Muthuswamy Pillai

Vaitheeswarankoil Sethuraman Muthuswamy Pillai (24 October 1921 – 18 January 1992) was a Bharatanatyam guru.

V. S. Muthuswamy Pillai
Born(1921-10-24)24 October 1921
Died(1992-01-18)18 January 1992
OccupationChoreographer
Known forBharatanatyam
Spouse(s)Valambal
ChildrenM. Thaiyanayagi, M. Balu, M. Charubala, Kalaimamani Kuttalam M. Selvam, M. Arumugam, M. Vijayalakshmi, M. Geetha, M. Sambandam, M. Nirmala
AwardsKalaimamani, Sangeet Natak Akademi Award, Chevalier des Arts et des Lettres

Early life

V. S. Muthuswamy Pillai hails from an hereditary family of musicians, dancers and nattuvanars. When he was 5, after the death of his mother Sethuramu, his mother's uncle nattuvanar Vaitheeswarankoil Meenakshisundaram Pillai became his foster father. Muthuswamy Pillai observed him when he was teaching or conducting dance, and also got initiated in various aspects of music. He helped his foster father fulfilling hereditary temple duties: singing, reciting shollukatus and playing cymbals, and sometimes accompanying dance by devadasis. He felt the stigma attached to the hereditary practitioners of the performing arts as they were given little respect when they performed with devadasis as a form of entertainment.[1]

When he was 15, he moved with his foster parents to Madras, but after the death of his younger sister Muthulakshmi, he decided to leave and settle in Mayavaram where he became the disciple of Kattumannarkoil Muthukumara Pillai, a highly respected nattuvanar. In his gurukul, he learnt the nuances of the art of bharatanatyam while he was taught a Margam (a sequence of dance compositions for the stage).[2]

Career

After his marriage to Valambal, daughter of Milagu Nattuvanar Ramaswami Pillai (1911-1991), he accepted to become a faculty at Nrithyodaya, the dance school of the film director K. Subrahmanyam in Madras. He was also associated to the performing group of this school, Natana Kala Seva. There, he was exposed to a fusion of various Indian classical dance styles and he could experiment with group choreography and dance dramas.[3]

Similarly as other nattuvanars like Vazhuvoor Ramiah Pillai and his foster father Vaitheeswarankoil Meenakshisundaram Pillai, Muthuswamy Pillai became a sought after choreographer for the film industry. He was the dance director for movies in Tamil, Malayalam, Telugu and Hindi from the 1940s until the middle of the 1960s. He choreographed for more than 30 movies.[4]

The French connection

As the need for bharatanatyam choreographies was declining in the film industry, Muthuswamy Pillai was forced to enter a sabbatical period. While his family was staying in the village of Kuttalam, he settled in a small place in 7, East Mada Street, Mylapore and focused on his art.[5] He developed his creativity on European students, mostly French, who came to Madras in order to learn from him in the 1970s and 1980s. They had to abandon the material comfort of their rich country of origin in order to live in Madras on small amounts of money even though some of them could rely on scholarships from the Indian Council for Cultural Relations and the French Government. Many of them were given Indian names that most of them are still using after returning to Europe : Menaka, Shakuntala, Maïtreyi, Padmavati, Kunti, Kalpana, etc. Other of his students are known by their original names like Tiziana Leucci, Élisabeth Petit, Armelle Choquard and Dominique Delorme.[6]

Indian students

Choreographic style

In 1989, the Sruti Foundation organised the Parampara Seminar where eminent gurus from five bharatanatyam traditions demonstrated their art. In this seminar, Muthuswamy Pillai demonstrated the style of his guru Kattumannarkoil Muthukumara Pillai and his own ideas.[11]

Adavus are the basic steps of the bharatanatyam dance. Muthuswamy Pillai is known for elaborating countlessly many new variations of adavus.[12] In some adavus families like Kutta (also named Ta-tai-ta-ha), he introduced variations of adavus that use only one hand. He also explored symmetry and asymmetry in the body and the stage space. The dancer may travel in any direction and may even turn their back to the audience.[13]

