| Sudha Chandrasekhar is the senior-most
student of the late great master Gurus Kuppiah Pillai, AT Govindraj Pillai,
and T K Mahalingam Pillai, as well as Sri Rajarajeshwari Bharata Natya
Kalamandir's current torcherbearer - Guru K Kalyanasundaram Pillai.
From 1945 – 48, she trained in Manipuri
and Kathak at Rupatayan Institute, Bombay. From 1948 to 1967, she studied
Kathak under Gurus Srivastava and Gopikrishna and Kuchipidi under Guru
Korada Narasimha Rao of Elluru, Bharatacharya Sri Rama Acharyulu and Darpana
Institute of Mrinalini Sarabhai, Ahmedabad. Alongside, she did intensive
study in classical Carnatic music under the guidance of Bhaskara Bhagavathar
and Vidwan Trichi Swaminatha Bhagavathar (both of Bombay) and North Indian
Hindustani classical music under Professor Ginde of Bombay. In 1980-81,
she did a short-term intensive course in Odissi under Guru Kelucharan Mohapatra
and a short four-month course in Kathakali under Guru Krishna Pannikar.
Sudha was hugely famous in the 1960s
for her revival of the ancient Kavuthvams, her devotional abhinaya in the
translations of Vedic Hymns (Nritya Gitanjali), Bhavayami Raghurama, and
Guru Mahalingam Pillai's composition of the Dashavataram, as well as her
technical perfection in the Thana Varnam and Naga Nritya.
From 1967, Sudha is the artistic
director of Hindu Temple Rhythms, a cultural and performing arts organization,
director and choreographer of Vidyanjali Dance Troupe of Michigan ensemble,
as well as Cultural Ambassador and Ethnic Presenter for the International
Institute of Metropolitan Detroit. In May 1996, Sudha and her daughter
Vidya broke their own world record in "72 Hours for the Heart", a 72-hour
dance marathon in aid of the American Heart Association and Bharatiya Temple
of Troy, Michigan.
Sudha is now celebrating 37 years
of Dance Education and performance in North America, and will be conducting
her 50th arangetram performance on May 15, 2004.
On the eve of your 50th arangetram
presentation, how do you feel looking back at all the students you have
trained?
I feel greatly gratified and humbled.
Each student has been a study in the many nuances and variations this great
art represents. Many of them are professional doctors, lawyers, and engineers
but have maintained their love for dance because it instilled discipline,
self-confidence, and a will to do well in them.
What does the arangetram represent
to you? What memories do you have of your own arangetram?
An Arangetram is the dancer's intimate
offering of her dedication, hard work, perseverance, persistence, intensity
of learning, her understanding of the inherent spiritual value of the art,
its religiosity, and her search for the divine to Omnipresent God, her
Gurus, and her parents. She shares this with her family, friends, and relatives
who wish her success in her pursuit of perfection.
My Arangetram took place at the
beautiful Mahalakshmi Temple in Mumbai. I remember it vividly.
It was Friday, and the devotees were celebrating the Vijayadashami Day-
the tenth day of Navarathri. The Arabian Sea in the background with roaring
waves lapping the shores, and thousands of devotees sitting up on treetops,
on the stairs and everywhere place could be found formed the back drop
for the event. I danced with all my heart. I was oblivious
to the crowds, to the atmosphere, and felt I was in Heaven. I felt like
I was the Apsara Urvashi performing my service to Goddess Rajarajeshwari
in her Divine Court. Three and half hours just flew on. I remember
an old couple inviting me after the aarathi offering, to their humble home
and giving me a tall glass filled with the most delicious almond and pistachio
ground boiled milk. I was so exhausted but they would not let me
leave until I had partaken of the whole glass. They were simple folk but
were in ecstasy over the dances depicting the play of God in his many aspects.
I felt like I was the luckiest person in the whole wide world, and I still
think I am because I have three daughters that resemble Goddess Mahalakshmi,
Goddess Durga, and Goddess Saraswathi as seen in that wonderful temple
in Mumbai.
Since you left India in 1967 you
have kept relatively elusive to the Indian dance scene. What activities
are you conducting in America? Any plans to return to India?
I arrived in Windsor, Canada on
January 14th 1967 following my marriage to Sankarnarayan Chandrasekhar
of Bombay. He was an Executive at General Motors. I began giving
solo recitals as soon as I came here. The audiences were fascinated
with the three-hour recitals, which were accompanied with appropriate explanations.
