Rukmani Devi rescued, revived and redefined
Bharata Natyam
by Sumana Saparamadu
The arangetram is now a regular feature of the cultural scene in Colombo. The
daily newspapers, ever so often, carry pictures of young girls due to perform or
have performed their arangetram, the first public performance of a dancer trained
in Bharata Natyam.
But for Rukmani Devi and Kalakshetra, the institute of fine arts she established in
Adaya, Madras, these girls would not be learning Bharata Natyam, much less
getting on the stage for the arangetram. A training in Bharata Natyam would be no
social accomplishment.
It was Rukmani Devi Arundale who rescued Bharata Natyam from the lowest
depths it had fallen into, brought it out of the temple to the modern stage and gave
it status, prestige and dignity.
When Rukmani Devi was born in 1904, more than a century and half of colonial
rule had brought the country's fine arts to their nadir. The old culture was dying
through neglect and lack of patronage, the Maharajahs and temples were no
longer the important persons and institutions they were earlier.
As she grew up Rukmani Devi, like tagore before her, couldn't bear to see the
artistic heritage of India suffering a lingering death.
Rukmani Devi was firmly rooted in her culture and knew the traditions of her
society. But her mind was open to other cultures, a trait she had acquired from her
father Nilakanta Sastri, a Sanskrit scholar who had accepted the Theosophists'
message of Universal Brotherhood. She also had the courage of her convictions
to do what she considered right.
She was a very special woman for that time and age, like the uncommon date of
her birth 29th February.
Mrs. Pulimood, a former principal of Visakha Vidyalaya once told this writer that as
young girls she and her friends would go to some place where I cannot now
remember to have a glimpse of Rukmani Devi. She was reputed for her beauty as
well as for some inherent charm that made her a very special person.
To rescue Bharata Natyam from its sad state of decadence and ignominy she
decided to learn the techniques of the dance herself, as a first step to its
resuscitation.
In Mylapore where the elite of Mudras resided, orthodox eyebrows were raised in
disbelief, and venerable ladies were shocked by the news - a high caste young
woman training in the profession of a Devadasi, temple dancer and harlot.
Rukmani Devi was not one to be cowed by or bow down to criticism and public
opinion. She had already defied and dared the public by marrying a foreigner Dr.
G. S. Arundale a Theosophist who had joined the theosophists in Madras.
After her training she was ready for her first public performance at the convention
centre of the theosophical society. Dr. Arundale had to persuade the reluctant
elite of Mylapore to attend the performance. Those who came to scoff stayed to
congratulated her. They were stunned by her statuesque beauty, graceful
movements, and meaningful 'abhinaya'. There was nothing coarse or vulgar. With
that performance Rukmani Devi resurrected Bharatha Natyam. Bharatha Natyam
was re-born, refined and revitalised.
The founding of Kalakshetra, in 1936 when Rukmani Devi was only 32, was a
landmark event, bringing her dream to build a temple for the arts, to near
fulfillment. Here again Dr. Arundale encouraged her and gave her the strength to
sustain her against all odds and to achieve her aspirations.
Soon it became fashionable for high-caste parents to teach their daughters
Bharata Natyam. Rukmani Devi is reported to have said, "Once it was difficult to
get girls to dance, now it is difficult keeping them out."
At Kalakshetra which this writer visited twice when the late Kamala Jayatilaka was
in training there, girls were seen learning and practising their steps in the shade of
banyan trees and elsewhere there were girls learning to play the veena and to
sing.
Rukmani Devi was not content training girls in the traditional repertoire of
Allarippu, Sabdam, Varnam, Tillana. She was an innovator. The ballet was a
Kalakshetra innovation, which took Bharata Natyam another step forward and
gave it a new artistic purpose - to tell time-honoured stories in dance, mime and
song.
Using the traditional dance techniques - the footwork, body movements, gestures
(mudra) and eye expressions (abhinaya). Rukmani Devi choreographed ballets
based on the epics and Kalidasa's Maha Kavyas. The series of ballets on the
Ramayana became an annual festival in Madras.
As at Tagore's Shantinekethan, at Kalashetra too, Rukmani Devi introduced the
teaching of arts and crafts. Traditional patterns and motifs were revived on the
looms at Kalakshetra and Kalakshetra sarees acquired a reputation of their own.
Always dressed in the most beautifully designed sarees, Rukmani Devi was
'Aththai', aunt to the Kalakshetra family.
Rukmani Devi was appointed a member of the Raj Sabha, the Upper House of the
Parliament of India. An ardent animal lover and chairman of the Animal Welfare
Board, she brought a bill for the prevention of cruelty to animals. In her speech
she pleaded on behalf of bulls dragging heavy loads up inclines, suffering stray
dogs, caged birds and sheep going to slaughter. That bill is now law.
Mr. Venakata Raman, a former President of India, had once suggested that she
opens a college of higher education for women. She welcomed the idea but could
not approve zoology, which entailed the cutting of frogs, being on the curriculum.
So the idea was dropped. Prevention of cruelty to animals was more important
than women's higher education.
When the office of President of India was offered to her, she had gracefully
declined the honour saying she was not cut out for politics. In a tribute paid to her
on her 90th birth anniversary Venkata Ramon wrote: "She told me with quiet
dignity that her realm of activity was different and had no hesitation in declining
the offer. The highest office in the land was just passed by."