He introduced new ideas in the Alarippu (which is the first dance items in a dance recital). The most traditional choreographies of this item use only a reduced movement vocabulary. While preserving the core structure of the Alarippu, Muthuswamy Pillai extended significantly the dance vocabulary used in this dance item.[14]

As a master of rhythm, Muthuswamy Pillai choreographed using syncopated rhythmic patterns. In some dance compositions, he used all the five gatis (or panch-nadais), demonstrating five different ways of subdividing the main pulse into 4, 3, 7, 5 or 9 subdivisions. He used this procedure in different compositions, like the purely rhythmic Tala-Vadyam performed by his student Kalpana, or as Kalpanaswarams in the Kirtana Tamasam en swamy performed by Shakuntala.[15]

Most of Muthuswamy Pillai's students had a separate guru for Abhinaya. Several of his French disciples learnt Abhinaya from Kalanidhi Narayanan.

Awards

References
  1. Vijayaraghavan 2011, pp. 14-15.
  2. Vijayaraghavan 2011, pp. 16-17.
  3. Vijayaraghavan 2011, pp. 17-18.
  4. Vijayaraghavan 2011, p. 18.
  5. Vijayaraghavan 2011, pp. 19-20.
  6. Vijayaraghavan 2011, pp. 21-22.
  7. Vijayaraghavan 2011, p. 19.
  8. Vijayaraghavan 2011, pp. 22-23.
  9. Vijayaraghavan 2011, p. 27.
  10. Srikanth 2018.
  11. Venkataraman 1990, pp. 24-25.
  12. Delorme 2011: "So the training began with adavus in a very vigorous way. It was hard work. He was a very demanding master and he met my expectations. I learned only adavus for at least one and a half years. And he taught me something like 500 adavus when most masters teach between sixty and eighty. He had developed a lot of different varieties in each family of adavus."
  13. Venkataraman 2011: "The guru's penchant for breaking the two-handed symmetry by using one hand; his love for exploring the same movement with the dancer facing different directions, getting away from the traditional frontal dancing; and the way the hand, doing a customary movement in the air, would be interrupted at one point to take on a totally unpredictable course; not to speak of his love for off beat syncopated rhythms that created a stir at the time evoking contrastingly strong reactions."
  14. Vijayaraghavan 2011, p. 25: "Alarippu, the opening number which is among the vanishing species of the margam, was presented in a new format of breathtaking beauty that none had seen before. It opened new dimensions, new possibilities and instilled new life into a number that had been flogged lifeless by mechanical and lacklustre presentations."
  15. Sruti Seminar 1989, DVD #3 & #4.

Sources
  • Vijayaraghavan, Sujatha (April 2011). "A marvel of tradition and talent". Sruti. No. 319.CS1 maint: ref=harv (link)
  • "V. S. Muthuswamy Pillai". Sangeet Natak Akademi.CS1 maint: ref=harv (link)
  • Venkataraman, Leela (February 1990). "Spotlight on Traditional Gurus". Sruti. No. 65.CS1 maint: ref=harv (link)
  • National Seminar on Bharatanatyam Dance Traditions (1989): Muthuswamy Pillai (4 DVD set). The Sruti Foundation.
  • Venkataraman, Leela (3 February 2011). "In the guru's mould". The Hindu.CS1 maint: ref=harv (link)
  • "The last disciple: An interview with Dominique Delorme". March 2011.
  • Srikanth, Rupa (20 December 2018). "Bragha Bessell looks back on her dance journey". The Hindu.CS1 maint: ref=harv (link)
  • "Video of a Bharatanatyam recital by Caroline, Dominique Delorme, Patricia (Padmavati) conducted by Muthuswamy Pillai". National Cultural Audiovisual Archives.


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