At that time there were hardly any other dancers in the area. I traveled
across the length and breadth of Canada. People still remember those
days with delight. Bharata Natyam and Kuchipudi were both introduced
in my programs. My parents arrived in Windsor three weeks before my first
daughter Vidya was born. She was born on May 25th 1968 one of the happiest
days of my life. I learnt about the miracle of birth and it changed
my perspective about so many things hitherto unknown to me. From Vidya,
I learnt how to smile from within.
In 1969 my father organized under
the auspices of Vidyanjali, a six-month grand tour of Kathak Nritya Samrat
Gopi Krishna. Gopiji was my Guru Bhai as he was a Bharata Natyam student
of my Guru Mahalingam Pillai. Gopi and I gave over 65 recitals in
major cities of USA and Canada. It was wonderful. My first student
here was Reeta Shama from Farmington Hills. USA. I performed her
Arangetram in 1981 at the WWJ-TV Auditorium. Then I was invited to come
and teach Bharata Natyam to a few students in Detroit, Michigan.
My second daughter Anjali was born
on March 24th 1975 and instantly took to dancing as that was what I continued
to do on a continual basis. On July 29th 1977 I had my youngest daughter
Anandini who quietly followed her sisters in continuing the tradition.
In October 1978 the family moved to Oak Park, Michigan. I began teaching
at the Bharatiya Temple, which was just being formed then. The next
decade was spent in setting up the 'Nritya Sudha's Hindu Temple Rhythms'
to present, preserve, and propagate the great art of Bharata Natyam and
allied arts to interested students and spread an awareness about India's
cultural wealth and traditional richness and its relation to spirituality.
We celebrate our 25th year in USA and our 37th year in North America with
our 50th Arangetram by Krithika Rajkumar on May 15th 2004.
I do hope to eventually return to
India with my three daughters and show the audiences back home how these
three young women raised completely in America are maintaining our traditions
with such dedication.
In the 1960s, you were credited
for the revival of the Kavuthvams, and the addition of bhajans and other
North Indian language items in the Bharata Natyam repertoire. What inspired
you to create such innovations in such a rigidly traditional art form?
I cannot solely take credit for
the revival of the Kavuthvams. My beloved Guru Kuppiah Pillai, ‘Thatha’
as I affectionately called him, actually resuscitated it from the cobwebs
of negligence. He made me his chosen shishya to share the wealth of his
knowledge with me. My mother Jaya sought him out after he migrated
to Bombay to be with his family. With the Gurus Govindaraj Pillai and Mahalingam
Pillai, and dear Karunambal Teacher I went to Tanjore and Thiruvidaimarudur,
where Thatha was, and to Chidambaram and neighbouring towns too.
I even performed at my Guru Kalyanasundaram and Mythili Akka's wedding
in Tanjore. I heard my Guru Govindaraj play the Nadaswaram with such feeling
and felicity at a temple celebration there. It was a dream come true.
I won a two year Government of India
Scholarship for continued studies in Bharata Natyam. My judges were the
late Rukmini Arundale, E Krishna Iyer, and Dr. V Raghavan. That was 1958
to 1960. Hindi Bhajans were chosen because I felt that by performing songs
in Hindi, Marathi, and Gujarati, the local audiences could develop a better
appreciation of Bharata Natyam. I was greatly impressed by M S Subbalakshmi's
portrayal of Meera in a movie by the same name. So, I talked Guru Mahalingam
to choreograph the Bhajans. Eventually offers used to be brought
to me and were presented on stage with the help of my Gurus. Dasavatharam
by Jayadeva, Surdas Bhajans, Tulsidas Bhajans were all popularized by me
in the 60's under the guidance of my Guru Mahalingam and Thatha.
Nowadays there is a heavy influence
of western fusion, such as modern dance, in Bharata Natyam. What do you
think of these innovations, as compared to those you fostered in the 60s?
Reminds me of my youth. College
students and peers used to think up so many themes. I once composed a whole
90-minute ballet on the 'Birth of Jesus' when I was in College. It
drew raves from the Catholic Church we performed it in. I was given
60 students to work with in a period of three months. I was 18 then,
so confident and self-assured. Youth is great. People like
to encourage you in whatever you do. It is like Bollywood now. Many
youngsters think films are the best way to preserve one's culture. Is it
really? Fusion is ok when you have an international group of students
to perform for. It gives a glimpse of one's culture. That's all.
To know more one has to dig deeper.
