEDGE Guru Thankamani Kutty

Recipient of innumerable state and national awards, Dr. Guru Thankamani Kutty is the moving force behind Kalamandalam, Kolkata. Established in 1968, it is the first institution in the city to impart training in South Indian classical dances and is one of the biggest training institutions in India. The 77-year-old Kerala Kalamandalam alumnus has evolved a unique style of her own both in traditional choreography and teaching. The performing wing has presented choreographies of the South Indian dances and works of Tagore under her guidance at home and abroad. Her simplified book on Bhararatanatyam is not only popular among students but also useful in acquainting the art to the parents, which she feels is necessary. A beloved “Aunty” to her students, the amiable, simple, open-minded and learned virtuoso talks about her journey and the future while reviewing the 50 years in Kolkata which is now her home.

When did you start dancing?

I got the opportunity to learn at Kerala Kalamandalam at the age of 12 because of Vasanthi, the youngest daughter of Vallathol Narayana Menon. I was watching her dance in awe when Guru Vallathol asked me whether I liked dance. I said yes immediately. My father was a politician and told me that whatever I learn, I should learn seriously. Vasanthi told her father that he should take me. So I got a chance. Even at that time – 1952 – it was very difficult to get admission there and was surprised to find that so many girls wanting to learn. To be frank, Vallathol did not like me at first. He thought I was too small for a girl of 12, was not good looking at all and would not be suitable as a dancer. But her daughter insisted strongly that since I was very fond of dancing he should take me. He gave a short coaching to four others with me and then said excellent (to me) and selected me! So I started the four-year training in the residential Gurukulam system. Girls were taught Bharatanatyam and much later Mohiniyattam and boys, Kathakali. There would also be a language class daily for two hours after lunch.

In what languages?

Correct Malayalam, not really chaste, English, Hindi and Sanskrit. We could have learnt English well but our teacher loved to take a nap at the time. Good for us. So all the boys and girls went to pick mangoes from the trees of the huge compound of the Koladi Raman Menon guest-house where we four girls were staying with a teacher. One day Vallathol called us and said, “if you want mangoes I shall send them”, but at that age we loved climbing trees and would put our teacher to sleep!

Guru Thankamani Kutty with her students

Guru Thankamani Kutty with her students

Why didn’t you learn the two forms together?

The adavus are totally different. We call them “Aaja (goat) gaja (elephant) Vidyasam (different)”. Also Bharatanatyam requires more powerful and energetic movements but Mohiniyattam is more rounded, body bending forward and the toe stances could be compared with those of Kathakali, but both are equally graceful.

Having lived and taught in Kolkata for the last 50 years, what changes have you seen in the dance scenario?

The dance scenario has been developing very well here. See there would always be some weak and not-so-good dance education moving side-by-side like the day and night but in general it has progressed. Many male and female dancers are going to Chennai to have exposure. Earlier male Bharatanatyam dancers performed like women, but now with better training there are many excellent Bharatanatyam dancers who dance like a man. Men after sometime do not want to learn from lady teachers and male Gurus are required to teach masculinity in dancing.

Kalamandalam Performing Arts and Research Centre has become a landmark cultural project…

My husband Guru Govindan Kutty and I learnt at Kerala Kalamandalam with a scholarship. Whatever we achieved was through that art that we learnt there and our working place was Kolkata. So through Kolkata everything happened for us and we will give everything to Kolkata and go. We never wanted a lavish life but decided that whatever we do will be for dance. We worked very hard for it for years and now it is dream come true. The students will look after it when we go.

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