Remember the story of 'Amritamanthana'
- The Churning of the Ocean? The Devas and the Asuras had to work
together to drag huge Mandara mountain into the ocean. Was that an
easy task? Then serpent Vasuki had to be used as the rope to churn the
huge mountain rod. They had to all be in the ocean to accomplish
the churning. There was no base to hold the mountain, it sank. The
Lord Vishnu had to assume the form of a tortoise on whose back the mountain
was placed and then the churning brought out so many wonderful things and
other harsh and poisonous things too. Many lifetimes have to be taken
to really understand the realities contained in the great shastras among
which Natyasastra is one. Innovations should be welcomed. They
inspire practice, understanding, and creativity. They should have basis
though. Modern dance is not really all that new. If you study Natya
Sastra it enumerates so many kinds of body movements. The West borrowed
some of the movements, which are aerial, light and structured and the east
followed some that are more earthbound.
Many indigenous dances incorporate
a lot of these Angika movements. The body expresses in a beautiful and
abstract way. It is wonderful to watch a trained professional perform
modern dance. Have you watched the young men perform the Manipuri
dances with their drums? Except for their costume they look like male ballet
dancers. Innovations that were done in my younger days were meant
to create a better understanding of classical dances when performed in
a language that a particular audience could understand. There are
sixty-four arts enumerated in our Sastras. Innovation is probably
a category in those. However merely imitating dances from the movies,
and gyrating the body in meaningless, or suggestive motions cannot be termed
as innovations. If brought to the stage they look pretty vulgar and do
not add to the understanding of anything traditional or cultural.
You have been the inspiration
and revered Guru to 50 arangetram students now. How would you describe
your relationship with your own Gurus and how did they inspire you?
I was always in awe of my Gurus.
I was taught to respect, love, and cherish them from the first time I met
them, by my mother. She taught me how to understand them. It
was hard at first but became easier as time went by. What my Gurus
wanted in a student was a sincere desire to learn the intricacies as taught
by them. They needed application. I practiced hard and tried not
to make them tell me the same thing twice. I was ready for them when
they wanted to experiment on a new theme, a step, a gesture, or an expressive
thought. Everyone cannot be a Guru. I took what they taught me and
shared it with my students. I tried to stay as close to the tradition
as possible. However much we try to innovate, the best way is
always the way of the Guru. My Gurus ways were simple, to the
point, clear, and precise. Each step was embellished with grace,
strength and ease of execution. The Tanjore technique is truly amazing.
By my sincerity and passion I became part and parcel of my Gurus’ home.
I was Thatha's granddaughter, and a daughter to his sons and daughter.
To this day our love for them endures. They have entrusted me
with a mission and I must not fail them. That is why I continue
to say and believe that all credit for everything I do goes to my parents,
especially my Mom, and my Gurus, as also later to my dear beloved husband,
and my children. I am indebted to them forever.
You lost a great friend and supporter
of your passion for dance in your husband when he passed away in 1992.
How did you find the strength to continue?
Sekhar, my most beloved friend,
my intimate confidante, my dear husband.... I still cannot believe he is
no longer on earth. He is very much beside me though. I can
tell because everything is going the way he wanted it to be. He was
so proud of everything I did. Admired every little detail. Gave me so much
encouragement and support. "Whatever happens, never give up dancing because
through it you reveal God" were his last words to me. I was teaching
Summer Session at St. John's, Newfoundland then.
I think the strength to continue
came from my daughters. When I looked at their bewildered faces when
he died, I had to fill in his shoes as mother and father. My loss
was not as great as theirs. My youngest was barely 15. My second
was in the final year of High school. My eldest was braving a taxing marriage.
I was angry with God. He had failed me. I lived according to
his injunctions. Why then did this have to happen? My dear friend
Raji Murthy got me back to teaching dance within a month. You have
to do it, she said. The students were so caring and loving. The parents
got together and wanted me to continue. I went back to God.
Swami Sant Keshavadas came over and gave us a very special talk.
He advised me to be like Arjuna and do my duty. He made me read the
Bhagawad Geetha and understand it. It took me seven years. I am fine
now even though it can never be the same. My parents never quit my side.
My Dad passed on in 1998. My mother continues to take loving care
of me. My Krishna reigns supreme in our Gurukulam.
How do you compete with the frenzy
of activities that Indian-American children are encouraged to participate
in, i.e. academics, sports, music and dance, social/cultural clubs, etc.?
How do you establish with your students the dedication necessary to complete
their arangetram?
As you grow older, you realize that
changes are important to growth. Many children do complain that they have
too many activities and they have no time to practice. I tell them,
it is important to please their parents first because they want the best
for their children. When they are in grade school, they have to try
everything. As they get to Middle School, the arts activities become
important. At High school they need to keep up with their peers.
Once we understand this, I try and instill a reverence for the dance. It
is a Mind, Body and Spirit exercise. It is Yoga form of relaxation.
It will help with your studies and other kinds of stresses, I urge.
Soon a group is formed and we work wonderfully. When they reach a certain
level of understanding, and are technically sound, the parents and I get
together, and discuss the arangetram. I have never met with any resistance
this far. It is a smooth transition. I guess most of the inspiration
comes from above.
It's felt that today's generation
is not interested in music and dance. Would you agree?
Not really. Many of our dance
enthusiasts are also learning Carnatic Music or North Indian Music. The
Tyagaraja Utsavams have created a desire in these children to learn Carnatic
music and perform them.
I believe if the mother has an interest
she can somehow get her child involved in that too. Kids want to be told
that we expect something special from them. With encouragement they
will eventually agree. Besides, our traditional arts have their own magic.
The only time there is the so-called generation gap is when they go to
university. With the newfound freedom, they want that little space.
With a little understanding, that gap can be bridged. Then there
is something called 'Fate' or 'Destiny' too.
It’s been said that Krithika Rajkumar,
the student you are presenting in your 50th arangetram, is referred to
by friends and relatives as a "mini" version of yourself. Are you reminded
of your youth when you watch her dance?
Yes, I definitely am reminded of
my younger days as a dance enthusiast whenever I watch Krithika dance.
She has the same energy, self-discipline, dedication, single mindedness,
frenzy for perfecting something, challenging herself, and competitiveness
I always had. She has popularity among her peers. She also wants
to please me and her parents like I always wanted to. She even has the
same speed and precision that I always had. She is brilliant in her studies
too and has won a lot of trophies for her intellectual pursuits in addition
to dance and music, and Thirukkural, and Bhagawad Geetha recitations. Amazing!
I am so very proud of her and pray for her continued success in all she
does. We all love her.
You've spent more than 50 years
dedicated to this art form, and now you will be 65 in the year 2005. How
would you describe your journey? Any dreams/goals left to fulfill?
Is it really that long? Hmmm!
Well, I left India when I was 26. I was described as 'a gem among dancers'
when I left there. I always wanted to be a devoted, obedient daughter,
and my Mom now says I was that and made them justly proud of my accomplishments.
I wanted to be a model student for my Gurus and I think I am one. I never
liked to displease my mother, father, gurus, or my husband. I don't
like to displease my children now. My passion for my dance has kept
me close to God every moment. I am so grateful for that. Dance is
my pathway to heaven. Dance is my bridge across troubled waters.
Dance is my Bhajan to God. Dance has kept me healthy in Mind, Body,
and Spirit.
I have a dream to establish the "Tandav
Center For the Arts" here in Michigan. Our Hindu Temple Rhythms will
honor great artists who have dedicated their lives to the arts here.
We will help our youth to learn the essence of the arts in a disciplined
environment, use their creativity and knowledge to preserve the traditional
techniques, foster the development of these folk arts through the Guru
Shishya Parampara, develop spirituality, contentment, and peace and spread
joy, unity, and peace through the study and propagation of these arts.
| I dream of a world where no child
will be hungry for food, lack knowledge, or be bereft of basic needs such
as clothes, and shelter. Children should not want. Let us teach them
the bliss of contentment, joy, helpfulness, and love. I know my daughters
will help to reach these goals.
The journey has been filled with
happiness at times, painful, and sorrowful now and then, confusing, and
bewildering at certain times, but...all along my faith in my Lord Krishna,
and His many manifestations, and surrendering to His Will has pulled me
through. With the Lord's name on my lips, and my heart singing His glories,
and my feet ever dancing to His rhythms, I shall abide. This is the
legacy I want to leave to my children and to all my students. Trust Him
and place full faith in Him. He will be there always till the end
and beyond. |
 |
"Life is a beautiful journey,
Dance through it sharing your
joys with all,
Helping everyone along the
way, and
Reminding one and all about
the Supreme Omnipresent One."
RADHE KRISHNA!
Contact:
Sudha Chandrasekhar
“Vidyanjali’s Hindu Temple Rhythms”
24611 Seneca
Oak Park, MI 48237, USA
Ph: (248) – 399 - 0259
e-mail: sudha@hindutemplerhythms.com
|
